diff options
| author | David Kastrup <dak@gnu.org> | 2015-05-17 19:28:06 +0200 |
|---|---|---|
| committer | David Kastrup <dak@gnu.org> | 2015-05-18 00:00:30 +0200 |
| commit | d36171e34d236d890f5dc511b895037188c6c7cb (patch) | |
| tree | 40d1c88ff7e0b0c5bbf649e710a38f281a438cc0 | |
| parent | 94644b3a701073c99eabb88d95b20cd3f3ac5af0 (diff) | |
Run scripts/auxiliar/update-with-convert-ly.sh
Afterwards revert all changes in Documentation/snippets/*.ly (thus
retaining Documentation/snippets/new), then run
scripts/auxiliar/makelsr.py, leaving only the files in
Documentation/snippets/new and their versions in Documentation/snippets
converted: if we don't want to retain the automatic conversion rule, we
only want to keep those files which do not get reconverted on reimport.
623 files changed, 6359 insertions, 6359 deletions
diff --git a/Documentation/ca/learning/common-notation.itely b/Documentation/ca/learning/common-notation.itely index e08333b9fb..fa380958ec 100644 --- a/Documentation/ca/learning/common-notation.itely +++ b/Documentation/ca/learning/common-notation.itely @@ -7,7 +7,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: (different from policy.txt!) @@ -795,9 +795,9 @@ l'exemple que segueix, tres seqüències (cadascuna de les quals conté dues notes diferents) es combinen de forma simultà nia: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -827,8 +827,8 @@ expressió complexa, però com comença amb una sola nota, es disposa sobre un sols pentagrama. @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e2 f } { c2 <<b d>> } >> | } @end lilypond @@ -866,9 +866,9 @@ abans d'ell. Aquests elements @code{Staff} es combinen després en paral·lel amb @code{<<} y @code{>>}: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -899,9 +899,9 @@ de què les partitures amb instruments transpositors són més comunes que les partitures polirÃtmiques. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -944,9 +944,9 @@ cas l'expressió completa es col·loca dins d'un @code{PianoStaff}: Heus aquà un petit exemple: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -1069,10 +1069,10 @@ Presentem a continuació l'inici de la melodia d'una cançó infantil, @qq{Girls and boys come out to play}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -1082,10 +1082,10 @@ separant cada sÃl·laba mitjançant un espai. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come | out to play, @@ -1119,10 +1119,10 @@ shine as bright as day}. A continuació l'ampliarem: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1155,10 +1155,10 @@ lligadura d'expressió sobre elles (vegeu @ref{Lligadures d'unió i d'expressió @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1176,10 +1176,10 @@ detalls consulteu @ref{Barres automà tiques i manuals}. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1196,10 +1196,10 @@ melisma: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1219,10 +1219,10 @@ Enees} de Purcell: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1273,11 +1273,11 @@ del @notation{Barber de Sevilla} de Rossini, on la sÃl·laba @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1386,13 +1386,13 @@ usar posteriorment col·locant una barra invertida davant del nom @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1550,10 +1550,10 @@ serà origen de nombrosos errors. Amb @code{\relative}, l'exemple anterior és molt més fà cil de llegir: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond @@ -1575,7 +1575,7 @@ usant @code{\relative} dins de @code{\relative}, les seccions relatives externa i interna són independents: @lilypond[verbatim,quote] -\relative c { c'4 \relative c'' { f g } c } +\relative { c'4 \relative { f'' g } c } @end lilypond @funindex \absolute @@ -1585,7 +1585,7 @@ instrucció @code{\absolute} per evitar que s'incorpori a la música relativa: @lilypond[verbatim,quote] -\relative c { c'4 \absolute { f'' g'' } c } +\relative { c'4 \absolute { f'' g'' } c } @end lilypond @node Més enllà del tutorial diff --git a/Documentation/ca/learning/fundamental.itely b/Documentation/ca/learning/fundamental.itely index 18916186ab..59ddb2ecc8 100644 --- a/Documentation/ca/learning/fundamental.itely +++ b/Documentation/ca/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Conceptes fonamentals @chapter Conceptes fonamentals @@ -89,8 +89,8 @@ quan li proporcionem una entrada senzilla. El LilyPond tracta una entrada com aquesta: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -102,8 +102,8 @@ com una abreviatura d'aquesta altra: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -242,8 +242,8 @@ variables com es mostra a @ref{Organitzar les peces mitjançant variables}. Totes les plantilles fan servir el següent: @example -melodia = \relative c' @{ - c4 a b c +melodia = \relative @{ + c'4 a b c @} \score @{ @@ -371,8 +371,8 @@ claudà tors que segueixen a @code{\new Voice = "vocal"}, podrÃem començar escrivint @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -392,10 +392,10 @@ Aixà doncs, tot escrivint algunes notes, i una clau de Fa per a la mà esquerra, ara tenim un fragment musical de debò: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { <g d g,>2~ <g d g,> } -lower = \relative c { b2 e } +upper = \relative { <g' d g,>2~ <g d g,> } +lower = \relative { b,2 e } \score { << @@ -444,8 +444,8 @@ notes: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -471,8 +471,8 @@ manera següent: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -720,9 +720,9 @@ de les lligadures, pliques, matisos dinà mics, etc., s'ajusta de forma correcta. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Veu principal - c16 d e f + c'16 d e f % Veu "1" Veu "2" Veu "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -746,9 +746,9 @@ lligades es poden dividir entre les mateixes veus de dues construccions, com s'indica aquà a la veu de triangles blaus. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Veu principal - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -840,10 +840,10 @@ li sembli misteriós i tan sols es concentri a la música i les veus @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Veu u - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignoreu aquestes expressions per ara, s'explicaran al Cap. 4 @@ -918,10 +918,10 @@ après, usant la construcció @code{<< \\ >>} per introduir la música del primer compà s a tres veus: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } >> | <c ees aes c>1 | } @@ -942,10 +942,10 @@ veu quatre. Això es fa escrivint un altre parell de barres invertides (@code{\\}). @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Veu u - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Veu dos { <ees, c>2 des } \\ % Omet Veu tres @@ -1009,8 +1009,8 @@ prèvia: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -1020,8 +1020,8 @@ equival a @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1030,8 +1030,8 @@ Els dos exemples anteriors produeixen: @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1054,9 +1054,9 @@ l'escriptura, les lligadures d'unió i d'expressió i les indicacions de dinà mica: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Comportament predeterminat o comportament després de \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1128,8 +1128,8 @@ possibles, i si hi ha una veu que apareix sols breument podria haver-hi una forma més natural d'escriure la música. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { @@ -1306,14 +1306,14 @@ que s'interpreti com a lletra i no com a música. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1367,10 +1367,10 @@ pentagrames. A d'altres exemples se li sol donar el nom de @q{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1558,8 +1558,8 @@ prà ctica, heus aquà un exemple anotat de música real: \clef "treble" \key g \minor \new Voice { % crea la veu per a les notes de la mà dreta - \relative c'' { % inici de les notes de la mà dreta - d4 ees16 c8. | + \relative { % inici de les notes de la mà dreta + d''4 ees16 c8. | d4 ees16 c8. | } % fi de les notes de la mà dreta } % fi de la veu de la mà dreta @@ -1569,14 +1569,14 @@ prà ctica, heus aquà un exemple anotat de música real: \key g \minor \new Voice { % crea la veu de la mà esquerra \voiceOne - \relative g { % inicia les notes de la veu u de la mà esquerra + \relative { % inicia les notes de la veu u de la mà esquerra g8 <bes d> ees, <g c> | g8 <bes d> ees, <g c> | } % fi de les notes de la veu u de la mà esquerra } % fi de la veu u de la mà esquerra \new Voice { % crea la veu dos de la mà esquerra \voiceTwo - \relative g { % inici de les notes de la veu dos de la mà esquerra + \relative { % inici de les notes de la veu dos de la mà esquerra g4 ees | g4 ees | } % fi de les notes de la veu dos de la mà esquerra @@ -1856,8 +1856,8 @@ AixÃ, això desactivarà els bequadres addicionals a un pentagrama: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1871,8 +1871,8 @@ i això els desactivarà a tots els pentagrames: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1951,13 +1951,13 @@ de la forma següent: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2000,8 +2000,8 @@ continuació presentem un exemple que mostra el format: @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -2020,13 +2020,13 @@ pentagrames de la partitura: \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2093,8 +2093,8 @@ les lÃnies del pentagrama estan dibuixades pel gravador \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % fes més petits els caps de les notes e4 f | \set fontSize = #2.5 % fes més grans els caps de les notes @@ -2180,24 +2180,24 @@ pautes, podem escriure \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2264,7 +2264,7 @@ plantilla @q{Notes i lletra} (per a la part de soprano). @example \version @w{"@version{}"} -melodia = \relative c' @{ +melodia = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2293,7 +2293,7 @@ Ara volem afegir una part de violoncel. Vegem l'exemple @example \version @w{"@version{}"} -melodia = \relative c' @{ +melodia = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2330,7 +2330,7 @@ Fa). Aixà mateix, canviarem algunes del violoncel. @example \version @w{"@version{}"} -musicaSoprano = \relative c' @{ +musicaSoprano = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2341,7 +2341,7 @@ lletraSoprano = \lyricmode @{ Aaa Bee Cee Dee @} -musicaVioloncel = \relative c @{ +musicaVioloncel = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2401,7 +2401,7 @@ fà cil solució. Presentem aquà la plantilla completa per a soprano i violoncel. @lilypond[quote,verbatim,ragged-right,addversion] -musicaSoprano = \relative c' { +musicaSoprano = \relative { \clef "treble" \key c \major \time 4/4 @@ -2412,7 +2412,7 @@ lletraSoprano = \lyricmode { Aaa Bee Cee Dee } -musicaVioloncel = \relative c { +musicaVioloncel = \relative { \clef "bass" \key c \major \time 4/4 @@ -2456,31 +2456,31 @@ aquà un exemple del «Messies» de Haendel: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -musicaSoprano = \relative c'' { +musicaSoprano = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } lletraSoprano = \lyricmode { Wor -- thy | is the lamb | that was slain | } -musicaAlto = \relative a' { +musicaAlto = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } lletraAlto = \lletraSoprano -musicaTenor = \relative c' { +musicaTenor = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } lletraTenor = \lletraSoprano -musicaBaix = \relative c' { +musicaBaix = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } lletraBaix = \lletraSoprano @@ -2693,26 +2693,26 @@ de l'exemple anterior, obtenim: @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -musicaSoprano = \relative c'' { +musicaSoprano = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } lletraSoprano = \lyricmode { Wor -- thy | is the lamb | that was slain | } -musicaAlto = \relative a' { +musicaAlto = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } lletraAlto = \lletraSoprano -musicaTenor = \relative c' { +musicaTenor = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } lletraTenor = \lletraSoprano -musicaBaix = \relative c' { +musicaBaix = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } lletraBaix = \lletraSoprano upper = \relative a' { @@ -3029,19 +3029,19 @@ música, i combinar totes les parts. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -MusicaManualUVeuU = \relative g' { - g4 g f ees | +MusicaManualUVeuU = \relative { + g'4 g f ees | d2 c | } -MusicaManualUVeuDos = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +MusicaManualUVeuDos = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -MusicaManualDos= \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +MusicaManualDos= \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -MusicaOrganPedal = \relative c { +MusicaOrganPedal = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -3096,7 +3096,7 @@ Glossari musical: Arribats a aquest punt, heu vist coses d'aquest tipus: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3109,8 +3109,8 @@ Fins i tot us adonareu que això pot ser útil en música minimalista: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violà = \new Staff { \fragmentA \fragmentA | @@ -3194,8 +3194,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3229,7 +3229,7 @@ exemple, suposem que el fitxer @file{trompa.ly} conté la següent part d'un duo per a trompa i fagot: @example -notesTrompa = \relative c @{ +notesTrompa = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3267,7 +3267,7 @@ normal en@tie{}Fa. La transposició es pot veure a la següent sortida @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3325,7 +3325,7 @@ que l'altra veu es troba dins de @code{notesFagot} al fitxer el que ens porta a @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/ca/learning/tutorial.itely b/Documentation/ca/learning/tutorial.itely index be9d4fbf56..31f7435d6e 100644 --- a/Documentation/ca/learning/tutorial.itely +++ b/Documentation/ca/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @node Tutorial @chapter Tutorial @@ -242,8 +242,8 @@ espai de pentagrama des de la nota anterior. @lilypond[verbatim,quote] % set the starting point to middle C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -256,8 +256,8 @@ successivament). Podem crear melodies amb intervals més grans, fins i tot sense deixar d'utilitzar el mode relatiu: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -273,8 +273,8 @@ l'ordre @q{@w{@code{@bs{}\relative c'}}}, podem canviar l'octava d'inici: @c KEEP LY @lilypond[verbatim,quote] % una octava per sobre del Do central -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -290,8 +290,8 @@ sota. @c KEEP LY @lilypond[verbatim,quote] -\relative c'' { - b c % el Do està 1 espai per sobre, és el Do de dalt +\relative { + b' c % el Do està 1 espai per sobre, és el Do de dalt b d % el Re està 2 espais per sobre o 5 per sota, és el Re de dalt b e % el Mi està 3 espais per sobre o 4 per sota, és el Mi de dalt b a % el La està 6 espais per sobre o 1 per sota, és el La de sota @@ -313,8 +313,8 @@ una octava escrivint una coma @code{,} a continuació del nom de la nota. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -358,8 +358,8 @@ a la nota següent. La figura per omissió de la primera nota és una negra. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -370,8 +370,8 @@ número de la duració. La duració d'una nota amb puntet s'ha d'especificar de forma explÃcita (és a dir: mitjançant un número). @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -390,8 +390,8 @@ Un @notation{silenci} s'introdueix igual que si fos un anota amb el nom @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -413,9 +413,9 @@ La @notation{indicació de compà s} es pot establir amb l'ordre @code{\time} : @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -479,9 +479,9 @@ La @notation{clau} es pot establir utilitzant l'ordre @code{\clef} : @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -784,8 +784,8 @@ per generar aquesta imatge. Proveu-lo sobre aquesta imatge: @c no verbatim here @c KEEP LY @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { Cliqueu aquÃ. } } +\relative { + c''4-\markup { \bold \huge { Cliqueu aquÃ. } } } @end lilypond diff --git a/Documentation/ca/learning/tweaks.itely b/Documentation/ca/learning/tweaks.itely index 5dfeb90bec..830a26f1e3 100644 --- a/Documentation/ca/learning/tweaks.itely +++ b/Documentation/ca/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Ajustament de la sortida @chapter Ajustament de la sortida @@ -1491,8 +1491,8 @@ introduir un pentagrama temporal, com a un @rglos{ossia}. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1518,8 +1518,8 @@ segell de cadascú d'ells a @code{#f}, com segueix: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1581,8 +1581,8 @@ Aixà doncs, podem reemplaçar l'exemple anterior amb @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1607,8 +1607,8 @@ resultat següent: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1678,8 +1678,8 @@ Provem-lo en el nostre exemple de l'ossia: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1749,8 +1749,8 @@ S'usa de la següent forma: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1880,10 +1880,10 @@ de les notes sobre pentagrames adjacents: @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -3169,8 +3169,8 @@ contingui els sÃmbols desitjats, com segueix: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } -\relative c'' { - c4 +\relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3418,10 +3418,10 @@ Chopin que present al final de @ref{Sento veus}, que vam deixar amb aquest aspecte: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ @@ -3458,10 +3458,10 @@ Presentem a continuació el resultat final: @cindex force-hshift, propietat, exemple @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 \once \override NoteColumn.force-hshift = 0.5 des } \\ @@ -3498,9 +3498,9 @@ les indicacions dinà miques, les digitacions i el pedal. @c This example should not be indexed @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3540,8 +3540,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3581,9 +3581,9 @@ produeix el LilyPond de forma predeterminada: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4. g8 | + r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3607,8 +3607,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3639,9 +3639,9 @@ estudiar al Tutorial. En fer-lo, obtenim: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3665,8 +3665,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3712,9 +3712,9 @@ Amb això es completa el compà s dos, produint el següent resultat: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3740,8 +3740,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3795,9 +3795,9 @@ al final, obtenint com a resultat: @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3827,8 +3827,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3870,9 +3870,9 @@ dos Re. En aplicar aquests canvis obtenim: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3905,8 +3905,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3941,9 +3941,9 @@ resultat final: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3984,8 +3984,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -4260,10 +4260,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/ca/usage/running.itely b/Documentation/ca/usage/running.itely index 93d4609e74..20c12ee452 100644 --- a/Documentation/ca/usage/running.itely +++ b/Documentation/ca/usage/running.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @node Execució del LilyPond @@ -1089,7 +1089,7 @@ un dels quals crea implÃcitament blocs @code{Staff} i @code{Voice}. @lilypond[quote,verbatim] \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } @end lilypond @@ -1099,7 +1099,7 @@ explÃcitament: @lilypond[quote,verbatim] \new Voice { \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } } @end lilypond diff --git a/Documentation/ca/usage/suggestions.itely b/Documentation/ca/usage/suggestions.itely index 826d716230..0e4dc47cd5 100644 --- a/Documentation/ca/usage/suggestions.itely +++ b/Documentation/ca/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Suggeriments per escriure fitxers d'entrada @chapter Suggeriments per escriure fitxers d'entrada @@ -182,8 +182,8 @@ per contra, és extremadament improbable que canviï la definició de @example -violà = \relative c'' @{ -g4 c'8. e16 +violà = \relative @{ +g'4 c'8. e16 @} @dots{} \score @{ @@ -204,8 +204,8 @@ cop, i encara podrem evitar tocar res dins de @code{violÃ}. @example fdesprésp = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violà = \relative c'' @{ -g4\fluegop c'8. e16 +violà = \relative @{ +g'4\fluegop c'8. e16 @} @end example @@ -253,9 +253,9 @@ Si no és aixÃ, transformeu en comentaris tota la música del baix (però deixeu el @code{\baix} de la secció @code{\score} no comentat. @example -bajo = \relative c' @{ +bajo = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/Documentation/cs/learning/common-notation.itely b/Documentation/cs/learning/common-notation.itely index 49e1325d2c..88ced2b973 100644 --- a/Documentation/cs/learning/common-notation.itely +++ b/Documentation/cs/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: @@ -680,9 +680,9 @@ SouběžnÄ› jsou hudebnà výrazy spojeny tak, že jsou uzavÅ™eny uvnitÅ™ tÅ™i výrazy (každý obsahuje dvÄ› oddÄ›lené noty): @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -711,8 +711,8 @@ pÅ™Ãklad zaÄÃná jednou notou: @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e f } { c <<b d>> } >> | } @end lilypond @@ -750,9 +750,9 @@ osnovu) jsou potom uspořádány souběžnÄ› se znaky @code{<<} a @code{>>}: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -787,9 +787,9 @@ notové zápisy s rozdÃlnými druhy taktů. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -835,9 +835,9 @@ nynà vložen do prostÅ™edà @code{PianoStaff}. Zde je jeden malý pÅ™Ãklad: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -967,10 +967,10 @@ Zde je zaÄátek jednoduché dÄ›tské pÃsnÄ›, @notation{DÃvky a chlapci jdou ven, aby si hráli}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -981,10 +981,10 @@ se zadá tak, že každá slabika je oddÄ›lena prázdným znakem. @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { DÃvky a chlapci jdou | ven, aby si hráli, @@ -1026,10 +1026,10 @@ takto: @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1043,10 +1043,10 @@ V anglickém originále je to: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1080,10 +1080,10 @@ podrobnosti se podÃvejte v Äásti @ref{Ligatury a legatové oblouÄky}. @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1103,10 +1103,10 @@ Na podrobnosti se podÃvejte v Äásti @ref{Automatické a ruÄnà trámce}. @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1123,10 +1123,10 @@ podtržÃtko @code{_}: @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1147,10 +1147,10 @@ jsem | položen __ na | zemi.}: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1201,11 +1201,11 @@ ve FigarovÄ› árii @notation{Largo al factotum}. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1312,13 +1312,13 @@ pozdÄ›ji tÃm, že se pÅ™ed nÄ› zapÃÅ¡e obrácené lomÃtko @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1476,10 +1476,10 @@ možným zdrojem chyb. Pomocà pÅ™Ãkazu @code{\relative} je tento pÅ™Ãklad mnohem jednoduÅ¡eji Äitelný: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond diff --git a/Documentation/cs/learning/fundamental.itely b/Documentation/cs/learning/fundamental.itely index ea58f708d4..c232085074 100644 --- a/Documentation/cs/learning/fundamental.itely +++ b/Documentation/cs/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Pavel Fric @node Základnà pojmy @@ -63,8 +63,8 @@ tak notová sazba vypadá zÅ™Ãdka, když se tento pÅ™Ãkaz vynechá. @lilypond[quote,fragment,ragged-right,verbatim] -\relative c'' { - c4 a b c +\relative { + c''4 a b c } @end lilypond @@ -119,8 +119,8 @@ stavbu. PodÃvejme se na jeden takový jednoduchý pÅ™Ãklad: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -135,8 +135,8 @@ takové soubory daly napsat a také správnÄ› zapsat, znamená \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -277,8 +277,8 @@ jak je to také ukázáno v @ref{Pořádánà dÄ›l pomocà promÄ›nných}. VÅ¡echny pÅ™edlohy použÃvajà tuto možnost: @example -melodie = \relative c' @{ - c4 a b c +melodie = \relative @{ + c'4 a b c @} \score @{ @@ -410,8 +410,8 @@ složených závorek vedle @code{\new Voice = "ZpÄ›vnà hlas"} bychom mohli zapisovat @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -433,10 +433,10 @@ Takže nynà máme, když pÅ™idáme nÄ›kolik not a basový klÃÄ pro levou ruku, následujÃcà pÅ™Ãklad: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { <g d g,>2~ <g d g,> } -lower = \relative c { b2 e } +upper = \relative { <g' d g,>2~ <g d g,> } +lower = \relative { b,2 e } \score { << @@ -485,8 +485,8 @@ jen pro dobu trvánà třà not: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -513,8 +513,8 @@ osnovu: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -762,9 +762,9 @@ z tÄ›chto prostÅ™edà je nastaven svislý smÄ›r nožiÄek, legatových oblouÄkÅ ligatur, znaÄek pro dynamiku atd. tak, jak se patÅ™Ã. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -786,9 +786,9 @@ VÅ¡imnÄ›te si také, že spojené noty mohou být rozdÄ›leny pÅ™es stejný hlas do dvou staveb, jak je to ukázáno zde na modrém trojúhelnÃkovém hlase. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -878,10 +878,10 @@ a hlasy. SložitÄ›jÅ¡Ã vÄ›ci budou vysvÄ›tleny v pozdÄ›jÅ¡Ãch Äástech. @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { aes2 f4 fes } \\ % No voice three @@ -953,10 +953,10 @@ se to nauÄili, pomocà konstrukcà @code{<< \\ >>}, kterou zapÃÅ¡eme tÅ™i hlasy prvnÃho taktu: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des } + { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des } >> | <c ees aes c>1 | } @@ -978,10 +978,10 @@ umÃstÃme do Ätvrtého hlasu. To se udÄ›lá jednoduÅ¡e pÅ™idánÃm páru @code{\\}. @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { aes2 f4 fes } \\ % Omit Voice three @@ -1043,8 +1043,8 @@ Stavba @code{<< \\ >>}, kterou jsme použili v pÅ™edchozÃm @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -1054,8 +1054,8 @@ ist identisch mit @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1064,8 +1064,8 @@ Obojà výše by vytvoÅ™ilo následujÃcà notový obraz: @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1086,9 +1086,9 @@ majà pÅ™Ãkazy @code{\oneVoice}, @code{\voiceOne} a @code{voiceTwo} úÄinek na text, oblouÄky a oznaÄenà dynamiky: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1159,8 +1159,8 @@ hlas objevà jen krátce, může to být pÅ™irozenÄ›jÅ¡Ã způsob sázenà not: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e2) | } \new Voice { @@ -1334,14 +1334,14 @@ ne jako noty. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1395,10 +1395,10 @@ tóninu. Taková promÄ›nná se Äasto oznaÄuje @qq{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1598,8 +1598,8 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben: \clef "treble" \key g \minor \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. + \relative { % start of RH notes + d''4 ees16 c8. d4 ees16 c8. } % end of RH notes } % end of RH voice @@ -1609,14 +1609,14 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben: \key g \minor \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 <bes d> ees, <g c> g8 <bes d> ees, <g c> } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees g4 ees } % end of LH voice two notes @@ -1914,8 +1914,8 @@ ausgeschaltet sind: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - ais2 aes + \new Staff \relative { + ais'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1929,8 +1929,8 @@ während das dazu dient, sie in allen Systemen auszuschalten: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - ais2 aes + \new Staff \relative { + ais'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -2007,12 +2007,12 @@ etwa so: @lilypond[quote,verbatim,ragged-right] << \new Staff - \relative c'' { - gis4 ges aes ais + \relative { + gis'4 ges aes ais } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gis ges aes ais + \relative { + gis' ges aes ais } } >> @@ -2056,8 +2056,8 @@ Funktion anwendet: @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cis4 e d ces + \relative { + cis''4 e d ces } } \layout { @@ -2076,13 +2076,13 @@ Wenn die Veränderung der Eigenschaft sich auf alle Systeme einer \score { << \new Staff { - \relative c'' { - gis4 ges aes ais + \relative { + gis'4 ges aes ais } } \new Staff { - \relative c'' { - gis4 ges aes ais + \relative { + gis'4 ges aes ais } } >> @@ -2151,8 +2151,8 @@ erstellt werden. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2244,24 +2244,24 @@ mit vier Systemen anzeigen wollen, könnte das so aussehen: \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2331,7 +2331,7 @@ Fall könnten Sie mit der Vorlage @qq{Noten und Text} @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2361,7 +2361,7 @@ Beispiel @qq{Nur Noten} an: @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2405,7 +2405,7 @@ Wir ändern auch die Noten etwas ab. @example \version @w{"@version{}"} -SopranNoten = \relative c' @{ +SopranNoten = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2416,7 +2416,7 @@ SoprText = \lyricmode @{ Aaa Bee Cee Dee @} -CelloNoten = \relative c @{ +CelloNoten = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2478,7 +2478,7 @@ nicht mehr. Das können wir aber schnell in Ordnung bringen. Hier also die gesamte Vorlage für Soprán a violoncello: @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2489,7 +2489,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2539,26 +2539,26 @@ notiert wird. Hier ein Beispiel aus Händels @notation{Messias}: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2777,26 +2777,26 @@ global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -3132,19 +3132,19 @@ die Variablen mit einem Backslash in die Partitur einbauen. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c2 | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d e8~ 8es16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -3199,7 +3199,7 @@ Glossar: Bis jetzt wurde immer derartige Notation vorgestellt: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3212,8 +3212,8 @@ Sie können sich vorstellen, dass das etwa für minimalistische Musik sehr nützlich sein könnte: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | \fragmentB \fragmentA | @@ -3295,8 +3295,8 @@ padText = \once \override TextScript.padding = $padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3330,7 +3330,7 @@ Nehmen wir an, dass die Datei @file{horn-music.ly} folgende Noten eines Horn/@/Fagott-Duos enthält: @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3368,7 +3368,7 @@ die Stimmung eines normalen F-Hornes verlangt. Die Transposition kann in folgender Notenausgabe gesehen werden: @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3425,7 +3425,7 @@ Partitur erstellt mit: woraus sich ergibt: @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/cs/learning/tutorial.itely b/Documentation/cs/learning/tutorial.itely index 7bef36f3b5..8b940467be 100644 --- a/Documentation/cs/learning/tutorial.itely +++ b/Documentation/cs/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Pavel Fric @node CviÄenà @@ -248,8 +248,8 @@ vždy jen o jeden notový řádek nad pÅ™edchozÃm. @c KEEP LY @lilypond[verbatim,quote] % PoÄáteÄnà bod napsat na jednoÄárkovaném C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -263,8 +263,8 @@ režimu @code{\relative} zobrazit i melodie s vÄ›tÅ¡Ãmi intervaly: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -282,8 +282,8 @@ je odstraňuje, může být oktáva prvnà výšky tónu zmÄ›nÄ›na: @c KEEP LY @lilypond[verbatim,quote] % dvouÄárkované C -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -297,8 +297,8 @@ H, když je to A, G nebo F, je napsáno pod nÃm. @c KEEP LY @lilypond[verbatim,quote] -\relative c'' { - b c % c je 1 řádek nahoru, tedy c nad b +\relative { + b' c % c je 1 řádek nahoru, tedy c nad b b d % d je 2 řádky nahoru, nebo 5 dolů, tedy d nad b b e % e je 3 nahoru, nebo 4 dolů, tedy e pod b b a % a je 6 nahoru, nebo 1 dolů, tedy a pod b @@ -317,8 +317,8 @@ Aby se zapsaly intervaly, které jsou vÄ›tÅ¡Ã než tÅ™i notové řádky, lze ok posazeným pÅ™Ãmo za název noty se oktáva zvýšà o jednu, Äárkou @code{,} se oktáva o jednu snÞÃ. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -355,8 +355,8 @@ NenÃ-li oznaÄena žádná délka, použÃvá se délka pÅ™edcházejÃcà noty. Pro prvnà notu je jako výchozà urÄena ÄtvrÅ¥ová nota. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -368,8 +368,8 @@ teÄkované noty musà být udána výslovnÄ›, tudÞ vÄetnÄ› ÄÃsla. @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -385,8 +385,8 @@ teÄkované noty musà být udána výslovnÄ›, tudÞ vÄetnÄ› oznaÄenÃm je @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -405,9 +405,9 @@ SlovnÃÄek: @rglos{time signature}. @code{\time}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -461,9 +461,9 @@ SlovnÃÄek: @rglos{clef}. @code{\clef}: @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -765,8 +765,8 @@ vyobrazenÃm: @c no verbatim here @c KEEP LY @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { KlepnÄ›te sem! } } +\relative { + c''4-\markup { \bold \huge { KlepnÄ›te sem! } } } @end lilypond diff --git a/Documentation/cs/learning/tweaks.itely b/Documentation/cs/learning/tweaks.itely index 0338933cfa..d5b9ebff09 100644 --- a/Documentation/cs/learning/tweaks.itely +++ b/Documentation/cs/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node LadÄ›nà výstupu @chapter LadÄ›nà výstupu @@ -1476,8 +1476,8 @@ braucht. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f c c } @@ -1504,8 +1504,8 @@ wir setzen den Stencil von beiden auf @code{#f}: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1573,8 +1573,8 @@ Das obige Beispiel könnte also auch so aussehen: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1644,8 +1644,8 @@ Setzen wir das also in unserem Ossia-Beispiel ein: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1717,8 +1717,8 @@ sie benutzt: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1846,10 +1846,10 @@ Im nächsten Beispiel sehen Sie, wie Noten auf zwei Systemen @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -2906,8 +2906,8 @@ wie im folgenden Beispiel: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } - \relative c'' { - c4 + \relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3150,10 +3150,10 @@ Chopin-Beispiel vornehmen, das wir behandelt haben in gebracht: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ @@ -3186,10 +3186,10 @@ Hier das Endergebnis: @cindex vertikale Verschiebung, Beispiel @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ @@ -3227,9 +3227,9 @@ zu kompliziert zu machen. @c This example should not be indexed @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3268,8 +3268,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3312,8 +3312,8 @@ erstellt: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { - \new Voice { r2 c4. g8 | +rhMusic = \relative { + \new Voice { r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3337,8 +3337,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3372,9 +3372,9 @@ sind schnell gesetzt, denn sie wurden schon in der @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3398,8 +3398,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3446,9 +3446,9 @@ den Bindebogen (@code{tie}) 3,5 halbe Notenlinienabstände Damit ist auch der zweite Takt vollständig: @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3474,8 +3474,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3530,9 +3530,9 @@ um das Verhalten wieder auszuschalten. Das sieht so aus: @cindex staff-position-Eigenschaft, Beispiel @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3562,8 +3562,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3604,9 +3604,9 @@ es die Verschmelzung der Ds nicht stört. Das sieht jetzt so aus: @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3638,8 +3638,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3674,9 +3674,9 @@ wir durchsichtig und das C verschieben wir mit der @cindex transparent-Eigenschaft, Beispiel @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3716,8 +3716,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3956,10 +3956,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/cs/usage/lilypond-book.itely b/Documentation/cs/usage/lilypond-book.itely index d041f61620..32e6f4ad05 100644 --- a/Documentation/cs/usage/lilypond-book.itely +++ b/Documentation/cs/usage/lilypond-book.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Pavel Fric @@ -94,8 +94,8 @@ Dokumente für \verb+lilypond-book+ können Musik und Text nach Belieben kombinieren. Zum Beispiel: \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -154,8 +154,8 @@ Dokumente für @command{lilypond-book} können Musik und Text nach Belieben kombinieren. Zum Beispiel: @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -706,8 +706,8 @@ Erzeugung der Grafik im relativen Oktavenmodus interpretiert, der wörtlich in das Dokument kopierte LilyPond-Code zeigt den @code{relative}-Befehl jedoch nicht. @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1067,8 +1067,8 @@ Sie können LilyPond-Fragmente in ein LaTeX-Dokument einfügen: Normaler LaTeX-Text. \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1093,7 +1093,7 @@ Handbuch wurde in Texinfo geschrieben. Texinfo-Text @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1120,8 +1120,8 @@ d4 c b a Dokumente für lilypond-book können Noten und Text frei kombinieren. Zum Beispiel <lilypond> -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} </lilypond> </p> diff --git a/Documentation/cs/usage/running.itely b/Documentation/cs/usage/running.itely index c0ab293214..9a9b25dfdf 100644 --- a/Documentation/cs/usage/running.itely +++ b/Documentation/cs/usage/running.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Pavel Fric @@ -791,7 +791,7 @@ erstellen. @lilypond[quote,verbatim] \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } @end lilypond @@ -801,7 +801,7 @@ umgangen werden. @lilypond[quote,verbatim] \new Voice { \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } } @end lilypond diff --git a/Documentation/cs/usage/suggestions.itely b/Documentation/cs/usage/suggestions.itely index 96c0618531..b9afaa72b3 100644 --- a/Documentation/cs/usage/suggestions.itely +++ b/Documentation/cs/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Návrhy pro psanà vstupnÃch souborů LilyPond @chapter Návrhy pro psanà vstupnÃch souborů LilyPond @@ -60,7 +60,7 @@ Hier einige Vorschläge, wie Sie Probleme vermeiden oder lösen können: @item @strong{Schreiben Sie immer mit @code{\version} die Versionsnummer in jede Datei}. Beachten Sie, dass in allen Vorlagen die Versionsnummer -@code{\version "2.16.0"} eingetragen ist. Es empfiehlt sich, in alle +@code{\version "2.19.21"} eingetragen ist. Es empfiehlt sich, in alle Dateien, unabhängig von ihrer Größe, den @code{\version}-Befehl einzufügen. Persönliche Erfahrung hat gezeigt, dass es ziemlich frustrierend sein kann zu erinnern, welche Programmversion man etwa @@ -176,8 +176,8 @@ während die @code{violine}-Definition sich wahrscheinlich mit einer neuen Programmversion nicht verändern wird. @example -violine = \relative c'' @{ -g4 c'8. e16 +violine = \relative @{ +g'4 c'8. e16 @} ... \score @{ @@ -199,8 +199,8 @@ man es nur einmal vorzunehmen und die Noten in der Geigenstimme, @example fdannp = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violin = \relative c'' @{ -g4\fdannp c'8. e16 +violin = \relative @{ +g'4\fdannp c'8. e16 @} @end example @@ -254,9 +254,9 @@ aus, aber nicht den @code{\bass}-Befehl in dem @code{\score}-Abschnitt: @example -bass = \relative c' @{ +bass = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/Documentation/de/essay/engraving.itely b/Documentation/de/essay/engraving.itely index 9215186129..f6aaf54145 100644 --- a/Documentation/de/essay/engraving.itely +++ b/Documentation/de/essay/engraving.itely @@ -9,7 +9,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -670,7 +670,7 @@ Der letzte Bogen erhält 10.04 Punkte für die Lücke rechts und der drei Varianten, sodass LilyPond ihn auswählt: @lilypond -\relative c { +\relative { \clef bass e8[(_"12.04" f] g[ a b d,)] r4 } @@ -796,10 +796,10 @@ dem Wohltemperierten Clavier 1, BWV 861 von J. S. Bach entschieden, mit dem Hauptthema: @lilypond -\relative c' { +\relative { \key g \minor \clef "treble_8" - r8 d ees g, fis4 g + r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes8 } @end lilypond @@ -1105,12 +1105,12 @@ Nehmen wir etwa die hierarchische Natur der Musiknotation: @lilypond[quote,fragment] << - \new Staff \relative c'' { + \new Staff \relative { \key g \major \time 3/4 - d4 g,8 a b c d4 g, g + d''4 g,8 a b c d4 g, g } - \new Staff \relative c' { + \new Staff \relative { \clef "bass" \key g \major <g b d>2 a4 b2. @@ -1172,7 +1172,7 @@ Beispiel heranzieht: } >> \new Staff = "LH" << - \new Voice = "III" \relative c' { + \new Voice = "III" \relative { \time 2/4 \clef "bass" g4 \stopStaff s @@ -1574,9 +1574,9 @@ ein Liedblatt. << \chords { c2 c f2 c } \new Staff - \relative c' { + \relative { \time 2/4 - c4 c g' g a a g2 + c'4 c g' g a a g2 } \addlyrics { twin -- kle twin -- kle lit -- tle star } >> diff --git a/Documentation/de/extending/programming-interface.itely b/Documentation/de/extending/programming-interface.itely index d51807a887..78e86f1c39 100644 --- a/Documentation/de/extending/programming-interface.itely +++ b/Documentation/de/extending/programming-interface.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -457,8 +457,8 @@ AltOff = { \revert NoteHead.font-size } -\relative c' { - c2 \AltOn #0.5 c4 c +\relative { + c'2 \AltOn #0.5 c4 c \AltOn #1.5 c c \AltOff c2 } @end lilypond @@ -481,8 +481,8 @@ withAlt = \revert NoteHead.font-size #}) -\relative c' { - c2 \withAlt #0.5 { c4 c } +\relative { + c'2 \withAlt #0.5 { c4 c } \withAlt #1.5 { c c } c2 } @end lilypond @@ -554,7 +554,7 @@ Dynamikbefehle zu schreiben: @lilypond[quote,verbatim,ragged-right] dyn=#(define-event-function (parser location arg) (markup?) (make-dynamic-script arg)) -\relative c' { c\dyn pfsss } +\relative { c'\dyn pfsss } @end lilypond Man kann das Gleiche auch mit einer musikalischen Funktion erreichen, aber dann @@ -1187,7 +1187,7 @@ werden kann; sie macht Notenköpfe auf und neben der Mittellinie unsichtbar: (< (abs (ly:grob-property grob 'staff-position)) 2)) (set! (ly:grob-property grob 'transparent) #t))) -\relative c' { +\relative { a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2 } @end lilypond @@ -1300,8 +1300,8 @@ ergibt einen Syntaxfehler: @example F = \tweak font-size #-3 -\flageolet -\relative c'' @{ - c4^\F c4_\F +\relative @{ + c''4^\F c4_\F @} @end example @@ -1319,8 +1319,8 @@ F = #(let ((m (make-music 'ArticulationEvent (ly:music-property m 'tweaks))) m) -\relative c'' @{ - c4^\F c4_\F +\relative @{ + c''4^\F c4_\F @} @end example diff --git a/Documentation/de/extending/scheme-tutorial.itely b/Documentation/de/extending/scheme-tutorial.itely index 954f1dce5c..3bbd78a357 100644 --- a/Documentation/de/extending/scheme-tutorial.itely +++ b/Documentation/de/extending/scheme-tutorial.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @node Scheme-Ãœbung @chapter Scheme-Ãœbung @@ -1593,8 +1593,8 @@ padText = #(define-music-function (parser location padding) (number?) \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b +\relative { + c'''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" d e f \padText #2.6 diff --git a/Documentation/de/learning/common-notation.itely b/Documentation/de/learning/common-notation.itely index 649683986a..073fde82a5 100644 --- a/Documentation/de/learning/common-notation.itely +++ b/Documentation/de/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: @@ -689,9 +689,9 @@ musikalische Ausdrücke kombiniert, indem man sie mit @code{<<} und (jeder mit zwei Noten) parallel kombiniert: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -721,8 +721,8 @@ folgende Beispiel beginnt mit einer Note: @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e f } { c <<b d>> } >> | } @end lilypond @@ -760,9 +760,9 @@ werden dann parallel angeordnet mit den @code{<<} und @code{>>}-Zeichen: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -799,9 +799,9 @@ als Partituren mit unterschiedlichen Taktarten. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -850,9 +850,9 @@ eine @code{PianoStaff}-Umgebung eingefügt wird. Hier ein kleines Beispiel: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -986,10 +986,10 @@ Hier ist der Beginn eines einfachen Kinderliedes, @notation{Girls and boys come out to play}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -999,10 +999,10 @@ wird eingegeben, indem jede Silbe durch ein Leerzeichen getrennt wird. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come | out to play, @@ -1043,10 +1043,10 @@ notiert aus: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1079,10 +1079,10 @@ Einzelheiten siehe @ref{Bindebögen und Legatobögen}. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1102,10 +1102,10 @@ für Gesang entspricht. Für Einzelheiten siehe @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1121,10 +1121,10 @@ für jede Note, die übersprungen werden soll, ein Unterstrich @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1144,10 +1144,10 @@ aus Purcells @notation{Dido and Æneas}: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1197,11 +1197,11 @@ in Figaros Arie @notation{Largo al factotum} gesungen werden muss. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1309,12 +1309,12 @@ dann später wieder benutzt werden, indem man einen Backslash davor setzt @c KEEP LY @lilypond[quote,verbatim] Geige = \new Staff - { \relative c'' { - a4 b c b + { \relative { + a'4 b c b } } Cello = \new Staff - { \relative c { + { \relative { \clef "bass" e2 d } @@ -1473,10 +1473,10 @@ eine mögliche Fehlerquelle. Mit dem @code{\relative}-Befehl ist das Beispiel sehr viel einfacher zu lesen: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond diff --git a/Documentation/de/learning/fundamental.itely b/Documentation/de/learning/fundamental.itely index 595a7f5ab0..e466b5e9ae 100644 --- a/Documentation/de/learning/fundamental.itely +++ b/Documentation/de/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala, Reinhold Kainhofer @node Grundbegriffe @@ -63,8 +63,8 @@ Fällen sieht der Notensatz seltsam aus, wenn man den Befehl weglässt. @lilypond[quote,fragment,ragged-right,verbatim] -\relative c'' { - c4 a b c +\relative { + c''4 a b c } @end lilypond @@ -119,8 +119,8 @@ hat. Sehen wir uns als ein solches einfaches Beispiel an: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -135,8 +135,8 @@ der vollständige Code, der hier gemeint ist, eigentlich: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -278,8 +278,8 @@ Eine gute Möglichkeit zur Vereinfachung sind selbst definierte Variablen, wie a Alle Vorlagen verwenden diese Möglichkeit: @example -melodie = \relative c' @{ - c4 a b c +melodie = \relative @{ + c'4 a b c @} \score @{ @@ -413,8 +413,8 @@ geschweiften Klammern neben @code{\new Voice = "Singstimme"} könnte man @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -437,10 +437,10 @@ für die linke Hand hinzufügen, folgendes Beispiel: @c KEEP LY @lilypond[verbatim,quote,ragged-right] -melodie = \relative c'' { r4 d8\noBeam g, c4 r } +melodie = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -oben = \relative c'' { <g d g,>2~ <g d g,> } -unten = \relative c { b2 e } +oben = \relative { <g' d g,>2~ <g d g,> } +unten = \relative { b,2 e } \score { << @@ -490,8 +490,8 @@ werden kann: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -519,8 +519,8 @@ gesetzt werden: @c KEEP LY @lilypond[verbatim,quote,ragged-right] \new Staff = "Hauptzeile" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -773,9 +773,9 @@ jeder dieser Kontexte wird die vertikale Ausrichtung von Bögen, Hälsen, Dynamik usw. entsprechend eingestellt. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -798,9 +798,9 @@ auch noch später im Stück. Beachten Sie auch, dass übergebundene Noten hier an der blauen Dreieckstimme gezeigt. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -890,10 +890,10 @@ in späteren Abschnitten erklärt werden. @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignore these for now - they are explained in Ch 4 @@ -969,10 +969,10 @@ wir es gelernt haben, indem wir mit der @code{<< \\ >>}-Konstruktion die drei Stimmen des ersten Taktes notieren: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } >> | <c ees aes c>1 | } @@ -995,10 +995,10 @@ Noten in die vierte Stimme verschieben. Das wird einfach vorgenommen, indem noch ein Paar @code{\\}-Stimmen hinzugefügt wird. @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { <ees, c>2 des } \\ % Omit Voice three @@ -1060,8 +1060,8 @@ verwendet haben: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -1071,8 +1071,8 @@ ist identisch mit @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1081,8 +1081,8 @@ Beide würden folgendes Notenbild erzeugen: @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1103,9 +1103,9 @@ die Befehle @code{\oneVoice}, @code{\voiceOne} und @code{voiceTwo} mit Text, Bögen und Dynamikbezeichnung anstellen: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1178,8 +1178,8 @@ wenn eine Stimme nur kurz auftaucht, kann das der bessere Weg sein, Noten zu setzen: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e2) | } \new Voice { @@ -1367,14 +1367,14 @@ nicht als Noten interpretiert werden kann. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1430,10 +1430,10 @@ Variable wird oft auch mit @qq{global} bezeichnet. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1633,8 +1633,8 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben: \clef "treble" \key g \minor \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. + \relative { % start of RH notes + d''4 ees16 c8. d4 ees16 c8. } % end of RH notes } % end of RH voice @@ -1644,14 +1644,14 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben: \key g \minor \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 <bes d> ees, <g c> g8 <bes d> ees, <g c> } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees g4 ees } % end of LH voice two notes @@ -1949,8 +1949,8 @@ ausgeschaltet sind: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1964,8 +1964,8 @@ während das dazu dient, sie in allen Systemen auszuschalten: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -2042,12 +2042,12 @@ etwa so: @lilypond[quote,verbatim,ragged-right] << \new Staff - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2091,8 +2091,8 @@ Funktion anwendet: @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -2111,13 +2111,13 @@ Wenn die Veränderung der Eigenschaft sich auf alle Systeme einer \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2186,8 +2186,8 @@ erstellt werden. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2279,24 +2279,24 @@ mit vier Systemen anzeigen wollen, könnte das so aussehen: \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2366,7 +2366,7 @@ Fall könnten Sie mit der Vorlage @qq{Noten und Text} @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2396,7 +2396,7 @@ Beispiel @qq{Nur Noten} an: @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2440,7 +2440,7 @@ Wir ändern auch die Noten etwas ab. @example \version @w{"@version{}"} -SopranNoten = \relative c' @{ +SopranNoten = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2451,7 +2451,7 @@ SoprText = \lyricmode @{ Aaa Bee Cee Dee @} -CelloNoten = \relative c @{ +CelloNoten = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2513,7 +2513,7 @@ nicht mehr. Das können wir aber schnell in Ordnung bringen. Hier also die gesamte Vorlage für Sopran und Cello: @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2524,7 +2524,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2574,26 +2574,26 @@ notiert wird. Hier ein Beispiel aus Händels @notation{Messias}: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2812,26 +2812,26 @@ global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -3167,19 +3167,19 @@ die Variablen mit einem Backslash in die Partitur einbauen. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c2 | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d e8~ 8es16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -3234,7 +3234,7 @@ Glossar: Bis jetzt wurde immer derartige Notation vorgestellt: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3247,8 +3247,8 @@ Sie können sich vorstellen, dass das etwa für minimalistische Musik sehr nützlich sein könnte: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | \fragmentB \fragmentA | @@ -3330,8 +3330,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3365,7 +3365,7 @@ Nehmen wir an, dass die Datei @file{horn-music.ly} folgende Noten eines Horn/@/Fagott-Duos enthält: @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3403,7 +3403,7 @@ die Stimmung eines normalen F-Hornes verlangt. Die Transposition kann in folgender Notenausgabe gesehen werden: @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3460,7 +3460,7 @@ Partitur erstellt mit: woraus sich ergibt: @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/de/learning/tutorial.itely b/Documentation/de/learning/tutorial.itely index 2887e2affd..5c0267795b 100644 --- a/Documentation/de/learning/tutorial.itely +++ b/Documentation/de/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Till Paala, Reinhold Kainhofer @c Translation checkers: Hajo Bäß @@ -257,8 +257,8 @@ die nächste Note immer nur eine Notenlinie über der vorherigen steht. @c KEEP LY @lilypond[verbatim,quote] % Beginnpunkt auf das mittlere C setzen -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -272,8 +272,8 @@ auch Melodien mit größeren Intervallen im @code{\relative}-Modus gebildet werden: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -291,8 +291,8 @@ Oktave der ersten Tonhöhe verändert werden: @c KEEP LY @lilypond[verbatim,quote] % zweigestrichenes C -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -307,8 +307,8 @@ Hs, wenn es ein A, G oder F ist, wird es darunter gesetzt. @c KEEP LY @lilypond[verbatim,quote] -\relative c'' { - b c % c ist 1 Zeile aufwärts, also c über dem b +\relative { + b' c % c ist 1 Zeile aufwärts, also c über dem b b d % d ist 2 Zeilen aufwärts, oder 5 runter, also d über dem b b e % e ist 3 aufwärts oder 4 runter, also e über dem b b a % a ist 6 aufwärts oder 1 runter, also a unter dem b @@ -327,8 +327,8 @@ Um Intervalle zu notieren, die größer als drei Notenzeilen sind, kann man die direkt hinter dem Notennamen wird die Oktave um eins erhöht, mit einem Komma @code{,} um eins erniedrigt. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -365,8 +365,8 @@ Wenn keine Dauer bezeichnet wird, wird die der vorhergehenden Note verwendet. Für die erste Note ist eine Viertel als Standard definiert. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -378,8 +378,8 @@ punktierten Note muss explizit, also inklusive der Nummer, angegeben werden. @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -395,8 +395,8 @@ Eine @notation{Pause} wird genauso wie eine Noten eingegeben; ihre Bezeichnung ist @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -415,9 +415,9 @@ Die @notation{Taktart} kann mit dem @code{\time}-Befehl definiert werden: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -471,9 +471,9 @@ Der @notation{Notenschlüssel} kann mit dem @code{\clef}-Befehl gesetzt werden: @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -778,8 +778,8 @@ Abbildung: @c no verbatim here @c KEEP LY @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { Hier klicken! } } +\relative { + c''4-\markup { \bold \huge { Hier klicken! } } } @end lilypond diff --git a/Documentation/de/learning/tweaks.itely b/Documentation/de/learning/tweaks.itely index 013fcd7f50..70b0dfa25a 100644 --- a/Documentation/de/learning/tweaks.itely +++ b/Documentation/de/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Die Ausgabe verändern @chapter Die Ausgabe verändern @@ -1498,8 +1498,8 @@ braucht. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f c c } @@ -1526,8 +1526,8 @@ wir setzen den Stencil von beiden auf @code{#f}: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1595,8 +1595,8 @@ Das obige Beispiel könnte also auch so aussehen: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1666,8 +1666,8 @@ Setzen wir das also in unserem Ossia-Beispiel ein: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1739,8 +1739,8 @@ sie benutzt: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1868,10 +1868,10 @@ Im nächsten Beispiel sehen Sie, wie Noten auf zwei Systemen @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -2918,8 +2918,8 @@ wie im folgenden Beispiel: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } - \relative c'' { - c4 + \relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3175,10 +3175,10 @@ Chopin-Beispiel vornehmen, das wir behandelt haben in gebracht: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ @@ -3208,10 +3208,10 @@ Hier das Endergebnis: @cindex vertikale Verschiebung, Beispiel @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 @@ -3251,9 +3251,9 @@ zu kompliziert zu machen. @c This example should not be indexed @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3293,8 +3293,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3337,8 +3337,8 @@ erstellt: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { - \new Voice { r2 c4. g8 | +rhMusic = \relative { + \new Voice { r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3362,8 +3362,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3397,9 +3397,9 @@ sind schnell gesetzt, denn sie wurden schon in der @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3423,8 +3423,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3471,9 +3471,9 @@ den Bindebogen (@code{tie}) 3,5 halbe Notenlinienabstände Damit ist auch der zweite Takt vollständig: @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3499,8 +3499,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3555,9 +3555,9 @@ um das Verhalten wieder auszuschalten. Das sieht so aus: @cindex staff-position-Eigenschaft, Beispiel @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3587,8 +3587,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3629,9 +3629,9 @@ es die Verschmelzung der Ds nicht stört. Das sieht jetzt so aus: @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3663,8 +3663,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3699,9 +3699,9 @@ wir durchsichtig und das C verschieben wir mit der @cindex transparent-Eigenschaft, Beispiel @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3742,8 +3742,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3981,10 +3981,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/de/notation/ancient.itely b/Documentation/de/notation/ancient.itely index 7362d93062..326d3a615a 100644 --- a/Documentation/de/notation/ancient.itely +++ b/Documentation/de/notation/ancient.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @c Translators: Till Paala @@ -306,8 +306,8 @@ folgenden Beispiel gezeigt: @lilypond[quote,ragged-right] \score { - \relative c'' { - a1 + \relative { + a'1 \break g } @@ -2804,9 +2804,9 @@ werden: entweder als einzelne, links ausgerichtete Silbe: @lilypond[verbatim,ragged-right] \include "gregorian.ly" -chant = \relative c' { +chant = \relative { \clef "G_8" - c\breve c4 b4 a c2 c4 \divisioMaior + c'\breve c4 b4 a c2 c4 \divisioMaior c\breve c4 c f, f \finalis } diff --git a/Documentation/de/notation/changing-defaults.itely b/Documentation/de/notation/changing-defaults.itely index f505579762..e10634e939 100644 --- a/Documentation/de/notation/changing-defaults.itely +++ b/Documentation/de/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.7" +@c \version "2.19.21" @c Translators: Till Paala @@ -447,8 +447,8 @@ Im folgenden Beispiel werden sowohl Stimme A als auch B auf diese Weise für die gesamte Dauer des Stückes am Leben gehalten. @lilypond[quote,verbatim] -musicA = \relative c'' { d4 d d d } -musicB = \relative c'' { g4 g g g } +musicA = \relative { d''4 d d d } +musicB = \relative { g'4 g g g } keepVoicesAlive = { << \new Voice = "A" { s1*5 } % Keep Voice "A" alive for 5 bars @@ -486,8 +486,8 @@ kann, indem man die Stimme am Leben hält. In wirklichen Situationen würden Begleitung und Melodie natürlich aus mehreren Abschnitten bestehen. @lilypond[quote,verbatim] -melody = \relative c'' { a4 a a a } -accompaniment = \relative c' { d4 d d d } +melody = \relative { a'4 a a a } +accompaniment = \relative { d'4 d d d } words = \lyricmode { These words fol -- low the mel -- o -- dy } \score { << @@ -525,14 +525,14 @@ ist es, einfach unsichtbare Pausen einzufügen, um die Melodie mit der Begleitung passend auszurichten: @lilypond[quote,verbatim] -melody = \relative c'' { +melody = \relative { s1 % skip a bar - a4 a a a + a'4 a a a s1 % skip a bar a4 a a a } -accompaniment = \relative c' { - d4 d d d +accompaniment = \relative { + d'4 d d d d4 d d d d4 d d d d4 d d d @@ -771,8 +771,8 @@ Ein @code{\override}-Befehl, aber ohne die Kontextbezeichnung: @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Thicker stems" a a a + \relative { + a'4^"Thicker stems" a a a a4 a a\ff a } \layout { @@ -789,8 +789,8 @@ Eine Kontexteigenschaft kann direkt gesetzt werden: @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a\ff a } \layout { @@ -808,8 +808,8 @@ musikalischer Ausdruck wie @code{\accidentalStyle dodecaphonic}: @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Dynamics above" a a a + \relative { + a'4^"Dynamics above" a a a a4 a a\ff a } \layout { @@ -837,8 +837,8 @@ StaffDefaults = \with { \score { \new Staff { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -865,8 +865,8 @@ ist die gleiche wie für den Befehl direkt zwischen den Noten geschrieben. @lilypond[quote,verbatim] \score { \new Staff { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -916,8 +916,8 @@ Ein @code{\override}-Befehl, dessen Kontextbezeichnung ausgelassen wird: \override Stem.thickness = #4.0 } { - \relative c'' { - a4^"Thick stems" a a a + \relative { + a'4^"Thick stems" a a a a4 a a a } } @@ -932,8 +932,8 @@ Eine Kontexeigenschaft direkt einstellen: \score { << \new Staff { - \relative c'' { - a4^"Default font" a a a + \relative { + a'4^"Default font" a a a a4 a a a } } @@ -941,8 +941,8 @@ Eine Kontexeigenschaft direkt einstellen: \with { fontSize = #-4 } { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -958,8 +958,8 @@ Ein vordefinierter Befehl wie etwa @code{\dynamicUp} << \new Staff { \new Voice { - \relative c'' { - a4^"Dynamics below" a a a + \relative { + a'4^"Dynamics below" a a a a4 a a\ff a } } @@ -970,8 +970,8 @@ Ein vordefinierter Befehl wie etwa @code{\dynamicUp} \new Voice \with { \dynamicUp } { - \relative c'' { - a4^"Dynamics above" a a a + \relative { + a'4^"Dynamics above" a a a a4 a a\ff a } } @@ -1068,8 +1068,8 @@ in Jazzmusik anzuzeigen. \accepts "ImproVoice" }} -\relative c'' { - a4 d8 bes8 \new ImproVoice { c4^"ad lib" c +\relative { + a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c c4 c^"ausziehen" c_"während des Spiels :)" c } a1 } @@ -1199,8 +1199,8 @@ Jetzt kann die Notation zu Beginn des Abschnitts folgendermaßen notiert werden: @example -\relative c'' @{ - a4 d8 bes8 +\relative @{ + a'4 d8 bes8 \new ImproVoice @{ c4^"ad lib" c c4 c^"ausziehen" @@ -4055,8 +4055,8 @@ XinO = { \musicglyph #"noteheads.s2cross" } } -\relative c'' { - a a \XinO a a +\relative { + a' a \XinO a a } @end lilypond @@ -4404,8 +4404,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b +\relative { + c'''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" d e f \padText #2.6 @@ -4429,7 +4429,7 @@ custosNote = #note #}) -\relative c' { c4 d e f \custosNote g } +\relative { c'4 d e f \custosNote g } @end lilypond Ersetzungsfunktionen mit mehrfachen Argumenten können definiert diff --git a/Documentation/de/notation/chords.itely b/Documentation/de/notation/chords.itely index fb3336f998..726148bd63 100644 --- a/Documentation/de/notation/chords.itely +++ b/Documentation/de/notation/chords.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @c Translators: Till Paala @@ -1105,8 +1105,8 @@ des parallelen Systems. @lilypond[verbatim,ragged-right,quote] << - \relative c'' { - c4 c'8 r8 c,4 c' + \relative { + c''4 c'8 r8 c,4 c' } \new FiguredBass { \figuremode { diff --git a/Documentation/de/notation/editorial.itely b/Documentation/de/notation/editorial.itely index 91a7d839a8..0943ad9902 100644 --- a/Documentation/de/notation/editorial.itely +++ b/Documentation/de/notation/editorial.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Till Paala @@ -688,8 +688,8 @@ horizontale Klammern werden von LilyPond unterstützt. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c2\startGroup +\relative { + c''2\startGroup d\stopGroup } @end lilypond @@ -703,8 +703,8 @@ Analyseklammern können verschachtelt sein. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c4\startGroup\startGroup +\relative { + c''4\startGroup\startGroup d4\stopGroup e4\startGroup d4\stopGroup\stopGroup diff --git a/Documentation/de/notation/expressive.itely b/Documentation/de/notation/expressive.itely index 7dafb65025..cb269bdc61 100644 --- a/Documentation/de/notation/expressive.itely +++ b/Documentation/de/notation/expressive.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.25" +@c \version "2.19.21" @c Translators: Till Paala @@ -431,8 +431,8 @@ aufzunehmen. @lilypond[verbatim,quote] << - \new Staff \relative c' { - c2 d4 e | + \new Staff \relative { + c'2 d4 e | c4 e e,2 | g'4 a g a | c1 | @@ -521,8 +521,8 @@ ist die Benutzung von @code{\markup}-(Textbeschriftungs)-Objekten. @lilypond[verbatim,quote] moltoF = \markup { molto \dynamic f } -\relative c' { - <d e>16_\moltoF <d e> +\relative { + <d' e>16_\moltoF <d e> <d e>2.. } @end lilypond @@ -545,8 +545,8 @@ roundF = \markup { \center-align \concat { \bold { \italic ( } \dynamic f \bold { \italic ) } } } boxF = \markup { \bracket { \dynamic f } } -\relative c' { - c1_\roundF +\relative { + c'1_\roundF c1_\boxF } @end lilypond @@ -559,8 +559,8 @@ Einfache, mittig gesetzte Dynamikzeichen können schnell mit der @lilypond[verbatim,quote] sfzp = #(make-dynamic-script "sfzp") -\relative c' { - c4 c c\sfzp c +\relative { + c'4 c c\sfzp c } @end lilypond @@ -588,8 +588,8 @@ mfEspress = \markup { \center-align \line { roundFdynamic = #(make-dynamic-script roundF) boxFdynamic = #(make-dynamic-script boxF) mfEspressDynamic = #(make-dynamic-script mfEspress) -\relative c' { - c4_\roundFdynamic\< d e f +\relative { + c'4_\roundFdynamic\< d e f g,1~_\boxFdynamic\> g1 g'1~\mfEspressDynamic @@ -605,8 +605,8 @@ verwendet werden. Seine Syntax ist erklärt in moltoF = #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF } @end lilypond diff --git a/Documentation/de/notation/fretted-strings.itely b/Documentation/de/notation/fretted-strings.itely index 226e13fa49..aeb07b572d 100644 --- a/Documentation/de/notation/fretted-strings.itely +++ b/Documentation/de/notation/fretted-strings.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -176,7 +176,7 @@ und darin den @code{TabVoice}-Kontext benutzt. Ein kalligraphischer Tabulaturschlüssel wird automatisch hinzugefügt. @lilypond[quote,ragged-right,verbatim] -\new TabStaff \relative c' { +\new TabStaff \relative { a,8 a' <c e> a d,8 a' <d f> a } @@ -251,14 +251,14 @@ indem @code{restrainOpenStrings} auf @code{#t} gesetzt wird. @lilypond[quote,ragged-right,verbatim] \layout { \omit Voice.StringNumber } \new StaffGroup << - \new Staff \relative c { + \new Staff \relative { \clef "treble_8" \time 2/4 c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 c,16 d e f g4 } - \new TabStaff \relative c { + \new TabStaff \relative { c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 \set TabStaff.minimumFret = #5 @@ -287,7 +287,7 @@ Akkordwiederholungen gewünscht sind. Der Befehl ist so wichtig, dass er durch @code{\tabChordRepeats} zur Verfügung gestellt wird. @lilypond[quote,verbatim] -guitar = \relative c' { +guitar = \relative { r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } @@ -560,15 +560,15 @@ geschrieben ist: \omit StringNumber } { \clef "bass_8" - \relative c, { - c4 d e f + \relative { + c,4 d e f } } \new TabStaff \with { stringTunings = #bass-tuning } { - \relative c, { - c4 d e f + \relative { + c,4 d e f } } >> @@ -1761,7 +1761,7 @@ Gedämpfte oder gestoppte Noten werden in normalen und Tabulatur-Systemen unterstützt: @lilypond[quote,ragged-right,verbatim] -music = \relative c' { +music = \relative { < a\3 \deadNote c\2 a'\1 >4 < b\3 \deadNote d\2 b'\1 > < c\3 \deadNote e\2 c'\1 > diff --git a/Documentation/de/notation/input.itely b/Documentation/de/notation/input.itely index 81bb7cbad8..eabec21b28 100644 --- a/Documentation/de/notation/input.itely +++ b/Documentation/de/notation/input.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -850,8 +850,8 @@ handelt. @lilypond[papersize=a8landscape] \book { \score { - \relative c' { - c4 d e f + \relative { + c'4 d e f } } } @@ -867,8 +867,8 @@ höchster Ebene schreibt. tagline = "... music notation for Everyone" } \score { - \relative c' { - c4 d e f + \relative { + c'4 d e f } } } @@ -1325,7 +1325,7 @@ Tagline und Copyright gezeigt wird. @lilypond[verbatim,quote,ragged-right,papersize=a8] \book { \header { copyright = \markup { "Copyright 1970" } } - \relative c' { + \relative { a'4-\footnote #'(-3 . 0) \markup { \bold Forte } \f -\footnote #'(0 . 1.5) \markup { Ein Bogen } ( b8)-\footnote #'(0 . -2) \markup { Balken } [ e] @@ -1349,7 +1349,7 @@ den Befehl @code{\auto-footnote}: \book { \header { tagline = ##f } \markup { \auto-footnote "Eine einfache Melodie" \italic "Von mir" } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -1417,7 +1417,7 @@ Position der Fußnotentexte zu Tagline und Copyright anzeigen: @lilypond[verbatim,quote,ragged-right,papersize=a8] \book { \header { tagline = ##f } - \relative c' { + \relative { a'4-\footnote \markup { \teeny 1 } #'(-3 . 0) \markup { 1. \bold Forte } \f @@ -1455,7 +1455,7 @@ annotiert: \book { \header { tagline = ##f } \markup { "Eine einfache Melodie" \footnote "*" \italic "* Von mir" } - \relative c' { + \relative { a'4 b8 e c4 d4 } } @@ -1866,10 +1866,10 @@ System kombiniert werden, siehe @ref{Automatische Kombination von Stimmen}. Hier ein Beispiel: @lilypond[verbatim,quote] -sopranoMusic = \relative c'' { a4 b c b8( a) } -altoMusic = \relative g' { e4 e e f } -tenorMusic = \relative c' { c4 b e d8( c) } -bassMusic = \relative c' { a4 gis a d, } +sopranoMusic = \relative { a'4 b c b8( a) } +altoMusic = \relative { e'4 e e f } +tenorMusic = \relative { c'4 b e d8( c) } +bassMusic = \relative { a4 gis a d, } allLyrics = \lyricmode {King of glo -- ry } << \new Staff = "Soprano" \sopranoMusic @@ -1972,8 +1972,8 @@ Im folgenden Beispiel erscheinen zwei Versionen der Noten, eine zeigt Triller in normaler Notation, die andere zeigt sie ausgeschrieben: @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills { d8.\trill } \tag #'expand { \repeat unfold 3 { e32 d } } c32 d @@ -1992,8 +1992,8 @@ Entsprechend können auch Abschnitte ausgeschlossen werden; das erfordert manchmal weniger Schreibarbeit: @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills { d8.\trill } \tag #'expand {\repeat unfold 3 { e32 d } } c32 d @@ -2217,8 +2217,8 @@ portuguese = \lyricmode { à vo -- cê uma can -- ção legal } -\relative c' { - c2 d e f g f e +\relative { + c'2 d e f g f e } \addlyrics { \bulgarian } \addlyrics { \hebrew } @@ -2260,8 +2260,8 @@ im Gesangstext und als normaler Text außerhalb der Partitur. @lilypond[quote,verbatim] \score { - \relative c'' { - c1 \mark \markup { \char ##x03EE } + \relative { + c''1 \mark \markup { \char ##x03EE } c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } } } \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } } @@ -2873,8 +2873,8 @@ Standardanweisungen auf: \set Staff.midiInstrument = #"cello" \set Score.dynamicAbsoluteVolumeFunction = #myDynamics \new Voice { - \relative c'' { - a4\pp b c-\rfz + \relative { + a'4\pp b c-\rfz } } } @@ -2917,8 +2917,8 @@ auf den Bereich zwischen 0.2 und 0.5 eingeschränkt. \key g \major \time 2/2 \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -2926,8 +2926,8 @@ auf den Bereich zwischen 0.2 und 0.5 eingeschränkt. \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -2968,8 +2968,8 @@ diese Einstellung korrekt funktioniert. \set Staff.midiInstrument = #"flute" \set Staff.midiMinimumVolume = #0.7 \set Staff.midiMaximumVolume = #0.9 - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -2979,8 +2979,8 @@ diese Einstellung korrekt funktioniert. \set Staff.midiInstrument = #"clarinet" \set Staff.midiMinimumVolume = #0.3 \set Staff.midiMaximumVolume = #0.6 - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3041,8 +3041,8 @@ Lautstärkewerte, die denen des vorigen Beispiels entsprechen. \time 2/2 \set Score.instrumentEqualizer = #my-instrument-equalizer \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -3050,8 +3050,8 @@ Lautstärkewerte, die denen des vorigen Beispiels entsprechen. \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } diff --git a/Documentation/de/notation/keyboards.itely b/Documentation/de/notation/keyboards.itely index d140dbf62d..eedfdfce35 100644 --- a/Documentation/de/notation/keyboards.itely +++ b/Documentation/de/notation/keyboards.itely @@ -10,7 +10,7 @@ @c Translators: Till Paala -@c \version "2.17.6" +@c \version "2.19.21" @node Tasteninstrumente und andere Instrumente mit mehreren Systemen @section Tasteninstrumente und andere Instrumente mit mehreren Systemen @@ -346,7 +346,7 @@ System gesetzt werden kann: \new Staff = "up" { \new Voice = "melodieEins" { \key g \major - \autochange \relative c' { + \autochange \relative { g8 b a c b d c e d8 r fis, g a2 } diff --git a/Documentation/de/notation/pitches.itely b/Documentation/de/notation/pitches.itely index bfe3fa73c7..195ade0c15 100644 --- a/Documentation/de/notation/pitches.itely +++ b/Documentation/de/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -166,7 +166,7 @@ Oktave von C zu nehmen. So funktioniert der relative Modus: @lilypond[verbatim,quote] -\relative c { +\relative { \clef bass c d e f g a b c @@ -178,8 +178,8 @@ Oktavversetzungen müssen für alle Intervalle angezeigt werden, die größer als eine Quarte sind. @lilypond[verbatim,quote] -\relative c'' { - c g c f, +\relative { + c'' g c f, c' a, e'' c } @end lilypond @@ -188,7 +188,7 @@ Eine Sequenz ohne ein einziges Oktavänderungszeichen kann aber trotzdem weite Intervalle umfassen: @lilypond[verbatim,quote] -\relative c { +\relative { c f b e a d g c } @@ -198,10 +198,10 @@ Wenn @code{\relative}-Umgebungen geschachtelt werden, gilt der innerste @code{\relative}-Abschnitt. @lilypond[verbatim,quote] -\relative c' { - c d e f - \relative c'' { - c d e f +\relative { + c' d e f + \relative { + c'' d e f } } @end lilypond @@ -224,12 +224,12 @@ Tonhöhen innerhalb eines @code{\transpose}-Abschnitts sind absolut, es sei denn ein @code{\relativ} wird eingefügt. @lilypond[verbatim,quote] -\relative c' { - d e +\relative { + d' e \transpose f g { d e - \relative c' { - d e + \relative { + d' e } } } @@ -246,8 +246,8 @@ relativ zur vorherigen. Betrachten Sie das folgende Beispiel aufmerksam, insbesondere die @code{c}-Noten. @lilypond[verbatim,quote] -\relative c' { - c +\relative { + c' <c e g> <c' e g'> <c, e, g''> @@ -264,8 +264,8 @@ Quinte, unabhängig von der Anzahl an Halbtönen, die jedes Intervall enthält. @lilypond[verbatim,quote] -\relative c'' { - c2 fis +\relative { + c''2 fis c2 ges b2 eisis b2 feses @@ -483,8 +483,8 @@ von italienischen Notenbezeichnungen: @lilypond[quote,verbatim] \language "italiano" -\relative do' { - do re mi sib +\relative { + do' re mi sib } @end lilypond @@ -663,8 +663,8 @@ ein @code{d''} anstelle von @code{d'} notiert ist, wie es die Oktavierungskorrektur markiert. @lilypond[verbatim,quote] -\relative c'' { - c2 d='4 d +\relative { + c''2 d='4 d e2 f } @end lilypond @@ -681,8 +681,8 @@ gemeldet, aber die vorigen Note wird nicht verändert. Folgende Noten sind dann relativ zur @var{Kontrolltonhöhe}. @lilypond[verbatim,quote] -\relative c'' { - c2 d +\relative { + c''2 d \octaveCheck c' e2 f } @@ -693,8 +693,8 @@ erste und dritte @code{\octaveCheck}-Ãœberprüfung gibt einen Fehler aus, die zweite dagegen ist erfolgreich: @lilypond[verbatim,quote] -\relative c'' { - c4 f g f +\relative { + c''4 f g f c4 \octaveCheck c' @@ -750,9 +750,9 @@ werden auch die Vorzeichen entsprechend angepasst: @lilypond[verbatim,quote] \transpose d e { - \relative c' { + \relative { \key d \major - d4 fis a d + d'4 fis a d } } @end lilypond @@ -768,9 +768,9 @@ werden: @lilypond[verbatim,quote] \transpose a c' { - \relative c' { + \relative { \key c \major - c4 d e g + c'4 d e g } } @end lilypond @@ -787,7 +787,7 @@ die Musik einen Halbton nach oben. Aber die erste Version gibt als Versetzungszeichen Kreuze aus, die zweite dagegen B-Versetzungszeichen. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \transpose c cis { \music } \transpose c des { \music } @@ -885,7 +885,7 @@ Der @code{@var{mus. Ausdruck}} wird Intervall für Intervall um nach @code{@var{nachTonhöhe}} transponiert. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \music \inversion d' d' \music @@ -918,7 +918,7 @@ Ein musikalischer Ausdruck kann umgekehrt werden, um im Krebsgang dargestellt zu werden: @lilypond[verbatim,quote] -music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 } +music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 } \new Staff { \music @@ -976,8 +976,8 @@ um die Anzahl von Skalenstufen transponiert, die dem Intervall zwischen @code{@var{vonTonhöhe}} und @code{@var{nachTonhöhe}} entspricht. @lilypond[verbatim,quote] -diatonicScale = \relative c' { c d e f g a b } -motif = \relative c' { c8 d e f g a b c } +diatonicScale = \relative { c' d e f g a b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -990,8 +990,8 @@ Eine absteigende Skala beliebiger Länge und mit beliebigen Intervallen kann definiert werden: @lilypond[verbatim,quote] -pentatonicScale = \relative c' { ges aes bes des ees } -motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> } +pentatonicScale = \relative { ges aes bes des ees } +motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> } \new Staff { \motif @@ -1004,8 +1004,8 @@ entspricht es der Funktion von @code{\transpose} mit dem Unterschied, dass die Bezeichnungen der eingesetzten Noten definiert werden können: @lilypond[verbatim,quote] -chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b } -motif = \relative c' { c8 d e f g a b c } +chromaticScale = \relative { c' cis d dis e f fis g gis a ais b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -1043,8 +1043,8 @@ sollten @code{@var{Umkehrungstonhöhe}} und @code{@var{nachTonhöhe}} gleich sein. @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1057,8 +1057,8 @@ wird um eine der Noten die Umkehrung vorgenommen und dann eine Skalenstufe transponiert. Die beiden Noten klammern sozusagen den Drehpunkt ein. @lilypond[verbatim,quote] -scale = \relative c' { c g' } -motive = \relative c' { c c g' c, } +scale = \relative { c' g' } +motive = \relative { c' c g' c, } \new Staff { \motive @@ -1070,8 +1070,8 @@ Die kombinierte Operation von Umkehrung und Krebs erzeugt die Krebsumkehrung: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1542,12 +1542,12 @@ benützt: @lilypond[verbatim,quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1557,8 +1557,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1624,12 +1624,12 @@ Takt oder dem letzen@tie{}@code{c} gesetzt: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1639,8 +1639,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1701,12 +1701,12 @@ besser. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1716,8 +1716,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1768,12 +1768,12 @@ vor dem H und dem C im zweiten Takt des oberen Systems: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1783,8 +1783,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1830,12 +1830,12 @@ von @code{AccidentalSuggestion} definiert. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1845,8 +1845,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1897,12 +1897,12 @@ vorigen Takt: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1912,8 +1912,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1958,12 +1958,12 @@ auch mit diesem Stil gesetzt werden, sind manche Warnungsversetzungszeichen. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1973,8 +1973,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2022,12 +2022,12 @@ Akkolade (@code{GrandStaff} oder @code{PianoStaff}) aus. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2037,8 +2037,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2080,12 +2080,12 @@ Versetzungszeichen werden als Warnungen ausgegeben: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2095,8 +2095,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2139,12 +2139,12 @@ Takt auftritt -- außer die Note wird unmittelbar wiederholt. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2154,8 +2154,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2197,12 +2197,12 @@ Versetzungszeichen werden als Warnungen gesetzt. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2212,8 +2212,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2259,12 +2259,12 @@ Notensystems mit Auflösungszeichen versehen. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2274,8 +2274,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2317,12 +2317,12 @@ gesetzt. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2332,8 +2332,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2377,12 +2377,12 @@ auch Auflösungszeichen zählen. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2392,8 +2392,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2438,12 +2438,12 @@ gesetzt. Eine Ausnahme sind direkt wiederholte Noten. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2453,8 +2453,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2499,12 +2499,12 @@ dauern für @qq{immer} an, nicht nur im aktuellen Takt: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2514,8 +2514,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2559,12 +2559,12 @@ vom Kontext der Noten. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes'4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2574,8 +2574,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2704,8 +2704,8 @@ Tonart definiert werden. } } -\relative c'' { - aes c e2 +\relative { + aes' c e2 cis,1 } @end lilypond diff --git a/Documentation/de/notation/repeats.itely b/Documentation/de/notation/repeats.itely index 25c3c7c042..c2d8bbb32f 100644 --- a/Documentation/de/notation/repeats.itely +++ b/Documentation/de/notation/repeats.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Till Paala @@ -447,8 +447,8 @@ in einer Scheme-Liste einzufügen. @lilypond[verbatim,quote] voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } -\relative c'' { - c1 +\relative { + c''1 \set Score.repeatCommands = #(list(list 'volta voltaAdLib) 'start-repeat) c4 b d e diff --git a/Documentation/de/notation/rhythms.itely b/Documentation/de/notation/rhythms.itely index b3499a7101..1f076ec353 100644 --- a/Documentation/de/notation/rhythms.itely +++ b/Documentation/de/notation/rhythms.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -444,8 +444,8 @@ sollten auch benutzt werden, wenn Notenwerte über die inneren Unterteilungen von Takten hinüberreichen: @lilypond[quote] -\relative c' { - r8 c8 ~ 2 r4 | +\relative { + r8 c'8 ~ 2 r4 | r8^"not" c2 ~ 8 r4 } @end lilypond @@ -1658,10 +1658,10 @@ weil die Skalierung sich auch auf die automatische Bebalkung auswirkt. @lilypond[quote,verbatim] -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -1706,10 +1706,10 @@ verschoben werden. % Now each staff has its own time signature. -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -2164,8 +2164,8 @@ niedrigere befindet. \time 7/8 \set Staff.beatStructure = #'(2 3 2) \new Voice = one { - \relative c'' { - a8 a a a a a a + \relative { + a'8 a a a a a a } } \new Voice = two { @@ -3559,8 +3559,8 @@ als Argument und produzieren entweder Ganztaktpausen oder leere Takte, die genauso lang sind wie der Notenabschnitt. @lilypond[verbatim,quote] -MyCadenza = \relative c' { - c4 d8 e f g g4 +MyCadenza = \relative { + c'4 d8 e f g g4 f2 g4 g } diff --git a/Documentation/de/notation/simultaneous.itely b/Documentation/de/notation/simultaneous.itely index d55ef16849..ceb66224ef 100644 --- a/Documentation/de/notation/simultaneous.itely +++ b/Documentation/de/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -227,8 +227,8 @@ letzten Note in diesem Beispiel: \new Voice \relative c'' { \chordRepeats #'(articulation-event) - \relative c'' - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + \relative + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c | } @end lilypond @@ -819,10 +819,10 @@ der Stimmen in der Eingabedatei nicht die gleiche sein wie die vertikale Anordnung der Stimmen im Notensystem!} @lilypond[quote,verbatim] -\new Staff \relative c'' { +\new Staff \relative { %% abbreviated entry << - { f2 } % 1: highest + { f''2 } % 1: highest \\ { g,2 } % 2: lowest \\ @@ -942,17 +942,17 @@ und dann kombiniert gesetzt. Die gleichen Variablen werden für die Stimmen und das kombinierte System benutzt. @lilypond[quote,verbatim] -instrumentOne = \relative c' { - c4 d e f | +instrumentOne = \relative { + c'4 d e f | R1 | d'4 c b a | b4 g2 f4 | e1 | } -instrumentTwo = \relative g' { +instrumentTwo = \relative { R1 | - g4 a b c | + g'4 a b c | d4 c b a | g4 f( e) d | e1 | @@ -1053,8 +1053,8 @@ instrumentOne = \relative c' { \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" | c2 c | } -instrumentTwo = \relative c' { - c2 c | +instrumentTwo = \relative { + c'2 c | e2 e | a,2 c | c2 c' | diff --git a/Documentation/de/notation/spacing.itely b/Documentation/de/notation/spacing.itely index 35748c26f4..90f730c04e 100644 --- a/Documentation/de/notation/spacing.itely +++ b/Documentation/de/notation/spacing.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.12" +@c \version "2.19.21" @c Translators: Till Paala @@ -1009,7 +1009,7 @@ benutzt werden, etwa so: tagline = ##f } \score { - \relative c'' { c1 \break c1 \break c1 } + \relative { c''1 \break c1 \break c1 } } } @end lilypond @@ -1399,9 +1399,9 @@ müssen. @lilypond[quote,ragged-right,verbatim] \new Voice \with { \remove "Forbid_line_break_engraver" -} \relative c'' { +} \relative { << - { c2. \tuplet 3/2 { c4 c c } c2. | } + { c''2. \tuplet 3/2 { c4 c c } c2. | } { s1 | \break s1 | } >> } @@ -1763,7 +1763,7 @@ Wenn @code{line-break-permission} die Einstellung falsch ragged-bottom = ##t } -music = \relative c'' { c8 c c c } +music = \relative { c''8 c c c } \score { \new Staff { @@ -1800,7 +1800,7 @@ Zeilen- und Seitenumbruchbefehle werden normalerweise direkt zusammen mit den Noten eingegeben. @example -music = \relative c'' @{ c4 c c c @} +music = \relative @{ c''4 c c c @} \score @{ \new Staff @{ @@ -1819,7 +1819,7 @@ Diese zusätzliche Stimme enthält nur unsichtbare Noten und die Umbruchbefehle: @lilypond[quote,verbatim] -music = \relative c'' { c4 c c c } +music = \relative { c''4 c c c } \score { \new Staff << @@ -1847,7 +1847,7 @@ anderer Eigenschaften von @ref{Vertikale Abstände}). @lilypond[quote,verbatim] -music = \relative c'' { c4 c c c } +music = \relative { c''4 c c c } \score { \new Staff << @@ -3021,8 +3021,8 @@ eine größere Dauer ist als @code{1 16}. @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -3032,8 +3032,8 @@ eine größere Dauer ist als @code{1 16}. @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -3713,8 +3713,8 @@ Beispiel zeigt die normalen Abstände: @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | @@ -3732,8 +3732,8 @@ angegeben wird: @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | diff --git a/Documentation/de/notation/staff.itely b/Documentation/de/notation/staff.itely index e2e8895aad..fc243be2d6 100644 --- a/Documentation/de/notation/staff.itely +++ b/Documentation/de/notation/staff.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -377,15 +377,15 @@ mit einer Option in der @code{\paper}-Umgebung angeschalten. \score { \new StaffGroup << \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } } \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } @@ -620,8 +620,8 @@ gleichzeitige Notensysteme an der entsprechenden Position erstellt werden: @lilypond[verbatim,quote] -\new Staff \relative c'' { - c4 b d c +\new Staff \relative { + c''4 b d c << { c4 b d c } \new Staff { e4 d f e } @@ -645,8 +645,8 @@ ein, um den Ossia-Abschnitt auszurichten. Diese Methode bietet sich an, wenn nur einige Ossia-Systeme benötigt werden. @lilypond[verbatim,quote] -\new Staff = main \relative c'' { - c4 b d c +\new Staff = main \relative { + c''4 b d c << { c4 b d c } @@ -684,8 +684,8 @@ Stücke setzt. } { \stopStaff s1*6 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 << { e4 f e2 } \context Staff = ossia { @@ -719,12 +719,12 @@ Mehr Information zu @code{\Staff \RemoveEmptyStaves} findet sich in fontSize = #-3 \override StaffSymbol.staff-space = #(magstep -3) \override StaffSymbol.thickness = #(magstep -3) - } \relative c'' { + } \relative { R1*3 - c4 e8 d c2 + c''4 e8 d c2 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 e4 f e2 g4 a g2 \break c4 b c2 @@ -794,7 +794,7 @@ eingesetzt werden. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c''' { a8 f e16 d c b a2 } +\relative { a''8 f e16 d c b a2 } @end lilypond Leere Systeme können versteckt werden, wenn der @@ -815,9 +815,9 @@ der drei enthält.} } } -\relative c' << +\relative << \new Staff { - e4 f g a \break + e'4 f g a \break b1 \break a4 b c2 } @@ -1139,12 +1139,12 @@ Argumente: die Bezeichnung der zitierten Stimme, wie vorher mit für die Dauer des Zitates. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { s1 } } \addQuote "flute" { \fluteNotes } @@ -1163,12 +1163,12 @@ unsichtbare Noten oder Ganztaktpausen etwa Noten enthält, wird eine polyphone Stelle begonnen, was meistens nicht erwünscht ist: @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } } \addQuote "flute" { \fluteNotes } @@ -1193,8 +1193,8 @@ clarinetNotes = \relative c'' { b4 ais a ais | cis4^"quoted" r8 bis\p b4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"clarinet" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"clarinet" { s1 } } \addQuote "clarinet" { \clarinetNotes } @@ -1223,13 +1223,13 @@ auszuwählen, welche Objekte der zitierten Noten dargestllt werden. Das geschieht mit der @code{quotedEventTypes}-Kontexteigenschaft. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a2 g2 | +fluteNotes = \relative { + a'2 g2 | b4\<^"quoted" r8 ais a4\f( c->) } -oboeNotes = \relative c'' { - c2. b4 | +oboeNotes = \relative { + c''2. b4 | \quoteDuring #"flute" { s1 } } @@ -1370,8 +1370,8 @@ womit die zitierten Noten entweder als erste oder als zweite Stimme in einem System gesetzt werden. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 | d8 c d e fis2 | g2 d | +fluteNotes = \relative { + r2. c''4 | d8 c d e fis2 | g2 d | } oboeNotes = \relative c'' { @@ -1402,8 +1402,8 @@ erstellt werden, weil sonst der gesamte musikalische Ausdruck zum @code{CueVoice}-Kontext gehören würde.} @lilypond[verbatim,quote] -oboeNotes = \relative c'' { - r2 r8 d16(\f f e g f a) +oboeNotes = \relative { + r2 r8 d''16(\f f e g f a) g8 g16 g g2. } \addQuote "oboe" { \oboeNotes } @@ -1427,8 +1427,8 @@ aber der originale Schlüssel muss auch manuell am Ende der Stichnoten wieder hergestellt werden. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1457,8 +1457,8 @@ Schlüsselwechsel anzeigt, den man für die Stichnoten braucht. Der originale Schlüssel wird automatisch wieder hergesetllt. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1492,10 +1492,10 @@ man Stichnoten von einem Instrument mit einem vollständig anderen Register benutzt: @lilypond[verbatim,quote] -piccoloNotes = \relative c''' { +piccoloNotes = \relative { \clef "treble^8" R1 - c8 c c e g2 + c'''8 c c e g2 c4 g g2 } @@ -1534,8 +1534,8 @@ können mit Marken versehen werden, um sie selektiv einzufügen, siehe @ref{Marken benutzen}. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { diff --git a/Documentation/de/notation/text.itely b/Documentation/de/notation/text.itely index fb2a9fce5c..5edf97cc67 100644 --- a/Documentation/de/notation/text.itely +++ b/Documentation/de/notation/text.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Till Paala @@ -1301,7 +1301,7 @@ eine @code{\layout}-Umgebung haben, wie in diesem Beispiel: @lilypond[quote,verbatim,relative=1] c4 d^\markup { \score { - \relative c' { c4 d e f } + \relative { c'4 d e f } \layout { } } } diff --git a/Documentation/de/notation/vocal.itely b/Documentation/de/notation/vocal.itely index 79428ef579..3bf34b39a2 100644 --- a/Documentation/de/notation/vocal.itely +++ b/Documentation/de/notation/vocal.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Till Paala @@ -183,7 +183,7 @@ die Datei in der UTF-8-Kodierung gespeichert wird. Zu mehr Information siehe @ref{Sonderzeichen}. @lilypond[quote,verbatim] -\relative c'' { d8 c16 a bes8 f e' d c4 } +\relative { d''8 c16 a bes8 f e' d c4 } \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, } @end lilypond @@ -191,7 +191,7 @@ Normale Anführungszeichen können im Gesangstext auch benutzt werden, aber sie müssen mit einem Backslash und weiteren Anführungszeichen begleitet werden: @lilypond[quote,verbatim] -\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. } +\relative { \time 3/4 e'4 e4. e8 d4 e d c2. } \addlyrics { "\"I" am so lone -- "ly,\"" said she } @end lilypond @@ -307,9 +307,9 @@ innerhalb von @code{\lyricmode} notiert: @lilypond[quote,ragged-right,verbatim] << - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c''4 b8. a16 g4. f8 e4 d c2 } % uses previous explicit duration of 2; @@ -456,7 +456,7 @@ Hier ein Beispiel: @lilypond[verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } } @end lilypond @@ -467,7 +467,7 @@ hinzugefügt werden: @lilypond[ragged-right,verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } \addlyrics { speel het spel } \addlyrics { joue le jeu } @@ -558,8 +558,8 @@ Hier zwei Beispiele: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - c2 c2 + \relative { + c''2 c2 d1 } } @@ -569,8 +569,8 @@ Hier zwei Beispiele: } } \new Staff { - \relative c' { - c8 c c c c c c c + \relative { + c'8 c c c c c c c c8 c c c c c c c } } @@ -913,8 +913,8 @@ Um Variablen zu definieren, die Gesangstext beinhalten, muss die @code{\lyricmode}-Umgebung benutzt werden. @lilypond[quote,verbatim] -musicOne = \relative c'' { - c4 b8. a16 g4. f8 e4 d c2 +musicOne = \relative { + c''4 b8. a16 g4. f8 e4 d c2 } verseOne = \lyricmode { Joy to the world, the Lord is come. @@ -943,8 +943,8 @@ aufzurufen. Das stellt sicher, dass die Stimmen, die durch @code{\lyricsto} angefordert werden, auch immer schon definiert sind. Beispielsweise: @lilypond[quote,verbatim] -sopranoMusic = \relative c'' { c4 c c c } -contraltoMusic = \relative c'' { a4 a a a } +sopranoMusic = \relative { c''4 c c c } +contraltoMusic = \relative { a'4 a a a } sopranoWords = \lyricmode { Sop -- ra -- no words } contraltoWords = \lyricmode { Con -- tral -- to words } @@ -1005,7 +1005,7 @@ System zu positionieren, was man erreicht, indem man den << \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics { @@ -1027,7 +1027,7 @@ Position des Gesangstextes explizit anzugeben: << \new Staff = "staff" { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics \with { alignAboveContext = "staff" } { @@ -1054,7 +1054,7 @@ verweist, mit @code{\context} angegeben: } \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \context Lyrics = "lyrics" { @@ -1075,7 +1075,7 @@ einesetzt werden können. Hier ein Beispiel für die zweite Methode: \new ChoirStaff << \new Staff { \new Voice = "sopranos" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics = "sopranos" @@ -1085,7 +1085,7 @@ einesetzt werden können. Hier ein Beispiel für die zweite Methode: } \new Staff { \new Voice = "contraltos" { - \relative c'' { a4 a a a } + \relative { a'4 a a a } } } \context Lyrics = "sopranos" { @@ -1150,8 +1150,8 @@ wirkt, muss sie im @code{layout}-Block vorgenommen werden. @lilypond[verbatim,quote,ragged-right] \score { - \relative c' { - c c c c + \relative { + c' c c c c c c c } \addlyrics { @@ -1220,8 +1220,8 @@ sich nicht ändert: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1245,8 +1245,8 @@ mit @code{\unfoldRepeats} ausgeklappt wird: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1270,8 +1270,8 @@ ausgeklappt werden soll, müssen alle Wörter notiert werden: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat unfold 2 { b4 b b b } } } @@ -1297,8 +1297,8 @@ parrallelen Abschnitten geschachtelt wird: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1324,8 +1324,8 @@ Neue Strophen können auf die gleiche Art hinzugefügt werden: << \new Staff { \new Voice = "singleVoice" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1366,8 +1366,8 @@ eingesetzt werden: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1391,8 +1391,8 @@ eingesetzt werden: The end sec -- tion. } \new Voice = "harmony" { - \relative c' { - f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 + \relative { + f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 } } >> @@ -1418,8 +1418,8 @@ werden. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b } \alternative { { b b } { b c } } } @@ -1870,8 +1870,8 @@ geändert werden, wie das folgende Beispiel zeigt. @lilypond[verbatim,ragged-right,quote] << - \new Voice = melody \relative c' { - f4 \appoggiatura a32 b4 + \new Voice = melody \relative { + f'4 \appoggiatura a32 b4 \grace { f16 a16 } b2 \afterGrace b2 { f16[ a16] } \appoggiatura a32 b4 @@ -1994,8 +1994,8 @@ gesetzt. Es gibt zwei Arten, die Zeilen auszurichten, wie das Beispiel zeigt: @lilypond[ragged-right,verbatim,quote] -melody = \relative c' { -e d c d | e e e e | +melody = \relative { +e' d c d | e e e e | d d e d | c1 | } @@ -2037,8 +2037,8 @@ zeigt die Strophennummer an. Dieses Beispiel zeigt eine Methode, diese Art von Notensatz zu produzieren. @lilypond[ragged-right,quote,verbatim] -melody = \relative c' { - c4 c c c | d d d d +melody = \relative { + c'4 c c c | d d d d } text = \lyricmode { @@ -2329,12 +2329,12 @@ Form genutzt werden, wie das Beispiel zeigt: \new ChoirStaff << \new Staff { \new Voice { - \relative c'' { g4\f g g g } + \relative { g'4\f g g g } } } \new Staff { \new Voice { - \relative c' { d4 d d\p d } + \relative { d'4 d d\p d } } } >> @@ -2511,9 +2511,9 @@ wenn auf dem System nur die Stimme einer Figure notiert ist: \new Staff { \set Staff.vocalName = \markup \smallCaps Kaspar \set Staff.shortVocalName = \markup \smallCaps Kas. - \relative c' { + \relative { \clef "G_8" - c4 c c c + c'4 c c c \break c4 c c c } @@ -2522,7 +2522,7 @@ wenn auf dem System nur die Stimme einer Figure notiert ist: \set Staff.vocalName = \markup \smallCaps Melchior \set Staff.shortVocalName = \markup \smallCaps Mel \clef "bass" - \relative c' { + \relative { a4 a a a a4 a a a } @@ -2617,13 +2617,13 @@ Instrumentenbezeichnungen sein. Im folgenden Beispiel gibt es dazu einige Hilfestellungen. @lilypond[quote,verbatim] -flute = \relative c'' { - s4 s4 e g +flute = \relative { + s4 s4 e'' g } \addQuote "flute" { \flute } -pianoRH = \relative c'' { - c4. g8 +pianoRH = \relative { + c''4. g8 % position name of cue-ing instrument just before the cue notes, % and above the staff \new CueVoice { @@ -2632,7 +2632,7 @@ pianoRH = \relative c'' { } \cueDuring "flute" #UP { g4 bes4 } } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { \new PianoStaff << @@ -2678,7 +2678,7 @@ pianoRH = \relative c'' { \cueDuring "clarinet" #DOWN { c4. g8 } g4 bes4 } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { << @@ -2900,15 +2900,15 @@ auszulassen, kann der @code{Bar_engraver} entfert werden. \score { \new StaffGroup << \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -2930,15 +2930,15 @@ Taktstriche können auf nur für ein System entfernt werden: \new ChoirStaff << \new Staff \with { \remove "Bar_engraver" } { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3009,8 +3009,8 @@ finalis = { } \score { - \relative c'' { - g2 a4 g + \relative { + g'2 a4 g \divisioMinima g2 a4 g \divisioMaior @@ -3034,8 +3034,8 @@ weggelassen. @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3061,22 +3061,22 @@ Der erste Takt jeder Hälfte hat immer eine ganze Note. Das ist der zentriert. @lilypond[verbatim,quote] -SopranoMusic = \relative g' { - g1 | c2 b | a1 | \bar "||" +SopranoMusic = \relative { + g'1 | c2 b | a1 | \bar "||" a1 | d2 c | c b | c1 | \bar "||" } -AltoMusic = \relative c' { - e1 | g2 g | f1 | +AltoMusic = \relative { + e'1 | g2 g | f1 | f1 | f2 e | d d | e1 | } -TenorMusic = \relative a { - c1 | c2 c | c1 | +TenorMusic = \relative { + c'1 | c2 c | c1 | d1 | g,2 g | g g | g1 | } -BassMusic = \relative c { +BassMusic = \relative { c1 | e2 e | f1 | d1 | b2 c | g' g | c,1 | } diff --git a/Documentation/de/notation/world.itely b/Documentation/de/notation/world.itely index d2a84a57ab..4d9c13b62c 100644 --- a/Documentation/de/notation/world.itely +++ b/Documentation/de/notation/world.itely @@ -10,7 +10,7 @@ @c Translators: Till Paala -@c \version "2.16.0" +@c \version "2.19.21" @node Weltmusik @section Weltmusik @@ -194,8 +194,8 @@ Hier ein Beispiel der arabischen @notation{rast}-Tonleiter: @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { - do re misb fa sol la sisb do sisb la sol fa misb re do +\relative { + do' re misb fa sol la sisb do sisb la sol fa misb re do } @end lilypond diff --git a/Documentation/de/usage/external.itely b/Documentation/de/usage/external.itely index 21ec60069d..6f57989516 100644 --- a/Documentation/de/usage/external.itely +++ b/Documentation/de/usage/external.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Till Paala, Reinhold Kainhofer @@ -152,8 +152,8 @@ Direkt in der @file{.ly}-Datei: @example \pointAndClickTypes #'note-event -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -161,8 +161,8 @@ oder @example #(ly:set-option 'point-and-click 'note-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -183,8 +183,8 @@ Direkt in der @file{.ly}-Datei: @example \pointAndClickTypes #'(note-event dynamic-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -192,8 +192,8 @@ oder @example #(ly:set-option 'point-and-click '(note-event dynamic-event)) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example diff --git a/Documentation/de/usage/lilypond-book.itely b/Documentation/de/usage/lilypond-book.itely index 02ad688826..225970149f 100644 --- a/Documentation/de/usage/lilypond-book.itely +++ b/Documentation/de/usage/lilypond-book.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Reinhold Kainhofer @c Translation checkers: Till Paala @@ -95,8 +95,8 @@ Dokumente für \verb+lilypond-book+ können Musik und Text nach Belieben kombinieren. Zum Beispiel: \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -156,8 +156,8 @@ Dokumente für @command{lilypond-book} können Musik und Text nach Belieben kombinieren. Zum Beispiel: @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -182,8 +182,8 @@ Wenn man eine @code{tagline} (die Zeile unten auf der Seite) braucht title = "A scale in LilyPond" } - \relative c' { - c d e f g a b c + \relative { + c' d e f g a b c } } @end lilypond @@ -803,8 +803,8 @@ Erzeugung der Grafik im relativen Oktavenmodus interpretiert, der wörtlich in das Dokument kopierte LilyPond-Code zeigt den @code{relative}-Befehl jedoch nicht. @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1202,8 +1202,8 @@ Sie können LilyPond-Fragmente in ein LaTeX-Dokument einfügen: Normaler LaTeX-Text. \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1228,7 +1228,7 @@ Handbuch wurde in Texinfo geschrieben. Texinfo-Text @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1255,8 +1255,8 @@ d4 c b a Dokumente für lilypond-book können Noten und Text frei kombinieren. Zum Beispiel <lilypond> -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} </lilypond> </p> diff --git a/Documentation/de/usage/running.itely b/Documentation/de/usage/running.itely index 32149adf02..a0b170a025 100644 --- a/Documentation/de/usage/running.itely +++ b/Documentation/de/usage/running.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Reinhold Kainhofer, Till Paala @c Translation checkers: Till Paala @@ -1088,7 +1088,7 @@ erstellen. @lilypond[quote,verbatim] \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } @end lilypond @@ -1098,7 +1098,7 @@ umgangen werden. @lilypond[quote,verbatim] \new Voice { \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } } @end lilypond diff --git a/Documentation/de/usage/suggestions.itely b/Documentation/de/usage/suggestions.itely index 7b2ccc2d5c..8d019c35a8 100644 --- a/Documentation/de/usage/suggestions.itely +++ b/Documentation/de/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Vorschläge zum Schreiben von LilyPond-Eingabe-Dateien @chapter Vorschläge zum Schreiben von LilyPond-Eingabe-Dateien @@ -60,7 +60,7 @@ Hier einige Vorschläge, wie Sie Probleme vermeiden oder lösen können: @item @strong{Schreiben Sie immer mit @code{\version} die Versionsnummer in jede Datei}. Beachten Sie, dass in allen Vorlagen die Versionsnummer -@code{\version "2.16.0"} eingetragen ist. Es empfiehlt sich, in alle +@code{\version "2.19.21"} eingetragen ist. Es empfiehlt sich, in alle Dateien, unabhängig von ihrer Größe, den @code{\version}-Befehl einzufügen. Persönliche Erfahrung hat gezeigt, dass es ziemlich frustrierend sein kann zu erinnern, welche Programmversion man etwa @@ -176,8 +176,8 @@ während die @code{violine}-Definition sich wahrscheinlich mit einer neuen Programmversion nicht verändern wird. @example -violine = \relative c'' @{ -g4 c'8. e16 +violine = \relative @{ +g'4 c'8. e16 @} ... \score @{ @@ -199,8 +199,8 @@ man es nur einmal vorzunehmen und die Noten in der Geigenstimme, @example fdannp = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violin = \relative c'' @{ -g4\fdannp c'8. e16 +violin = \relative @{ +g'4\fdannp c'8. e16 @} @end example @@ -254,9 +254,9 @@ aus, aber nicht den @code{\bass}-Befehl in dem @code{\score}-Abschnitt: @example -bass = \relative c' @{ +bass = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/Documentation/es/essay/engraving.itely b/Documentation/es/essay/engraving.itely index f3f1ca40ed..afed93cd89 100644 --- a/Documentation/es/essay/engraving.itely +++ b/Documentation/es/essay/engraving.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Grabado musical @chapter Grabado musical @@ -677,7 +677,7 @@ puntos por la inclinación hacia arriba, pero es la más atractiva de las tres configuraciones, asà que LilyPond selecciona ésta: @lilypond -\relative c { +\relative { \clef bass e8[(_"12.04" f] g[ a b d,)] r4 } @@ -801,10 +801,10 @@ Para nuestra comparación elegimos la fuga en Sol menor del Clave bien temperado de Bach, libro I, BWV 861, cuyo sujeto inicial es @lilypond -\relative c' { +\relative { \key g \minor \clef "treble_8" - r8 d ees g, fis4 g + r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes8 } @end lilypond @@ -1113,12 +1113,12 @@ la notación musical: @lilypond[quote,fragment] << - \new Staff \relative c'' { + \new Staff \relative { \key g \major \time 3/4 - d4 g,8 a b c d4 g, g + d''4 g,8 a b c d4 g, g } - \new Staff \relative c' { + \new Staff \relative { \clef "bass" \key g \major <g b d>2 a4 b2. @@ -1180,7 +1180,7 @@ aparente si tenemos en cuenta un ejemplo musical más complejo: } >> \new Staff = "LH" << - \new Voice = "III" \relative c' { + \new Voice = "III" \relative { \time 2/4 \clef "bass" g4 \stopStaff s @@ -1588,9 +1588,9 @@ hoja guÃa de acordes. << \chords { c2 c f2 c } \new Staff - \relative c' { + \relative { \time 2/4 - c4 c g' g a a g2 + c'4 c g' g a a g2 } \addlyrics { Cam -- pa ni -- ta del lu -- gar } >> diff --git a/Documentation/es/extending/programming-interface.itely b/Documentation/es/extending/programming-interface.itely index a0a61b0cb9..3f5507c7d0 100644 --- a/Documentation/es/extending/programming-interface.itely +++ b/Documentation/es/extending/programming-interface.itely @@ -7,7 +7,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.19.12" +@c \version "2.19.21" @node Interfaces para programadores @chapter Interfaces para programadores @@ -552,8 +552,8 @@ AltOff = { \revert NoteHead.font-size } -\relative c' { - c2 \AltOn #0.5 c4 c +\relative { + c'2 \AltOn #0.5 c4 c \AltOn #1.5 c c \AltOff c2 } @end lilypond @@ -576,8 +576,8 @@ withAlt = \revert NoteHead.font-size #}) -\relative c' { - c2 \withAlt #0.5 { c4 c } +\relative { + c'2 \withAlt #0.5 { c4 c } \withAlt #1.5 { c c } c2 } @end lilypond @@ -645,7 +645,7 @@ una forma de escribir indicaciones dinámicas arbitrarias: @lilypond[quote,verbatim,ragged-right] dyn=#(define-event-function (parser location arg) (markup?) (make-dynamic-script arg)) -\relative c' { c\dyn pfsss } +\relative { c'\dyn pfsss } @end lilypond PodrÃamos hacer lo mismo usando una función musical, pero entonces @@ -1313,7 +1313,7 @@ cabezas de las notas que están sobre la lÃnea central y junto a ella: (< (abs (ly:grob-property grob 'staff-position)) 2)) (set! (ly:grob-property grob 'transparent) #t))) -\relative c' { +\relative { a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2 } @end lilypond @@ -1438,8 +1438,8 @@ más bien: asà lo hacÃa en algún momento del pasado): @example F = \tweak font-size #-3 -\flageolet -\relative c'' @{ - c4^\F c4_\F +\relative @{ + c''4^\F c4_\F @} @end example @@ -1457,8 +1457,8 @@ F = #(let ((m (make-music 'ArticulationEvent (ly:music-property m 'tweaks))) m) -\relative c'' @{ - c4^\F c4_\F +\relative @{ + c''4^\F c4_\F @} @end example diff --git a/Documentation/es/extending/scheme-tutorial.itely b/Documentation/es/extending/scheme-tutorial.itely index ad55dbc255..d0ecd4c739 100644 --- a/Documentation/es/extending/scheme-tutorial.itely +++ b/Documentation/es/extending/scheme-tutorial.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @node Tutorial de Scheme @appendix Tutorial de Scheme @@ -1665,8 +1665,8 @@ padText = #(define-music-function (parser location padding) (number?) \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b +\relative { + c'''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" d e f \padText #2.6 diff --git a/Documentation/es/learning/common-notation.itely b/Documentation/es/learning/common-notation.itely index 7e9e8a4e76..14db679397 100644 --- a/Documentation/es/learning/common-notation.itely +++ b/Documentation/es/learning/common-notation.itely @@ -7,7 +7,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: (different from policy.txt!) @@ -797,9 +797,9 @@ una de las cuales contiene dos notas diferentes) se combinan de forma simultánea: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -829,8 +829,8 @@ pero dado que comienza con una sola nota, se dispone sobre un solo pentagrama. @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e2 f } { c2 <<b d>> } >> | } @end lilypond @@ -868,9 +868,9 @@ de él. Estos elementos @code{Staff} se combinan después en paralelo con @code{<<} y @code{>>}: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -901,9 +901,9 @@ partituras con instrumentos transpositores son más comunes que las partituras polirrÃtmicas. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -946,9 +946,9 @@ completa se coloca dentro de un @code{PianoStaff}: He aquà un pequeño ejemplo: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -1073,10 +1073,10 @@ Presentamos a continuación el inicio de la melodÃa de una canción infantil, @qq{Girls and boys come out to play}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -1086,10 +1086,10 @@ cada sÃlaba mediante un espacio. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come | out to play, @@ -1123,10 +1123,10 @@ shine as bright as day}. A continuación vamos a ampliarla: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1159,10 +1159,10 @@ expresión sobre ellas (véase @ref{Ligaduras de unión y de expresión}): @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1180,10 +1180,10 @@ detalles consulte @ref{Barras automáticas y manuales}. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1200,10 +1200,10 @@ melisma: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1222,10 +1222,10 @@ del @notation{Lamento de Dido}, de @notation{Dido y Eneas} de Purcell: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1275,11 +1275,11 @@ el aria de FÃgaro @notation{Largo al factotum}: @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1389,13 +1389,13 @@ usar posteriormente colocando una barra invertida delante del nombre @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1552,10 +1552,10 @@ origen de numerosos errores. Con @code{\relative}, el ejemplo anterior es mucho más fácil de leer: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond @@ -1577,7 +1577,7 @@ usando @code{\relative} dentro de @code{\relative}, las secciones relativas externa e interna son independientes: @lilypond[verbatim,quote] -\relative c { c'4 \relative c'' { f g } c } +\relative { c'4 \relative { f'' g } c } @end lilypond @funindex \absolute @@ -1587,7 +1587,7 @@ la instrucción @code{\absolute} para evitar que se incorpore a la música relativa: @lilypond[verbatim,quote] -\relative c { c'4 \absolute { f'' g'' } c } +\relative { c'4 \absolute { f'' g'' } c } @end lilypond @node Más allá del tutorial diff --git a/Documentation/es/learning/fundamental.itely b/Documentation/es/learning/fundamental.itely index d4b4ae4dad..03bdd50ab5 100644 --- a/Documentation/es/learning/fundamental.itely +++ b/Documentation/es/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Conceptos fundamentales @chapter Conceptos fundamentales @@ -89,8 +89,8 @@ le proporcionamos una entrada sencilla. LilyPond trata una entrada como esta: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -102,8 +102,8 @@ como una abreviatura de esta otra: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -239,8 +239,8 @@ se muestra en @ref{Organizar las piezas mediante variables}. Todas las plantillas emplean lo siguiente: @example -melodia = \relative c' @{ - c4 a b c +melodia = \relative @{ + c'4 a b c @} \score @{ @@ -369,8 +369,8 @@ llaves que siguen a @code{\new Voice = "vocal"}, podrÃamos empezar escribiendo @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -390,10 +390,10 @@ Asà pues, escribiendo algunas notas, y una clave de Fa para la mano izquierda, ahora tenemos un fragmento musical de verdad: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { <g d g,>2~ <g d g,> } -lower = \relative c { b2 e } +upper = \relative { <g' d g,>2~ <g d g,> } +lower = \relative { b,2 e } \score { << @@ -443,8 +443,8 @@ fragmento de tres notas: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -470,8 +470,8 @@ siguiente: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -721,9 +721,9 @@ las ligaduras, plicas, matices dinámicos, etc., se ajusta de forma correcta. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -746,9 +746,9 @@ ligadas se pueden dividir entre las mismas voces de dos construcciones, como se indica aquà en la voz de triángulos azules. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -837,10 +837,10 @@ las complicaciones se explicarán en secciones posteriores). @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignore these for now - they are explained in Ch 4 @@ -916,10 +916,10 @@ hemos aprendido, usando la construcción @code{<< \\ >>} para introducir la música del primer compás en tres voces: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } >> | <c ees aes c>1 | } @@ -939,10 +939,10 @@ olvidándonos de la voz tres y situando la música en la voz cuatro. Esto se hace escribiendo otro par de barras invertidas (@code{\\}). @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { <ees, c>2 des } \\ % Omit Voice three @@ -1003,8 +1003,8 @@ sección previa: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -1014,8 +1014,8 @@ equivale a @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1024,8 +1024,8 @@ Los dos ejemplos anteriores producen: @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1048,9 +1048,9 @@ Veamos en algunos ejemplos sencillos exactamente qué efecto tienen las ligaduras de unión y de expresión y las indicaciones de dinámica: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1121,8 +1121,8 @@ si una voz aparece sólo brevemente podrÃa haber una forma más natural de tipografiar la música. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { @@ -1300,14 +1300,14 @@ no como música. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1363,10 +1363,10 @@ ejemplos se le suele dar el nombre de @q{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1557,8 +1557,8 @@ un ejemplo anotado de música real: \clef "treble" \key g \minor \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. | + \relative { % start of RH notes + d''4 ees16 c8. | d4 ees16 c8. | } % end of RH notes } % end of RH voice @@ -1568,14 +1568,14 @@ un ejemplo anotado de música real: \key g \minor \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 <bes d> ees, <g c> | g8 <bes d> ees, <g c> | } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees | g4 ees | } % end of LH voice two notes @@ -1856,8 +1856,8 @@ AsÃ, esto desactivará los becuadros adicionales en un pentagrama: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1871,8 +1871,8 @@ y esto los desactivará en todos los pentagramas: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1949,13 +1949,13 @@ de la siguiente forma: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1998,8 +1998,8 @@ continuación presentamos un ejemplo que muestra el formato: @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -2018,13 +2018,13 @@ pentagramas de la partitura: \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2091,8 +2091,8 @@ pentagrama están dibujadas por el grabador \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2178,24 +2178,24 @@ podemos escribir \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2263,7 +2263,7 @@ cello. En este caso comenzarÃamos con la plantilla @q{Notas y letra} @example \version @w{"@version{}"} -melodia = \relative c' @{ +melodia = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2292,7 +2292,7 @@ Ahora queremos añadir una parte de violoncello. Veamos el ejemplo @example \version @w{"@version{}"} -melodia = \relative c' @{ +melodia = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2329,7 +2329,7 @@ Asimismo, cambiaremos algunas notas del cello. @example \version @w{"@version{}"} -musicaSoprano = \relative c' @{ +musicaSoprano = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2340,7 +2340,7 @@ letraSoprano = \lyricmode @{ Aaa Bee Cee Dee @} -musicaCello = \relative c @{ +musicaCello = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2400,7 +2400,7 @@ tiene fácil solución. Presentamos aquà la plantilla completa para soprano y cello. @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2411,7 +2411,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2455,29 +2455,29 @@ un ejemplo del «MesÃas» de Haendel: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords @@ -2687,26 +2687,26 @@ del ejemplo anterior, obtenemos: @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -3024,19 +3024,19 @@ todas las partes. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -3091,7 +3091,7 @@ Glosario musical: Llegado a este punto, usted ha visto cosas de este tipo: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3104,8 +3104,8 @@ Incluso se dará cuenta de que esto puede ser útil en música minimalista: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | @@ -3189,8 +3189,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3224,7 +3224,7 @@ ejemplo, supongamos que el archivo @file{trompa.ly} contiene la siguiente parte de un dúo para trompa y fagot: @example -notasTrompa = \relative c @{ +notasTrompa = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3261,7 +3261,7 @@ lo que corresponde con el tono de afinación de una trompa normal en@tie{}Fa. La transposición se puede ver en la siguiente salida @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3321,7 +3321,7 @@ que la otra voz se encuentra dentro de @code{notasFagot} en el archivo lo que nos lleva a @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/es/learning/tutorial.itely b/Documentation/es/learning/tutorial.itely index 7f206ea4c8..892b579443 100644 --- a/Documentation/es/learning/tutorial.itely +++ b/Documentation/es/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @node Tutorial @chapter Tutorial @@ -243,8 +243,8 @@ desde la nota anterior. @lilypond[verbatim,quote] % set the starting point to middle C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -257,8 +257,8 @@ crear melodÃas con intervalos mayores, aún sin dejar de utilizar el modo relativo: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -276,8 +276,8 @@ de inicio: @c KEEP LY @lilypond[verbatim,quote] % una octava por encima del Do central -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -293,8 +293,8 @@ por debajo. @c KEEP LY @lilypond[verbatim,quote] -\relative c'' { - b c % el Do está un espacio por encima, es el Do de arriba +\relative { + b' c % el Do está un espacio por encima, es el Do de arriba b d % el Re está dos por encima ó 5 por debajo, es el Re de arriba b e % el Mi está 3 por encima ó 4 por debajo, es el Mi de arriba b a % el La está 6 por encima ó 1 por debajo, es el La de abajo @@ -316,8 +316,8 @@ bajar la octava escribiendo una coma @code{,} a continuación del nombre de la nota. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -361,8 +361,8 @@ nota siguiente. La figura por omisión de la primera nota es una negra. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -373,8 +373,8 @@ número de la duración. La duración de una nota con puntillo se debe especificar de forma explÃcita (es decir: mediante un número). @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -393,8 +393,8 @@ Un @notation{silencio} se introduce igual que si fuera una nota con el nombre @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -416,9 +416,9 @@ La @notation{indicación de compás} se puede establecer con la orden @code{\time} : @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -482,9 +482,9 @@ La @notation{clave} se puede establecer utilizando la orden @code{\clef} : @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -788,8 +788,8 @@ sobre esta imagen: @c no verbatim here @c KEEP LY @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { Haga clic aquÃ. } } +\relative { + c''4-\markup { \bold \huge { Haga clic aquÃ. } } } @end lilypond diff --git a/Documentation/es/learning/tweaks.itely b/Documentation/es/learning/tweaks.itely index 20a4baf477..62ab388ca0 100644 --- a/Documentation/es/learning/tweaks.itely +++ b/Documentation/es/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Trucar la salida @chapter Trucar la salida @@ -1481,8 +1481,8 @@ introducir un pentagrama temporal, como en un @rglos{ossia}. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1508,8 +1508,8 @@ el sello de cada uno de ellos a @code{#f}, como sigue: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1572,8 +1572,8 @@ Asà pues, podemos reemplazar el ejemplo anterior con @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1598,8 +1598,8 @@ resultado siguiente: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1668,8 +1668,8 @@ Vamos a probarlo en nuestro ejemplo del ossia: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1737,8 +1737,8 @@ siguiente forma: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1867,10 +1867,10 @@ pentagramas adyacentes: @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -3160,8 +3160,8 @@ deseados, asÃ: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } -\relative c'' { - c4 +\relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3406,10 +3406,10 @@ Chopin que presentamos al final de @ref{Oigo voces}, que dejamos con este aspecto: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ @@ -3446,10 +3446,10 @@ Presentamos a continuación el resultado final: @cindex force-hshift, propiedad, ejemplo @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 \once \override NoteColumn.force-hshift = 0.5 des } \\ @@ -3485,9 +3485,9 @@ quitado las indicaciones dinámicas, las digitaciones y el pedal. @c This example should not be indexed @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3527,8 +3527,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3568,9 +3568,9 @@ qué produce LilyPond de forma predeterminada: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4. g8 | + r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3594,8 +3594,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3626,9 +3626,9 @@ Tutorial. Al hacerlo asà obtenemos: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3652,8 +3652,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3700,9 +3700,9 @@ Con esto se completa el compás dos, dando como resultado: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3728,8 +3728,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3781,9 +3781,9 @@ al final, dando como resultado: @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3813,8 +3813,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3856,9 +3856,9 @@ aplicar estos cambios obtenemos: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3891,8 +3891,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3927,9 +3927,9 @@ final: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3970,8 +3970,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -4241,10 +4241,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/es/notation/ancient.itely b/Documentation/es/notation/ancient.itely index b315871178..ec3c35cb34 100644 --- a/Documentation/es/notation/ancient.itely +++ b/Documentation/es/notation/ancient.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @node Notación antigua @@ -301,8 +301,8 @@ muestra en el ejemplo siguiente: @lilypond[quote,ragged-right] \score { - \relative c'' { - a1 + \relative { + a'1 \break g } @@ -2788,9 +2788,9 @@ sola sÃlaba alineada por la izquierda: @lilypond[verbatim,ragged-right] \include "gregorian.ly" -chant = \relative c' { +chant = \relative { \clef "G_8" - c\breve c4 b4 a c2 c4 \divisioMaior + c'\breve c4 b4 a c2 c4 \divisioMaior c\breve c4 c f, f \finalis } diff --git a/Documentation/es/notation/changing-defaults.itely b/Documentation/es/notation/changing-defaults.itely index 9446dedd98..dc5864df41 100644 --- a/Documentation/es/notation/changing-defaults.itely +++ b/Documentation/es/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Translation of GIT committish: a43fe59b0205af99f84532935b103d0c064b4526 Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.7" +@c \version "2.19.21" @node Cambiar los valores por omisión @chapter Cambiar los valores por omisión @@ -413,13 +413,13 @@ válidas culaquiera de las dos formas siguientes: % musical content \context Voice = "one" { - \relative c'' { - c4 c c c + \relative { + c''4 c c c } } \context Voice = "two" { - \relative c'' { - g8 g g4 g g + \relative { + g'8 g g4 g g } } >> @@ -441,13 +441,13 @@ válidas culaquiera de las dos formas siguientes: % musical content \context Voice = "one" { - \relative c'' { - c4 c c c + \relative { + c''4 c c c } } \context Voice = "two" { - \relative c'' { - g8 g g4 g g + \relative { + g'8 g g4 g g } } >> @@ -469,8 +469,8 @@ para establecer el contexto en que se ejecuta un procedimiento de Scheme especificado con @code{\applyContext}: @example -\new Staff \relative c' @{ - c1 +\new Staff \relative @{ + c'1 \context Timing \applyContext #(lambda (ctx) (newline) @@ -555,8 +555,8 @@ En el ejemplo siguiente, tanto la voz A como la voz B se mantienen vivas de esta manera durante la duración de la pieza: @lilypond[quote,verbatim] -musicA = \relative c'' { d4 d d d } -musicB = \relative c'' { g4 g g g } +musicA = \relative { d''4 d d d } +musicB = \relative { g'4 g g g } keepVoicesAlive = { << \new Voice = "A" { s1*5 } % Keep Voice "A" alive for 5 bars @@ -594,8 +594,8 @@ situación real la melodÃa y el acompañamiento consistirÃan en varias secciones diferentes. @lilypond[quote,verbatim] -melody = \relative c'' { a4 a a a } -accompaniment = \relative c' { d4 d d d } +melody = \relative { a'4 a a a } +accompaniment = \relative { d'4 d d d } words = \lyricmode { These words fol -- low the mel -- o -- dy } \score { << @@ -634,14 +634,14 @@ incluyendo notas espaciadoras para alinearla correctamente con el acompañamiento: @lilypond[quote,verbatim] -melody = \relative c'' { +melody = \relative { s1 % skip a bar - a4 a a a + a'4 a a a s1 % skip a bar a4 a a a } -accompaniment = \relative c' { - d4 d d d +accompaniment = \relative { + d'4 d d d d4 d d d d4 d d d d4 d d d @@ -767,17 +767,17 @@ compás independiente. \consists "Timing_translator" \consists "Default_bar_line_engraver" } - \relative c'' { + \relative { \time 3/4 - c4 c c c c c + c''4 c c c c c } \new Staff \with { \consists "Timing_translator" \consists "Default_bar_line_engraver" } - \relative c'' { + \relative { \time 2/4 - c4 c c c c c + c''4 c c c c c } >> \layout { @@ -891,8 +891,8 @@ Una instrucción @code{\override}, pero omitiendo el nombre del contexto @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Thicker stems" a a a + \relative { + a'4^"Thicker stems" a a a a4 a a\ff a } \layout { @@ -909,8 +909,8 @@ Estableciendo una propiedad de contexto directamente @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a\ff a } \layout { @@ -928,8 +928,8 @@ musical como @code{\accidentalStyle dodecaphonic} @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Dynamics above" a a a + \relative { + a'4^"Dynamics above" a a a a4 a a\ff a } \layout { @@ -957,8 +957,8 @@ StaffDefaults = \with { \score { \new Staff { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -987,8 +987,8 @@ estuviera escrita en el propio flujo musical. @lilypond[quote,verbatim] \score { \new Staff { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -1040,8 +1040,8 @@ contexto \new Staff { \new Voice \with { \override Stem.thickness = #4.0 } { - \relative c'' { - a4^"Thick stems" a a a + \relative { + a'4^"Thick stems" a a a a4 a a a } } @@ -1056,15 +1056,15 @@ Estableciendo una propiedad de contexto directamente \score { << \new Staff { - \relative c'' { - a4^"Default font" a a a + \relative { + a'4^"Default font" a a a a4 a a a } } \new Staff \with { fontSize = #-4 } { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -1080,8 +1080,8 @@ Una instrucción predefinida tal como @code{\dynamicUp} << \new Staff { \new Voice { - \relative c'' { - a4^"Dynamics below" a a a + \relative { + a'4^"Dynamics below" a a a a4 a a\ff a } } @@ -1090,8 +1090,8 @@ Una instrucción predefinida tal como @code{\dynamicUp} { \new Voice \with { \dynamicUp } { - \relative c'' { - a4^"Dynamics above" a a a + \relative { + a'4^"Dynamics above" a a a a4 a a\ff a } } @@ -1186,8 +1186,8 @@ de jazz, \accepts "ImproVoice" }} -\relative c'' { - a4 d8 bes8 \new ImproVoice { c4^"ad lib" c +\relative { + a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c c4 c^"undress" c_"while playing :)" c } a1 } @@ -1324,8 +1324,8 @@ Asà pues, la salida que aparece al comienzo de esta sub-sección se puede escribir como @example -\relative c'' @{ - a4 d8 bes8 +\relative @{ + a'4 d8 bes8 \new ImproVoice @{ c4^"ad lib" c c4 c^"desvÃstete" @@ -4255,8 +4255,8 @@ XinO = { \musicglyph #"noteheads.s2cross" } } -\relative c'' { - a a \XinO a a +\relative { + a' a \XinO a a } @end lilypond @@ -4860,8 +4860,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c'' { - c4^"piu mosso" b a b +\relative { + c''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" b a b \padText #2.6 @@ -4885,7 +4885,7 @@ custosNote = #note #}) -\relative c' { c4 d e f \custosNote g } +\relative { c'4 d e f \custosNote g } @end lilypond Se pueden definir funciones de sustitución con más de un argumento: diff --git a/Documentation/es/notation/chords.itely b/Documentation/es/notation/chords.itely index 00907d49a3..644c126040 100644 --- a/Documentation/es/notation/chords.itely +++ b/Documentation/es/notation/chords.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @node Notación de acordes @section Notación de acordes @@ -461,8 +461,8 @@ mismo independientemente del modo de entrada, a no ser que existan inversiones o bajos añadidos: @lilypond[verbatim,quote] -chordmusic = \relative c' { - <c e g>2 <f bes c> +chordmusic = \relative { + <c' e g>2 <f bes c> <f c' e g>1 \chordmode { c2 f:sus4 c1:/f @@ -1098,8 +1098,8 @@ están en el pentagrama. @lilypond[verbatim,ragged-right,quote] << - \relative c'' { - c4 c'8 r8 c,4 c' + \relative { + c''4 c'8 r8 c,4 c' } \new FiguredBass { \figuremode { diff --git a/Documentation/es/notation/editorial.itely b/Documentation/es/notation/editorial.itely index 86a8bf4b2d..164da9219c 100644 --- a/Documentation/es/notation/editorial.itely +++ b/Documentation/es/notation/editorial.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @node Anotaciones editoriales @section Anotaciones editoriales @@ -685,8 +685,8 @@ horizontales simples. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c2\startGroup +\relative { + c''2\startGroup d\stopGroup } @end lilypond @@ -700,8 +700,8 @@ Los corchetes de análisis se pueden anidar. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c4\startGroup\startGroup +\relative { + c''4\startGroup\startGroup d4\stopGroup e4\startGroup d4\stopGroup\stopGroup diff --git a/Documentation/es/notation/expressive.itely b/Documentation/es/notation/expressive.itely index 07b8868e6e..78805af9b9 100644 --- a/Documentation/es/notation/expressive.itely +++ b/Documentation/es/notation/expressive.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.25" +@c \version "2.19.21" @node Expresiones @section Expresiones @@ -449,8 +449,8 @@ texto e indicaciones de pedal de piano. @lilypond[verbatim,quote] << - \new Staff \relative c' { - c2 d4 e | + \new Staff \relative { + c'2 d4 e | c4 e e,2 | g'4 a g a | c1 | @@ -549,8 +549,8 @@ marcado (@code{\markup}). @lilypond[verbatim,quote] moltoF = \markup { molto \dynamic f } -\relative c' { - <d e>16_\moltoF <d e> +\relative { + <d' e>16_\moltoF <d e> <d e>2.. } @end lilypond @@ -572,8 +572,8 @@ roundF = \markup { \center-align \concat { \bold { \italic ( } \dynamic f \bold { \italic ) } } } boxF = \markup { \bracket { \dynamic f } } -\relative c' { - c1_\roundF +\relative { + c'1_\roundF c1_\boxF } @end lilypond @@ -586,8 +586,8 @@ con la función @code{make-dynamic-script}. @lilypond[verbatim,quote] sfzp = #(make-dynamic-script "sfzp") -\relative c' { - c4 c c\sfzp c +\relative { + c'4 c c\sfzp c } @end lilypond @@ -614,8 +614,8 @@ mfEspress = \markup { \center-align \line { roundFdynamic = #(make-dynamic-script roundF) boxFdynamic = #(make-dynamic-script boxF) mfEspressDynamic = #(make-dynamic-script mfEspress) -\relative c' { - c4_\roundFdynamic\< d e f +\relative { + c'4_\roundFdynamic\< d e f g,1~_\boxFdynamic\> g1 g'1~\mfEspressDynamic @@ -630,8 +630,8 @@ sintaxis se explica en @rextend{Construcción del marcado en Scheme}. moltoF = #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF } @end lilypond @@ -644,8 +644,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF <d e>1 } @end lilypond diff --git a/Documentation/es/notation/fretted-strings.itely b/Documentation/es/notation/fretted-strings.itely index 27ef24f0b2..9be1407341 100644 --- a/Documentation/es/notation/fretted-strings.itely +++ b/Documentation/es/notation/fretted-strings.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Instrumentos de cuerda con trastes @section Instrumentos de cuerda con trastes @@ -179,7 +179,7 @@ y @code{TabVoice}. Se añade automáticamente una clave caligráfica de tablatura. @lilypond[quote,ragged-right,verbatim] -\new TabStaff \relative c' { +\new TabStaff \relative { a,8 a' <c e> a d,8 a' <d f> a } @@ -255,14 +255,14 @@ fijando @code{restrainOpenStrings} al valor @code{#t}. @lilypond[quote,ragged-right,verbatim] \layout { \omit Voice.StringNumber } \new StaffGroup << - \new Staff \relative c { + \new Staff \relative { \clef "treble_8" \time 2/4 c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 c,16 d e f g4 } - \new TabStaff \relative c { + \new TabStaff \relative { c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 \set TabStaff.minimumFret = #5 @@ -289,7 +289,7 @@ utilicen @ref{Repetición de acordes}. Esta instrucción en particular es tan común que está disponible como @code{\tabChordRepeats}. @lilypond[quote,verbatim] -guitar = \relative c' { +guitar = \relative { r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } @@ -570,15 +570,15 @@ para bajo, que suena una octava por debajo de lo escrito. \omit StringNumber } { \clef "bass_8" - \relative c, { - c4 d e f + \relative { + c,4 d e f } } \new TabStaff \with { stringTunings = #bass-tuning } { - \relative c, { - c4 d e f + \relative { + c,4 d e f } } >> @@ -1772,7 +1772,7 @@ Las notas tapadas (llamadas también @notation{notas muertas}) están contempladas dentro de los pentagramas normales y de tablatura: @lilypond[quote,ragged-right,verbatim] -music = \relative c' { +music = \relative { < a\3 \deadNote c\2 a'\1 >4 < b\3 \deadNote d\2 b'\1 > < c\3 \deadNote e\2 c'\1 > diff --git a/Documentation/es/notation/input.itely b/Documentation/es/notation/input.itely index 78de48cc91..e91700f76a 100644 --- a/Documentation/es/notation/input.itely +++ b/Documentation/es/notation/input.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Entrada y salida generales @chapter Entrada y salida generales @@ -943,8 +943,8 @@ La lÃnea de etiqueta tagline predeterminada se puede cambiar añadiendo un camp tagline = "... music notation for Everyone" } \score { - \relative c' { - c4 d e f + \relative { + c'4 d e f } } } @@ -1433,8 +1433,8 @@ una marca de nota al pie adjunta. La sintaxis es: @lilypond[quote,verbatim,papersize=a8landscape] \book { \header { tagline = ##f } - \relative c'' { - a4_\footnote #'(0 . -1) "Ligadura forzada hacia abajo" ( + \relative { + a'4_\footnote #'(0 . -1) "Ligadura forzada hacia abajo" ( b8^\footnote #'(1 . 0.5) "Barra manual forzada hacia arriba" [ b8 ] c4 ) @@ -1632,7 +1632,7 @@ Por ejemplo: \auto-footnote "recent" \italic " Aug 2012" "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -1682,7 +1682,7 @@ De forma alternativa, se pueden usar alias en ASCII (véase } "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -1705,7 +1705,7 @@ especificar las marcas (véase @ref{Unicode}): } "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -2140,10 +2140,10 @@ puede combinar sobre un solo pentagrama la música de dos variables, véase @ref{Combinación automática de las partes}. He aquà un ejemplo: @lilypond[verbatim,quote] -sopranoMusic = \relative c'' { a4 b c b8( a) } -altoMusic = \relative g' { e4 e e f } -tenorMusic = \relative c' { c4 b e d8( c) } -bassMusic = \relative c' { a4 gis a d, } +sopranoMusic = \relative { a'4 b c b8( a) } +altoMusic = \relative { e'4 e e f } +tenorMusic = \relative { c'4 b e d8( c) } +bassMusic = \relative { a4 gis a d, } allLyrics = \lyricmode {King of glo -- ry } << \new Staff = "Soprano" \sopranoMusic @@ -2239,8 +2239,8 @@ que muestra trinos con la notación usual y otra con los trinos expandidos explÃcitamente: @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills { d8.\trill } \tag #'expand { \repeat unfold 3 { e32 d } } c32 d @@ -2258,8 +2258,8 @@ music = \relative g' { De forma alternativa, a veces es más fácil excluir secciones de música: @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills { d8.\trill } \tag #'expand {\repeat unfold 3 { e32 d } } c32 d @@ -2490,8 +2490,8 @@ portuguese = \lyricmode { à vo -- cê uma can -- ção legal } -\relative c' { - c2 d e f g f e +\relative { + c'2 d e f g f e } \addlyrics { \bulgarian } \addlyrics { \hebrew } @@ -2537,8 +2537,8 @@ partitura: @lilypond[quote,verbatim] \score { - \relative c'' { - c1 \mark \markup { \char ##x03EE } + \relative { + c''1 \mark \markup { \char ##x03EE } c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } } } \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } } @@ -3149,8 +3149,8 @@ contrario llama a la función predeterminada. \set Staff.midiInstrument = #"cello" \set Score.dynamicAbsoluteVolumeFunction = #myDynamics \new Voice { - \relative c'' { - a4\pp b c-\rfz + \relative { + a'4\pp b c-\rfz } } } @@ -3192,8 +3192,8 @@ volumen general MIDI está limitado al intervalo desde 0.2 hasta \key g \major \time 2/2 \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -3201,8 +3201,8 @@ volumen general MIDI está limitado al intervalo desde 0.2 hasta \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3242,8 +3242,8 @@ de la flauta. \set Staff.midiInstrument = #"flute" \set Staff.midiMinimumVolume = #0.7 \set Staff.midiMaximumVolume = #0.9 - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -3253,8 +3253,8 @@ de la flauta. \set Staff.midiInstrument = #"clarinet" \set Staff.midiMinimumVolume = #0.3 \set Staff.midiMaximumVolume = #0.6 - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3317,8 +3317,8 @@ anterior. \time 2/2 \set Score.instrumentEqualizer = #my-instrument-equalizer \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -3326,8 +3326,8 @@ anterior. \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3356,8 +3356,8 @@ copied out and compiled to test microtones in your MIDI player. @lilypond[verbatim,quote] \score { - \relative c' { - c4 cih cis cisih + \relative { + c'4 cih cis cisih d4 dih ees eeh e4 eih f fih fis4 fisih g gih diff --git a/Documentation/es/notation/keyboards.itely b/Documentation/es/notation/keyboards.itely index f512aebf73..873d6b1d85 100644 --- a/Documentation/es/notation/keyboards.itely +++ b/Documentation/es/notation/keyboards.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @node Teclados y otros instrumentos de varios pentagramas @section Teclados y otros instrumentos de varios pentagramas @@ -333,7 +333,7 @@ en el pentagrama inferior: \new Staff = "up" { \new Voice = "melodiaUno" { \key g \major - \autochange \relative c' { + \autochange \relative { g8 b a c b d c e d8 r fis, g a2 } diff --git a/Documentation/es/notation/pitches.itely b/Documentation/es/notation/pitches.itely index 86c17e91e8..3e103596b3 100644 --- a/Documentation/es/notation/pitches.itely +++ b/Documentation/es/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Alturas @@ -168,10 +168,10 @@ La identificación del Do central con @code{c'} es algo bastante básico, por lo que tiende a ser fácil encontrar octavas de @code{c}. Si nuestra música comienza con @code{gis} (un Sol sostenido) por encima de @code{c'''}, tendrÃamos que escribir algo -como @code{\relative c''' @{ gis' @dots{} @}} +como @code{\relative @{ gis''' @dots{} @}} @item una nota que está una o más octavas de la primera nota de dentro -Escribir @code{\relative gis''' @{ gis @dots{} @}} hace que sea +Escribir @code{\relative @{ gis''' @dots{} @}} hace que sea fácil determinar la altura absoluta de la primera nota de dentro. @item ninguna altura de inicio explÃcita @@ -188,7 +188,7 @@ La documentación suele utilizar la primera opción. Aquà podemos ver el modo relativo en acción: @lilypond[verbatim,quote] -\relative c { +\relative { \clef bass c d e f g a b c @@ -200,8 +200,8 @@ Las marcas de cambio de octava se utilizan para intervalos mayores de la cuarta: @lilypond[verbatim,quote] -\relative c'' { - c g c f, +\relative { + c'' g c f, c' a, e'' c } @end lilypond @@ -210,7 +210,7 @@ Una serie de notas sin ninguna marca de octava puede, a pesar de todo, abarcar intervalos muy grandes: @lilypond[verbatim,quote] -\relative c { +\relative { c f b e a d g c } @@ -220,10 +220,10 @@ Cuando hay unos bloques @code{\relative} anidados dentro de otros, es de aplicación el bloque @code{\relative} más interno. @lilypond[verbatim,quote] -\relative c' { - c d e f - \relative c'' { - c d e f +\relative { + c' d e f + \relative { + c'' d e f } } @end lilypond @@ -246,12 +246,12 @@ La música que esa dentro de un bloque @code{\transpose} es absoluta, a no ser que se incluya una instrucción @code{\relative}. @lilypond[verbatim,quote] -\relative c' { - d e +\relative { + d' e \transpose f g { d e - \relative c' { - d e + \relative { + d' e } } } @@ -266,8 +266,8 @@ de los acordes, la siguiente nota siempre está en relación a la anterior. @lilypond[verbatim,quote] -\relative c' { - c +\relative { + c' <c e g> <c' e g'> <c, e, g''> @@ -283,8 +283,8 @@ aumentada un intervalo menor que la quinta doble disminuida, independientemente del número de semitonos de cada uno de ellos. @lilypond[verbatim,quote] -\relative c'' { - c2 fis +\relative { + c''2 fis c2 ges b2 eisis b2 feses @@ -479,8 +479,8 @@ notas: @lilypond[quote,verbatim] \language "italiano" -\relative do' { - do re mi sib +\relative { + do' re mi sib } @end lilypond @@ -656,8 +656,8 @@ absoluta @code{d''} en lugar de @code{d'} como indica la corrección de octava. @lilypond[verbatim,quote] -\relative c'' { - c2 d='4 d +\relative { + c''2 d='4 d e2 f } @end lilypond @@ -673,8 +673,8 @@ modifica. Las notas posteriores están en relación a la @code{@var{altura_de_control}}. @lilypond[verbatim,quote] -\relative c'' { - c2 d +\relative { + c''2 d \octaveCheck c' e2 f } @@ -685,8 +685,8 @@ comprobaciones de @code{\octaveCheck} fracasan, pero la segunda es correcta. @lilypond[verbatim,quote] -\relative c'' { - c4 f g f +\relative { + c''4 f g f c4 \octaveCheck c' @@ -742,9 +742,9 @@ armadura de la tonalidad se transporta automáticamente. @lilypond[verbatim,quote] \transpose d e { - \relative c' { + \relative { \key d \major - d4 fis a d + d'4 fis a d } } @end lilypond @@ -756,9 +756,9 @@ está escrito), la particella correspondiente se produce mediante: @lilypond[verbatim,quote] \transpose a c' { - \relative c' { + \relative { \key c \major - c4 d e g + c'4 d e g } } @end lilypond @@ -775,7 +775,7 @@ notas no se mueven de su lugar en la escala, en cambio la segunda imprime bemoles de la nota siguiente. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \transpose c cis { \music } \transpose c des { \music } @@ -870,7 +870,7 @@ manera que @code{@var{nota-pivote}} se hace corresponder con @code{@var{nota-destino}}. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \music \inversion d' d' \music @@ -903,7 +903,7 @@ Se puede revertir una expresión musical para producir su retrogradación: @lilypond[verbatim,quote] -music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 } +music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 } \new Staff { \music @@ -963,8 +963,8 @@ número de grados de la escala dados por el intervalo entre @var{nota-destino} y @var{nota-origen}: @lilypond[verbatim,quote] -diatonicScale = \relative c' { c d e f g a b } -motif = \relative c' { c8 d e f g a b c } +diatonicScale = \relative { c' d e f g a b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -977,8 +977,8 @@ Se pueden especificar escalas ascendentes de cualquier longitud y con cualesquiera intervalos: @lilypond[verbatim,quote] -pentatonicScale = \relative c' { ges aes bes des ees } -motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> } +pentatonicScale = \relative { ges aes bes des ees } +motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> } \new Staff { \motif @@ -991,8 +991,8 @@ tiene un efecto similar a @code{\transpose}, pero con la posibilidad de especificar los nombres de las notas que se quieren usar: @lilypond[verbatim,quote] -chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b } -motif = \relative c' { c8 d e f g a b c } +chromaticScale = \relative { c' cis d dis e f fis g gis a ais b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -1029,8 +1029,8 @@ escala, utilice el mismo valor para @var{nota-pivote} y @var{nota-destino}: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1044,8 +1044,8 @@ un grado de la escala. Las dos notas especificadas se pueden interpretar como que horquillan entre ellas a la nota pivote: @lilypond[verbatim,quote] -scale = \relative c' { c g' } -motive = \relative c' { c c g' c, } +scale = \relative { c' g' } +motive = \relative { c' c g' c, } \new Staff { \motive @@ -1057,8 +1057,8 @@ La operación combinada de inversión y retrogradación produce la inversión retrógrada: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1341,8 +1341,8 @@ comienza en Do. freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL) (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT)) -\relative c' { - \key c \freygish c4 des e f +\relative { + \key c \freygish c'4 des e f \bar "||" \key d \freygish d es fis g } @end lilypond @@ -1597,12 +1597,12 @@ muestra de cada uno de los estilos, utilizamos el ejemplo siguiente: @lilypond[verbatim,quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1612,8 +1612,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1678,12 +1678,12 @@ imprimen becuadros antes del Si natural en el segundo compás ni en el @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1693,8 +1693,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1751,12 +1751,12 @@ deben usar en su lugar los estilos @code{modern} o @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1766,8 +1766,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1816,12 +1816,12 @@ Do en el segundo compás del pentagrama superior: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1831,8 +1831,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1878,12 +1878,12 @@ tamaño reducido definiendo la propiedad @code{cautionary-style} de @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1893,8 +1893,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1943,12 +1943,12 @@ causa de la alteración en otra voz en el compás previo: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1958,8 +1958,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2004,12 +2004,12 @@ regla, algunas de ellas se tipografÃan como de precaución. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2019,8 +2019,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2068,12 +2068,12 @@ Este estilo de alteración se aplica de manera predeterminada al grupo @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2083,8 +2083,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2128,12 +2128,12 @@ alteraciones añadidas compuestas como de precaución. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2143,8 +2143,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2186,12 +2186,12 @@ compás (excepto si la nota se repite inmediatamente). @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2201,8 +2201,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2243,12 +2243,12 @@ adicionales se imprimen como alteraciones de precaución. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2258,8 +2258,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2303,12 +2303,12 @@ voces que están en el mismo pentagrama @code{Staff}. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2318,8 +2318,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2360,12 +2360,12 @@ adicionales se imprimen como alteraciones de precaución. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2375,8 +2375,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2419,12 +2419,12 @@ alteración, incluso becuadros. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2434,8 +2434,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2480,12 +2480,12 @@ si la nota se repite inmediatamente. @lilypond[quote,staffsize=18] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2495,8 +2495,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2539,12 +2539,12 @@ siempre} y no sólo dentro del mismo compás: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2554,8 +2554,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2598,12 +2598,12 @@ estén afectadas por lo que viene antes. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2613,8 +2613,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2744,8 +2744,8 @@ tonalidad. } } -\relative c'' { - aes c e2 +\relative { + aes' c e2 cis,1 } @end lilypond diff --git a/Documentation/es/notation/repeats.itely b/Documentation/es/notation/repeats.itely index c13b47241b..b463d59e46 100644 --- a/Documentation/es/notation/repeats.itely +++ b/Documentation/es/notation/repeats.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @node Repeticiones @section Repeticiones @@ -535,8 +535,8 @@ una lista de Scheme. @lilypond[verbatim,quote] voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } -\relative c'' { - c1 +\relative { + c''1 \set Score.repeatCommands = #(list(list 'volta voltaAdLib) 'start-repeat) c4 b d e diff --git a/Documentation/es/notation/rhythms.itely b/Documentation/es/notation/rhythms.itely index a2ccb6670b..abede20ed3 100644 --- a/Documentation/es/notation/rhythms.itely +++ b/Documentation/es/notation/rhythms.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Duraciones @section Duraciones @@ -1674,10 +1674,10 @@ forma manual, pues el escalado de las duraciones afecta a las reglas de barrado automático. @lilypond[quote,verbatim] -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -1720,10 +1720,10 @@ independiente trasladando los grabadores @code{Timing_translator} y % Now each staff has its own time signature. -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -2169,8 +2169,8 @@ más bajo, se aplican los ajustes del contexto circundante. \set Staff.beatStructure = #'(2 3 2) << \new Voice = one { - \relative c'' { - a8 a a a a a a + \relative { + a'8 a a a a a a } } \new Voice = two { @@ -3667,8 +3667,8 @@ de música como argumento y generan un @code{\skip} o silencio multicompás, de la longitud exacta del fragmento. @lilypond[verbatim,quote] -MyCadenza = \relative c' { - c4 d8 e f g g4 +MyCadenza = \relative { + c'4 d8 e f g g4 f2 g4 g } diff --git a/Documentation/es/notation/simultaneous.itely b/Documentation/es/notation/simultaneous.itely index f156efd7e2..a14619123a 100644 --- a/Documentation/es/notation/simultaneous.itely +++ b/Documentation/es/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translation status: post-GDP @@ -227,8 +227,8 @@ la distinta escritura de octava en la última nota de este ejemplo. \new Voice \relative c'' { \chordRepeats #'(articulation-event) - \relative c'' - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + \relative + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c | } @end lilypond @@ -803,10 +803,10 @@ las mismas dentro de su archivo de entrada ¡no serÃa el mismo que el orden vertical de las voces en el pentagrama!} @lilypond[quote,verbatim] -\new Staff \relative c'' { +\new Staff \relative { %% abbreviated entry << - { f2 } % 1: highest + { f''2 } % 1: highest \\ { g,2 } % 2: lowest \\ @@ -926,17 +926,17 @@ Se utilizan las mismas variables para las partes independientes y el pentagrama combinado. @lilypond[quote,verbatim] -instrumentOne = \relative c' { - c4 d e f | +instrumentOne = \relative { + c'4 d e f | R1 | d'4 c b a | b4 g2 f4 | e1 | } -instrumentTwo = \relative g' { +instrumentTwo = \relative { R1 | - g4 a b c | + g'4 a b c | d4 c b a | g4 f( e) d | e1 | @@ -1040,8 +1040,8 @@ instrumentOne = \relative c' { \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" | c2 c | } -instrumentTwo = \relative c' { - c2 c | +instrumentTwo = \relative { + c'2 c | e2 e | a,2 c | c2 c' | diff --git a/Documentation/es/notation/spacing.itely b/Documentation/es/notation/spacing.itely index 52e79ddc8b..5e18d993c1 100644 --- a/Documentation/es/notation/spacing.itely +++ b/Documentation/es/notation/spacing.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.12" +@c \version "2.19.21" @ignore GDP TODO list @@ -1160,7 +1160,7 @@ adecuado, por ejemplo: tagline = ##f } \score { - \relative c'' { c1 \break c1 \break c1 } + \relative { c''1 \break c1 \break c1 } } } @end lilypond @@ -1535,9 +1535,9 @@ paralelo con la música: @lilypond[quote,ragged-right,verbatim] \new Voice \with { \remove "Forbid_line_break_engraver" -} \relative c'' { +} \relative { << - { c2. \tuplet 3/2 { c4 c c } c2. | } + { c''2. \tuplet 3/2 { c4 c c } c2. | } { s1 | \break s1 | } >> } @@ -1887,7 +1887,7 @@ las instrucciones @code{\pageBreak} explÃcitas y en ningún otro lugar. ragged-bottom = ##t } -music = \relative c'' { c8 c c c } +music = \relative { c''8 c c c } \score { \new Staff { @@ -1923,7 +1923,7 @@ La información sobre saltos de lÃnea y de página suele aparecer directamente entremezclado dentro del código de notas. @example -music = \relative c'' @{ c4 c c c @} +music = \relative @{ c''4 c c c @} \score @{ \new Staff @{ @@ -1944,7 +1944,7 @@ contiene solamente desplazamientos o @q{skips} junto con los disposición de los saltos. @lilypond[quote,verbatim] -music = \relative c'' { c4 c c c } +music = \relative { c''4 c c c } \header { tagline = ##f } \paper { left-margin = 0\mm } @@ -1974,7 +1974,7 @@ propiedades de @code{NonMusicalPaperColumnGrob}, como se explica en @ref{Espaciado vertical}. @lilypond[quote,verbatim] -music = \relative c'' { c4 c c c } +music = \relative { c''4 c c c } \header { tagline = ##f } \paper { left-margin = 0\mm } @@ -3131,8 +3131,8 @@ que @code{ly:make-moment} construye una duración, por lo que @code{1 @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -3142,8 +3142,8 @@ que @code{ly:make-moment} construye una duración, por lo que @code{1 @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -3766,8 +3766,8 @@ El ejemplo siguiente ilustra el espaciado predeterminado: @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | @@ -3784,8 +3784,8 @@ duración se produce un efecto de @q{apretujamiento}: @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | diff --git a/Documentation/es/notation/staff.itely b/Documentation/es/notation/staff.itely index deb2c4b0c5..7142b47144 100644 --- a/Documentation/es/notation/staff.itely +++ b/Documentation/es/notation/staff.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Notación de los pentagramas @section Notación de los pentagramas @@ -358,15 +358,15 @@ pero se puede activar con una opción de @code{\paper}. \score { \new StaffGroup << \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } } \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } @@ -602,8 +602,8 @@ Los pentagramas @notation{Ossia} se pueden preparar mediante la creación de un pentagrama simultáneo nuevo en la posición adecuada: @lilypond[verbatim,quote] -\new Staff \relative c'' { - c4 b d c +\new Staff \relative { + c''4 b d c << { c4 b d c } \new Staff { e4 d f e } @@ -625,8 +625,8 @@ para alinear el pentagrama de ossia. Este método es muy conveniente cuando se necesitan sólo algunos pentagramas de ossia. @lilypond[verbatim,quote] -\new Staff = "main" \relative c'' { - c4 b d c +\new Staff = "main" \relative { + c''4 b d c << { c4 b d c } @@ -663,8 +663,8 @@ en ejemplo siguiente. } { \stopStaff s1*6 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 << { e4 f e2 } \context Staff = "ossia" { @@ -698,12 +698,12 @@ sobre @code{\RemoveEmptyStaves}, consulte @ref{Ocultar pentagramas}. fontSize = #-3 \override StaffSymbol.staff-space = #(magstep -3) \override StaffSymbol.thickness = #(magstep -3) - } \relative c'' { + } \relative { R1*3 - c4 e8 d c2 + c''4 e8 d c2 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 e4 f e2 g4 a g2 \break c4 b c2 @@ -773,7 +773,7 @@ alternativa se puede utilizar la instrucción @code{\stopStaff}. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c''' { a8 f e16 d c b a2 } +\relative { a''8 f e16 d c b a2 } @end lilypond Se pueden ocultar los pentagramas que están vacÃos mediante la @@ -794,9 +794,9 @@ separación o una combinación de estos elementos.} } } -\relative c' << +\relative << \new Staff { - e4 f g a \break + e'4 f g a \break b1 \break a4 b c2 } @@ -1111,12 +1111,12 @@ citada, tal y como se definió con @code{\addQuote}, y una expresión musical que indica la duración de la cita. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { s1 } } \addQuote "flute" { \fluteNotes } @@ -1135,12 +1135,12 @@ multicompás, se produce una situación de polifonÃa, lo que no suele ser deseable: @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } } \addQuote "flute" { \fluteNotes } @@ -1165,8 +1165,8 @@ clarinetNotes = \relative c'' { b4 ais a ais | cis4^"quoted" r8 bis\p b4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"clarinet" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"clarinet" { s1 } } \addQuote "clarinet" { \clarinetNotes } @@ -1197,13 +1197,13 @@ música que se cita se imprimen, mediante la propiedad de contexto @code{quotedEventTypes}. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a2 g2 | +fluteNotes = \relative { + a'2 g2 | b4\<^"quoted" r8 ais a4\f( c->) } -oboeNotes = \relative c'' { - c2. b4 | +oboeNotes = \relative { + c''2. b4 | \quoteDuring #"flute" { s1 } } @@ -1348,8 +1348,8 @@ determinando cómo se imprimen las notas guÃa en relación a la otra voz. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 | d8 c d e fis2 | g2 d | +fluteNotes = \relative { + r2. c''4 | d8 c d e fis2 | g2 d | } oboeNotes = \relative c'' { @@ -1384,8 +1384,8 @@ declarar explÃcitamente, pues en caso contrario toda la expresión musical pertenecerÃa al contexto @code{CueVoice}.} @lilypond[verbatim,quote] -oboeNotes = \relative c'' { - r2 r8 d16(\f f e g f a) +oboeNotes = \relative { + r2 r8 d''16(\f f e g f a) g8 g16 g g2. } \addQuote "oboe" { \oboeNotes } @@ -1408,8 +1408,8 @@ notas guÃa requieren un cambio de clave, puede hacerse manualmente pero la clave original se debe restaurar al final de las notas guÃa. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1437,8 +1437,8 @@ automáticamente la clave original una vez que ha finalizado la serie de notas guÃa. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1472,10 +1472,10 @@ Esto es útil para toma citas de un instrumento que está en un registro completamente diferente. @lilypond[verbatim,quote] -piccoloNotes = \relative c''' { +piccoloNotes = \relative { \clef "treble^8" R1 - c8 c c e g2 + c'''8 c c e g2 c4 g g2 } @@ -1514,8 +1514,8 @@ instrumento fuente, pueden marcarse para su inclusión selectiva dentro de la partitura; véase @ref{Uso de etiquetas}. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { diff --git a/Documentation/es/notation/text.itely b/Documentation/es/notation/text.itely index 8f970d3fdd..b2aead97c4 100644 --- a/Documentation/es/notation/text.itely +++ b/Documentation/es/notation/text.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @node Texto @section Texto @@ -1277,7 +1277,7 @@ un bloque @code{\layout}, como se muestra aquÃ: @lilypond[quote,verbatim,relative=1] c4 d^\markup { \score { - \relative c' { c4 d e f } + \relative { c'4 d e f } \layout { } } } diff --git a/Documentation/es/notation/vocal.itely b/Documentation/es/notation/vocal.itely index 02082914d7..c5212cbfc9 100644 --- a/Documentation/es/notation/vocal.itely +++ b/Documentation/es/notation/vocal.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Música vocal @section Música vocal @@ -172,7 +172,7 @@ grabe con la codificación UTF-8. Para más información, consulte @ref{Caracteres especiales}. @lilypond[quote,verbatim] -\relative c'' { d8 c16 a bes8 f e' d c4 } +\relative { d''8 c16 a bes8 f e' d c4 } \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, } @end lilypond @@ -181,7 +181,7 @@ precedidas por el carácter de barra invertida y la sÃlaba en su conjunto se debe encerrar en otro par de comillas. Por ejemplo, @lilypond[quote,verbatim] -\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. } +\relative { \time 3/4 e'4 e4. e8 d4 e d c2. } \addlyrics { "\"I" am so lone -- "ly,\"" said she } @end lilypond @@ -296,9 +296,9 @@ explÃcitamente, y se escriben con @code{\lyricmode}. @lilypond[quote,ragged-right,verbatim] << - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c''4 b8. a16 g4. f8 e4 d c2 } % uses previous explicit duration of 2; @@ -449,7 +449,7 @@ He aquà un ejemplo: @lilypond[verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } } @end lilypond @@ -459,7 +459,7 @@ Se pueden añadir más versos poniendo más secciones @code{\addlyrics}: @lilypond[ragged-right,verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } \addlyrics { speel het spel } \addlyrics { joue le jeu } @@ -553,8 +553,8 @@ He aquà dos ejemplos: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - c2 c2 + \relative { + c''2 c2 d1 } } @@ -564,8 +564,8 @@ He aquà dos ejemplos: } } \new Staff { - \relative c' { - c8 c c c c c c c + \relative { + c'8 c c c c c c c c8 c c c c c c c } } @@ -921,8 +921,8 @@ Se pueden crear variables que contienen letra, pero la letra se debe introducir en el modo de letra: @lilypond[quote,verbatim] -musicOne = \relative c'' { - c4 b8. a16 g4. f8 e4 d c2 +musicOne = \relative { + c''4 b8. a16 g4. f8 e4 d c2 } verseOne = \lyricmode { Joy to the world, the Lord is come. @@ -951,8 +951,8 @@ debajo. Esto asegura que las voces referenciadas por @code{\lyricsto} siempre han sido definidas previamente. Por ejemplo: @lilypond[quote,verbatim] -sopranoMusic = \relative c'' { c4 c c c } -contraltoMusic = \relative c'' { a4 a a a } +sopranoMusic = \relative { c''4 c c c } +contraltoMusic = \relative { a'4 a a a } sopranoWords = \lyricmode { Sop -- ra -- no words } contraltoWords = \lyricmode { Con -- tral -- to words } @@ -1011,7 +1011,7 @@ contexto Staff: << \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics { @@ -1033,7 +1033,7 @@ posición de la letra: << \new Staff = "staff" { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics \with { alignAboveContext = "staff" } { @@ -1060,7 +1060,7 @@ referencia, usando @code{\context}, como se ve a continuación: } \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \context Lyrics = "lyrics" { @@ -1081,7 +1081,7 @@ ejemplo del segundo método: \new ChoirStaff << \new Staff { \new Voice = "sopranos" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics = "sopranos" @@ -1091,7 +1091,7 @@ ejemplo del segundo método: } \new Staff { \new Voice = "contraltos" { - \relative c'' { a4 a a a } + \relative { a'4 a a a } } } \context Lyrics = "sopranos" { @@ -1152,8 +1152,8 @@ la propiedad dentro del bloque @code{\layout}. @lilypond[verbatim,quote,ragged-right] \score { - \relative c' { - c c c c + \relative { + c' c c c c c c c } \addlyrics { @@ -1220,8 +1220,8 @@ música, si el texto no cambia. << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1245,8 +1245,8 @@ se despliegan. << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1270,8 +1270,8 @@ escriba simplemente todo el texto: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat unfold 2 { b4 b b b } } } @@ -1297,8 +1297,8 @@ anidados correctamente en secciones paralelas: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1324,8 +1324,8 @@ Se pueden añadir más estrofas de una manera similar: << \new Staff { \new Voice = "singleVoice" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1364,8 +1364,8 @@ Para posicionarlos correctamente utilice @code{alignBelowContext}: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1389,8 +1389,8 @@ Para posicionarlos correctamente utilice @code{alignBelowContext}: The end sec -- tion. } \new Voice = "harmony" { - \relative c' { - f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 + \relative { + f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 } } >> @@ -1420,8 +1420,8 @@ música. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b } \alternative { { b b } { b c } } } @@ -1989,8 +1989,8 @@ se utiliza @code{\lyricsto}, pero este comportamiento puede cambiarse: @lilypond[verbatim,ragged-right,quote] << - \new Voice = melody \relative c' { - f4 \appoggiatura a32 b4 + \new Voice = melody \relative { + f'4 \appoggiatura a32 b4 \grace { f16 a16 } b2 \afterGrace b2 { f16[ a16] } \appoggiatura a32 b4 @@ -2118,8 +2118,8 @@ Tenga en cuenta que existen dos formas distintas de forzar los saltos de lÃnea al utilizar @code{\markup}. @lilypond[ragged-right,verbatim,quote] -melody = \relative c' { -e d c d | e e e e | +melody = \relative { +e' d c d | e e e e | d d e d | c1 | } @@ -2161,8 +2161,8 @@ verso fuera del margen precede a cada verso. El ejemplo siguiente muestra cómo producir dicha salida en LilyPond. @lilypond[ragged-right,quote,verbatim] -melody = \relative c' { - c4 c c c | d d d d +melody = \relative { + c'4 c c c | d d d d } text = \lyricmode { @@ -2471,12 +2471,12 @@ pautas respectivas, como se muestra aquÃ: \new ChoirStaff << \new Staff { \new Voice { - \relative c'' { g4\f g g g } + \relative { g'4\f g g g } } } \new Staff { \new Voice { - \relative c' { d4 d d\p d } + \relative { d'4 d d\p d } } } >> @@ -2656,9 +2656,9 @@ pentagrama cuando éste está dedicado a dicho personaje solamente: \new Staff { \set Staff.vocalName = \markup \smallCaps Kaspar \set Staff.shortVocalName = \markup \smallCaps Kas. - \relative c' { + \relative { \clef "G_8" - c4 c c c + c'4 c c c \break c4 c c c } @@ -2667,7 +2667,7 @@ pentagrama cuando éste está dedicado a dicho personaje solamente: \set Staff.vocalName = \markup \smallCaps Melchior \set Staff.shortVocalName = \markup \smallCaps Mel \clef "bass" - \relative c' { + \relative { a4 a a a a4 a a a } @@ -2764,13 +2764,13 @@ comienzo de las notas guÃa, y cerca de ellas. El siguiente ejemplo muestra cómo se hace esto. @lilypond[quote,verbatim] -flute = \relative c'' { - s4 s4 e g +flute = \relative { + s4 s4 e'' g } \addQuote "flute" { \flute } -pianoRH = \relative c'' { - c4. g8 +pianoRH = \relative { + c''4. g8 % position name of cue-ing instrument just before the cue notes, % and above the staff \new CueVoice { @@ -2779,7 +2779,7 @@ pianoRH = \relative c'' { } \cueDuring "flute" #UP { g4 bes4 } } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { \new PianoStaff << @@ -2825,7 +2825,7 @@ pianoRH = \relative c'' { \cueDuring "clarinet" #DOWN { c4. g8 } g4 bes4 } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { << @@ -3050,15 +3050,15 @@ pentagramas, suprima completamente el grabador de barras: \score { \new StaffGroup << \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3081,15 +3081,15 @@ pentagrama: \new ChoirStaff << \new Staff \with { \remove "Bar_engraver" } { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3161,8 +3161,8 @@ finalis = { } \score { - \relative c'' { - g2 a4 g + \relative { + g'2 a4 g \divisioMinima g2 a4 g \divisioMaior @@ -3186,8 +3186,8 @@ omiten la clave también. @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3213,22 +3213,22 @@ siempre contiene un único acorde en redondas. Ésta es la @qq{nota de recitado}. Los cánticos se suelen centrar sobre la página. @lilypond[verbatim,quote] -SopranoMusic = \relative g' { - g1 | c2 b | a1 | \bar "||" +SopranoMusic = \relative { + g'1 | c2 b | a1 | \bar "||" a1 | d2 c | c b | c1 | \bar "||" } -AltoMusic = \relative c' { - e1 | g2 g | f1 | +AltoMusic = \relative { + e'1 | g2 g | f1 | f1 | f2 e | d d | e1 | } -TenorMusic = \relative a { - c1 | c2 c | c1 | +TenorMusic = \relative { + c'1 | c2 c | c1 | d1 | g,2 g | g g | g1 | } -BassMusic = \relative c { +BassMusic = \relative { c1 | e2 e | f1 | d1 | b2 c | g' g | c,1 | } diff --git a/Documentation/es/notation/world.itely b/Documentation/es/notation/world.itely index 6dc0fdf271..d8b2259138 100644 --- a/Documentation/es/notation/world.itely +++ b/Documentation/es/notation/world.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Músicas del mundo @section Músicas del mundo @@ -201,8 +201,8 @@ Por ejemplo, asà es como puede ser la notación de la escala árabe @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { - do re misb fa sol la sisb do sisb la sol fa misb re do +\relative { + do' re misb fa sol la sisb do sisb la sol fa misb re do } @end lilypond diff --git a/Documentation/es/usage/external.itely b/Documentation/es/usage/external.itely index fa6fe5ed24..a16a2a8967 100644 --- a/Documentation/es/usage/external.itely +++ b/Documentation/es/usage/external.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Programas externos @chapter Programas externos @@ -275,8 +275,8 @@ Codificado de forma fija dentro del archivo @file{.ly}: @example \pointAndClickTypes #'note-event -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -284,8 +284,8 @@ o bien @example #(ly:set-option 'point-and-click 'note-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -306,8 +306,8 @@ Codificado de forma fija dentro del archivo @file{.ly}: @example \pointAndClickTypes #'(note-event dynamic-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -315,8 +315,8 @@ o bien @example #(ly:set-option 'point-and-click '(note-event dynamic-event)) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example diff --git a/Documentation/es/usage/lilypond-book.itely b/Documentation/es/usage/lilypond-book.itely index b223e0c4be..4542667022 100644 --- a/Documentation/es/usage/lilypond-book.itely +++ b/Documentation/es/usage/lilypond-book.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Note: keep this node named so that `info lilypond-book' brings you here. @node lilypond-book @@ -91,8 +91,8 @@ Los documentos para \verb+lilypond-book+ pueden mezclar libremente música y texto. Por ejemplo: \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -153,8 +153,8 @@ Los documentos para @command{lilypond-book} pueden mezclar libremente música y texto. Por ejemplo: @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -180,8 +180,8 @@ de una construcción @code{\book @{ @}}. title = "Una escala en LilyPond" } - \relative c' { - c d e f g a b c + \relative { + c' d e f g a b c } } @end lilypond @@ -812,8 +812,8 @@ el modo relativo, pero la cita preformateada no presentará el bloque @code{relative}, es decir @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1209,8 +1209,8 @@ LaTeX. Texto normal en LaTeX. \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1235,7 +1235,7 @@ todo el presente manual está escrito en Texinfo. Texto en Texinfo @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1262,8 +1262,8 @@ d4 c b a Los documentos para lilypond-book pueden mezclar música y texto libremente. Por ejemplo, <lilypond> -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d <p> Otro poco de lilypond, esta vez con opciones: diff --git a/Documentation/es/usage/running.itely b/Documentation/es/usage/running.itely index bdcebc5435..5815e50763 100644 --- a/Documentation/es/usage/running.itely +++ b/Documentation/es/usage/running.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @node Ejecutar LilyPond @@ -1078,7 +1078,7 @@ cada uno de los cuales crea implÃcitamente bloques @code{Staff} y @lilypond[quote,verbatim] \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } @end lilypond @@ -1088,7 +1088,7 @@ explÃcitamente: @lilypond[quote,verbatim] \new Voice { \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } } @end lilypond diff --git a/Documentation/es/usage/suggestions.itely b/Documentation/es/usage/suggestions.itely index b974c54af6..19aafd3e86 100644 --- a/Documentation/es/usage/suggestions.itely +++ b/Documentation/es/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Sugerencias para escribir archivos de entrada @chapter Sugerencias para escribir archivos de entrada @@ -175,8 +175,8 @@ extremadamente improbable que cambie la definición de @code{violin} en versiones nuevas de LilyPond. @example -violin = \relative c'' @{ -g4 c'8. e16 +violin = \relative @{ +g'4 c'8. e16 @} @dots{} \score @{ @@ -197,8 +197,8 @@ nada dentro de @code{violin}. @example fluegop = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violin = \relative c'' @{ -g4\fluegop c'8. e16 +violin = \relative @{ +g'4\fluegop c'8. e16 @} @end example @@ -246,9 +246,9 @@ en comentarios toda la música del bajo (pero deje el @code{\bajo} de la sección @code{\score} no comentado. @example -bajo = \relative c' @{ +bajo = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/Documentation/essay/engraving.itely b/Documentation/essay/engraving.itely index 7797a5468a..412813cd0a 100644 --- a/Documentation/essay/engraving.itely +++ b/Documentation/essay/engraving.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Music engraving @chapter Music engraving @@ -622,7 +622,7 @@ it is the most attractive of the three configurations, so LilyPond selects this one: @lilypond -\relative c { +\relative { \clef bass e8[(_"12.04" f] g[ a b d,)] r4 } @@ -738,10 +738,10 @@ For our comparison we selected Bach's Fugue in G minor from the Well-Tempered Clavier, Book I, BWV 861, whose opening subject is @lilypond -\relative c' { +\relative { \key g \minor \clef "treble_8" - r8 d ees g, fis4 g + r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes8 } @end lilypond @@ -1032,12 +1032,12 @@ nature of music notation: @lilypond[quote,fragment] << - \new Staff \relative c'' { + \new Staff \relative { \key g \major \time 3/4 - d4 g,8 a b c d4 g, g + d''4 g,8 a b c d4 g, g } - \new Staff \relative c' { + \new Staff \relative { \clef "bass" \key g \major <g b d>2 a4 b2. @@ -1099,7 +1099,7 @@ consider a more complicated musical example: } >> \new Staff = "LH" << - \new Voice = "III" \relative c' { + \new Voice = "III" \relative { \time 2/4 \clef "bass" g4 \stopStaff s @@ -1482,9 +1482,9 @@ By adding chord names and lyrics we obtain a lead sheet. << \chords { c2 c f2 c } \new Staff - \relative c' { + \relative { \time 2/4 - c4 c g' g a a g2 + c'4 c g' g a a g2 } \addlyrics { twin -- kle twin -- kle lit -- tle star } >> diff --git a/Documentation/extending/programming-interface.itely b/Documentation/extending/programming-interface.itely index 9da93f5615..dd9094e435 100644 --- a/Documentation/extending/programming-interface.itely +++ b/Documentation/extending/programming-interface.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.12" +@c \version "2.19.21" @node Interfaces for programmers @chapter Interfaces for programmers @@ -489,8 +489,8 @@ AltOff = { \revert NoteHead.font-size } -\relative c' { - c2 \AltOn #0.5 c4 c +\relative { + c'2 \AltOn #0.5 c4 c \AltOn #1.5 c c \AltOff c2 } @end lilypond @@ -512,8 +512,8 @@ withAlt = \revert NoteHead.font-size #}) -\relative c' { - c2 \withAlt #0.5 { c4 c } +\relative { + c'2 \withAlt #0.5 { c4 c } \withAlt #1.5 { c c } c2 } @end lilypond @@ -574,7 +574,7 @@ dynamics: @lilypond[quote,verbatim,ragged-right] dyn=#(define-event-function (parser location arg) (markup?) (make-dynamic-script arg)) -\relative c' { c\dyn pfsss } +\relative { c'\dyn pfsss } @end lilypond You could do the same using a music function, but then you always would have to write a direction indicator before calling it, like @@ -1220,9 +1220,9 @@ desaturate = (ly:context-pushpop-property context grob 'color new-color))) (for-each desaturate-grob '(NoteHead Stem Beam))) -\relative g' { +\relative { \time 3/4 - g8[ g] \desaturate g[ g] \desaturate g[ g] + g'8[ g] \desaturate g[ g] \desaturate g[ g] \override NoteHead.color = #darkred \override Stem.color = #darkred \override Beam.color = #darkred @@ -1310,7 +1310,7 @@ note-heads on the center-line and next to it: (< (abs (ly:grob-property grob 'staff-position)) 2)) (set! (ly:grob-property grob 'transparent) #t))) -\relative c' { +\relative { a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2 } @end lilypond @@ -1401,8 +1401,8 @@ inflexibility. For example, the following produces a syntax error @example F = \tweak font-size #-3 -\flageolet -\relative c'' @{ - c4^\F c4_\F +\relative @{ + c''4^\F c4_\F @} @end example @@ -1419,8 +1419,8 @@ F = #(let ((m (make-music 'ArticulationEvent (ly:music-property m 'tweaks))) m) -\relative c'' @{ - c4^\F c4_\F +\relative @{ + c''4^\F c4_\F @} @end example diff --git a/Documentation/extending/scheme-tutorial.itely b/Documentation/extending/scheme-tutorial.itely index a399570dec..eaffe70a48 100644 --- a/Documentation/extending/scheme-tutorial.itely +++ b/Documentation/extending/scheme-tutorial.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @node Scheme tutorial @chapter Scheme tutorial @@ -1557,8 +1557,8 @@ padText = #(define-music-function (parser location padding) (number?) \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b +\relative { + c'''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" d e f \padText #2.6 diff --git a/Documentation/fr/essay/engraving.itely b/Documentation/fr/essay/engraving.itely index 14cc057f79..00d08df3fa 100644 --- a/Documentation/fr/essay/engraving.itely +++ b/Documentation/fr/essay/engraving.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Jean-Charles Malahieude, John Mandereau, Gauvain Pocentek @@ -681,7 +681,7 @@ ajoutons 2 autres points pour la pente ascendante. Cette configuration la sélectionnons. @lilypond -\relative c { +\relative { \clef bass e8[(_"12.04" f] g[ a b d,)] r4 } @@ -806,10 +806,10 @@ du premier livre du Clavier bien tempéré de Bach (BWV 861). En voici le thème : @lilypond -\relative c' { +\relative { \key g \minor \clef "treble_8" - r8 d ees g, fis4 g + r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes8 } @end lilypond @@ -1115,12 +1115,12 @@ nature par essence hiérarchique de la notation musicale : @lilypond[quote,fragment] << -\new Staff \relative c'' { +\new Staff \relative { \key g \major \time 3/4 - d4 g,8 a b c d4 g, g + d''4 g,8 a b c d4 g, g } -\new Staff \relative c' { +\new Staff \relative { \clef "bass" \key g \major <g b d>2 a4 b2. @@ -1182,7 +1182,7 @@ musique se complique : } >> \new Staff = "LH" << - \new Voice = "III" \relative c' { + \new Voice = "III" \relative { \time 2/4 \clef "bass" g4 \stopStaff s @@ -1586,9 +1586,9 @@ populaire@dots{} << \chords { c2 c f2 c } \new Staff - \relative c' { + \relative { \time 2/4 - c4 c g' g a a g2 + c'4 c g' g a a g2 } \addlyrics { twin -- kle twin -- kle lit -- tle star } >> diff --git a/Documentation/fr/extending/programming-interface.itely b/Documentation/fr/extending/programming-interface.itely index 053c9db626..0a32fae41a 100644 --- a/Documentation/fr/extending/programming-interface.itely +++ b/Documentation/fr/extending/programming-interface.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.12" +@c \version "2.19.21" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Gilles Thibault @@ -554,8 +554,8 @@ AltOff = { \revert NoteHead.font-size } -\relative c' { - c2 \AltOn #0.5 c4 c +\relative { + c'2 \AltOn #0.5 c4 c \AltOn #1.5 c c \AltOff c2 } @end lilypond @@ -578,8 +578,8 @@ withAlt = \revert NoteHead.font-size #}) -\relative c' { - c2 \withAlt #0.5 { c4 c } +\relative { + c'2 \withAlt #0.5 { c4 c } \withAlt #1.5 { c c } c2 } @end lilypond @@ -651,7 +651,7 @@ quelle nuance : @lilypond[quote,verbatim,ragged-right] dyn=#(define-event-function (parser location arg) (markup?) (make-dynamic-script arg)) -\relative c' { c\dyn pfsss } +\relative { c'\dyn pfsss } @end lilypond Vous pourriez obtenir le même résultat avec une fonction musicale, à @@ -1344,9 +1344,9 @@ desaturate = (ly:context-pushpop-property context grob 'color new-color))) (for-each desaturate-grob '(NoteHead Stem Beam))) -\relative g' { +\relative { \time 3/4 - g8[ g] \desaturate g[ g] \desaturate g[ g] + g'8[ g] \desaturate g[ g] \desaturate g[ g] \override NoteHead.color = #darkred \override Stem.color = #darkred \override Beam.color = #darkred @@ -1435,7 +1435,7 @@ sur la ligne médiane ou bien directement à son contact. (< (abs (ly:grob-property grob 'staff-position)) 2)) (set! (ly:grob-property grob 'transparent) #t))) -\relative c' { +\relative { a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2 } @end lilypond @@ -1536,8 +1536,8 @@ sa syntaxe. Par exemple, le code suivant produit une erreur de syntaxe @example F = \tweak font-size #-3 -\flageolet -\relative c'' @{ - c4^\F c4_\F +\relative @{ + c''4^\F c4_\F @} @end example @@ -1555,8 +1555,8 @@ F = #(let ((m (make-music 'ArticulationEvent (ly:music-property m 'tweaks))) m) -\relative c'' @{ - c4^\F c4_\F +\relative @{ + c''4^\F c4_\F @} @end example diff --git a/Documentation/fr/extending/scheme-tutorial.itely b/Documentation/fr/extending/scheme-tutorial.itely index e08cc0a1c9..e9539c77f9 100644 --- a/Documentation/fr/extending/scheme-tutorial.itely +++ b/Documentation/fr/extending/scheme-tutorial.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Jean-Charles Malahieude @@ -1704,8 +1704,8 @@ padText = #(define-music-function (parser location padding) (number?) \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b +\relative { + c'''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" d e f \padText #2.6 diff --git a/Documentation/fr/learning/common-notation.itely b/Documentation/fr/learning/common-notation.itely index cd22acade5..911ab5aa07 100644 --- a/Documentation/fr/learning/common-notation.itely +++ b/Documentation/fr/learning/common-notation.itely @@ -26,7 +26,7 @@ Tutorial guidelines: (different from policy.txt!) @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Nicolas Grandclaude, Ludovic Sardain, Gauvain Pocentek @c Translation checkers: Jean-Charles Malahieude, Valentin Villenave, John Mandereau @@ -106,8 +106,8 @@ organisation à votre code. @c This example deliberately produces a warning @lilypond[verbatim,quote] -\relative g' { -g1 | e1 | c2. c' | g4 c g e | c4 r r2 | +\relative { +g'1 | e1 | c2. c' | g4 c g e | c4 r r2 | } @end lilypond @@ -848,9 +848,9 @@ et @code{>>}. Dans l'exemple suivant, trois expressions (contenant chacune deux notes distinctes) sont combinées simultanément. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -879,8 +879,8 @@ complexe ; dans la mesure où elle débute par une note seule, elle sera produite sur une unique portée. @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e2 f } { c <<b d>> } >> | } @end lilypond @@ -919,9 +919,9 @@ chaque partie de la musique constituant une portée. Ces éléments @code{>>}, comme ci-dessous. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -953,9 +953,9 @@ le fait que l'utilisation d'instruments transpositeurs est bien plus fréquente que la musique polyrythmique. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -1001,9 +1001,9 @@ maintenant cette expression entière est interprétée dans un contexte Voici un bref exemple : @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -1122,10 +1122,10 @@ Prenons une mélodie toute simple, la comptine @emph{Girls and boys come out to play}. @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -1135,10 +1135,10 @@ séparant chaque syllable par une espace : @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come out to play, @@ -1171,10 +1171,10 @@ shine as bright as day}. Ajoutons-la au code. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1193,10 +1193,10 @@ les notes du mélisme. Pour les détails, consultez @ref{Liaisons}. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1214,10 +1214,10 @@ manuels ; pour ceci consultez @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1233,10 +1233,10 @@ mélisme sauf la première. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1254,10 +1254,10 @@ Didon, extraite de @notation{Didon et Énée} de Purcell. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1304,11 +1304,11 @@ la syllabe @emph{al} est chantée sur la même note que @emph{go}. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef bass \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- to -- tum del -- la cit -- tà @@ -1419,13 +1419,13 @@ utilisation dans une autre expression musicale. @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef bass e2 d } @@ -1583,10 +1583,10 @@ frappe. En mode @code{\relative}, le même exemple devient bien plus facile à lire et à saisir. @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond @@ -1607,7 +1607,7 @@ d'une imbrication de commandes @code{\relative}, chacune des sections est indépendante de l'autre : @lilypond[verbatim,quote] -\relative c { c'4 \relative c'' { f g } c } +\relative { c'4 \relative { f'' g } c } @end lilypond @funindex \absolute @@ -1617,7 +1617,7 @@ en mode relatif, dès lors qu'une commande @code{\absolute} exclut explicitement de la musique relative le fragment en question : @lilypond[verbatim,quote] -\relative c { c'4 \absolute { f'' g'' } c } +\relative { c'4 \absolute { f'' g'' } c } @end lilypond diff --git a/Documentation/fr/learning/fundamental.itely b/Documentation/fr/learning/fundamental.itely index 1717f8b24f..4a77711b0d 100644 --- a/Documentation/fr/learning/fundamental.itely +++ b/Documentation/fr/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.20" +@c \version "2.19.21" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: John Mandereau @@ -91,8 +91,8 @@ automatiquement les commandes nécessaires au traitement d'un code simpliste. LilyPond considère @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -104,8 +104,8 @@ comme un raccourci de \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -246,8 +246,8 @@ des variables, également appelées @qq{identificateurs} -- voir tous les modèles, vous trouverez : @example -melodie = \relative c' @{ - c4 a b c +melodie = \relative @{ + c'4 a b c @} \score @{ @@ -372,8 +372,8 @@ accolades qui suivent @code{\new Voice = "chant"}, on pourrait commencer à écrire @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -391,10 +391,10 @@ détails. Avec quelques notes de plus et une clef de fa, nous pourrions avoir : @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { <g d g,>2~ <g d g,> } -lower = \relative c { b2 e2 } +upper = \relative { <g' d g,>2~ <g d g,> } +lower = \relative { b,2 e2 } \score { << @@ -441,8 +441,8 @@ temporairement une nouvelle portée, l'espace de trois notes : @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f c c } @@ -466,8 +466,8 @@ Une section ossia se placera au dessus de la portée en procédant ainsi : @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f c c } @@ -705,9 +705,9 @@ l'orientation des liaisons, hampes, nuances, etc. est définie automatiquement. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -730,9 +730,9 @@ reporte jusqu'au bout, et que la voix aux triangles bleus comporte une liaison de prolongation entre deux constructions. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -820,10 +820,10 @@ les voix -- ce qui est plus compliqué sera décortiqué plus tard. @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignore these for now - they are explained in Ch 4 @@ -897,10 +897,10 @@ que nous avons appris : utilisons la construction @code{<< \\ >>} pour saisir la première mesure dans trois voix : @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } >> | <c ees aes c>1 | } @@ -921,10 +921,10 @@ vers le bas. Nous pouvons corriger cela en sautant la voix 3 et en plaçant la musique dans la voix 4 grâce à un @code{\\} supplémentaire : @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { <ees, c>2 des } \\ % Omit Voice three @@ -986,8 +986,8 @@ précédemment : @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -997,8 +997,8 @@ précédemment : @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1007,8 +1007,8 @@ Toutes deux produiront @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1030,9 +1030,9 @@ Voyons, à l'aide de ces exemples simples, les effets respectifs de annotations, liaisons de prolongation ou de phrasé, et sur les nuances. @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1102,8 +1102,8 @@ amené à recourir à une voix temporaire, ce qui peut être une manière plus naturelle de saisir la musique : @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { @@ -1288,14 +1288,14 @@ seront interprétées comme telles, et non comme de la musique. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1348,10 +1348,10 @@ elle s'appelle @qq{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1536,8 +1536,8 @@ complète et abondamment commentée : \key g \minor \clef "treble" \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. | + \relative { % start of RH notes + d''4 ees16 c8. | d4 ees16 c8. | } % end of RH notes } % end of RH voice @@ -1547,14 +1547,14 @@ complète et abondamment commentée : \clef "bass" \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 <bes d> ees, <g c> | g8 <bes d> ees, <g c> | } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees | g4 ees | } % end of LH voice two notes @@ -1829,8 +1829,8 @@ Voici comment supprimer les bécarres supplémentaires pour une portée : @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1844,8 +1844,8 @@ et pour toutes les portées : @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1925,12 +1925,12 @@ ce qui donnerait : @lilypond[quote,verbatim,ragged-right] << \new Staff - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1972,8 +1972,8 @@ avec la commande @code{\with}, puisqu'on se place dans un bloc @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -1992,13 +1992,13 @@ toutes les portées de la partition, nous utiliserons alors : \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2061,8 +2061,8 @@ lignes d'une portée sont générées par le @code{Staff_symbol_engraver}. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2149,24 +2149,24 @@ portées d'un système à quatre portées, il nous suffirait d'écrire : \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2231,7 +2231,7 @@ pour soprano et violoncelle : dans ce cas, on pourrait commencer par les @example \version @w{"@version{}"} -melodie = \relative c' @{ +melodie = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2261,7 +2261,7 @@ Jetons un coup d'Å“il sur l'exemple avec les notes seules : @example \version @w{"@version{}"} -melodie = \relative c' @{ +melodie = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2298,7 +2298,7 @@ comme le veut l'usage, et donnons-lui d'autres notes. @example \version @w{"@version{}"} -sopranoMusique = \relative c' @{ +sopranoMusique = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2309,7 +2309,7 @@ sopranoParoles = \lyricmode @{ Laaa Siii Dooo Rééé @} -violoncelleMusique = \relative c @{ +violoncelleMusique = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2368,7 +2368,7 @@ mettre un peu d'ordre dans l'indentation. Voici le modèle pour soprano et violoncelle au complet : @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2379,7 +2379,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2425,29 +2425,29 @@ Haendel : @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords @@ -2665,26 +2665,26 @@ paroles de ces trois mesures du Messie, nous obtenons : @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2996,19 +2996,19 @@ regrouper toutes les parties. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -3064,7 +3064,7 @@ Glossaire musicologique : Jusqu'à maintenant, vous avez vu ce type de code : @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { \hornNotes @@ -3076,8 +3076,8 @@ Vous comprendrez combien cela peut être utile pour écrire de la musique minimaliste : @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA \fragmentB \fragmentA } @@ -3153,8 +3153,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c'' { - c4^"piu mosso" b a b +\relative { + c''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" b a b \padText #2.6 @@ -3187,7 +3187,7 @@ exemple, supposons que le fichier @file{musique-Cor.ly} contienne la partie suivante pour un duo cor/@/basson. @example -notesCor = \relative c @{ +notesCor = \relative @{ \time 2/4 r4 f8 a | cis4 f | e d | @} @@ -3223,7 +3223,7 @@ transposé à la quinte supérieure : le son réel @code{f} s'écrit transposition est visible comme suit : @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e d | } @@ -3252,7 +3252,7 @@ Si l'on ajoute dans la musique ci-dessus le silence multimesure et cette instruction, on obtient le résultat suivant : @lilypond[quote,ragged-right] -\compressMMRests \transpose f c' \relative c { +\compressMMRests \transpose f c' \relative { \time 2/4 R2*3 | r4 f8 a | cis4 f | e d | @@ -3277,7 +3277,7 @@ tant que variable @code{notesBasson}, on établira un conducteur avec ce qui équivaut à @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/fr/learning/tutorial.itely b/Documentation/fr/learning/tutorial.itely index f51723a354..20ed5e1fac 100644 --- a/Documentation/fr/learning/tutorial.itely +++ b/Documentation/fr/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Nicolas Grandclaude, Ludovic Sardain, Gauvain Pocentek @c Translation checkers: Jean-Charles Malahieude, Valentin Villenave, John Mandereau @@ -262,8 +262,8 @@ gamme. @lilypond[verbatim,quote] % set the starting point to middle C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -277,8 +277,8 @@ avec de plus grands intervalles, toujours avec le mode @code{\relative} : @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -295,8 +295,8 @@ central : @lilypond[verbatim,quote] % one octave above middle C -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -311,8 +311,8 @@ sol ou un fa seront placés juste en-dessous du si, c'est-à -dire au plus à une quarte descendante du si. @lilypond[verbatim,quote] -\relative c'' { - b c % c is 1 staff space up, so is the c above +\relative { + b' c % c is 1 staff space up, so is the c above b d % d is 2 up or 5 down, so is the d above b e % e is 3 up or 4 down, so is the e above b a % a is 6 up or 1 down, so is the a below @@ -330,8 +330,8 @@ octave -- ou des virgules @code{,} -- qui font chacune descendre la hauteur d'une octave -- au nom de la note. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -377,8 +377,8 @@ est utilisée. En l'absence d'indication de durée, la première note est une noire. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -389,8 +389,8 @@ la valeur rythmique. Le point doit être précédé d'un nombre spécifiant la durée de base. @lilypond[verbatim,quote] -\relative c'' { - a a a4. a8 +\relative { + a' a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -410,8 +410,8 @@ On saisit un @notation{silence} tout comme une note, mais avec la lettre @code{r} (pour @emph{rest}). @lilypond[verbatim,quote] -\relative c'' { - a r r2 +\relative { + a' r r2 r8 a r4 r4. r8 } @end lilypond @@ -433,9 +433,9 @@ La @notation{métrique}, aussi appelée @notation{chiffre de mesure}, peut être définie à l'aide de la commande @code{\time} : @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -497,9 +497,9 @@ La @notation{clef} peut être définie à l'aide de la commande @code{\clef} : @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -518,10 +518,10 @@ Voici un bref exemple qui rassemble tous les éléments que nous déjà vus : @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r @@ -792,8 +792,8 @@ Essayez sur cette image : @c no verbatim here @c KEEP LY @lilypond[quote,ragged-right] -\relative c'' { - c-\markup { \bold \huge { Cliquez ici. } } +\relative { + c''-\markup { \bold \huge { Cliquez ici. } } } @end lilypond diff --git a/Documentation/fr/learning/tweaks.itely b/Documentation/fr/learning/tweaks.itely index d36555720e..56514c1050 100644 --- a/Documentation/fr/learning/tweaks.itely +++ b/Documentation/fr/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.16" +@c \version "2.19.21" @c Translators: Valentin Villenave, Nicolas Klutchnikoff, Damien Heurtebise @c Translation checkers: Jean-Charles Malahieude, John Mandereau @@ -574,8 +574,8 @@ emphNoteHead = { \override NoteHead.color = #red \override NoteHead.font-size = 2 } -\relative c'' { - c4 a \once \emphNoteHead f d | +\relative { + c''4 a \once \emphNoteHead f d | } @end lilypond @@ -591,8 +591,8 @@ emphNoteHead = { \override NoteHead.color = #red \override NoteHead.font-size = 2 } -\relative c'' { - <c a \single \emphNoteHead f d>4 +\relative { + <c'' a \single \emphNoteHead f d>4 } @end lilypond @@ -1544,8 +1544,8 @@ nouvelle portée temporaire, du type @rglos{ossia}. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1571,8 +1571,8 @@ régler le stencil de chacun sur @code{#f}, comme ceci : @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1634,8 +1634,8 @@ Remplaçons donc l'exemple ci-dessus par celui-ci : @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1660,8 +1660,8 @@ donnerait : @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1726,8 +1726,8 @@ Essayons sur l'exemple d'ossia : @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1797,8 +1797,8 @@ augmente, les objets en question. Voici comment elle s'utilise : @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1923,10 +1923,10 @@ chevauchement. @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -3206,8 +3206,8 @@ comme ceci : @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } -\relative c'' { - c4 +\relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3469,10 +3469,10 @@ l'exemple de Chopin présenté à la fin de @ref{J'entends des Voix}, que nous avions laissé dans cet état : @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ @@ -3506,10 +3506,10 @@ Et voici le résultat final : @cindex force-hshift, exemple d'utilisation de la propriété @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 \once \override NoteColumn.force-hshift = #0.5 des } \\ @@ -3545,9 +3545,9 @@ pas fait apparaître les indications de nuance, de doigté ni de pédale. @c This example should not be indexed @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3587,8 +3587,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3627,9 +3627,9 @@ voyons ce que LilyPond propose par défaut : @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4. g8 | + r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3653,8 +3653,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3687,9 +3687,9 @@ Voici le résultat : @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3713,8 +3713,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3759,9 +3759,9 @@ Cela s'adjoint à la deuxième mesure, pour donner : @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3787,8 +3787,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3840,9 +3840,9 @@ au début de cette section et @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3872,8 +3872,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3915,9 +3915,9 @@ Voici ce que donnent ces modifications : @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3950,8 +3950,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3986,9 +3986,9 @@ hampe transparente et déplacer le do avec la propriété @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -4029,8 +4029,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -4254,10 +4254,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/fr/notation/ancient.itely b/Documentation/fr/notation/ancient.itely index e936981f3d..4e5ec39e4e 100644 --- a/Documentation/fr/notation/ancient.itely +++ b/Documentation/fr/notation/ancient.itely @@ -9,7 +9,7 @@ @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @c Translators: Jean-Charles Malahieude @@ -305,8 +305,8 @@ L'impression de guidons s'obtient en affectant, dans un bloc @lilypond[quote,ragged-right] \score { - \relative c'' { - a1 + \relative { + a'1 \break g } @@ -2823,9 +2823,9 @@ gauche : @lilypond[verbatim,ragged-right] \include "gregorian.ly" -chant = \relative c' { +chant = \relative { \clef "G_8" - c\breve c4 b4 a c2 c4 \divisioMaior + c'\breve c4 b4 a c2 c4 \divisioMaior c\breve c4 c f, f \finalis } diff --git a/Documentation/fr/notation/changing-defaults.itely b/Documentation/fr/notation/changing-defaults.itely index 241ca900c8..3a2185904a 100644 --- a/Documentation/fr/notation/changing-defaults.itely +++ b/Documentation/fr/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.20" +@c \version "2.19.21" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Gilles Thibault @@ -463,13 +463,13 @@ ci-après sont tout à fait valides : % musical content \context Voice = "one" { - \relative c'' { - c4 c c c + \relative { + c''4 c c c } } \context Voice = "two" { - \relative c'' { - g8 g g4 g g + \relative { + g'8 g g4 g g } } >> @@ -491,13 +491,13 @@ ci-après sont tout à fait valides : % musical content \context Voice = "one" { - \relative c'' { - c4 c c c + \relative { + c''4 c c c } } \context Voice = "two" { - \relative c'' { - g8 g g4 g g + \relative { + g'8 g g4 g g } } >> @@ -518,8 +518,8 @@ contexte dans lequel une procédure Scheme comportant une clause @code{\applyContext} devra s'exécuter. @example -\new Staff \relative c' @{ - c1 +\new Staff \relative @{ + c'1 \context Timing \applyContext #(lambda (ctx) (newline) @@ -599,8 +599,8 @@ Dans l'exemple suivant, les deux voix A et B sont maintenues actives jusqu'à la fin du morceau : @lilypond[quote,verbatim] -musicA = \relative c'' { d4 d d d } -musicB = \relative c'' { g4 g g g } +musicA = \relative { d''4 d d d } +musicB = \relative { g'4 g g g } keepVoicesAlive = { << \new Voice = "A" { s1*5 } % Keep Voice "A" alive for 5 bars @@ -637,8 +637,8 @@ mélodie discontinue à laquelle se rattachent des paroles. Dans la réalité, mélodie et accompagnement feraient l'objet de portées séparées. @lilypond[quote,verbatim] -melody = \relative c'' { a4 a a a } -accompaniment = \relative c' { d4 d d d } +melody = \relative { a'4 a a a } +accompaniment = \relative { d'4 d d d } words = \lyricmode { These words fol -- low the mel -- o -- dy } \score { << @@ -676,14 +676,14 @@ consiste à maintenir active la ligne mélodique en y insérant des silences invisibles tout au long de l'accompagnement : @lilypond[quote,verbatim] -melody = \relative c'' { +melody = \relative { s1 % skip a bar - a4 a a a + a'4 a a a s1 % skip a bar a4 a a a } -accompaniment = \relative c' { - d4 d d d +accompaniment = \relative { + d'4 d d d d4 d d d d4 d d d d4 d d d @@ -812,17 +812,17 @@ peut désormais avoir sa propre métrique. \consists "Timing_translator" \consists "Default_bar_line_engraver" } - \relative c'' { + \relative { \time 3/4 - c4 c c c c c + c''4 c c c c c } \new Staff \with { \consists "Timing_translator" \consists "Default_bar_line_engraver" } - \relative c'' { + \relative { \time 2/4 - c4 c c c c c + c''4 c c c c c } >> \layout { @@ -936,8 +936,8 @@ contexte : @c KEEP LY @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Hampes épaisses" a a a + \relative { + a'4^"Hampes épaisses" a a a a4 a a\ff a } \layout { @@ -955,8 +955,8 @@ en définissant directement une propriété de contexte : @c KEEP LY @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Fontes plus petites" a a a + \relative { + a'4^"Fontes plus petites" a a a a4 a a\ff a } \layout { @@ -976,8 +976,8 @@ expression musicale telle que @code{\accidentalStyle dodecaphonic} : @c KEEP LY @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Nuance en surplomb" a a a + \relative { + a'4^"Nuance en surplomb" a a a a4 a a\ff a } \layout { @@ -1006,8 +1006,8 @@ StaffDefauts = \with { \score { \new Staff { - \relative c'' { - a4^"Petite police" a a a + \relative { + a'4^"Petite police" a a a a4 a a a } } @@ -1036,8 +1036,8 @@ musical. @lilypond[quote,verbatim] \score { \new Staff { - \relative c'' { - a4^"Petite police" a a a + \relative { + a'4^"Petite police" a a a a4 a a a } } @@ -1089,8 +1089,8 @@ contexte : \new Staff { \new Voice \with { \override Stem.thickness = #4.0 } { - \relative c'' { - a4^"Hampes épaisses" a a a + \relative { + a'4^"Hampes épaisses" a a a a4 a a a } } @@ -1105,15 +1105,15 @@ en définissant directement une propriété de contexte : \score { << \new Staff { - \relative c'' { - a4^"Default font" a a a + \relative { + a'4^"Default font" a a a a4 a a a } } \new Staff \with { fontSize = #-4 } { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -1130,8 +1130,8 @@ en définissant directement une propriété de contexte : << \new Staff { \new Voice { - \relative c'' { - a4^"Nuances en dessous" a a a + \relative { + a'4^"Nuances en dessous" a a a a4 a a\ff a } } @@ -1140,8 +1140,8 @@ en définissant directement une propriété de contexte : { \new Voice \with { \dynamicUp } { - \relative c'' { - a4^"Nuances en surplomb" a a a + \relative { + a'4^"Nuances en surplomb" a a a a4 a a\ff a } } @@ -1239,8 +1239,8 @@ jazz. \accepts "ImproVoice" }} -\relative c'' { - a4 d8 bes8 \new ImproVoice { c4^"ad lib" c +\relative { + a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c c4 c^"dévêtez-vous" c_"tout en jouant :)" c } a1 } @@ -1376,8 +1376,8 @@ comme ici : On peut alors saisir la musique, comme dans l'exemple plus haut : @example -\relative c'' @{ - a4 d8 bes8 +\relative @{ + a'4 d8 bes8 \new ImproVoice @{ c4^"ad lib" c c4 c^"dévêtez-vous" @@ -4397,8 +4397,8 @@ XinO = { \musicglyph #"noteheads.s2cross" } } -\relative c'' { - a a \XinO a a +\relative { + a' a \XinO a a } @end lilypond @@ -4995,8 +4995,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c'' { - c4^"piu mosso" b a b +\relative { + c''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" b a b \padText #2.6 @@ -5020,7 +5020,7 @@ custosNote = #note #}) -\relative c' { c4 d e f \custosNote g } +\relative { c'4 d e f \custosNote g } @end lilypond Une fonction de substitution peut traiter plusieurs arguments : diff --git a/Documentation/fr/notation/chords.itely b/Documentation/fr/notation/chords.itely index 54e7ec74fa..6e017a9f83 100644 --- a/Documentation/fr/notation/chords.itely +++ b/Documentation/fr/notation/chords.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @c Translators: Valentin Villenave,Jean-Charles Malahieude @c Translation checkers: Jean-Charles Malahieude, John Mandereau @@ -426,8 +426,8 @@ que soit le mode de saisie, à moins qu'il n'y ait inversion ou ajout de la basse. @lilypond[verbatim,quote] -chordmusic = \relative c' { - <c e g>2 <f bes c> +chordmusic = \relative { + <c' e g>2 <f bes c> <f c' e g>1 \chordmode { c2 f:sus4 c1:/f @@ -1055,8 +1055,8 @@ apparaissent sur la portée. @lilypond[verbatim,ragged-right,quote] << - \relative c'' { - c4 c'8 r8 c,4 c' + \relative { + c''4 c'8 r8 c,4 c' } \new FiguredBass { \figuremode { diff --git a/Documentation/fr/notation/editorial.itely b/Documentation/fr/notation/editorial.itely index 138161f6b7..e3781ef78a 100644 --- a/Documentation/fr/notation/editorial.itely +++ b/Documentation/fr/notation/editorial.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.18.0" +@c \version "2.19.21" @c Translators: Jean-Charles Malahieude @@ -895,8 +895,8 @@ structure d'une pièce. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c2\startGroup +\relative { + c''2\startGroup d\stopGroup } @end lilypond @@ -910,8 +910,8 @@ Les crochets d'analyses sont susceptibles d'être imbriqués : \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c4\startGroup\startGroup +\relative { + c''4\startGroup\startGroup d4\stopGroup e4\startGroup d4\stopGroup\stopGroup diff --git a/Documentation/fr/notation/expressive.itely b/Documentation/fr/notation/expressive.itely index f42ed677fc..435d56201c 100644 --- a/Documentation/fr/notation/expressive.itely +++ b/Documentation/fr/notation/expressive.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.18.0" +@c \version "2.19.21" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Jean-Charles Malahieude, John Mandereau @@ -435,8 +435,8 @@ avec ou sans extenseur, ainsi que les indications de pédale. @lilypond[verbatim,quote] << - \new Staff \relative c' { - c2 d4 e | + \new Staff \relative { + c'2 d4 e | c4 e e,2 | g'4 a g a | c1 | @@ -534,8 +534,8 @@ consiste à utiliser un objet @code{\markup}. @lilypond[verbatim,quote] moltoF = \markup { molto \dynamic f } -\relative c' { - <d e>16_\moltoF <d e> +\relative { + <d' e>16_\moltoF <d e> <d e>2.. } @end lilypond @@ -559,8 +559,8 @@ roundF = \markup { \center-align \concat { \bold { \italic ( } \dynamic f \bold { \italic ) } } } boxF = \markup { \bracket { \dynamic f } } -\relative c' { - c1_\roundF +\relative { + c'1_\roundF c1_\boxF } @end lilypond @@ -575,8 +575,8 @@ nuance. @lilypond[verbatim,quote] sfzp = #(make-dynamic-script "sfzp") -\relative c' { - c4 c c\sfzp c +\relative { + c'4 c c\sfzp c } @end lilypond @@ -602,8 +602,8 @@ mfEspress = \markup { \center-align \line { roundFdynamic = #(make-dynamic-script roundF) boxFdynamic = #(make-dynamic-script boxF) mfEspressDynamic = #(make-dynamic-script mfEspress) -\relative c' { - c4_\roundFdynamic\< d e f +\relative { + c'4_\roundFdynamic\< d e f g,1~_\boxFdynamic\> g g'~\mfEspressDynamic @@ -620,8 +620,8 @@ modalités. moltoF = #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF } @end lilypond @@ -634,8 +634,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF <d e>1 } @end lilypond diff --git a/Documentation/fr/notation/fretted-strings.itely b/Documentation/fr/notation/fretted-strings.itely index a4baa45661..6e3d04139a 100644 --- a/Documentation/fr/notation/fretted-strings.itely +++ b/Documentation/fr/notation/fretted-strings.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Matthieu Jacquot @c Translation checkers: Jean-Charles Malahieude @@ -199,7 +199,7 @@ imprimées sous forme de tablature, dans les contextes @code{TabStaff} et automatiquement. @lilypond[quote,ragged-right,verbatim] -\new TabStaff \relative c' { +\new TabStaff \relative { a,8 a' <c e> a d,8 a' <d f> a } @@ -274,14 +274,14 @@ l'activation de @code{restrainOpenStrings}. @lilypond[quote,ragged-right,verbatim] \layout { \omit Voice.StringNumber } \new StaffGroup << - \new Staff \relative c { + \new Staff \relative { \clef "treble_8" \time 2/4 c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 c,16 d e f g4 } - \new TabStaff \relative c { + \new TabStaff \relative { c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 \set TabStaff.minimumFret = #5 @@ -310,7 +310,7 @@ si vous utilisez la répétition d'accords dans vos tablatures. Cette instruction est abrégée en @code{\tabChordRepeats}. @lilypond[quote,verbatim] -guitar = \relative c' { +guitar = \relative { r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } @@ -587,15 +587,15 @@ basse, il sonnera donc une octave en dessous de ce qui est écrit. \omit StringNumber } { \clef "bass_8" - \relative c, { - c4 d e f + \relative { + c,4 d e f } } \new TabStaff \with { stringTunings = #bass-tuning } { - \relative c, { - c4 d e f + \relative { + c,4 d e f } } >> @@ -1766,7 +1766,7 @@ Les notes étouffées, ou @notation{notes fantômes}, se rencontrent aussi bien sur une portée normale que dans une tablature : @lilypond[quote,ragged-right,verbatim] -music = \relative c' { +music = \relative { < a\3 \deadNote c\2 a'\1 >4 < b\3 \deadNote d\2 b'\1 > < c\3 \deadNote e\2 c'\1 > diff --git a/Documentation/fr/notation/input.itely b/Documentation/fr/notation/input.itely index 65b615a1b1..6c33698c67 100644 --- a/Documentation/fr/notation/input.itely +++ b/Documentation/fr/notation/input.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Jean-Charles Malahieude, Valentin Villenave @@ -929,8 +929,8 @@ niveau du bloc @code{\header} principal. tagline = "... music notation for Everyone" } \score { - \relative c' { - c4 d e f + \relative { + c'4 d e f } } } @@ -1430,8 +1430,8 @@ attache une annotation. La syntaxe consacrée est : @lilypond[quote,verbatim,papersize=a8landscape] \book { \header { tagline = ##f } - \relative c'' { - a4_\footnote #'(0 . -1) "Une liaison arbitrairement en dessous" ( + \relative { + a'4_\footnote #'(0 . -1) "Une liaison arbitrairement en dessous" ( b8^\footnote #'(1 . 0.5) "Une ligature manuelle forcée en haut" [ b8 ] c4 ) @@ -1631,7 +1631,7 @@ Par exemple : \auto-footnote "recent" \italic " Aug 2012" "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -1683,7 +1683,7 @@ la rubrique @ref{Équivalents ASCII} : } "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -1706,7 +1706,7 @@ unicode -- voir la rubrique @ref{Unicode} : } "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -2144,10 +2144,10 @@ une seule portée, comme nous l'avons vu à la rubrique @ref{Regroupement automatique de parties}. Prenons l'exemple suivant : @lilypond[verbatim,quote] -sopranoMusic = \relative c'' { a4 b c b8( a) } -altoMusic = \relative g' { e4 e e f } -tenorMusic = \relative c' { c4 b e d8( c) } -bassMusic = \relative c' { a4 gis a d, } +sopranoMusic = \relative { a'4 b c b8( a) } +altoMusic = \relative { e'4 e e f } +tenorMusic = \relative { c'4 b e d8( c) } +bassMusic = \relative { a4 gis a d, } allLyrics = \lyricmode {King of glo -- ry } << \new Staff = "Soprano" \sopranoMusic @@ -2251,8 +2251,8 @@ l'une pour le conducteur, l'autre pour l'instrumentiste qui, elle, comportera les ornements développés. @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills { d8.\trill } \tag #'expand { \repeat unfold 3 { e32 d } } c32 d @@ -2270,8 +2270,8 @@ music = \relative g' { Il est parfois plus aisé d'exclure des fragments : @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills { d8.\trill } \tag #'expand {\repeat unfold 3 { e32 d } } c32 d @@ -2533,8 +2533,8 @@ portuguese = \lyricmode { à vo -- cê uma can -- ção legal } -\relative c' { - c2 d e f g f e +\relative { + c'2 d e f g f e } \addlyrics { \bulgarian } \addlyrics { \hebrew } @@ -2577,8 +2577,8 @@ dans des paroles et dans du texte indépendant. @lilypond[quote,verbatim] \score { - \relative c'' { - c1 \mark \markup { \char ##x03EE } + \relative { + c''1 \mark \markup { \char ##x03EE } c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } } } \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } } @@ -3280,8 +3280,8 @@ et demande d'utiliser la fonction par défaut dans les autre cas. \set Staff.midiInstrument = #"cello" \set Score.dynamicAbsoluteVolumeFunction = #myDynamics \new Voice { - \relative c'' { - a4\pp b c-\rfz + \relative { + a'4\pp b c-\rfz } } } @@ -3334,8 +3334,8 @@ entre 0,2 et 0,5 : \key g \major \time 2/2 \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -3343,8 +3343,8 @@ entre 0,2 et 0,5 : \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3393,8 +3393,8 @@ indication de nuance. \set Staff.midiInstrument = #"flute" \set Staff.midiMinimumVolume = #0.7 \set Staff.midiMaximumVolume = #0.9 - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -3404,8 +3404,8 @@ indication de nuance. \set Staff.midiInstrument = #"clarinet" \set Staff.midiMinimumVolume = #0.3 \set Staff.midiMaximumVolume = #0.6 - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3469,8 +3469,8 @@ flûte et de la clarinette -- au même niveau que dans le précédent. \time 2/2 \set Score.instrumentEqualizer = #my-instrument-equalizer \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -3478,8 +3478,8 @@ flûte et de la clarinette -- au même niveau que dans le précédent. \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3515,8 +3515,8 @@ copied out and compiled to test microtones in your MIDI player. @lilypond[verbatim,quote] \score { - \relative c' { - c4 cih cis cisih + \relative { + c'4 cih cis cisih d4 dih ees eeh e4 eih f fih fis4 fisih g gih diff --git a/Documentation/fr/notation/keyboards.itely b/Documentation/fr/notation/keyboards.itely index 871dfc312a..1930fef615 100644 --- a/Documentation/fr/notation/keyboards.itely +++ b/Documentation/fr/notation/keyboards.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Jean-Charles Malahieude, John Mandereau @@ -346,7 +346,7 @@ portée inférieure : \new Staff = "up" { \new Voice = "melodieUn" { \key g \major - \autochange \relative c' { + \autochange \relative { g8 b a c b d c e d8 r fis, g a2 } diff --git a/Documentation/fr/notation/pitches.itely b/Documentation/fr/notation/pitches.itely index 20c4d2e449..7e5b1dc65f 100644 --- a/Documentation/fr/notation/pitches.itely +++ b/Documentation/fr/notation/pitches.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Frédéric Chiasson @c Translation checkers: Valentin Villenave, Jean-Charles Malahieude @@ -170,10 +170,10 @@ Un @code{c'} identifiant le do placé entre les portées d'un piano, il est de fait aisé de déterminer d'autres octaves de @code{c}. Pour une musique qui commencerait par un sol dièse (@code{gis}) au dessus du do suraigu (@code{c'''}), vous écririez quelque chose -comme @code{\relative c''' @{ gis' @dots{} @}} +comme @code{\relative @{ gis''' @dots{} @}} @item une octave de la première note de l'expression -Écrire @code{\relative gis''' @{ gis @dots{} @}} permet de +Écrire @code{\relative @{ gis''' @dots{} @}} permet de déterminer facilement la hauteur absolue de la première note de l'expression. @@ -191,7 +191,7 @@ option. Voici le mode @code{\relative} en action. @lilypond[verbatim,quote] -\relative c { +\relative { \clef bass c d e f g a b c @@ -203,8 +203,8 @@ On utilise les signes de changement d'octave pour les intervalles dépassant la quarte. @lilypond[verbatim,quote] -\relative c'' { - c g c f, +\relative { + c'' g c f, c' a, e'' c } @end lilypond @@ -213,7 +213,7 @@ Bien que ne comportant aucun signe de changement d'octave, une séquence de notes peut tout à fait couvrir un intervalle important. @lilypond[verbatim,quote] -\relative c { +\relative { c f b e a d g c } @@ -223,10 +223,10 @@ Lorsque plusieurs blocs @code{\relative} sont imbriqués, c'est la dernière clause @code{\relative} qui est prise en compte. @lilypond[verbatim,quote] -\relative c' { - c d e f - \relative c'' { - c d e f +\relative { + c' d e f + \relative { + c'' d e f } } @end lilypond @@ -249,12 +249,12 @@ une clause @code{\relative} additionnelle doit être placée au sein du bloc @code{\transpose}. @lilypond[verbatim,quote] -\relative c' { - d e +\relative { + d' e \transpose f g { d e - \relative c' { - d e + \relative { + d' e } } } @@ -270,8 +270,8 @@ accord. À l'intérieur de l'accord, les notes sont placées relativement particulièrement le positionnement des do. @lilypond[verbatim,quote] -\relative c' { - c +\relative { + c' <c e g> <c' e g'> <c, e, g''> @@ -287,8 +287,8 @@ diminuée, bien que la quarte doublement augmentée soit de sept demi-tons et la quinte diminuée de seulement six demi-tons. @lilypond[verbatim,quote] -\relative c'' { - c2 fis +\relative { + c''2 fis c2 ges b2 eisis b2 feses @@ -465,8 +465,8 @@ exemple, utiliser l'italien pour votre saisie : @lilypond[quote,verbatim] \language "italiano" -\relative do' { - do re mi sib +\relative { + do' re mi sib } @end lilypond @@ -643,8 +643,8 @@ corrigée pour donner un @code{d'} et la prochaine note sera calculée en fonction de ce @code{d'} et non de @code{d''}. @lilypond[verbatim,quote] -\relative c'' { - c2 d='4 d +\relative { + c''2 d='4 d e2 f } @end lilypond @@ -660,8 +660,8 @@ note précédente ne sera pas modifiée. Les notes suivantes seront, par contre, positionnées relativement à @code{@var{hauteur_référence}}. @lilypond[verbatim,quote] -\relative c'' { - c2 d +\relative { + c''2 d \octaveCheck c' e2 f } @@ -671,8 +671,8 @@ Dans les deux mesures qui suivent, les premier et troisième @code{\octaveCheck} échouent, mais le deuxième est concluant. @lilypond[verbatim,quote] -\relative c'' { - c4 f g f +\relative { + c''4 f g f c4 \octaveCheck c' @@ -727,9 +727,9 @@ majeur. Vous noterez que l'armure est automatiquement modifiée. @lilypond[verbatim,quote] \transpose d e { - \relative c' { + \relative { \key d \major - d4 fis a d + d'4 fis a d } } @end lilypond @@ -744,9 +744,9 @@ transposition suivante créera la partie appropriée. @lilypond[verbatim,quote] \transpose a c' { - \relative c' { + \relative { \key c \major - c4 d e g + c'4 d e g } } @end lilypond @@ -762,7 +762,7 @@ la pièce un demi-ton plus haut, au détail près que la première version écrira des dièses et la deuxième des bémols. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \transpose c cis { \music } \transpose c des { \music } @@ -851,7 +851,7 @@ intervalle, puis transposée de telle sorte que @code{@var{hauteur-pivot}} devienne @code{@var{hauteur-arrivée}}. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \music \inversion d' d' \music @@ -884,7 +884,7 @@ Une expression musicale peut se renverser et se présenter sous forme rétrograde : @lilypond[verbatim,quote] -music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 } +music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 } \new Staff { \music @@ -940,8 +940,8 @@ selon leur degré, déterminé par l'intervalle entre @var{hauteur-départ} et @var{hauteur-arrivée} : @lilypond[verbatim,quote] -diatonicScale = \relative c' { c d e f g a b } -motif = \relative c' { c8 d e f g a b c } +diatonicScale = \relative { c' d e f g a b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -954,8 +954,8 @@ Il est ainsi possible de déterminer une gamme ascendante, quels qu'en soient l'amplitude et les différents intervalles : @lilypond[verbatim,quote] -pentatonicScale = \relative c' { ges aes bes des ees } -motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> } +pentatonicScale = \relative { ges aes bes des ees } +motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> } \new Staff { \motif @@ -968,8 +968,8 @@ produit les mêmes effets qu'un @code{\transpose}, à ceci près que les notes seront alors prédéterminées : @lilypond[verbatim,quote] -chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b } -motif = \relative c' { c8 d e f g a b c } +chromaticScale = \relative { c' cis d dis e f fis g gis a ais b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -1004,8 +1004,8 @@ la gamme en donnant la même valeur à @var{hauteur-départ} et @var{hauteur-arrivée} : @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1018,8 +1018,8 @@ de l'une des notes et de transposer d'un degré de la gamme. Les deux notes spécifiées peuvent s'interpréter comme étant les bornes du pivot. @lilypond[verbatim,quote] -scale = \relative c' { c g' } -motive = \relative c' { c c g' c, } +scale = \relative { c' g' } +motive = \relative { c' c g' c, } \new Staff { \motive @@ -1031,8 +1031,8 @@ L'opération conjointe d'une inversion et d'une rétrogradation produit une rétrogradation inversée : @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1336,8 +1336,8 @@ de chacun des degrés de la gamme en partant du do. freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL) (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT)) -\relative c' { - \key c \freygish c4 des e f +\relative { + \key c \freygish c'4 des e f \bar "||" \key d \freygish d es fis g } @end lilypond @@ -1598,12 +1598,12 @@ l'exemple suivant : @lilypond[verbatim,quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1613,8 +1613,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1679,12 +1679,12 @@ la deuxième mesure, ni avant le dernier @notation{do}. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1694,8 +1694,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1751,12 +1751,12 @@ musicien, il vaut mieux utiliser @code{modern} ou @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1766,8 +1766,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1815,12 +1815,12 @@ de la main droite. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1830,8 +1830,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1877,12 +1877,12 @@ particulière : soit plus petit, soit (par défaut) entre parenthèses @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1892,8 +1892,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1944,12 +1944,12 @@ que le dièse qu'il avait auparavant concernait la main droite. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1959,8 +1959,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2004,12 +2004,12 @@ considérées comme étant « de précaution ». @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2019,8 +2019,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2067,12 +2067,12 @@ Cette règle s'applique par défaut dans un @code{GrandStaff} et dans un @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2082,8 +2082,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2124,12 +2124,12 @@ imprimées différemment. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2139,8 +2139,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2182,12 +2182,12 @@ sauf si elles concernent deux notes consécutives. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2197,8 +2197,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2239,12 +2239,12 @@ sont imprimées différemment. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2254,8 +2254,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2302,12 +2302,12 @@ en tiennent aussi compte. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2317,8 +2317,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2357,12 +2357,12 @@ défaut), soit en plus petit. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2372,8 +2372,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2416,12 +2416,12 @@ altération, même si elle est naturelle. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2431,8 +2431,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2475,12 +2475,12 @@ la même hauteur est immédiatement répétée dans la même portée. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2490,8 +2490,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2535,12 +2535,12 @@ d'octave différente. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2550,8 +2550,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2596,12 +2596,12 @@ dièse ou bémol à la clef -- sauf dans le cas de notes consécutives. @lilypond[quote,staffsize=18] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2611,8 +2611,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2655,12 +2655,12 @@ accidentelles ne cesse jamais, même dans les mesures suivantes. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2670,8 +2670,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2714,12 +2714,12 @@ armure. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2729,8 +2729,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2859,8 +2859,8 @@ de note représentant la hauteur la plus basse et la plus haute. Les } } -\relative c'' { - aes c e2 +\relative { + aes' c e2 cis,1 } @end lilypond diff --git a/Documentation/fr/notation/repeats.itely b/Documentation/fr/notation/repeats.itely index cfe350055b..7a4e5ac348 100644 --- a/Documentation/fr/notation/repeats.itely +++ b/Documentation/fr/notation/repeats.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Jean-Charles Malahieude, John Mandereau @@ -483,8 +483,8 @@ dans le cas d'une indication textuelle, est de tout d'abord définir ce @lilypond[verbatim,quote] voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } -\relative c'' { - c1 +\relative { + c''1 \set Score.repeatCommands = #(list(list 'volta voltaAdLib) 'start-repeat) c4 b d e diff --git a/Documentation/fr/notation/rhythms.itely b/Documentation/fr/notation/rhythms.itely index 0e7de94c99..879200886a 100644 --- a/Documentation/fr/notation/rhythms.itely +++ b/Documentation/fr/notation/rhythms.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.20" +@c \version "2.19.21" @c Translators: Frédéric Chiasson, Jean-Charles Malahieude @c Translation checkers: Valentin Villenave, François Martin, Xavier Scheuer @@ -1664,10 +1664,10 @@ devront être explicites, la fonction d'échelonnement venant perturber les règles de ligature automatique. @lilypond[quote,verbatim] -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -1712,10 +1712,10 @@ parviendrez en déplaçant le @code{Timing_translator} et le % Now each staff has its own time signature. -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -2198,8 +2198,8 @@ supérieur s'appliqueront. \set Staff.beatStructure = #'(2 3 2) << \new Voice = one { - \relative c'' { - a8 a a a a a a + \relative { + a'8 a a a a a a } } \new Voice = two { @@ -3633,8 +3633,8 @@ argument un fragment de musique, et génèrent un @code{\skip} ou un silence multimesure d'une durée correspondant à ce fragment. @lilypond[verbatim,quote] -MyCadenza = \relative c' { - c4 d8 e f g g4 +MyCadenza = \relative { + c'4 d8 e f g g4 f2 g4 g } diff --git a/Documentation/fr/notation/simultaneous.itely b/Documentation/fr/notation/simultaneous.itely index bce6f3b02d..64b0226ffd 100644 --- a/Documentation/fr/notation/simultaneous.itely +++ b/Documentation/fr/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.16" +@c \version "2.19.21" @c Translators: Frédéric Chiasson, Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Jean-Charles Malahieude, John Mandereau @@ -234,8 +234,8 @@ attachée à la dernière note : \new Voice \relative c'' { \chordRepeats #'(articulation-event) - \relative c'' - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + \relative + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c | } @end lilypond @@ -817,10 +817,10 @@ l'ordre vertical des voix tel qu'il apparaîtra sur la portée.} @c KEEP LY @lilypond[quote,verbatim] -\new Staff \relative c'' { +\new Staff \relative { %% saisie abrégée << - { f2 } % 1 : extrême haute + { f''2 } % 1 : extrême haute \\ { g,2 } % 2 : extrême basse \\ @@ -936,17 +936,17 @@ gérer la direction des hampes et de la polyphonie. Les identifiants sont les mêmes pour la combinaison et les parties séparées. @lilypond[quote,verbatim] -instrumentOne = \relative c' { - c4 d e f | +instrumentOne = \relative { + c'4 d e f | R1 | d'4 c b a | b4 g2 f4 | e1 | } -instrumentTwo = \relative g' { +instrumentTwo = \relative { R1 | - g4 a b c | + g'4 a b c | d4 c b a | g4 f( e) d | e1 | @@ -1048,8 +1048,8 @@ instrumentOne = \relative c' { \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" | c2 c | } -instrumentTwo = \relative c' { - c2 c | +instrumentTwo = \relative { + c'2 c | e2 e | a,2 c | c2 c' | diff --git a/Documentation/fr/notation/spacing.itely b/Documentation/fr/notation/spacing.itely index 145cf82f3e..b58658f579 100644 --- a/Documentation/fr/notation/spacing.itely +++ b/Documentation/fr/notation/spacing.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.12" +@c \version "2.19.21" @c Translators: Frédéric Chiasson, Jean-Charles Malahieude @@ -1162,7 +1162,7 @@ courant : tagline = ##f } \score { - \relative c'' { c1 \break c1 \break c1 } + \relative { c''1 \break c1 \break c1 } } } @end lilypond @@ -1557,9 +1557,9 @@ forcés doivent être saisis au sein d'une expression polyphonique : @lilypond[quote,ragged-right,verbatim] \new Voice \with { \remove "Forbid_line_break_engraver" -} \relative c'' { +} \relative { << - { c2. \tuplet 3/2 { c4 c c } c2. | } + { c''2. \tuplet 3/2 { c4 c c } c2. | } { s1 | \break s1 | } >> } @@ -3067,8 +3067,8 @@ resserrée. En effet, @code{ly:make-moment} construit une durée : @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -3078,8 +3078,8 @@ resserrée. En effet, @code{ly:make-moment} construit une durée : @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -3709,8 +3709,8 @@ l'espacement par défaut : @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | @@ -3727,8 +3727,8 @@ valeur plus longue -- donnera un effet @qq{resserré} à la musique : @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | diff --git a/Documentation/fr/notation/staff.itely b/Documentation/fr/notation/staff.itely index bf0128f3c0..4a1b7f4463 100644 --- a/Documentation/fr/notation/staff.itely +++ b/Documentation/fr/notation/staff.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: John Mandereau @@ -362,15 +362,15 @@ défaut, mais vous pouvez l'activer par une option au sein du bloc \score { \new StaffGroup << \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } } \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } @@ -605,8 +605,8 @@ Une portée d'@notation{ossia} -- ou de variante -- s'obtient en créant, à l'endroit approprié, une nouvelle portée simultanée : @lilypond[verbatim,quote] -\new Staff \relative c'' { - c4 b d c +\new Staff \relative { + c''4 b d c << { c4 b d c } \new Staff { e4 d f e } @@ -629,8 +629,8 @@ L'exemple qui suit utilise, pour aligner la portée d'ossia, la propriété lorsqu'il y a un nombre restreint d'ossias. @lilypond[verbatim,quote] -\new Staff = "main" \relative c'' { - c4 b d c +\new Staff = "main" \relative { + c''4 b d c << { c4 b d c } @@ -663,8 +663,8 @@ procéder, bien plus que dans l'exemple suivant. } { \stopStaff s1*6 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 << { e4 f e2 } \context Staff = "ossia" { @@ -697,12 +697,12 @@ début de ligne. Pour plus d'information au sujet de la commande \remove "Time_signature_engraver" \hide Clef \magnifyStaff #2/3 - } \relative c'' { + } \relative { R1*3 - c4 e8 d c2 + c''4 e8 d c2 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 e4 f e2 g4 a g2 \break c4 b c2 @@ -765,7 +765,7 @@ Désactiver le graveur @code{Staff_symbol_engraver} dans un contexte \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c''' { a8 f e16 d c b a2 } +\relative { a''8 f e16 d c b a2 } @end lilypond L'instruction @code{\Staff \RemoveEmptyStaves} placée dans un bloc @@ -788,9 +788,9 @@ combinaison de ces éléments.} } } -\relative c' << +\relative << \new Staff { - e4 f g a \break + e'4 f g a \break b1 \break a4 b c2 } @@ -1027,8 +1027,8 @@ setFlute = { shortInstrumentName = #"Flt." midiInstrument = #"flute" } -\relative c'' { - g1 g g g \break +\relative { + g'1 g g g \break g1 g \prepPiccolo R R \break \setPiccolo g1 g g g \break @@ -1084,12 +1084,12 @@ arguments : le nom de la voix reproduite, tel que défini par cette citation. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { s1 } } \addQuote "flute" { \fluteNotes } @@ -1107,12 +1107,12 @@ autre chose que du silence, il en résulterait une situation polyphonique, ce qui n'est pas le but recherché : @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } } \addQuote "flute" { \fluteNotes } @@ -1136,8 +1136,8 @@ clarinetNotes = \relative c'' { b4 ais a ais | cis4^"quoted" r8 bis\p b4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"clarinet" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"clarinet" { s1 } } \addQuote "clarinet" { \clarinetNotes } @@ -1165,13 +1165,13 @@ permet de définir plus précisément quels éléments de la voix originelle seront reproduits. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a2 g2 | +fluteNotes = \relative { + a'2 g2 | b4\<^"quoted" r8 ais a4\f( c->) } -oboeNotes = \relative c'' { - c2. b4 | +oboeNotes = \relative { + c''2. b4 | \quoteDuring #"flute" { s1 } } @@ -1312,8 +1312,8 @@ notes seront attachées à la première ou à la seconde voix -- @code{UP} pour la première, @code{DOWN} pour la seconde. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 | d8 c d e fis2 | g2 d | +fluteNotes = \relative { + r2. c''4 | d8 c d e fis2 | g2 d | } oboeNotes = \relative c'' { @@ -1344,8 +1344,8 @@ l'expression musicale se serait retrouvée dans le contexte @code{CueVoice}.} @lilypond[verbatim,quote] -oboeNotes = \relative c'' { - r2 r8 d16(\f f e g f a) +oboeNotes = \relative { + r2 r8 d''16(\f f e g f a) g8 g16 g g2. } \addQuote "oboe" { \oboeNotes } @@ -1365,8 +1365,8 @@ d'une clef différente, celle-ci devra être introduite manuellement, tout comme l'originale qui devra être rappelée en fin de citation. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1391,8 +1391,8 @@ grâce à un argument supplémentaire, de gérer le changement de clef nécessaire à la citation et le retour à la clef originelle. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1426,10 +1426,10 @@ argument supplémentaire afin de spécifier la transposition à effectuer en hauteur absolue. @lilypond[verbatim,quote] -piccoloNotes = \relative c''' { +piccoloNotes = \relative { \clef "treble^8" R1 - c8 c c e g2 + c'''8 c c e g2 c4 g g2 } @@ -1466,8 +1466,8 @@ faites appel à des balises -- voir @ref{Utilisation de balises} à ce sujet. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { diff --git a/Documentation/fr/notation/text.itely b/Documentation/fr/notation/text.itely index f61ee8894d..7babb6bfa5 100644 --- a/Documentation/fr/notation/text.itely +++ b/Documentation/fr/notation/text.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Jean-Charles Malahieude @c Translation checkers: Valentin Villenave, John Mandereau @@ -1289,7 +1289,7 @@ incluant un bloc @code{\layout}. @lilypond[quote,verbatim,relative=1] c4 d^\markup { \score { - \relative c' { c4 d e f } + \relative { c'4 d e f } \layout { } } } diff --git a/Documentation/fr/notation/vocal.itely b/Documentation/fr/notation/vocal.itely index d9b9f8604f..c99a4838c8 100644 --- a/Documentation/fr/notation/vocal.itely +++ b/Documentation/fr/notation/vocal.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Jean-Jacques Gerbaud @@ -165,7 +165,7 @@ dans le fichier et de veiller à le sauvegarder avec le codage UTF-8. Voir à ce sujet @ref{Caractères spéciaux} pour plus de détails. @lilypond[quote,verbatim] -\relative c'' { d8 c16 a bes8 f ees' d c4 } +\relative { d''8 c16 a bes8 f ees' d c4 } \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, } @end lilypond @@ -174,7 +174,7 @@ précéder d'une barre oblique inverse et encadrez d'une paire de guillemets la syllabe ainsi composée : @lilypond[quote,verbatim] -\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. } +\relative { \time 3/4 e'4 e4. e8 d4 e d c2. } \addlyrics { "\"I" am so lone- "ly\"" said she } @end lilypond @@ -301,9 +301,9 @@ explicitement leur durée à chaque syllabe. @lilypond[quote,ragged-right,verbatim] << - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c''4 b8. a16 g4. f8 e4 d c2 } % uses previous explicit duration of 2; @@ -441,7 +441,7 @@ En voici un exemple : @lilypond[verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } } @end lilypond @@ -452,7 +452,7 @@ sections @code{\addlyrics}. @lilypond[ragged-right,verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } \addlyrics { speel het spel } \addlyrics { joue le jeu } @@ -541,8 +541,8 @@ Voici deux illustrations de cette technique : @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - c2 c2 + \relative { + c''2 c2 d1 } } @@ -552,8 +552,8 @@ Voici deux illustrations de cette technique : } } \new Staff { - \relative c' { - c8 c c c c c c c + \relative { + c'8 c c c c c c c c8 c c c c c c c } } @@ -899,8 +899,8 @@ Vous pouvez créer des variables pour contenir les paroles, dès lors que vous faites appel au mode approprié : @lilypond[quote,verbatim] -musicOne = \relative c'' { - c4 b8. a16 g4. f8 e4 d c2 +musicOne = \relative { + c''4 b8. a16 g4. f8 e4 d c2 } verseOne = \lyricmode { Joy to the world, the Lord is come. @@ -932,8 +932,8 @@ laquelle il est fait référence par @code{\lyricsto} aura bien été préalablement définie, comme dans l'exemple suivant : @lilypond[quote,verbatim] -sopranoMusic = \relative c'' { c4 c c c } -contraltoMusic = \relative c'' { a4 a a a } +sopranoMusic = \relative { c''4 c c c } +contraltoMusic = \relative { a'4 a a a } sopranoWords = \lyricmode { Sop -- ra -- no words } contraltoWords = \lyricmode { Con -- tral -- to words } @@ -992,7 +992,7 @@ de paroles après le contexte de portée : << \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics { @@ -1014,7 +1014,7 @@ manière explicite : << \new Staff = "staff" { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics \with { alignAboveContext = "staff" } { @@ -1042,7 +1042,7 @@ question. Voici comment cela se présente : } \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \context Lyrics = "lyrics" { @@ -1064,7 +1064,7 @@ deuxième méthode : \new ChoirStaff << \new Staff { \new Voice = "sopranos" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics = "sopranos" @@ -1074,7 +1074,7 @@ deuxième méthode : } \new Staff { \new Voice = "contraltos" { - \relative c'' { a4 a a a } + \relative { a'4 a a a } } } \context Lyrics = "sopranos" { @@ -1136,8 +1136,8 @@ dans le bloc @code{\layout}. @lilypond[verbatim,quote,ragged-right] \score { - \relative c' { - c c c c + \relative { + c' c c c c c c c } \addlyrics { @@ -1207,8 +1207,8 @@ ne diffèrent pas d'une fois sur l'autre. << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1231,8 +1231,8 @@ Les mots seront alors correctement répétés si la reprise est développée. << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1256,8 +1256,8 @@ saisissez le texte normalement : << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat unfold 2 { b4 b b b } } } @@ -1283,8 +1283,8 @@ séparés ; ils seront combinés dans une section parallèle : << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1310,8 +1310,8 @@ Et ce quel que soit le nombre de « couplets » : << \new Staff { \new Voice = "singleVoice" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1349,8 +1349,8 @@ seront repoussées sous la dernière portée. L'instruction << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1374,8 +1374,8 @@ seront repoussées sous la dernière portée. L'instruction The end sec -- tion. } \new Voice = "harmony" { - \relative c' { - f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 + \relative { + f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 } } >> @@ -1401,8 +1401,8 @@ adopter la même construction que la musique : \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b } \alternative { { b b } { b c } } } @@ -1953,8 +1953,8 @@ propriété @code{includeGraceNotes} : @lilypond[verbatim,ragged-right,quote] << - \new Voice = melody \relative c' { - f4 \appoggiatura a32 b4 + \new Voice = melody \relative { + f'4 \appoggiatura a32 b4 \grace { f16 a16 } b2 \afterGrace b2 { f16[ a16] } \appoggiatura a32 b4 @@ -2088,9 +2088,9 @@ entre les couplets (@emph{verses} en anglais) 2 et 3. @c KEEP LY @lilypond[ragged-right,verbatim,quote] -melody = \relative c'' { +melody = \relative { \time 2/4 - g4 g8 b | b a b a | + g'4 g8 b | b a b a | g4 g8 b | b a b4 | } @@ -2133,9 +2133,9 @@ traditionnellement le cas. @c KEEP LY @lilypond[ragged-right,quote,verbatim] -melody = \relative c'' { +melody = \relative { \time 2/4 - g4 g8 b | b a b a | + g'4 g8 b | b a b a | g4 g8 b | b a b4 | } @@ -2451,12 +2451,12 @@ du chÅ“ur. \new ChoirStaff << \new Staff { \new Voice { - \relative c'' { g4\f g g g } + \relative { g'4\f g g g } } } \new Staff { \new Voice { - \relative c' { d4 d d\p d } + \relative { d'4 d d\p d } } } >> @@ -2641,9 +2641,9 @@ l'indiquer en regard de cette portée : \new Staff { \set Staff.vocalName = \markup \smallCaps Kaspar \set Staff.shortVocalName = \markup \smallCaps Kas. - \relative c' { + \relative { \clef "G_8" - c4 c c c + c'4 c c c \break c4 c c c } @@ -2652,7 +2652,7 @@ l'indiquer en regard de cette portée : \set Staff.vocalName = \markup \smallCaps Melchior \set Staff.shortVocalName = \markup \smallCaps Mel \clef "bass" - \relative c' { + \relative { a4 a a a a4 a a a } @@ -2740,19 +2740,19 @@ devient une nécessité ; voici une illustration de la manière de procéder en pareil cas : @lilypond[quote,verbatim] -flute = \relative c'' { - s4 s4 e g +flute = \relative { + s4 s4 e'' g } \addQuote "flute" { \flute } -pianoRH = \relative c'' { - c4. g8 +pianoRH = \relative { + c''4. g8 % position name of cue-ing instrument just before the cue notes, % and above the staff <>^\markup { \right-align { \tiny "Flute" } } \cueDuring "flute" #UP { g4 bes4 } } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { \new PianoStaff << @@ -2790,7 +2790,7 @@ pianoRH = \relative c'' { \cueDuring "clarinet" #DOWN { c4. g8 } g4 bes4 } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { << @@ -3017,15 +3017,15 @@ barres de mesure produira des portées sans barre : \score { \new StaffGroup << \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3047,15 +3047,15 @@ L'absence de barre de mesure peut ne concerner que certaines portées : \new ChoirStaff << \new Staff \with { \remove "Bar_engraver" } { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3129,8 +3129,8 @@ finalis = { } \score { - \relative c'' { - g2 a4 g + \relative { + g'2 a4 g \divisioMinima g2 a4 g \divisioMaior @@ -3153,8 +3153,8 @@ De nombreux cantiques sont dépourvus de métrique, voire même de clef. @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3181,22 +3181,22 @@ correspondant au « récitatif ». Ces cantiques sont traditionnellement centrés sur la page. @lilypond[verbatim,quote] -SopranoMusic = \relative g' { - g1 | c2 b | a1 | \bar "||" +SopranoMusic = \relative { + g'1 | c2 b | a1 | \bar "||" a1 | d2 c | c b | c1 | \bar "||" } -AltoMusic = \relative c' { - e1 | g2 g | f1 | +AltoMusic = \relative { + e'1 | g2 g | f1 | f1 | f2 e | d d | e1 | } -TenorMusic = \relative a { - c1 | c2 c | c1 | +TenorMusic = \relative { + c'1 | c2 c | c1 | d1 | g,2 g | g g | g1 | } -BassMusic = \relative c { +BassMusic = \relative { c1 | e2 e | f1 | d1 | b2 c | g' g | c,1 | } diff --git a/Documentation/fr/notation/world.itely b/Documentation/fr/notation/world.itely index 3b774c8d7d..4cf8044969 100644 --- a/Documentation/fr/notation/world.itely +++ b/Documentation/fr/notation/world.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Jean-Jacques Gerbaud, Valentin Villenave @c Translation checkers: Jean-Charles Malahieude @@ -197,8 +197,8 @@ Par exemple, voici comment on peut écrire la gamme arabe @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { - do re misb fa sol la sisb do sisb la sol fa misb re do +\relative { + do' re misb fa sol la sisb do sisb la sol fa misb re do } @end lilypond diff --git a/Documentation/fr/usage/external.itely b/Documentation/fr/usage/external.itely index bc2817d016..6a07e3fc56 100644 --- a/Documentation/fr/usage/external.itely +++ b/Documentation/fr/usage/external.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Jean-Charles Malahieude @@ -294,8 +294,8 @@ En dur dans votre fichier @file{.ly} : @example \pointAndClickTypes #'note-event -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -303,8 +303,8 @@ ou @example #(ly:set-option 'point-and-click 'note-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -325,8 +325,8 @@ En dur dans votre fichier @file{.ly} : @example \pointAndClickTypes #'(note-event dynamic-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -334,8 +334,8 @@ ou @example #(ly:set-option 'point-and-click '(note-event dynamic-event)) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example diff --git a/Documentation/fr/usage/lilypond-book.itely b/Documentation/fr/usage/lilypond-book.itely index 5c3f0b34bd..053a54a9b8 100644 --- a/Documentation/fr/usage/lilypond-book.itely +++ b/Documentation/fr/usage/lilypond-book.itely @@ -9,7 +9,7 @@ @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Jean-Charles Malahieude @c Translation checkers: @@ -99,8 +99,8 @@ fait mélanger de la musique et du texte. Par exemple, \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -164,8 +164,8 @@ fait mélanger de la musique et du texte. Par exemple, @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -190,8 +190,8 @@ type @code{\book @{ @}}. title = "LilyPond fait ses gammes" } - \relative c' { - c d e f g a b c + \relative { + c' d e f g a b c } } @end lilypond @@ -833,8 +833,8 @@ la musique sera interprétée en mode relatif, mais la recopie du code ne comportera pas l'assertion du bloc @code{relative} : @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1247,8 +1247,8 @@ Vous pouvez inclure des partitions LilyPond dans un document LaTeX. Des bananes alitées sur du LaTeX. \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1275,7 +1275,7 @@ l'intégralité de ce manuel est rédigée en Texinfo. Du verbiage à la mode Texinfo @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1302,8 +1302,8 @@ d4 c b a Un document pour lilypond-book peut absolument mélanger musique et texte. Par exemple, <lilypond> -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} </lilypond> </p> diff --git a/Documentation/fr/usage/suggestions.itely b/Documentation/fr/usage/suggestions.itely index 1b1c7ed1f7..f714ec89b2 100644 --- a/Documentation/fr/usage/suggestions.itely +++ b/Documentation/fr/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Ludovic Sardain, Jean-Charles Malahieude @c Translation checkers: Jean-Yves Baudais, Valentin Villenave, John Mandereau @@ -113,8 +113,8 @@ Beaucoup de problèmes viennent d'un défaut de parité entre @code{@{} et @example \new Staff @{ - \relative g' @{ - r4 g8 g c8 c4 d | + \relative @{ + r4 g'8 g c8 c4 d | e4 r8 | % Ossia section << @@ -132,7 +132,7 @@ Beaucoup de problèmes viennent d'un défaut de parité entre @code{@{} et est bien plus facile à appréhender que @example -\new Staff @{ \relative g' @{ r4 g8 g c4 c8 d | e4 r8 +\new Staff @{ \relative @{ r4 g'8 g c4 c8 d | e4 r8 % Ossia section << @{ f8 c c @} \new Staff @{ f8 f c @} >> r4 | @} @} @end example @@ -224,8 +224,8 @@ dans une nouvelle version de LilyPond, alors que la définition du @code{violon} l'est beaucoup moins. @example -violon = \relative c'' @{ -g4 c'8. e16 +violon = \relative @{ +g'4 c'8. e16 @} @dots{} \score @{ @@ -248,8 +248,8 @@ définition du @code{violon}. @example fpuisp = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violon = \relative c'' @{ -g4\fpuisp c'8. e16 +violon = \relative @{ +g'4\fpuisp c'8. e16 @} @end example @@ -297,9 +297,9 @@ le cas, placez en commentaire toute la partie de basse, mais laissez @code{\basse} décommenté dans le bloc @code{\score}. @example -basse = \relative c' @{ +basse = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/Documentation/hu/essay/engraving.itely b/Documentation/hu/essay/engraving.itely index 1e90bc9d61..618ec88a10 100644 --- a/Documentation/hu/essay/engraving.itely +++ b/Documentation/hu/essay/engraving.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node A kottaszedés @chapter A kottaszedés @@ -531,7 +531,7 @@ it is the most attractive of the three configurations, so LilyPond selects this one: @lilypond -\relative c { +\relative { \clef bass e8[(_"12.04" f] g[ a b d,)] r4 } @@ -647,10 +647,10 @@ For our comparison we selected Bach's Fugue in G minor from the Well-Tempered Clavier, Book I, BWV 861, whose opening subject is @lilypond -\relative c' { +\relative { \key g \minor \clef "treble_8" - r8 d ees g, fis4 g + r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes8 } @end lilypond @@ -941,12 +941,12 @@ nature of music notation: @lilypond[quote,fragment] << - \new Staff \relative c'' { + \new Staff \relative { \key g \major \time 3/4 - d4 g,8 a b c d4 g, g + d''4 g,8 a b c d4 g, g } - \new Staff \relative c' { + \new Staff \relative { \clef "bass" \key g \major <g b d>2 a4 b2. @@ -1008,7 +1008,7 @@ consider a more complicated musical example: } >> \new Staff = "LH" << - \new Voice = "III" \relative c' { + \new Voice = "III" \relative { \time 2/4 \clef "bass" g4 \stopStaff s @@ -1391,9 +1391,9 @@ By adding chord names and lyrics we obtain a lead sheet. << \chords { c2 c f2 c } \new Staff - \relative c' { + \relative { \time 2/4 - c4 c g' g a a g2 + c'4 c g' g a a g2 } \addlyrics { twin -- kle twin -- kle lit -- tle star } >> diff --git a/Documentation/hu/learning/common-notation.itely b/Documentation/hu/learning/common-notation.itely index 95cebd4e56..860b5bebbe 100644 --- a/Documentation/hu/learning/common-notation.itely +++ b/Documentation/hu/learning/common-notation.itely @@ -9,7 +9,7 @@ @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Elemi kottaÃrás @chapter Elemi kottaÃrás @@ -595,9 +595,9 @@ három dallamot (ezek mindegyike két hangból áll) kombinálunk össze három szólammá: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a4 g } + { a'4 g } { f e } { d b } >> @@ -621,8 +621,8 @@ darabban, hogy az elsÅ‘ kifejezés többszólamú-e. Ha nem, egy kottasort hoz létre, ha igen, többet. @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> +\relative { + c''2 <<c e>> << { e f } { c <<b d>> } >> } @end lilypond @@ -657,9 +657,9 @@ Az Ãgy kapott kottasorokat, ahogy már megszoktuk, a @code{<<} és @code{>>} jelekkel kell összekombinálni: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef treble c } + \new Staff { \clef treble c'' } \new Staff { \clef bass c,, } >> } @@ -689,9 +689,9 @@ mert a transzponáló hangszereket tartalmozó és a politonális zene gyakoribb mint a poliritmikus. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef treble \key d \major \time 3/4 c } + \new Staff { \clef treble \key d \major \time 3/4 c'' } \new Staff { \clef bass c,, } >> } @@ -728,9 +728,9 @@ kifejezés egy @code{PianoStaff} kontextuson belül szerepel: Egy rövid zongoradarab-részlet: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e g g, } + \new Staff { \time 2/4 c''4 e g g, } \new Staff { \clef bass c,, c' e c } >> } @@ -839,10 +839,10 @@ Egy angol gyermekdal, a @notation{Girls and boys come out to play} Ãgy kezdÅ‘dik: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 d4 b8 g4 + d''4 b8 c4 a8 d4 b8 g4 } @end lilypond @@ -852,10 +852,10 @@ Minden szótagot szóközzel kell elválasztani. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 d4 b8 g4 + d''4 b8 c4 a8 d4 b8 g4 } \addlyrics { Girls and boys come out to play, @@ -884,10 +884,10 @@ A gyerekdal következÅ‘ sora: @notation{The moon doth shine as bright as day}. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 d4 b8 g4 + d''4 b8 c4 a8 d4 b8 g4 g8 a4 b8 c b a d4 b8 g4. } \addlyrics { @@ -905,10 +905,10 @@ legegyszerűbb, ha a melizma hangjait kötÅ‘Ãvvel összekötjük (ld. az @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 d4 b8 g4 + d''4 b8 c4 a8 d4 b8 g4 g8 a4 b8 c( b) a d4 b8 g4. } \addlyrics { @@ -925,10 +925,10 @@ szakaszt): @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 d4 b8 g4 + d''4 b8 c4 a8 d4 b8 g4 g8 a4 b8 c([ b]) a d4 b8 g4. } \addlyrics { @@ -944,10 +944,10 @@ leszámÃtva) kiterjed: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 d4 b8 g4 + d''4 b8 c4 a8 d4 b8 g4 g8 a4 b8 c[ b] a d4 b8 g4. } \addlyrics { @@ -964,10 +964,10 @@ három üteme: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes bes( a) + g'2 a bes bes( a) b c4.( bes8 a4. g8 fis4.) g8 fis1 } \addlyrics { @@ -1013,11 +1013,11 @@ kezdetű áriájában a @notation{Largo} szó @notation{go} szótagját és az @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef bass \key c \major \time 6/8 - c4.~ 8 d b c([ d]) b c d b c + c'4.~ 8 d b c([ d]) b c d b c } \addlyrics { Lar -- go_al fac -- to -- tum del -- la cit -- tà @@ -1121,12 +1121,12 @@ akárcsak egy LilyPond parancs esetén). @c KEEP LY @lilypond[verbatim,quote] hegedű = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cselló = \new Staff { - \relative c { + \relative { \clef bass e2 d } @@ -1305,10 +1305,10 @@ A @code{\relative} módban az elÅ‘zÅ‘ példát sokkal könnyebb elolvasni és begépelni: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 + cis''8. d16 cis8 e4 e8 b8. cis16 b8 d4 d8 } @end lilypond diff --git a/Documentation/hu/learning/fundamental.itely b/Documentation/hu/learning/fundamental.itely index b1c4050b5a..ebfff9dc3b 100644 --- a/Documentation/hu/learning/fundamental.itely +++ b/Documentation/hu/learning/fundamental.itely @@ -11,7 +11,7 @@ @c Translators: Griechisch Erika, Harmath Dénes @c -*- coding: utf-8; mode: texinfo; -*- -@c \version "2.19.2" +@c \version "2.19.21" @node Alapfogalmak @chapter Alapfogalmak @translationof Fundamental concepts @@ -85,8 +85,8 @@ a LilyPond automatikusan hozzáadja az egyszerű bemenethez a szükséges parancsokat. A következÅ‘ bemenet például: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -98,8 +98,8 @@ a következÅ‘ rövidÃtése: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -219,8 +219,8 @@ Fájljainkat áttekinthetÅ‘bbé tehetjük változók definiálásával (ld. a módszert használjuk: @example -dallam = \relative c' @{ - c4 a b c +dallam = \relative @{ + c'4 a b c @} \score @{ @@ -318,8 +318,8 @@ Most elkezdhetjük kitölteni a hangokat. Elkezdhetnénk közvetlenül a Voice kontextus belsejébe beleÃrni, hogy: @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -334,10 +334,10 @@ Tehát miután definiáltuk a megfelelÅ‘ változókat, hivatkoztunk rájuk, és basszuskulccsal láttuk el a balkezet, kész egy valódi mű kezdete: @lilypond[verbatim,quote,ragged-right] -dallam = \relative c'' { r4 d8\noBeam g, c4 r } +dallam = \relative { r4 d''8\noBeam g, c4 r } dalszöveg = \lyricmode { Szólt az Úr, } -jobbkéz = \relative c'' { <g d g,>2~ <g d g,> } -balkéz = \relative c { b2 e2 } +jobbkéz = \relative { <g' d g,>2~ <g d g,> } +balkéz = \relative { b,2 e2 } \score { << @@ -379,8 +379,8 @@ kezdÅ‘dhetnek, és bármikor végzÅ‘dhetnek. Ãlljon itt erre egy példa: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f c c } @@ -403,8 +403,8 @@ Az ossia a kottasor fölött is elhelyezkedhet: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f c c } @@ -622,9 +622,9 @@ Minden ilyen környezetben a függÅ‘leges elrendezés (kötések, szárak, dinam @lilypond[quote,verbatim,fragment] -\new Staff \relative c' { +\new Staff \relative { % FÅ‘ hang - c16 d e f + c'16 d e f % 1. szólam 2. szólam 3. szólam << { g4 f e } \\ { r8 e4 d c8~ } >> << { d2 e2 } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b4 c2 } >> @@ -649,9 +649,9 @@ az ütemhatár, ahogy a kék háromszöget jelzÅ‘ szólamban láthatjuk: @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % FÅ‘ szólam - c16 d e f + c'16 d e f << % 1. ütem { \voiceOneStyle @@ -743,10 +743,10 @@ tűnhet és koncentráljunk csak a zenére és a szólamokra -- a nehezebb rész @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % 1. szólam - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % 2. szólam { aes2 f4 fes } \\ % Nincs 3. szólam @@ -805,10 +805,10 @@ Kezdjük azzal, amit tanultunk: a @code{<< \\ >>} használatával. Gépeljük be a három szólam elsÅ‘ ütemét: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 } + { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 } >> <c ees aes c>1 } @@ -824,10 +824,10 @@ A szárak iránya automatikusan hozzárendelÅ‘dik a szólamokhoz, a páratlan-so @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % 1. szólam - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % 2. szólam { aes2 f4 fes } \\ % 3. szólam - elhagyjuk @@ -875,8 +875,8 @@ Konkrétan a @code{<< \\ >>}szerkezet, amit az elÅ‘zÅ‘ fejezetben használtunk: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -886,8 +886,8 @@ egyenértékű az alábbival: @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -896,8 +896,8 @@ Mindkét fenti esetben az alábbi kottát kapjuk @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -985,8 +985,8 @@ permitting a phrasing slur to be drawn over them. Létrehozhatunk többszörösen beágyazott polifón szerkezetet is, és ha a szólamok rövidek, az alábbi módon természetesebbnek tűnik a leÃrásuk: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e2) | } \new Voice { @@ -1140,10 +1140,10 @@ rather than music. @lilypond[quote,verbatim] global = { \time 6/8 \partial 8 \key f \major} -SopOneMusic = \relative c'' { - c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 | } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'([ g)] f f([ e)] d | e([ d)] c bes' | } +SopOneMusic = \relative { + c''8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 | } +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'([ g)] f f([ e)] d | e([ d)] c bes' | } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ | } SopTwoLyrics = \lyricmode { @@ -1194,10 +1194,10 @@ examples this is often called @q{global}. @lilypond[quote,verbatim] TimeKey = { \time 4/4 \partial 4 \key c \major} -SopMusic = \relative c' { c4 | e4. e8 g4 g | a a g | } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e | } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 | } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 | } +SopMusic = \relative { c'4 | e4. e8 g4 g | a a g | } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f f e | } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 | } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 | } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, | } VerseTwo = \lyricmode { @@ -1246,11 +1246,11 @@ brackets around the @code{\new Voice} and @code{\new Lyrics} to start them at the same time: @lilypond[quote,verbatim,ragged-right] -versenotes = \relative c'' { +versenotes = \relative { \clef "treble" \key g \major \time 3/4 - g g g | b b b | + g' g g | b b b | } versewords = \lyricmode { One two three four five six @@ -1299,17 +1299,17 @@ Here's the final result with two staves in the chorus showing how the parallel section is positioned within the verse Voice: @lilypond[quote,verbatim, ragged-right] -versenotes = \relative c'' { +versenotes = \relative { \clef "treble" \key g \major \time 3/4 - g g g | b b b | + g' g g | b b b | } -refrainnotesA = \relative c'' { +refrainnotesA = \relative { \time 2/4 - c c | g g \bar "|." + c'' c | g g \bar "|." } -refrainnotesB = \relative c { +refrainnotesB = \relative { \clef "bass" \key g \major c e | d d | @@ -1362,17 +1362,17 @@ in practice one would perhaps choose to code this as two follows: @lilypond[quote,verbatim,ragged-right] -versenotes = \relative c'' { +versenotes = \relative { \clef "treble" \key g \major \time 3/4 - g g g | b b b | + g' g g | b b b | } -refrainnotesA = \relative c'' { +refrainnotesA = \relative { \time 2/4 - c c | g g \bar "|." + c'' c | g g \bar "|." } -refrainnotesB = \relative c { +refrainnotesB = \relative { \clef "bass" \key g \major c e | d d | @@ -1574,8 +1574,8 @@ annotated real-music example: \key g \minor \clef "treble" \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. + \relative { % start of RH notes + d''4 ees16 c8. d4 ees16 c8. } % end of RH notes } % end of RH voice @@ -1585,14 +1585,14 @@ annotated real-music example: \clef "bass" \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 <bes d> ees, <g c> g8 <bes d> ees, <g c> } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees g4 ees } % end of LH voice two notes @@ -1859,8 +1859,8 @@ So this turns off extra naturals in one staff: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - ais4 aes + \new Staff \relative { + ais'4 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1874,8 +1874,8 @@ and this turns them off in all staves: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - ais4 aes + \new Staff \relative { + ais'4 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1949,12 +1949,12 @@ like this: @lilypond[quote,verbatim,ragged-right] << \new Staff - \relative c'' { - gis ges aes ais + \relative { + gis' ges aes ais } \new Staff \with { extraNatural = ##f } - \relative c'' { - gis ges aes ais + \relative { + gis' ges aes ais } >> @end lilypond @@ -1967,13 +1967,13 @@ within the score, it may be appended to an explicit \score { \new Score \with { extraNatural = ##f } << \new Staff { - \relative c'' { - gis ges aes ais + \relative { + gis' ges aes ais } } \new Staff { - \relative c'' { - gis ges aes ais + \relative { + gis' ges aes ais } } >> @@ -2011,8 +2011,8 @@ throughout the @code{\score} or @code{\book} block in which the @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cis4 e d ces + \relative { + cis''4 e d ces } } \layout { @@ -2075,8 +2075,8 @@ produced by the @code{Staff_symbol_engraver}. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 +\relative { + c'4 \set fontSize = #-4 % make note heads smaller d e \set fontSize = #2.5 % make note heads larger @@ -2157,24 +2157,24 @@ staff in a four-staff score, we could write \score { << \new Staff << - \relative c'' { - c a b g + \relative { + c'' a b g } >> \new Staff << - \relative c' { - c a b g + \relative { + c' a b g } >> \new Staff << \clef "G_8" - \relative c' { - c a b g + \relative { + c' a b g } >> \new Staff << \clef "bass" - \relative c { + \relative { c a b g } >> @@ -2232,7 +2232,7 @@ soprano and cello. In this case, we would start with the @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef treble \key c \major \time 4/4 @@ -2260,7 +2260,7 @@ Now we want to add a cello part. Let's look at the @q{Notes only} example: @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef treble \key c \major \time 4/4 @@ -2297,7 +2297,7 @@ different notes. @example \version @w{"@version{}"} -sopranoMusic = \relative c' @{ +sopranoMusic = \relative @{ \clef treble \key c \major \time 4/4 @@ -2308,7 +2308,7 @@ sopranoLyrics = \lyricmode @{ Aaa Bee Cee Dee @} -celloMusic = \relative c @{ +celloMusic = \relative @{ \clef bass \key c \major \time 4/4 @@ -2365,7 +2365,7 @@ This looks a bit messy; the indentation is messed up now. That is easily fixed. Here's the complete soprano and cello template. @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef treble \key c \major \time 4/4 @@ -2376,7 +2376,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef bass \key c \major \time 4/4 @@ -2422,26 +2422,26 @@ from Handel's Messiah: @c The following should appear as music without code @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy is the lamb that was slain } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2651,26 +2651,26 @@ global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy is the lamb that was slain } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2920,19 +2920,19 @@ TimeKey = { \time 4/4 \key c \minor } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees +ManualOneVoiceOneMusic = \relative { + g'4 g f ees d2 c2 } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ c c4 b8 c8. g16 c b c d } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees f ees f d g aes g f ees d e8~ 8es16 f ees d } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 r16 g ees f g f g8 c,2 } @@ -2982,7 +2982,7 @@ PedalOrganMusic = \relative c { By this point, you've seen this kind of thing: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { \hornNotes @@ -2993,8 +2993,8 @@ hornNotes = \relative c'' { c4 b dis c } You may even realize that this could be useful in minimalist music: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA @@ -3070,8 +3070,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b +\relative { + c'''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" d e f \padText #2.6 @@ -3103,7 +3103,7 @@ suppose that the file @file{horn-music.ly} contains the following part of a horn/@/bassoon duo @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a cis4 f e d @} @@ -3139,7 +3139,7 @@ tuning of a normal French Horn in@tie{}F. The transposition can be seen in the following output @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a cis4 f e d } @@ -3197,7 +3197,7 @@ that the other voice is in @code{bassoonNotes} in the file leading to @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \time 2/4 R2*3 diff --git a/Documentation/hu/learning/tutorial.itely b/Documentation/hu/learning/tutorial.itely index ae6aac8be2..6c1c0b6892 100644 --- a/Documentation/hu/learning/tutorial.itely +++ b/Documentation/hu/learning/tutorial.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node ElsÅ‘ lecke @chapter ElsÅ‘ lecke @@ -240,8 +240,8 @@ is alapesetben b-t kell Ãrni h helyett!) @c KEEP LY @lilypond[verbatim,quote] % megadjuk, hogy az elsÅ‘ viszonyÃtási hang az egyvonalas c legyen -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -255,8 +255,8 @@ Legfeljebb kvárt nagyságú hangközöket tartalmazó dallamok tápláhatók be legegyszerűbben. @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -274,8 +274,8 @@ változtatható a kezdÅ‘oktáv: @c KEEP LY @lilypond[verbatim,quote] % kétvonalas oktáv -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -288,8 +288,8 @@ h alá kerül. @c KEEP LY @lilypond[verbatim,quote] -\relative c'' { - b c % felfelé szekund, lefelé szeptim, Ãgy: felsÅ‘ c +\relative { + b' c % felfelé szekund, lefelé szeptim, Ãgy: felsÅ‘ c b d % felfelé terc, lefelé szext, Ãgy: felsÅ‘ d b e % felfelé kvárt, lefelé kvint, Ãgy: felsÅ‘ e b a % felfelé szeptim, lefelé szekund, Ãgy: alsó a @@ -308,8 +308,8 @@ karaktereket helyezünk a hang után. Az @code{'} egy @notation{oktáv}nyi emelkedést, a @code{,} egy oktávnyi süllyedést jelent. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -345,8 +345,8 @@ Ha nincs megadva a hosszúság, az elÅ‘zÅ‘ hang hossza marad érvényben. Az elsÅ‘ hang alapértelmezetten negyed hosszúságú. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -357,8 +357,8 @@ ahányszoros a pontozás. A pontozott hangok ritmusértékét mindig meg kell adni számmal. @lilypond[verbatim,quote] -\relative c'' { - a a a4. a8 +\relative { + a' a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -374,8 +374,8 @@ A @notation{szünetek} megadása hasonlóképpen történik, mint a hangoké, csak a hangmagasság megjelölése helyett @code{r}@tie{} betűt kell Ãrni: @lilypond[verbatim,quote] -\relative c'' { - a r r2 +\relative { + a' r r2 r8 a r4 r4. r8 } @end lilypond @@ -393,9 +393,9 @@ Fogalomtár: @rglos{time signature}. Az @notation{ütemmutató} beállÃtására a @code{\time} parancs szolgál: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -420,9 +420,9 @@ Fogalomtár: @rglos{clef}. A @notation{kulcs} beállÃtása a @code{\clef} paranccsal lehetséges: @lilypond[verbatim,quote] -\relative c' { +\relative { \clef treble - c1 + c'1 \clef alto c1 \clef tenor @@ -438,10 +438,10 @@ A @notation{kulcs} beállÃtása a @code{\clef} paranccsal lehetséges: Alább látható egy rövid példa, mely az eddig tanult elemeket mutatja be: @lilypond[verbatim,quote] -\relative c, { +\relative { \time 3/4 \clef bass - c2 e8 c' g'2. + c,2 e8 c' g'2. f4 e d c4 c, r4 } @end lilypond @@ -613,8 +613,8 @@ kipróbálható: @c no verbatim here @c KEEP LY @lilypond[quote] -\relative c'' { - c-\markup { \bold \huge { Ide kell kattintani! } } +\relative { + c''-\markup { \bold \huge { Ide kell kattintani! } } } @end lilypond diff --git a/Documentation/hu/usage/lilypond-book.itely b/Documentation/hu/usage/lilypond-book.itely index 48617438b5..497bdaf961 100644 --- a/Documentation/hu/usage/lilypond-book.itely +++ b/Documentation/hu/usage/lilypond-book.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Note: keep this node named so that `info lilypond-book' brings you here. @node lilypond-book @@ -84,8 +84,8 @@ A \verb+lilypond-book+ segÃtségével feldolgozott dokumentumok kottapéldákat tartalmazhatnak. Például: \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -140,8 +140,8 @@ A @command{lilypond-book} segÃtségével feldolgozott dokumentumok kottapéldákat tartalmazhatnak. Például: @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -678,8 +678,8 @@ example, the music will be interpreted in relative mode, but the verbatim quote will not show the @code{relative} block, i.e. @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1019,8 +1019,8 @@ You can include LilyPond fragments in a LaTeX document. Normal LaTeX text. \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1045,7 +1045,7 @@ is written in Texinfo. Texinfo text @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1072,8 +1072,8 @@ d4 c b a Documents for lilypond-book may freely mix music and text. For example, <lilypond> -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} </lilypond> </p> diff --git a/Documentation/hu/usage/running.itely b/Documentation/hu/usage/running.itely index f72f60ea9e..4b353eafbc 100644 --- a/Documentation/hu/usage/running.itely +++ b/Documentation/hu/usage/running.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @node A lilypond használata @@ -550,7 +550,7 @@ kezdÅ‘dik, mint az elsÅ‘, mert a @code{\repeat} parancs hatására két @lilypond[quote,verbatim] \repeat unfold 2 { - \relative c' { c d e f } + \relative { c' d e f } } @end lilypond diff --git a/Documentation/included/engraver-example.ily b/Documentation/included/engraver-example.ily index 548742e14f..697d1a2a6a 100644 --- a/Documentation/included/engraver-example.ily +++ b/Documentation/included/engraver-example.ily @@ -1,25 +1,25 @@ %% texidoc = "Include file for engraver example." -\version "2.16.0" -topVoice = \relative c' { +\version "2.19.21" +topVoice = \relative { \key d \major - es8([ g] a[ fis]) + es'8([ g] a[ fis]) b4 b16[-. b-. b-. cis-.] d4-> } -botVoice = \relative c' { +botVoice = \relative { \key d \major - c8[( f] b[ a)] + c'8[( f] b[ a)] es4 es16[-. es-. es-. fis-.] b4-> } -hoom = \relative c { +hoom = \relative { \key d \major \clef bass - g8-. r + g,8-. r r4 fis8-. r8 @@ -27,7 +27,7 @@ hoom = \relative c { b'4-> } -pah = \relative c' { +pah = \relative { r8 b-. r4 r8 g8-. diff --git a/Documentation/included/gonville.ly b/Documentation/included/gonville.ly index 4ee47ec5ad..cca61f09b9 100644 --- a/Documentation/included/gonville.ly +++ b/Documentation/included/gonville.ly @@ -7,7 +7,7 @@ path)." } -\version "2.17.6" +\version "2.19.21" \paper { myStaffSize = 20 @@ -20,8 +20,8 @@ path)." (/ myStaffSize 20)) } -sampleMusic = \relative c'' { - a4-\trill_\sfz b8 c16 d32 +sampleMusic = \relative { + a'4-\trill_\sfz b8 c16 d32 } diff --git a/Documentation/included/simple.ly b/Documentation/included/simple.ly index 5c7458f2a2..ec872c0472 100644 --- a/Documentation/included/simple.ly +++ b/Documentation/included/simple.ly @@ -1,8 +1,8 @@ %% A simple piece in LilyPond, a scale. -\relative c' { - c d e f g a b c +\relative { + c' d e f g a b c } %% Optional helper for automatic updating by convert-ly. %% May be omitted. -\version "2.16.0" +\version "2.19.21" diff --git a/Documentation/it/learning/common-notation.itely b/Documentation/it/learning/common-notation.itely index c84f1e2e27..612e60e661 100644 --- a/Documentation/it/learning/common-notation.itely +++ b/Documentation/it/learning/common-notation.itely @@ -9,7 +9,7 @@ @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: (different from policy.txt!) @@ -770,9 +770,9 @@ esempio, tre sequenze (tutte contenenti due note separate) vengono combinate in simultanea: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -800,8 +800,8 @@ complessa, ma poiché inizia con una nota singola sarà impostata su un singolo rigo. @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e2 f } { c2 <<b d>> } >> } @end lilypond @@ -838,9 +838,9 @@ un rigo è contrassegnato da @code{\new Staff}. Questi elementi e @code{>>}: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -868,9 +868,9 @@ a tutti gli altri righi. L'armatura di chiave di un rigo, invece, frequenti delle partiture poliritmiche. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -915,9 +915,9 @@ Produrre un pentagramma di questo tipo è simile all'esempio polifonico in Ecco un piccolo esempio: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -1036,10 +1036,10 @@ Questo è l'inizio della melodia di una filastrocca, @notation{Girls and boys come out to play}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -1049,10 +1049,10 @@ separando ogni sillaba con uno spazio. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come | out to play, @@ -1085,10 +1085,10 @@ shine as bright as day}. Aggiungiamola: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1120,10 +1120,10 @@ che le colleghi, per i dettagli si veda @ref{Legature di valore e di portamento} @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1141,10 +1141,10 @@ dettagli si veda @ref{Code automatiche e manuali}. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1160,10 +1160,10 @@ che si voglia includere nel melisma: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1182,10 +1182,10 @@ sillaba. Si scrive con due trattini bassi @code{__}. Il seguente esempio @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1232,11 +1232,11 @@ Ecco un esempio tratto dal @notation{Figaro} di Rossini, dove @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1345,12 +1345,12 @@ usati in seguito ponendo una barra inversa (backslash) di fronte al nome @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1503,10 +1503,10 @@ di errori. Usando @code{\relative}, l'esempio precedente è molto più semplice da leggere e scrivere: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 + cis''8. d16 cis8 e4 e8 b8. cis16 b8 d4 d8 } @end lilypond @@ -1527,7 +1527,7 @@ Talvolta la musica è organizzata in modi più complessi. Se si usa @code{\relative} è indipendente: @lilypond[verbatim,quote] -\relative c { c'4 \relative c'' { f g } c } +\relative { c'4 \relative { f'' g } c } @end lilypond @funindex \absolute @@ -1536,7 +1536,7 @@ contrassegnare esplicitamente la musica assoluta con @code{\absolute} per impedire che diventi parte della musica relativa: @lilypond[verbatim,quote] -\relative c { c'4 \absolute { f'' g'' } c } +\relative { c'4 \absolute { f'' g'' } c } @end lilypond diff --git a/Documentation/it/learning/fundamental.itely b/Documentation/it/learning/fundamental.itely index c18a5627aa..632f9c183e 100644 --- a/Documentation/it/learning/fundamental.itely +++ b/Documentation/it/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Concetti fondamentali @chapter Concetti fondamentali @@ -85,8 +85,8 @@ elabora un input semplice, aggiunge automaticamente gli altri comandi necessari. LilyPond tratta un input come questo: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -98,8 +98,8 @@ come forma abbreviata per questo: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -226,8 +226,8 @@ spiegato in @ref{Organizzare i brani con le variabili}). Tutti i modelli usano questa forma @example -melodia = \relative c' @{ - c4 a b c +melodia = \relative @{ + c'4 a b c @} \score @{ @@ -343,8 +343,8 @@ A questo punto possiamo iniziare ad inserire le note. All'interno delle parente graffe vicine a @code{\new Voice = "vocal"}, possiamo iniziare a scrivere @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -362,10 +362,10 @@ Dunque se aggiungiamo un po' di note e una chiave di basso per la mano sinistra, otteniamo un brano musicale vero e proprio: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { <g d g,>2~ <g d g,> } -lower = \relative c { b2 e } +upper = \relative { <g' d g,>2~ <g d g,> } +lower = \relative { b,2 e } \score { << @@ -412,8 +412,8 @@ la durata di tre note: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -439,8 +439,8 @@ nel seguente modo: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -678,9 +678,9 @@ contesto, la direzione verticale di legature di portamento, gambi, legature di valore, dinamica, etc., è impostata correttamente. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -702,9 +702,9 @@ essere divise sulle stesse voci in due costrutti, come mostra qui la voce con i triangoli blu. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -792,10 +792,10 @@ più complesse saranno spiegate tutte in sezioni successive. @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Prima voce - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voce due { % Puoi ignorare questi per ora, saranno spiegati nel capitolo 4 @@ -869,10 +869,10 @@ iniziamo usando il costrutto @code{<< \\ >>} per inserire la musica della prima battuta in tre voci: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } >> | <c ees aes c>1 | } @@ -891,10 +891,10 @@ musica nella voce quattro. Si può fare aggiungendo semplicemente un altro paio di @code{\\}: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { <ees, c>2 des } \\ % Omit Voice three @@ -953,8 +953,8 @@ precedente: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -964,8 +964,8 @@ precedente: @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -974,8 +974,8 @@ Entrambi hanno come risultato @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1068,8 +1068,8 @@ appare solo brevemente questo potrebbe essere un modo più semplice di scrivere lo spartito: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { @@ -1240,14 +1240,14 @@ invece che come musica. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1299,10 +1299,10 @@ esempi questo viene spesso chiamato @q{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1490,8 +1490,8 @@ di musica vera e propria: \clef "treble" \key g \minor \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. | + \relative { % start of RH notes + d''4 ees16 c8. | d4 ees16 c8. | } % end of RH notes } % end of RH voice @@ -1501,14 +1501,14 @@ di musica vera e propria: \key g \minor \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 <bes d> ees, <g c> | g8 <bes d> ees, <g c> | } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees | g4 ees | } % end of LH voice two notes @@ -1773,8 +1773,8 @@ Quindi in questo modo si disattiva il bequadro su un rigo: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1788,8 +1788,8 @@ e in questo modo si disattiva in tutti i righi: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1862,13 +1862,13 @@ così: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1906,8 +1906,8 @@ nel blocco @code{\score} o @code{\book} nel quale il blocco @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -1926,13 +1926,13 @@ della partitura: \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1995,8 +1995,8 @@ create dall'incisore @code{Staff_symbol_engraver}. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2080,24 +2080,24 @@ di quattro pentagrammi, potremmo scrivere \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2160,7 +2160,7 @@ la parte di soprano). @example \version @w{"@version{}"} -melodia = \relative c' @{ +melodia = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2189,7 +2189,7 @@ Ora vogliamo aggiungere una parte per violoncello. Vediamo l'esempio @q{Solo no @example \version @w{"@version{}"} -melodia = \relative c' @{ +melodia = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2227,7 +2227,7 @@ delle note diverse. @example \version @w{"@version{}"} -musicaSoprano = \relative c' @{ +musicaSoprano = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2238,7 +2238,7 @@ testoSoprano = \lyricmode @{ Aaa Bee Cee Dee @} -musicaVioloncello = \relative c @{ +musicaVioloncello = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2297,7 +2297,7 @@ può correggere facilmente. Ecco il modello completo per soprano e violoncello. @lilypond[quote,verbatim,ragged-right,addversion] -musicaSoprano = \relative c' { +musicaSoprano = \relative { \clef "treble" \key c \major \time 4/4 @@ -2308,7 +2308,7 @@ testoSoprano = \lyricmode { Aaa Bee Cee Dee } -musicaVioloncello = \relative c { +musicaVioloncello = \relative { \clef "bass" \key c \major \time 4/4 @@ -2355,29 +2355,29 @@ dal Messiah di Handel: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords @@ -2594,26 +2594,26 @@ per le tre battute dell'esempio precedente, otteniamo: @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2922,19 +2922,19 @@ possa variare. Tutto ciò che resta da fare ora composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -2989,7 +2989,7 @@ Glossario musicale: Finora hai visto questo tipo di cose: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { \hornNotes @@ -3000,8 +3000,8 @@ hornNotes = \relative c'' { c4 b dis c } Potresti anche essere accorto che questo può essere utile nella musica minimalista: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | @@ -3081,8 +3081,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3115,7 +3115,7 @@ supponiamo che il file @file{horn-music.ly} contenga la seguente parte di un duetto per corno e fagotto @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3152,7 +3152,7 @@ di un normale corno francese in@tie{}Fa. La trasposizione può essere vista nel seguente output @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3210,7 +3210,7 @@ l'altra voce si trovi in @code{bassoonNotes} nel file ovvero @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/it/learning/tutorial.itely b/Documentation/it/learning/tutorial.itely index bee60194a1..ef99b85a44 100644 --- a/Documentation/it/learning/tutorial.itely +++ b/Documentation/it/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @node Tutorial @chapter Tutorial @@ -228,8 +228,8 @@ si trova entro una distanza di appena uno spazio di pentagramma dalla nota prece @lilypond[verbatim,quote] % set the starting point to middle C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -241,8 +241,8 @@ più vicino alla nota precedente. Possiamo creare melodie che hanno intervalli più ampi, sempre usando soltanto il modo @code{\relative}: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -259,8 +259,8 @@ partenza: @lilypond[verbatim,quote] % one octave above middle C -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -274,8 +274,8 @@ un Do, un Re o un Mi, si troverà sopra il Si, mentre il La, il Sol o il Fa si troveranno sotto. @lilypond[verbatim,quote] -\relative c'' { - b c % c is 1 staff space up, so is the c above +\relative { + b' c % c is 1 staff space up, so is the c above b d % d is 2 up or 5 down, so is the d above b e % e is 3 up or 4 down, so is the e above b a % a is 6 up or 1 down, so is the a below @@ -296,8 +296,8 @@ ad apice singolo @code{'} (o apostrofo). Si può abbassare l'ottava aggiungendo al nome della nota una virgola @code{,}. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -335,8 +335,8 @@ per la nota successiva. La durata predefinita della prima nota è di un quarto. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -347,8 +347,8 @@ numero di durata. La durata di una nota puntata deve essere dichiarata esplicitamente (cioè con un numero). @lilypond[verbatim,quote] -\relative c'' { - a a a4. a8 +\relative { + a' a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -367,8 +367,8 @@ Una @notation{pausa} viene inserita proprio come una nota ma col nome @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -388,9 +388,9 @@ Glossario musicale: @rglosnamed{time signature,indicazione di tempo}. Il @notation{tempo} si imposta con il comando @code{\time}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -447,9 +447,9 @@ Glossario musicale: @rglosnamed{clef,chiave}. La @notation{chiave} si imposta con il comando @code{\clef}: @lilypond[verbatim,quote] -\relative c' { +\relative { \clef treble - c1 + c'1 \clef alto c1 \clef tenor @@ -736,8 +736,8 @@ questa immagine: @c no verbatim here @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { Clicca qui. } } +\relative { + c''4-\markup { \bold \huge { Clicca qui. } } } @end lilypond diff --git a/Documentation/it/learning/tweaks.itely b/Documentation/it/learning/tweaks.itely index 9069bc915d..6794a54e96 100644 --- a/Documentation/it/learning/tweaks.itely +++ b/Documentation/it/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Modifica dell'output @chapter Modifica dell'output @@ -550,8 +550,8 @@ emphNoteHead = { \override NoteHead.color = #red \override NoteHead.font-size = 2 } -\relative c'' { - c4 a \once \emphNoteHead f d | +\relative { + c''4 a \once \emphNoteHead f d | } @end lilypond @@ -567,8 +567,8 @@ emphNoteHead = { \override NoteHead.color = #red \override NoteHead.font-size = 2 } -\relative c'' { - <c a \single \emphNoteHead f d>4 +\relative { + <c'' a \single \emphNoteHead f d>4 } @end lilypond @@ -1491,8 +1491,8 @@ inserire un nuovo rigo temporaneo, come in un @rglos{ossia}. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1519,8 +1519,8 @@ ciascun oggetto su @code{#f}, così: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1579,8 +1579,8 @@ Dunque possiamo sostituire l'esempio precedente con @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1603,8 +1603,8 @@ impostare la proprietà @code{transparent} e togliere lo @code{stencil} @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1669,8 +1669,8 @@ Proviamolo nel nostro esempio dell'ossia: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1744,8 +1744,8 @@ questo modo: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1867,10 +1867,10 @@ seguente mostra questo @q{annidamento} delle note su righi adiacenti: @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -3124,8 +3124,8 @@ con un segno che contenga il simbolo desiderato: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } -\relative c'' { - c4 +\relative { + c''4 % Mostra un triesis (alterazione ascendente di tre quarti di tono) ma lo spazio è troppo stretto \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3371,10 +3371,10 @@ introdotto alla fine del paragrafo @ref{I'm hearing Voices}, che avevamo lasciato così: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ @@ -3409,10 +3409,10 @@ Ecco il risultato finale: @cindex force-hshift, esempio @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 \once \override NoteColumn.force-hshift = 0.5 des } @@ -3448,9 +3448,9 @@ e le pedalizzazioni. @c This example should not be indexed @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3490,8 +3490,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3531,9 +3531,9 @@ produce senza modifiche manuali: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4. g8 | + r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3557,8 +3557,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3589,9 +3589,9 @@ nel Tutorial. In questo modo abbiamo: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3615,8 +3615,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3659,9 +3659,9 @@ Questo completa la seconda battuta: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3687,8 +3687,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3739,9 +3739,9 @@ alla fine, ottenendo: @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3771,8 +3771,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3814,9 +3814,9 @@ interferisca con i due Re. Applicando queste modifiche abbiamo: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3849,8 +3849,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3886,9 +3886,9 @@ rendiamo il gambo trasparente e spostiamo il Do con la proprietà @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3929,8 +3929,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -4153,10 +4153,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/it/notation/editorial.itely b/Documentation/it/notation/editorial.itely index 4a53c7f13c..3fdc1c3be8 100644 --- a/Documentation/it/notation/editorial.itely +++ b/Documentation/it/notation/editorial.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.18.0" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: @@ -852,8 +852,8 @@ dei brani musicali. Sono supportate delle semplici parentesi orizzontali. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c2\startGroup +\relative { + c''2\startGroup d\stopGroup } @end lilypond @@ -867,8 +867,8 @@ Le parentesi analitiche si possono annidare. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c4\startGroup\startGroup +\relative { + c''4\startGroup\startGroup d4\stopGroup e4\startGroup d4\stopGroup\stopGroup diff --git a/Documentation/it/notation/expressive.itely b/Documentation/it/notation/expressive.itely index 8f946bea10..f43bc01221 100644 --- a/Documentation/it/notation/expressive.itely +++ b/Documentation/it/notation/expressive.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.18.0" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: Luca Rossetto Casel @@ -438,8 +438,8 @@ indicazioni testuali, estensori del testo e indicazioni di pedalizzazione del pi @lilypond[verbatim,quote] << - \new Staff \relative c' { - c2 d4 e | + \new Staff \relative { + c'2 d4 e | c4 e e,2 | g'4 a g a | c1 | @@ -537,8 +537,8 @@ gli oggetti @code{\markup}. @lilypond[verbatim,quote] moltoF = \markup { molto \dynamic f } -\relative c' { - <d e>16_\moltoF <d e> +\relative { + <d' e>16_\moltoF <d e> <d e>2.. } @end lilypond @@ -560,8 +560,8 @@ roundF = \markup { \center-align \concat { \bold { \italic ( } \dynamic f \bold { \italic ) } } } boxF = \markup { \bracket { \dynamic f } } -\relative c' { - c1_\roundF +\relative { + c'1_\roundF c1_\boxF } @end lilypond @@ -574,8 +574,8 @@ funzione @code{make-dynamic-script}. @lilypond[verbatim,quote] sfzp = #(make-dynamic-script "sfzp") -\relative c' { - c4 c c\sfzp c +\relative { + c'4 c c\sfzp c } @end lilypond @@ -600,8 +600,8 @@ mfEspress = \markup { \center-align \line { roundFdynamic = #(make-dynamic-script roundF) boxFdynamic = #(make-dynamic-script boxF) mfEspressDynamic = #(make-dynamic-script mfEspress) -\relative c' { - c4_\roundFdynamic\< d e f +\relative { + c'4_\roundFdynamic\< d e f g,1~_\boxFdynamic\> g1 g'1~\mfEspressDynamic @@ -616,8 +616,8 @@ Si può usare anche la forma Scheme della modalità markup. La sintassi moltoF = #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF } @end lilypond @@ -630,8 +630,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF <d e>1 } @end lilypond diff --git a/Documentation/it/notation/pitches.itely b/Documentation/it/notation/pitches.itely index ce726d7bdd..f64bed5675 100644 --- a/Documentation/it/notation/pitches.itely +++ b/Documentation/it/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: Luca Rossetto Casel @@ -166,10 +166,10 @@ più conveniente? Identificare il Do centrale con @code{c'} è molto semplice, quindi trovare le ottave del @code{c} (Do) sarà altrettanto semplice. Se la musica inizia con @code{gis} sopra @code{c'''}, si scriverà qualcosa simile a -@code{\relative c''' @{ gis' @dots{} @}} +@code{\relative @{ gis''' @dots{} @}} @item un'ottava della prima nota -Scrivere @code{\relative gis''' @{ gis @dots{} @}} è un modo semplice per +Scrivere @code{\relative @{ gis''' @dots{} @}} è un modo semplice per determinare l'altezza assoluta della prima nota dell'espressione musicale. @item nessuna altezza di riferimento esplicita @@ -185,7 +185,7 @@ La documentazione di solito usa la prima opzione. Ecco il modo relativo in azione: @lilypond[verbatim,quote] -\relative c { +\relative { \clef bass c d e f g a b c @@ -197,8 +197,8 @@ I segni di cambiamento d'ottava si impiegano per gli intervalli più ampi di quello di quarta: @lilypond[verbatim,quote] -\relative c'' { - c g c f, +\relative { + c'' g c f, c' a, e'' c } @end lilypond @@ -207,7 +207,7 @@ Una sequenza di note senza segni di ottava può tuttavia comprendere intervalli di grande estensione: @lilypond[verbatim,quote] -\relative c { +\relative { c f b e a d g c } @@ -217,10 +217,10 @@ Nel caso di blocchi @code{\relative} annidati, si considera il blocco @code{\relative} più interno. @lilypond[verbatim,quote] -\relative c' { - c d e f - \relative c'' { - c d e f +\relative { + c' d e f + \relative { + c'' d e f } } @end lilypond @@ -243,12 +243,12 @@ notazione d'ottava assoluta, a meno che non sia incluso il blocco @code{\relative}. @lilypond[verbatim,quote] -\relative c' { - d e +\relative { + d' e \transpose f g { d e - \relative c' { - d e + \relative { + d' e } } } @@ -265,8 +265,8 @@ quella precedente. Esaminate con attenzione l'esempio seguente, e in particolare le note @code{c}. @lilypond[verbatim,quote] -\relative c' { - c +\relative { + c' <c e g> <c' e g'> <c, e, g''> @@ -282,8 +282,8 @@ diminuita due volte, indipendentemente dal numero di semitoni contenuto in ogni intervallo. @lilypond[verbatim,quote] -\relative c'' { - c2 fis +\relative { + c''2 fis c2 ges b2 eisis b2 feses @@ -476,8 +476,8 @@ file; l'esempio seguente è scritto in notazione italiana: @lilypond[quote,verbatim] \language "italiano" -\relative do' { - do re mi sib +\relative { + do' re mi sib } @end lilypond @@ -651,8 +651,8 @@ dopo il simbolo@tie{}@code{=}. Questo esempio genererà un avviso @code{d''} invece di @code{d'}, come indicato dalla correzione di ottava. @lilypond[verbatim,quote] -\relative c'' { - c2 d='4 d +\relative { + c''2 d='4 d e2 f } @end lilypond @@ -667,8 +667,8 @@ un avviso, ma la nota precedente non viene modificata. Le note successive sono relative all'@code{@var{altezza_di_controllo}}. @lilypond[verbatim,quote] -\relative c'' { - c2 d +\relative { + c''2 d \octaveCheck c' e2 f } @@ -678,8 +678,8 @@ Nelle due battute che seguono, il primo e il terzo @code{\octaveCheck} falliscono, mentre il secondo non fallisce. @lilypond[verbatim,quote] -\relative c'' { - c4 f g f +\relative { + c''4 f g f c4 \octaveCheck c' @@ -738,9 +738,9 @@ venga trasposta automaticamente. @lilypond[verbatim,quote] \transpose d e { - \relative c' { + \relative { \key d \major - d4 fis a d + d'4 fis a d } } @end lilypond @@ -755,9 +755,9 @@ sarà ottenuta con: @lilypond[verbatim,quote] \transpose a c' { - \relative c' { + \relative { \key c \major - c4 d e g + c'4 d e g } } @end lilypond @@ -774,7 +774,7 @@ le note rimarranno sullo stesso grado della scala, mentre la seconda versione mostrerà i bemolle sul grado superiore della scala. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \transpose c cis { \music } \transpose c des { \music } @@ -869,7 +869,7 @@ ci sia una corrispondenza tra @code{@var{altezza-di-riferimento}} e @code{@var{altezza-di-arrivo}}. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \music \inversion d' d' \music @@ -902,7 +902,7 @@ Un'espressione musicale può essere invertita in modo da produrre il proprio retrogrado: @lilypond[verbatim,quote] -music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 } +music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 } \new Staff { \music @@ -959,8 +959,8 @@ numero di gradi della scala dati dall'intervallo tra @var{altezza-di-arrivo} e @var{altezza-di-partenza}: @lilypond[verbatim,quote] -diatonicScale = \relative c' { c d e f g a b } -motif = \relative c' { c8 d e f g a b c } +diatonicScale = \relative { c' d e f g a b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -973,8 +973,8 @@ motif = \relative c' { c8 d e f g a b c } intervallo: @lilypond[verbatim,quote] -pentatonicScale = \relative c' { ges aes bes des ees } -motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> } +pentatonicScale = \relative { ges aes bes des ees } +motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> } \new Staff { \motif @@ -987,8 +987,8 @@ effetto simile a @code{\transpose}, con in più la possibilità di specificare i nomi delle note da usare: @lilypond[verbatim,quote] -chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b } -motif = \relative c' { c8 d e f g a b c } +chromaticScale = \relative { c' cis d dis e f fis g gis a ais b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -1022,8 +1022,8 @@ Dunque, per invertire intorno a una particolare nota della scala, è necessario usare il medesimo valore per @var{altezza-cardine} e @var{altezza-di-arrivo}: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1036,8 +1036,8 @@ intorno a una della note e poi si traspone di un grado della scala. Le due note specificate possono essere interpretate come parentesi del punto cardine: @lilypond[verbatim,quote] -scale = \relative c' { c g' } -motive = \relative c' { c c g' c, } +scale = \relative { c' g' } +motive = \relative { c' c g' c, } \new Staff { \motive @@ -1049,8 +1049,8 @@ L'operazione combinata di inversione e retrogradazione produce la retrogradazione inversa: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1364,8 +1364,8 @@ grado della scala quando il modo inizia col Do. freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL) (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT)) -\relative c' { - \key c \freygish c4 des e f +\relative { + \key c \freygish c'4 des e f \bar "||" \key d \freygish d es fis g } @end lilypond @@ -1623,12 +1623,12 @@ mostra tutti gli stili: @lilypond[verbatim,quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1638,8 +1638,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1704,12 +1704,12 @@ dell'ultimo@tie{}@code{c}: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1719,8 +1719,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1776,12 +1776,12 @@ allora è preferibile usare @code{modern} o @code{modern-cautionary}. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1791,8 +1791,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1841,12 +1841,12 @@ e del@tie{}@code{c} nella seconda misura del rigo superiore: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1856,8 +1856,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1903,12 +1903,12 @@ di @code{AccidentalSuggestion}. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1918,8 +1918,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1968,12 +1968,12 @@ voce della misura precedente: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1983,8 +1983,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2029,12 +2029,12 @@ esse sono indicate come alterazioni di precauzione. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2044,8 +2044,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2092,12 +2092,12 @@ gli annullamenti delle note finali. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2107,8 +2107,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2149,12 +2149,12 @@ mostrate come alterazioni di precauzione. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2164,8 +2164,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2208,12 +2208,12 @@ seconda occorrenza non segua direttamente la prima. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2223,8 +2223,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2265,12 +2265,12 @@ supplementari sono mostrate come alterazioni di precauzione. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2280,8 +2280,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2326,12 +2326,12 @@ voci nello stesso rigo (@code{Staff}). @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2341,8 +2341,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2383,12 +2383,12 @@ supplementari sono indicate come alterazioni di precauzione. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2398,8 +2398,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2443,12 +2443,12 @@ naturali. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2458,8 +2458,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2501,12 +2501,12 @@ le altezze ripetute immediatamente nello stesso rigo. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2516,8 +2516,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2563,12 +2563,12 @@ l'ottava corrente ma in tutte le voci. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2578,8 +2578,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2624,12 +2624,12 @@ immediatamente successive di una stessa nota. @lilypond[quote,staffsize=18] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2639,8 +2639,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2685,12 +2685,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2700,8 +2700,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2744,12 +2744,12 @@ materiale musicale precedente. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2759,8 +2759,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2888,8 +2888,8 @@ di chiave. } } -\relative c'' { - aes c e2 +\relative { + aes' c e2 cis,1 } @end lilypond diff --git a/Documentation/it/notation/repeats.itely b/Documentation/it/notation/repeats.itely index d74780cad8..c36669703e 100644 --- a/Documentation/it/notation/repeats.itely +++ b/Documentation/it/notation/repeats.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: Luca Rossetto Casel @@ -504,8 +504,8 @@ nella lista Scheme, @lilypond[verbatim,quote] voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } -\relative c'' { - c1 +\relative { + c''1 \set Score.repeatCommands = #(list(list 'volta voltaAdLib) 'start-repeat) c4 b d e diff --git a/Documentation/it/notation/rhythms.itely b/Documentation/it/notation/rhythms.itely index e3cea927ac..8af419ab2b 100644 --- a/Documentation/it/notation/rhythms.itely +++ b/Documentation/it/notation/rhythms.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: Luca Rossetto Casel @@ -450,8 +450,8 @@ una particolare durata. Le legature si dovrebbero usare anche per unire note dalle durate superiori all'unità di suddivisione della misura: @lilypond[verbatim,quote] -\relative c' { - r8 c~ 2 r4 | +\relative { + r8 c'~ 2 r4 | r8^"non" c2~ 8 r4 } @end lilypond @@ -1635,10 +1635,10 @@ che si debbano inserire a mano le travature, perché la scalatura delle durate influenzerà le regole della disposizione automatica delle travature. @lilypond[quote,verbatim] -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -1681,10 +1681,10 @@ Si può dare a ogni rigo la sua indicazione di tempo indipendente spostando % Ora ogni rigo ha la sua indicazione di tempo. -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -2155,8 +2155,8 @@ contiene. \set Staff.beatStructure = #'(2 3 2) << \new Voice = one { - \relative c'' { - a8 a a a a a a + \relative { + a'8 a a a a a a } } \new Voice = two { @@ -3595,8 +3595,8 @@ prendono come argomento una sezione di musica salvata in una variabile e generan una pausa multipla o @code{\skip} della lunghezza esatta del brano. @lilypond[verbatim,quote] -MyCadenza = \relative c' { - c4 d8 e f g g4 +MyCadenza = \relative { + c'4 d8 e f g g4 f2 g4 g } diff --git a/Documentation/it/notation/simultaneous.itely b/Documentation/it/notation/simultaneous.itely index 5f7f3d9150..cd1fd6d465 100644 --- a/Documentation/it/notation/simultaneous.itely +++ b/Documentation/it/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: Luca Rossetto Casel @@ -226,8 +226,8 @@ specificata con un'ottava diversa. \new Voice \relative c'' { \chordRepeats #'(articulation-event) - \relative c'' - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + \relative + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c | } @end lilypond @@ -788,10 +788,10 @@ nel file di input non deve essere lo stesso dell'ordine verticale delle voci del rigo!} @lilypond[quote,verbatim] -\new Staff \relative c'' { +\new Staff \relative { %% inserimento abbreviato << - { f2 } % 1: più alta + { f''2 } % 1: più alta \\ { g,2 } % 2: più bassa \\ @@ -908,17 +908,17 @@ gambi sono regolate di conseguenza. Si usano le stesse variabili per le parti indipendenti e il rigo combinato. @lilypond[quote,verbatim] -instrumentOne = \relative c' { - c4 d e f | +instrumentOne = \relative { + c'4 d e f | R1 | d'4 c b a | b4 g2 f4 | e1 | } -instrumentTwo = \relative g' { +instrumentTwo = \relative { R1 | - g4 a b c | + g'4 a b c | d4 c b a | g4 f( e) d | e1 | @@ -1019,8 +1019,8 @@ instrumentOne = \relative c' { \partcombineApart c2^"separato" \partcombineChordsOnce e^"accordo una volta sola" | c2 c | } -instrumentTwo = \relative c' { - c2 c | +instrumentTwo = \relative { + c'2 c | e2 e | a,2 c | c2 c' | diff --git a/Documentation/it/notation/staff.itely b/Documentation/it/notation/staff.itely index fc031a1d30..5cd0ad36a2 100644 --- a/Documentation/it/notation/staff.itely +++ b/Documentation/it/notation/staff.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: @@ -358,15 +358,15 @@ in @code{\paper}. \score { \new StaffGroup << \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } } \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } @@ -590,8 +590,8 @@ I righi @notation{ossia} si possono creare aggiungendo un nuovo rigo simultaneo nel punto giusto: @lilypond[verbatim,quote] -\new Staff \relative c'' { - c4 b d c +\new Staff \relative { + c''4 b d c << { c4 b d c } \new Staff { e4 d f e } @@ -613,8 +613,8 @@ il rigo ossia. Questo metodo conviene quando sono necessari solo pochi righi ossia. @lilypond[verbatim,quote] -\new Staff = "main" \relative c'' { - c4 b d c +\new Staff = "main" \relative { + c''4 b d c << { c4 b d c } @@ -646,8 +646,8 @@ esempio. } { \stopStaff s1*6 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 << { e4 f e2 } \context Staff = "ossia" { @@ -679,12 +679,12 @@ su @code{\Staff \RemoveEmptyStaves} si trovano in @ref{Hiding staves}. \remove "Time_signature_engraver" \hide Clef \magnifyStaff #2/3 - } \relative c'' { + } \relative { R1*3 - c4 e8 d c2 + c''4 e8 d c2 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 e4 f e2 g4 a g2 \break c4 b c2 @@ -752,7 +752,7 @@ si può usare @code{\stopStaff}. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c''' { a8 f e16 d c b a2 } +\relative { a''8 f e16 d c b a2 } @end lilypond @@ -773,9 +773,9 @@ elementi.} } } -\relative c' << +\relative << \new Staff { - e4 f g a \break + e'4 f g a \break b1 \break a4 b c2 } @@ -1085,12 +1085,12 @@ definito da @code{\addQuote}, e un'espressione musicale per la durata della citazione. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { s1 } } \addQuote "flute" { \fluteNotes } @@ -1108,12 +1108,12 @@ di pause spaziatrici o multiple, la citazione apparirà in forma polifonica e potrebbe causare risultati indesiderati. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } } \addQuote "flute" { \fluteNotes } @@ -1137,8 +1137,8 @@ clarinetNotes = \relative c'' { b4 ais a ais | cis4^"quoted" r8 bis\p b4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"clarinet" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"clarinet" { s1 } } \addQuote "clarinet" { \clarinetNotes } @@ -1167,13 +1167,13 @@ presenti nel frammento citato. È possibile scegliere quali di questi oggetti far apparire usando la proprietà di contesto @code{quotedEventTypes}. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a2 g2 | +fluteNotes = \relative { + a'2 g2 | b4\<^"quoted" r8 ais a4\f( c->) } -oboeNotes = \relative c'' { - c2. b4 | +oboeNotes = \relative { + c''2. b4 | \quoteDuring #"flute" { s1 } } @@ -1311,8 +1311,8 @@ corrisponde alla prima e alla seconda voce rispettivamente, determinando come le notine appaiono in relazione all'altra voce. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 | d8 c d e fis2 | g2 d | +fluteNotes = \relative { + r2. c''4 | d8 c d e fis2 | g2 d | } oboeNotes = \relative c'' { @@ -1345,8 +1345,8 @@ esplicitamente, altrimenti l'intera espressione musicale appartiene al contesto @code{CueVoice}.} @lilypond[verbatim,quote] -oboeNotes = \relative c'' { - r2 r8 d16(\f f e g f a) +oboeNotes = \relative { + r2 r8 d''16(\f f e g f a) g8 g16 g g2. } \addQuote "oboe" { \oboeNotes } @@ -1369,8 +1369,8 @@ il ripristino della chiave originale dovrà essere fatto manualmente al termine delle citazioni. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1396,8 +1396,8 @@ per le citazioni in corpo più piccolo ma mostrerà automaticamente la chiave or citazioni sono finite. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1430,10 +1430,10 @@ per rappresentare il Do centrale in intonazione reale. È utile nel caso di cit da uno strumento che ha un registro completamente diverso. @lilypond[verbatim,quote] -piccoloNotes = \relative c''' { +piccoloNotes = \relative { \clef "treble^8" R1 - c8 c c e g2 + c'''8 c c e g2 c4 g g2 } @@ -1471,8 +1471,8 @@ possono essere contrassegnate per includerle in modo selettivo nella partitura; si veda @ref{Using tags}. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { diff --git a/Documentation/it/notation/text.itely b/Documentation/it/notation/text.itely index ba65cd4683..09f31a259c 100644 --- a/Documentation/it/notation/text.itely +++ b/Documentation/it/notation/text.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: @@ -1250,7 +1250,7 @@ come è illustrato qui: @lilypond[quote,verbatim,relative=1] c4 d^\markup { \score { - \relative c' { c4 d e f } + \relative { c'4 d e f } \layout { } } } diff --git a/Documentation/it/notation/vocal.itely b/Documentation/it/notation/vocal.itely index e1537f6551..711292570c 100644 --- a/Documentation/it/notation/vocal.itely +++ b/Documentation/it/notation/vocal.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Federico Bruni @c Translation checkers: @@ -171,7 +171,7 @@ nel file di input, purché sia salvato nella codifica UTF-8. Ulteriori informazioni in @ref{Special characters}. @lilypond[quote,verbatim] -\relative c'' { d8 c16 a bes8 f e' d c4 } +\relative { d''8 c16 a bes8 f e' d c4 } \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, } @end lilypond @@ -180,7 +180,7 @@ devono essere precedute da un carattere di barra inversa e l'intera sillaba deve essere racchiusa tra altre virgolette. Per esempio, @lilypond[quote,verbatim] -\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. } +\relative { \time 3/4 e'4 e4. e8 d4 e d c2. } \addlyrics { "\"I" am so lone -- "ly,\"" said she } @end lilypond @@ -305,9 +305,9 @@ e inserite con @code{\lyricmode}. @lilypond[quote,ragged-right,verbatim] << - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c''4 b8. a16 g4. f8 e4 d c2 } % usa la durata esplicita precedente di 2; @@ -447,7 +447,7 @@ Ecco un esempio, @lilypond[verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } } @end lilypond @@ -459,7 +459,7 @@ Si possono aggiungere più strofe aggiungendo più sezioni @lilypond[ragged-right,verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } \addlyrics { speel het spel } \addlyrics { joue le jeu } @@ -551,8 +551,8 @@ Ecco due esempi: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - c2 c2 + \relative { + c''2 c2 d1 } } @@ -562,8 +562,8 @@ Ecco due esempi: } } \new Staff { - \relative c' { - c8 c c c c c c c + \relative { + c'8 c c c c c c c c8 c c c c c c c } } @@ -902,8 +902,8 @@ Si possono creare delle variabili contenenti il testo vocale, ma questo deve essere inserito in modalità testo vocale: @lilypond[quote,verbatim] -musicOne = \relative c'' { - c4 b8. a16 g4. f8 e4 d c2 +musicOne = \relative { + c''4 b8. a16 g4. f8 e4 d c2 } verseOne = \lyricmode { Joy to the world, the Lord is come. @@ -931,8 +931,8 @@ garantisce che le voci richiamate da @code{\lyricsto} siano sempre state definite prima. Per esempio: @lilypond[quote,verbatim] -sopranoMusic = \relative c'' { c4 c c c } -contraltoMusic = \relative c'' { a4 a a a } +sopranoMusic = \relative { c''4 c c c } +contraltoMusic = \relative { a'4 a a a } sopranoWords = \lyricmode { Sop -- ra -- no words } contraltoWords = \lyricmode { Con -- tral -- to words } @@ -990,7 +990,7 @@ contesto @code{Lyrics} sotto il contesto @code{Staff}; << \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics { @@ -1011,7 +1011,7 @@ indicare in modo esplicito la posizione del testo: << \new Staff = "staff" { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics \with { alignAboveContext = "staff" } { @@ -1037,7 +1037,7 @@ voce a cui si riferisce tramite @code{\context}. Ecco un esempio: } \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \context Lyrics = "lyrics" { @@ -1058,7 +1058,7 @@ metodo: \new ChoirStaff << \new Staff { \new Voice = "sopranos" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics = "sopranos" @@ -1068,7 +1068,7 @@ metodo: } \new Staff { \new Voice = "contraltos" { - \relative c'' { a4 a a a } + \relative { a'4 a a a } } } \context Lyrics = "sopranos" { @@ -1130,8 +1130,8 @@ proprietà nel blocco @code{\layout}. @lilypond[verbatim,quote,ragged-right] \score { - \relative c' { - c c c c + \relative { + c' c c c c c c c } \addlyrics { @@ -1196,8 +1196,8 @@ parole non sono modificate. << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1221,8 +1221,8 @@ sono ripetute. << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1246,8 +1246,8 @@ Se la sezione ripetuta deve essere ripetuta di nuovo con parole diverse, << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat unfold 2 { b4 b b b } } } @@ -1272,8 +1272,8 @@ le parole di ogni ripetizione devono essere inserite in contesti << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1299,8 +1299,8 @@ Si possono aggiungere più strofe in modo analogo: << \new Staff { \new Voice = "singleVoice" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1339,8 +1339,8 @@ Per posizionarli correttamente usare @code{alignBelowContext}: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1364,8 +1364,8 @@ Per posizionarli correttamente usare @code{alignBelowContext}: La sezione fi -- nale. } \new Voice = "harmony" { - \relative c' { - f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 + \relative { + f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 } } >> @@ -1392,8 +1392,8 @@ la musica. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b } \alternative { { b b } { b c } } } @@ -1934,8 +1934,8 @@ con @code{\grace}) non sono assegnati alle sillabe quando si usa @lilypond[verbatim,ragged-right,quote] << - \new Voice = melody \relative c' { - f4 \appoggiatura a32 b4 + \new Voice = melody \relative { + f'4 \appoggiatura a32 b4 \grace { f16 a16 } b2 \afterGrace b2 { f16[ a16] } \appoggiatura a32 b4 @@ -2060,8 +2060,8 @@ Nell'esempio seguente si possono notare due modi di forzare le interruzioni di linea in un blocco @code{\markup}. @lilypond[ragged-right,verbatim,quote] -melody = \relative c' { -e d c d | e e e e | +melody = \relative { +e' d c d | e e e e | d d e d | c1 | } @@ -2103,8 +2103,8 @@ spesso introduce ciascuna strofa. L'esempio seguente mostra come riprodurre questo output in LilyPond. @lilypond[ragged-right,quote,verbatim] -melody = \relative c' { - c4 c c c | d d d d +melody = \relative { + c'4 c c c | d d d d } text = \lyricmode { @@ -2402,12 +2402,12 @@ partitura sopra i loro rispettivi righi, come mostrato in questo esempio: \new ChoirStaff << \new Staff { \new Voice { - \relative c'' { g4\f g g g } + \relative { g'4\f g g g } } } \new Staff { \new Voice { - \relative c' { d4 d d\p d } + \relative { d'4 d d\p d } } } >> @@ -2586,9 +2586,9 @@ il rigo è dedicato a quel personaggio soltanto: \new Staff { \set Staff.vocalName = \markup \smallCaps Kaspar \set Staff.shortVocalName = \markup \smallCaps Kas. - \relative c' { + \relative { \clef "G_8" - c4 c c c + c'4 c c c \break c4 c c c } @@ -2597,7 +2597,7 @@ il rigo è dedicato a quel personaggio soltanto: \set Staff.vocalName = \markup \smallCaps Melchior \set Staff.shortVocalName = \markup \smallCaps Mel \clef "bass" - \relative c' { + \relative { a4 a a a a4 a a a } @@ -2684,13 +2684,13 @@ attentamente proprio prima dell'inizio delle citazioni in corpo più piccolo (@qq{cue notes}). L'esempio seguente mostra come si fa. @lilypond[quote,verbatim] -flute = \relative c'' { - s4 s4 e g +flute = \relative { + s4 s4 e'' g } \addQuote "flute" { \flute } -pianoRH = \relative c'' { - c4. g8 +pianoRH = \relative { + c''4. g8 % posiziona il nome dello strumento citato proprio prima delle citazioni in corpo piccolo, % e sopra il rigo \new CueVoice { @@ -2699,7 +2699,7 @@ pianoRH = \relative c'' { } \cueDuring "flute" #UP { g4 bes4 } } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { \new PianoStaff << @@ -2744,7 +2744,7 @@ pianoRH = \relative c'' { \cueDuring "clarinet" #DOWN { c4. g8 } g4 bes4 } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { << @@ -2960,15 +2960,15 @@ si disattiva l'incisore delle stanghette: \score { \new StaffGroup << \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -2990,15 +2990,15 @@ Le stanghette possono anche essere tolte solo in certi righi: \new ChoirStaff << \new Staff \with { \remove "Bar_engraver" } { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3069,8 +3069,8 @@ finalis = { } \score { - \relative c'' { - g2 a4 g + \relative { + g'2 a4 g \divisioMinima g2 a4 g \divisioMaior @@ -3094,8 +3094,8 @@ anche la chiave. @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3121,22 +3121,22 @@ che viene chiamato la @qq{nota recitativa}. I canti sono centrati sulla pagina. @lilypond[verbatim,quote] -SopranoMusic = \relative g' { - g1 | c2 b | a1 | \bar "||" +SopranoMusic = \relative { + g'1 | c2 b | a1 | \bar "||" a1 | d2 c | c b | c1 | \bar "||" } -AltoMusic = \relative c' { - e1 | g2 g | f1 | +AltoMusic = \relative { + e'1 | g2 g | f1 | f1 | f2 e | d d | e1 | } -TenorMusic = \relative a { - c1 | c2 c | c1 | +TenorMusic = \relative { + c'1 | c2 c | c1 | d1 | g,2 g | g g | g1 | } -BassMusic = \relative c { +BassMusic = \relative { c1 | e2 e | f1 | d1 | b2 c | g' g | c,1 | } diff --git a/Documentation/it/usage/external.itely b/Documentation/it/usage/external.itely index bb33c13726..329197e6e2 100644 --- a/Documentation/it/usage/external.itely +++ b/Documentation/it/usage/external.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Programmi esterni @chapter Programmi esterni @@ -260,8 +260,8 @@ Codice interno al file @file{.ly}: @example \pointAndClickTypes #'note-event -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -269,8 +269,8 @@ oppure @example #(ly:set-option 'point-and-click 'note-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -291,8 +291,8 @@ Codice interno al file @file{.ly}: @example \pointAndClickTypes #'(note-event dynamic-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -300,8 +300,8 @@ oppure @example #(ly:set-option 'point-and-click '(note-event dynamic-event)) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example diff --git a/Documentation/it/usage/lilypond-book.itely b/Documentation/it/usage/lilypond-book.itely index a37d6b139b..2495491651 100644 --- a/Documentation/it/usage/lilypond-book.itely +++ b/Documentation/it/usage/lilypond-book.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Note: keep this node named so that `info lilypond-book' brings you here. @node lilypond-book @@ -86,8 +86,8 @@ I documenti per \verb+lilypond-book+ possono combinare liberamente musica e test Ad esempio, \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -146,8 +146,8 @@ I documenti per \verb+lilypond-book+ possono combinare liberamente musica e test Ad esempio, @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -171,8 +171,8 @@ frammento deve essere compreso in un costrutto @code{\book @{ @}}. title = "Una scala in LilyPond" } - \relative c' { - c d e f g a b c + \relative { + c' d e f g a b c } } @end lilypond @@ -781,8 +781,8 @@ esempio, la musica viene interpretata in modalità relativa ma il blocco testuale non mostrerà il blocco @code{relative}, ovvero @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1168,8 +1168,8 @@ Si possono includere frammenti LilyPond in un documento LaTeX. Normale testo LaTeX. \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1194,7 +1194,7 @@ manuale è scritto in Texinfo. Testo Texinfo @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1221,8 +1221,8 @@ d4 c b a I documenti per lilypond-book possono combinare liberamente musica e testo. Ad esempio, <lilypond> -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} </lilypond> </p> diff --git a/Documentation/it/usage/suggestions.itely b/Documentation/it/usage/suggestions.itely index a8b66c1a79..892016b650 100644 --- a/Documentation/it/usage/suggestions.itely +++ b/Documentation/it/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Consigli su come scrivere i file @chapter Consigli su come scrivere i file @@ -164,8 +164,8 @@ struttura nella definizione. La struttura della sezione in una nuova versione di LilyPond. @example -violin = \relative c'' @{ -g4 c'8. e16 +violin = \relative @{ +g'4 c'8. e16 @} @dots{} \score @{ @@ -186,8 +186,8 @@ niente in @code{violin}. @example fthenp = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violin = \relative c'' @{ -g4\fthenp c'8. e16 +violin = \relative @{ +g'4\fthenp c'8. e16 @} @end example @@ -234,9 +234,9 @@ allora commenta tutta la musica del basso (ma lascia @code{\bass} in @code{\score} non commentato). @example -bass = \relative c' @{ +bass = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/Documentation/ja/learning/common-notation.itely b/Documentation/ja/learning/common-notation.itely index 6e58b30222..fc4a3673e6 100644 --- a/Documentation/ja/learning/common-notation.itely +++ b/Documentation/ja/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: (different from policy.txt!) @@ -694,9 +694,9 @@ a4 ä¿æŒã—ã¦ã„ã¾ã™) ãŒåŒæ™‚進行ã™ã‚‹ã‚ˆã†ã«çµ„ã¿åˆã‚ã•ã‚Œã¦ã„ã¾ã™: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -723,8 +723,8 @@ LilPond ã¯æœ€åˆã®éŸ³æ¥½è¡¨è¨˜ã®å§‹ã¾ã‚Šã‚’調ã¹ã¾ã™ã€‚@c 以下ã®ä¾‹ã¯è¤‡é›‘ãªè¡¨è¨˜ã‚’æŒã¡ã¾ã™ãŒã€å˜ä¸€ã®è¡¨è¨˜ã§å§‹ã¾ã£ã¦ã„ã‚‹ãŸã‚èœè¡¨ã‚‚ 1 ã¤ã§ã™ã€‚ @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e2 f } { c2 <<b d>> } >> | } @end lilypond @@ -761,9 +761,9 @@ LilyPond 入力ファイルã¯éŸ³æ¥½è¡¨è¨˜ã«ã‚ˆã£ã¦æ§‹ç¯‰ã•ã‚Œã¦ã„ã¾ã™ã€ ã“れら㮠@code{Staff} è¦ç´ 㯠@code{<<} 㨠@code{>>} ã§ä¸¦åˆ—ã«çµ„ã¿åˆã‚ã•ã‚Œã¾ã™: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -792,9 +792,9 @@ LilyPond 入力ファイルã¯éŸ³æ¥½è¡¨è¨˜ã«ã‚ˆã£ã¦æ§‹ç¯‰ã•ã‚Œã¦ã„ã¾ã™ã€ 複åˆãƒªã‚ºãƒ (polyrhythmic) ã®æ¥½èœã‚ˆã‚Šã‚‚一般的ã ã‹ã‚‰ã§ã™ã€‚ @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -836,9 +836,9 @@ LilyPond 入力ファイルã¯éŸ³æ¥½è¡¨è¨˜ã«ã‚ˆã£ã¦æ§‹ç¯‰ã•ã‚Œã¦ã„ã¾ã™ã€ å°ã•ãªä¾‹ã‚’挙ã’ã¾ã™: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -1011,10 +1011,10 @@ LilyPond ã§ã®å¤šå£°éŸ³æ¥½ã¯ã¾ã 説明ã—ã¦ã„ãªã„コンセプトを用ã æŒè©žã¯ @notation{Girls and boys come out to play} ã§ã™: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -1024,10 +1024,10 @@ LilyPond ã§ã®å¤šå£°éŸ³æ¥½ã¯ã¾ã 説明ã—ã¦ã„ãªã„コンセプトを用ã @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come | out to play, @@ -1059,10 +1059,10 @@ LilyPond ã§ã®å¤šå£°éŸ³æ¥½ã¯ã¾ã 説明ã—ã¦ã„ãªã„コンセプトを用ã @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1096,10 +1096,10 @@ song.ly:12:46: warning: barcheck failed at: 3/8 @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1118,10 +1118,10 @@ song.ly:12:46: warning: barcheck failed at: 3/8 @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1137,10 +1137,10 @@ song.ly:12:46: warning: barcheck failed at: 3/8 @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1160,10 +1160,10 @@ song.ly:12:46: warning: barcheck failed at: 3/8 @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1211,11 +1211,11 @@ 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 { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1323,13 +1323,13 @@ namedMusic = @{ @dots{} @} @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1484,10 +1484,10 @@ aFivePaper = \paper @{ paperheight = 21.0 \cm @} @code{\relative} を使ã†ã“ã¨ã§ã€ä¸Šã®ä¾‹ã¯ãšã£ã¨èªã¿ã‚„ã™ãã€å…¥åŠ›ã—ã‚„ã™ããªã‚Šã¾ã™: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond diff --git a/Documentation/ja/learning/fundamental.itely b/Documentation/ja/learning/fundamental.itely index 975505a86f..9f643df1b0 100644 --- a/Documentation/ja/learning/fundamental.itely +++ b/Documentation/ja/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -90,8 +90,8 @@ LilyPond ãŒè‡ªå‹•çš„ã«è¿½åŠ ã®ã‚³ãƒžãƒ³ãƒ‰ã‚’付ã‘åŠ ãˆã‚‹ã‹ã‚‰ã§ã™ã€‚@c LilyPond ã¯ä»¥ä¸‹ã®ã‚ˆã†ãªå…¥åŠ›: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -103,8 +103,8 @@ LilyPond ã¯ä»¥ä¸‹ã®ã‚ˆã†ãªå…¥åŠ›: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -240,8 +240,8 @@ LilyPond ã¯æš—黙的ã«å…¥åŠ›ã‚³ãƒ¼ãƒ‰ã‚’ @code{\book} ブãƒãƒƒã‚¯ã§åŒ…ã¿è¾¼ ã™ã¹ã¦ã®ãƒ†ãƒ³ãƒ—レートãŒã“れを使ã£ã¦ã„ã¾ã™: @example -melody = \relative c' @{ - c4 a b c +melody = \relative @{ + c'4 a b c @} \score @{ @@ -393,8 +393,8 @@ LilyPond 入力ファイルã®ä¸€èˆ¬çš„ãªæ§‹é€ ã«ã¤ã„ã¦è¦‹ã¦ãã¾ã—ãŸã€ @code{\new Voice = "vocal"} ã®å¾Œã®æ³¢æ‹¬å¼§ã®ä¸ã«ã€ä»¥ä¸‹ã‚’書ãåŠ ãˆã‚‹ã“ã¨ãŒã§ãã¾ã™: @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -414,10 +414,10 @@ LilyPond 入力ファイルã®ä¸€èˆ¬çš„ãªæ§‹é€ ã«ã¤ã„ã¦è¦‹ã¦ãã¾ã—ãŸã€ ã“ã‚Œã§ã€å®Ÿéš›ã®æ¥½èœã®ä¸€éƒ¨ãŒã§ãã¾ã™: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { <g d g,>2~ <g d g,> } -lower = \relative c { b2 e } +upper = \relative { <g' d g,>2~ <g d g,> } +lower = \relative { b,2 e } \score { << @@ -465,8 +465,8 @@ lower = \relative c { b2 e } @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -491,8 +491,8 @@ lower = \relative c { b2 e } @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -739,9 +739,9 @@ LilyPond ã®æ¥½èœã®ä¸ã§æœ€ã‚‚低レベルã§ã€æœ€ã‚‚基礎的ã§ã‚ã‚Šã€æœ å‘ãã¯é©åˆ‡ã«ã‚»ãƒƒãƒˆã•ã‚Œã¾ã™ã€‚ @lilypond[quote,verbatim,fragment] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8 ~ } >> | << { d2 e2 } \\ { c8 b16 a b8 g ~ 2 } \\ { s4 b4 c2 } >> | @@ -764,9 +764,9 @@ LilyPond ã®æ¥½èœã®ä¸ã§æœ€ã‚‚低レベルã§ã€æœ€ã‚‚基礎的ã§ã‚ã‚Šã€æœ ã¾ãŸãŒã£ã¦åˆ†ã‹ã‚Œã‚‹ã‹ã‚‚ã—ã‚Œãªã„ã¨ã„ã†ã“ã¨ã«æ³¨æ„ã—ã¦ãã ã•ã„。 @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -853,10 +853,10 @@ LilyPond ã®æ¥½èœã®ä¸ã§æœ€ã‚‚低レベルã§ã€æœ€ã‚‚基礎的ã§ã‚ã‚Šã€æœ @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignore these for now - they are explained in Ch 4 @@ -933,10 +933,10 @@ 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 ignore @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } >> <c ees aes c>1 } @@ -955,10 +955,10 @@ 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 フラッムボイス 3 ã‚’çœç•¥ã™ã‚‹ã«ã¯ã€@code{\\} ã‚’ 2 ã¤è¨˜è¿°ã—ã¾ã™: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { <ees, c>2 des } \\ % Omit Voice three @@ -1018,8 +1018,8 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -1029,8 +1029,8 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1039,8 +1039,8 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1059,9 +1059,9 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã マークアップã€ã‚¿ã‚¤ã€ã‚¹ãƒ©ãƒ¼ã€å¼·å¼±è¨˜å·ã«ä¸Žãˆã‚‹å½±éŸ¿ã‚’見ã¦ã„ãã¾ã—ょã†: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1127,8 +1127,8 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã @cindex voices, nesting (ボイスをãƒã‚¹ãƒˆã•ã›ã‚‹) @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { @@ -1300,14 +1300,14 @@ LilyPond ãŒãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§ä½¿ç”¨ã™ã‚‹è‡ªå‹•é€£æ¡ã¯æ¥½å™¨ã ã‘ã®éŸ³æ¥½ã @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1363,10 +1363,10 @@ SopTwoLyrics = \lyricmode { @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1552,8 +1552,8 @@ score ブãƒãƒƒã‚¯ã¯å˜ä¸€ã®éŸ³æ¥½è¡¨è¨˜ã¨ãã‚Œã«é–¢é€£ã™ã‚‹å‡ºåŠ›å®šç¾© \clef "treble" \key g \minor \new Voice { % å³æ‰‹ã®éŸ³ç¬¦ç”¨ã®ãƒœã‚¤ã‚¹ã‚’作æˆã—ã¾ã™ - \relative c'' { % å³æ‰‹ã®éŸ³ç¬¦ã®é–‹å§‹ç‚¹ - d4 ees16 c8. | + \relative { % å³æ‰‹ã®éŸ³ç¬¦ã®é–‹å§‹ç‚¹ + d''4 ees16 c8. | d4 ees16 c8. | } % å³æ‰‹ã®éŸ³ç¬¦ã®çµ‚了点 } % å³æ‰‹ã®ãƒœã‚¤ã‚¹ã®çµ‚了点 @@ -1563,14 +1563,14 @@ score ブãƒãƒƒã‚¯ã¯å˜ä¸€ã®éŸ³æ¥½è¡¨è¨˜ã¨ãã‚Œã«é–¢é€£ã™ã‚‹å‡ºåŠ›å®šç¾© \key g \minor \new Voice { % 左手ã®ãƒœã‚¤ã‚¹ 1 を作æˆã—ã¾ã™ \voiceOne - \relative g { % 左手ã®ãƒœã‚¤ã‚¹ 1 ã®éŸ³ç¬¦ã®é–‹å§‹ç‚¹ + \relative { % 左手ã®ãƒœã‚¤ã‚¹ 1 ã®éŸ³ç¬¦ã®é–‹å§‹ç‚¹ g8 <bes d> ees, <g c> | g8 <bes d> ees, <g c> | } % 左手ã®ãƒœã‚¤ã‚¹ 1 ã®éŸ³ç¬¦ã®çµ‚了点 } % 左手ã®ãƒœã‚¤ã‚¹ 1 ã®çµ‚了点 \new Voice { % 左手ã®ãƒœã‚¤ã‚¹ 2 を作æˆã—ã¾ã™ \voiceTwo - \relative g { % 左手ã®ãƒœã‚¤ã‚¹ 2 ã®éŸ³ç¬¦ã®é–‹å§‹ç‚¹ + \relative { % 左手ã®ãƒœã‚¤ã‚¹ 2 ã®éŸ³ç¬¦ã®é–‹å§‹ç‚¹ g4 ees | g4 ees | } % 左手ã®ãƒœã‚¤ã‚¹ 2 ã®éŸ³ç¬¦ã®çµ‚了点 @@ -1847,8 +1847,8 @@ LilyPond 入力ファイルã«å¯¾ã™ã‚‹ç‰¹åˆ¥ãªã‚µãƒãƒ¼ãƒˆã‚’æŒã¤@c @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1862,8 +1862,8 @@ LilyPond 入力ファイルã«å¯¾ã™ã‚‹ç‰¹åˆ¥ãªã‚µãƒãƒ¼ãƒˆã‚’æŒã¤@c @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1940,13 +1940,13 @@ like this: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1991,8 +1991,8 @@ like this: @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -2010,13 +2010,13 @@ like this: \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2081,8 +2081,8 @@ like this: \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % 符é ã‚’å°ã•ãã—ã¾ã™ e4 f | \set fontSize = #2.5 % 符é を大ããã—ã¾ã™ @@ -2170,24 +2170,24 @@ like this: \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2254,7 +2254,7 @@ like this: @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2284,7 +2284,7 @@ text = \lyricmode @{ @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2325,7 +2325,7 @@ melody = \relative c' @{ @example \version @w{"@version{}"} -sopranoMusic = \relative c' @{ +sopranoMusic = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2336,7 +2336,7 @@ sopranoLyrics = \lyricmode @{ Aaa Bee Cee Dee @} -celloMusic = \relative c @{ +celloMusic = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2396,7 +2396,7 @@ celloMusic = \relative c @{ ã“ã“ã§ã€å®Œæˆã—ãŸã‚½ãƒ—ラノã¨ãƒã‚§ãƒç”¨ã®ãƒ†ãƒ³ãƒ—レートを挙ã’ã¾ã™ã€‚ @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2407,7 +2407,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2453,29 +2453,29 @@ Mendelssohn ã® Elijah ã‚„ Handel ã® Messiah ãªã©ã®ã‚ªãƒ¼ã‚±ã‚¹ãƒˆãƒ©ä¼´å¥ä @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords @@ -2682,26 +2682,26 @@ lower = \relative c, { @c KEEP LY @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -3014,19 +3014,19 @@ Voice ã¯ã“ã‚Œã¨ã¯å¯¾ç…§çš„ã«ã€ã‚ãªãŸã®éŸ³æ¥½ã‚’連続ã—ã¦æ¼”å¥ã™ã composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -3081,7 +3081,7 @@ PedalOrganMusic = \relative c { ã“ã‚Œã¾ã§ã«ã€ä»¥ä¸‹ã®ã‚ˆã†ãªè¨˜è¿°ã‚’見ã¦ãã¾ã—ãŸ: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3094,8 +3094,8 @@ hornNotes = \relative c'' { c4 b dis c } 気付ãã‹ã‚‚ã—ã‚Œã¾ã›ã‚“: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | @@ -3176,8 +3176,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3210,7 +3210,7 @@ padText = 以下ã®ãƒ›ãƒ«ãƒ³/@/ãƒã‚¹ãƒ¼ãƒ³ デュオã®ãƒ‘ートをä¿æŒã—ã¦ã„ã‚‹ã¨ã—ã¾ã™: @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3249,7 +3249,7 @@ hornNotes = \relative c @{ ã“ã®ç§»èª¿ã«ã‚ˆã‚Šå‡ºåŠ›ã¯ä»¥ä¸‹ã®ã‚ˆã†ã«ãªã‚Šã¾ã™: @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3307,7 +3307,7 @@ R2*3 ãã—ã¦ã€ä»¥ä¸‹ã®ã‚ˆã†ãªæ¥½èœã«ãªã‚Šã¾ã™: @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/ja/learning/tutorial.itely b/Documentation/ja/learning/tutorial.itely index 9df0483d2f..412245209d 100644 --- a/Documentation/ja/learning/tutorial.itely +++ b/Documentation/ja/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -239,8 +239,8 @@ LilyPond ã¯ã„ãã¤ã‹ã®è¨˜èœè¦ç´ を自動的ã«è¿½åŠ ã—ã¾ã™ã€‚@c @lilypond[verbatim,quote] % set the starting point to middle C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -253,8 +253,8 @@ LilyPond ã¯ã„ãã¤ã‹ã®è¨˜èœè¦ç´ を自動的ã«è¿½åŠ ã—ã¾ã™ã€‚@c より大ããªéŸ³ç¨‹ã‚’æŒã¤æ—‹å¾‹ã‚’作るã“ã¨ãŒã§ãã¾ã™: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -269,8 +269,8 @@ LilyPond ã¯ã„ãã¤ã‹ã®è¨˜èœè¦ç´ を自動的ã«è¿½åŠ ã—ã¾ã™ã€‚@c @lilypond[verbatim,quote] % one octave above middle C -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -285,8 +285,8 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ @c KEEP LY @lilypond[verbatim,quote] -\relative c'' { - b c % c 㯠b よりも 1 èœè¡¨ã‚¹ãƒšãƒ¼ã‚¹ä¸Šãªã®ã§ã€c 㯠b ã®ä¸Šã«ãªã‚Šã¾ã™ +\relative { + b' c % c 㯠b よりも 1 èœè¡¨ã‚¹ãƒšãƒ¼ã‚¹ä¸Šãªã®ã§ã€c 㯠b ã®ä¸Šã«ãªã‚Šã¾ã™ b d % d 㯠2 ã¤ä¸Šã¾ãŸã¯ 5 ã¤ä¸‹ãªã®ã§ã€d ã¯ä¸Šã«ãªã‚Šã¾ã™ b e % e 㯠3 ã¤ä¸Šã¾ãŸã¯ 4 ã¤ä¸‹ãªã®ã§ã€e ã¯ä¸Šã«ãªã‚Šã¾ã™ b a % a 㯠6 ã¤ä¸Šã¾ãŸã¯ 1 ã¤ä¸‹ãªã®ã§ã€a ã¯ä¸‹ã«ãªã‚Šã¾ã™ @@ -307,8 +307,8 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ 下ã’ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -353,8 +353,8 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ 最åˆã®éŸ³ç¬¦ã®ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã®æ¼”å¥æ™‚間㯠4 分音符ã§ã™ã€‚ @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -365,8 +365,8 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ 付点音符ã®æ¼”å¥æ™‚é–“ã¯æ˜Žè¨˜ã•ã‚Œãªã‘ã‚Œã°ãªã‚Šã¾ã›ã‚“ (ã¤ã¾ã‚Šã€æ•°å—ã§)。 @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -384,8 +384,8 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ @notation{休符}㯠@code{r} ã¨ã„ã†åå‰ã®éŸ³ç¬¦ã®ã‚ˆã†ãªå½¢ã§å…¥åŠ›ã•ã‚Œã¾ã™: @lilypond[verbatim,quote] -\relative c'' { - a r r2 +\relative { + a' r r2 r8 a r4 r4. r8 } @end lilypond @@ -405,9 +405,9 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ @notation{æ‹å記å·}㯠@code{\time} コマンドã§ã‚»ãƒƒãƒˆã™ã‚‹ã“ã¨ãŒã§ãã¾ã™: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -463,9 +463,9 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ @notation{音部記å·}㯠@code{\clef} コマンドを使ã£ã¦ã‚»ãƒƒãƒˆã™ã‚‹ã“ã¨ãŒã§ãã¾ã™: @lilypond[verbatim,quote] -\relative c' { +\relative { \clef treble - c1 + c'1 \clef alto c1 \clef tenor @@ -773,8 +773,8 @@ LilyPond ã§ç™ºç”Ÿã™ã‚‹å•é¡Œã‚’トラブルシュートã™ã‚‹ã“ã¨ã¯ã€@c @c no verbatim here @lilypond[quote] -\relative c'' { - c-\markup { \bold \huge { ã“ã“をクリックã—ã¦ãã ã•ã„ } } +\relative { + c''-\markup { \bold \huge { ã“ã“をクリックã—ã¦ãã ã•ã„ } } } @end lilypond diff --git a/Documentation/ja/learning/tweaks.itely b/Documentation/ja/learning/tweaks.itely index d6a5117a92..cf353f0231 100644 --- a/Documentation/ja/learning/tweaks.itely +++ b/Documentation/ja/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -1487,8 +1487,8 @@ RGB 値を内部カラーã«å¤‰æ›ã™ã‚‹ @code{rgb-color} 関数ã§ã™ã€‚@c @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1514,8 +1514,8 @@ RGB 値を内部カラーã«å¤‰æ›ã™ã‚‹ @code{rgb-color} 関数ã§ã™ã€‚@c @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1577,8 +1577,8 @@ RGB 値を内部カラーã«å¤‰æ›ã™ã‚‹ @code{rgb-color} 関数ã§ã™ã€‚@c @c KEEP LY @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1602,8 +1602,8 @@ RGB 値を内部カラーã«å¤‰æ›ã™ã‚‹ @code{rgb-color} 関数ã§ã™ã€‚@c @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1672,8 +1672,8 @@ RGB 値を内部カラーã«å¤‰æ›ã™ã‚‹ @code{rgb-color} 関数ã§ã™ã€‚@c @c KEEP LY @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1740,8 +1740,8 @@ LilyPond ã§ã¯è·é›¢ã¨é•·ã•ã¯ä¸€èˆ¬ã«èœã‚¹ãƒšãƒ¼ã‚¹ -- èœã®ä¸ã®éš£ã‚Šå @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1862,10 +1862,10 @@ c2^"Text4" | @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -2901,8 +2901,8 @@ d1 | @c KEEP LY @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } -\relative c'' { - c4 +\relative { + c''4 % ã“れ㯠1.5 å€ã‚·ãƒ£ãƒ¼ãƒ—ã‚’èœåˆ»ã—ã¾ã™ãŒã€ã‚¹ãƒšãƒ¼ã‚¹ãŒå°ã•ã™ãŽã¾ã™ \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3152,10 +3152,10 @@ a8 \( ( a'16 ) a \) ã“ã®ä¾‹ã¯ä»¥ä¸‹ã®ã‚ˆã†ãªçŠ¶æ…‹ã§ã—ãŸ: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ @@ -3186,10 +3186,10 @@ a8 \( ( a'16 ) a \) @cindex force-hshift property, example (force-hshift プãƒãƒ‘ティã®ä¾‹) @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 @@ -3231,9 +3231,9 @@ a8 \( ( a'16 ) a \) @c line-width ensures no break @c KEEP LY @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3273,8 +3273,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3316,9 +3316,9 @@ LilyPond ã¯ã†ã¾ãè¡çªã‚’回é¿ã§ãã‚‹ã‹ã‚‰ã§ã™ã€‚ @c line-width ensures no break @c KEEP LY @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4. g8 | + r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3342,8 +3342,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3377,9 +3377,9 @@ lhMusic = \relative c' { @c line-width ensures no break @c KEEP LY @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3403,8 +3403,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3453,9 +3453,9 @@ lhMusic = \relative c' { @c line-width ensures no break @c KEEP LY @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3481,8 +3481,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3535,9 +3535,9 @@ lhMusic = \relative c' { @c line-width ensures no break @c KEEP LY @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3567,8 +3567,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3614,9 +3614,9 @@ C ã¯ã‚·ãƒ•ãƒˆ off ã®ãƒœã‚¤ã‚¹ 2 ã®ä¸ã«ã‚ã‚Šã€2 ã¤ã® D ã¯ãƒœã‚¤ã‚¹ 1 ã @c line-width ensures no break @c KEEP LY @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3649,8 +3649,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3687,9 +3687,9 @@ lhMusic = \relative c' { @c line-width ensures no break @c KEEP LY @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3729,8 +3729,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -4003,10 +4003,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/ja/notation/changing-defaults.itely b/Documentation/ja/notation/changing-defaults.itely index 5217952593..29e027aac8 100644 --- a/Documentation/ja/notation/changing-defaults.itely +++ b/Documentation/ja/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.7" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -404,13 +404,13 @@ score を作æˆã™ã‚‹ã®ã«ç”¨ã„られã¾ã™: % 音楽コンテンツ \context Voice = "one" { - \relative c'' { - c4 c c c + \relative { + c''4 c c c } } \context Voice = "two" { - \relative c'' { - g8 g g4 g g + \relative { + g'8 g g4 g g } } >> @@ -433,13 +433,13 @@ score を作æˆã™ã‚‹ã®ã«ç”¨ã„られã¾ã™: % 音楽コンテンツ \context Voice = "one" { - \relative c'' { - c4 c c c + \relative { + c''4 c c c } } \context Voice = "two" { - \relative c'' { - g8 g g4 g g + \relative { + g'8 g g4 g g } } >> @@ -464,8 +464,8 @@ score を作æˆã™ã‚‹ã®ã«ç”¨ã„られã¾ã™: プãƒã‚·ãƒ¼ã‚¸ãƒ£ã‚’実行ã•ã›ã‚‹ã®ã«ç”¨ã„られã¾ã™: @example -\new Staff \relative c' @{ - c1 +\new Staff \relative @{ + c'1 \context Timing \applyContext #(lambda (ctx) (newline) @@ -551,8 +551,8 @@ score を作æˆã™ã‚‹ã®ã«ç”¨ã„られã¾ã™: @c KEEP LY @lilypond[quote,verbatim] -musicA = \relative c'' { d4 d d d } -musicB = \relative c'' { g4 g g g } +musicA = \relative { d''4 d d d } +musicB = \relative { g'4 g g g } keepVoicesAlive = { << \new Voice = "A" { s1*5 } % Voice "A" ã‚’ 5 å°ç¯€ã®é–“ã€ç¶æŒã™ã‚‹ @@ -591,8 +591,8 @@ music = { @c KEEP LY @lilypond[quote,verbatim] -melody = \relative c'' { a4 a a a } -accompaniment = \relative c' { d4 d d d } +melody = \relative { a'4 a a a } +accompaniment = \relative { d'4 d d d } words = \lyricmode { These words fol -- low the mel -- o -- dy } \score { << @@ -631,14 +631,14 @@ words = \lyricmode { These words fol -- low the mel -- o -- dy } @c KEEP LY @lilypond[quote,verbatim] -melody = \relative c'' { +melody = \relative { s1 % 1 å°ç¯€ã‚¹ã‚ップã—ã¾ã™ - a4 a a a + a'4 a a a s1 % 1 å°ç¯€ã‚¹ã‚ップã—ã¾ã™ a4 a a a } -accompaniment = \relative c' { - d4 d d d +accompaniment = \relative { + d'4 d d d d4 d d d d4 d d d d4 d d d @@ -868,8 +868,8 @@ Internals Reference @expansion{} Translation @expansion{} Context. @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Thicker stems" a a a + \relative { + a'4^"Thicker stems" a a a a4 a a\ff a } \layout { @@ -886,8 +886,8 @@ Internals Reference @expansion{} Translation @expansion{} Context. @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a\ff a } \layout { @@ -905,8 +905,8 @@ Internals Reference @expansion{} Translation @expansion{} Context. @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Dynamics above" a a a + \relative { + a'4^"Dynamics above" a a a a4 a a\ff a } \layout { @@ -933,8 +933,8 @@ StaffDefaults = \with { \score { \new Staff { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -961,8 +961,8 @@ StaffDefaults = \with { @lilypond[quote,verbatim] \score { \new Staff { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -1013,8 +1013,8 @@ StaffDefaults = \with { \override Stem.thickness = #4.0 } { - \relative c'' { - a4^"Thick stems" a a a + \relative { + a'4^"Thick stems" a a a a4 a a a } } @@ -1029,8 +1029,8 @@ StaffDefaults = \with { \score { << \new Staff { - \relative c'' { - a4^"Default font" a a a + \relative { + a'4^"Default font" a a a a4 a a a } } @@ -1038,8 +1038,8 @@ StaffDefaults = \with { \with { fontSize = #-4 } { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -1055,8 +1055,8 @@ StaffDefaults = \with { << \new Staff { \new Voice { - \relative c'' { - a4^"Dynamics below" a a a + \relative { + a'4^"Dynamics below" a a a a4 a a\ff a } } @@ -1067,8 +1067,8 @@ StaffDefaults = \with { \new Voice \with { \dynamicUp } { - \relative c'' { - a4^"Dynamics above" a a a + \relative { + a'4^"Dynamics above" a a a a4 a a\ff a } } @@ -1162,8 +1162,8 @@ StaffDefaults = \with { \accepts "ImproVoice" }} -\relative c'' { - a4 d8 bes8 \new ImproVoice { c4^"ad lib" c +\relative { + a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c c4 c^"undress" c_"while playing :)" c } a1 } @@ -1284,8 +1284,8 @@ squashedPosition = #0 ãã‚Œã‹ã‚‰ã€ã“ã®ã‚µãƒ–セクションã®æœ€åˆã«ã‚ã£ãŸå‡ºåŠ›ã‚’入力ã—ã¾ã™: @example -\relative c'' @{ - a4 d8 bes8 +\relative @{ + a'4 d8 bes8 \new ImproVoice @{ c4^"ad lib" c c4 c^"undress" @@ -4194,8 +4194,8 @@ XinO = { \musicglyph #"noteheads.s2cross" } } -\relative c'' { - a a \XinO a a +\relative { + a' a \XinO a a } @end lilypond @@ -4644,8 +4644,8 @@ padText = \once \override TextScript.padding = $padding #}) -\relative c''' { - c4^"piu mosso" b a b +\relative { + c'''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" d e f \padText #2.6 @@ -4668,7 +4668,7 @@ custosNote = #note #}) -\relative c' { c4 d e f \custosNote g } +\relative { c'4 d e f \custosNote g } @end lilypond 複数ã®å¼•æ•°ã‚’ã¨ã‚‹ç½®æ›é–¢æ•°ã‚’定義ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™: diff --git a/Documentation/ja/notation/chords.itely b/Documentation/ja/notation/chords.itely index c7a7bc5a1b..e33d737e60 100644 --- a/Documentation/ja/notation/chords.itely +++ b/Documentation/ja/notation/chords.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -1078,8 +1078,8 @@ example, the vertical spacing of the figures may be set with @lilypond[verbatim,ragged-right,quote] << - \relative c'' { - c4 c'8 r8 c,4 c' + \relative { + c''4 c'8 r8 c,4 c' } \new FiguredBass { \figuremode { diff --git a/Documentation/ja/notation/editorial.itely b/Documentation/ja/notation/editorial.itely index 03cc04a756..4e0d3e85cf 100644 --- a/Documentation/ja/notation/editorial.itely +++ b/Documentation/ja/notation/editorial.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -700,8 +700,8 @@ altered: \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c2\startGroup +\relative { + c''2\startGroup d\stopGroup } @end lilypond @@ -715,8 +715,8 @@ Analysis brackets may be nested. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c4\startGroup\startGroup +\relative { + c''4\startGroup\startGroup d4\stopGroup e4\startGroup d4\stopGroup\stopGroup diff --git a/Documentation/ja/notation/expressive.itely b/Documentation/ja/notation/expressive.itely index fd3d755797..aff95a99d5 100644 --- a/Documentation/ja/notation/expressive.itely +++ b/Documentation/ja/notation/expressive.itely @@ -6,7 +6,7 @@ version that you are working on. For details, see the Contributors' Guide, node Updating translation committishes..@end ignore -@c \version "2.17.25" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -443,8 +443,8 @@ c4\< d\! e\> d\! | @lilypond[verbatim,quote] << - \new Staff \relative c' { - c2 d4 e | + \new Staff \relative { + c'2 d4 e | c4 e e,2 | g'4 a g a | c1 | @@ -533,8 +533,8 @@ c4\< d\! e\> d\! | @lilypond[verbatim,quote] moltoF = \markup { molto \dynamic f } -\relative c' { - <d e>16_\moltoF <d e> +\relative { + <d' e>16_\moltoF <d e> <d e>2.. } @end lilypond @@ -556,8 +556,8 @@ roundF = \markup { \center-align \concat { \bold { \italic ( } \dynamic f \bold { \italic ) } } } boxF = \markup { \bracket { \dynamic f } } -\relative c' { - c1_\roundF +\relative { + c'1_\roundF c1_\boxF } @end lilypond @@ -570,8 +570,8 @@ boxF = \markup { \bracket { \dynamic f } } @lilypond[verbatim,quote] sfzp = #(make-dynamic-script "sfzp") -\relative c' { - c4 c c\sfzp c +\relative { + c'4 c c\sfzp c } @end lilypond @@ -597,8 +597,8 @@ mfEspress = \markup { \center-align \line { roundFdynamic = #(make-dynamic-script roundF) boxFdynamic = #(make-dynamic-script boxF) mfEspressDynamic = #(make-dynamic-script mfEspress) -\relative c' { - c4_\roundFdynamic\< d e f +\relative { + c'4_\roundFdynamic\< d e f g,1~_\boxFdynamic\> g1 g'1~\mfEspressDynamic @@ -614,8 +614,8 @@ Scheme å½¢å¼ã®ãƒžãƒ¼ã‚¯ã‚¢ãƒƒãƒ— モードを用ã„ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ moltoF = #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF } @end lilypond @@ -628,8 +628,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF <d e>1 } @end lilypond diff --git a/Documentation/ja/notation/fretted-strings.itely b/Documentation/ja/notation/fretted-strings.itely index b4df2c0fa7..d1ff2dd3e8 100644 --- a/Documentation/ja/notation/fretted-strings.itely +++ b/Documentation/ja/notation/fretted-strings.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -168,7 +168,7 @@ g-0\3 ç†è¨˜ä½“ã®ã‚¿ãƒ–èœã®éŸ³éƒ¨è¨˜å·ãŒè‡ªå‹•çš„ã«ä»˜ã‘åŠ ãˆã‚‰ã‚Œã¾ã™ã€‚ @lilypond[quote,ragged-right,verbatim] -\new TabStaff \relative c' { +\new TabStaff \relative { a,8 a' <c e> a d,8 a' <d f> a } @@ -245,14 +245,14 @@ symbols = { @lilypond[quote,ragged-right,verbatim] \layout { \omit Voice.StringNumber } \new StaffGroup << - \new Staff \relative c { + \new Staff \relative { \clef "treble_8" \time 2/4 c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 c,16 d e f g4 } - \new TabStaff \relative c { + \new TabStaff \relative { c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 \set TabStaff.minimumFret = #5 @@ -278,7 +278,7 @@ symbols = { @code{\tabChordRepeats} ã§ã‚‚用ã„ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ @lilypond[quote,verbatim] -guitar = \relative c' { +guitar = \relative { r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } @@ -550,15 +550,15 @@ LilyPond ã¯ã€ã‚らã‹ã˜ã‚定義ã•ã‚ŒãŸãƒãƒ¥ãƒ¼ãƒ‹ãƒ³ã‚°ã«å¯¾ã—ã¦ã€@c \omit StringNumber } { \clef "bass_8" - \relative c, { - c4 d e f + \relative { + c,4 d e f } } \new TabStaff \with { stringTunings = #bass-tuning } { - \relative c, { - c4 d e f + \relative { + c,4 d e f } } >> @@ -1742,7 +1742,7 @@ e16 b g d 通常ã®èœã¨ã‚¿ãƒ–èœã§ã‚µãƒãƒ¼ãƒˆã•ã‚Œã¾ã™: @lilypond[quote,ragged-right,verbatim] -music = \relative c' { +music = \relative { < a\3 \deadNote c\2 a'\1 >4 < b\3 \deadNote d\2 b'\1 > < c\3 \deadNote e\2 c'\1 > diff --git a/Documentation/ja/notation/input.itely b/Documentation/ja/notation/input.itely index 89da58e23e..887f5d5ea3 100644 --- a/Documentation/ja/notation/input.itely +++ b/Documentation/ja/notation/input.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -837,8 +837,8 @@ book ã®ãƒ¡ã‚¤ãƒ³ タイトル ブãƒãƒƒã‚¯ã®ãƒ†ã‚スト フィールドã¯ã™ @lilypond[papersize=a8landscape] \book { \score { - \relative c' { - c4 d e f + \relative { + c'4 d e f } } } @@ -853,8 +853,8 @@ book ã®ãƒ¡ã‚¤ãƒ³ タイトル ブãƒãƒƒã‚¯ã®ãƒ†ã‚スト フィールドã¯ã™ tagline = "... music notation for Everyone" } \score { - \relative c' { - c4 d e f + \relative { + c'4 d e f } } } @@ -1292,7 +1292,7 @@ scoreTitleMarkup = \markup @{ \column @{ @lilypond[verbatim,quote,ragged-right,papersize=a8] \book { \header { copyright = \markup { "Copyright 1970" } } - \relative c' { + \relative { a'4-\footnote #'(-3 . 0) \markup { \bold Forte } \f -\footnote #'(0 . 1.5) \markup { スラー } ( b8)-\footnote #'(0 . -2) \markup { é€£æ¡ } [ e] @@ -1315,7 +1315,7 @@ scoreTitleMarkup = \markup @{ \column @{ \book { \header { tagline = ##f } \markup { \auto-footnote "A simple tune" \italic "By me" } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -1386,7 +1386,7 @@ LilyPond ã¯å¯¾å¿œã™ã‚‹ãƒžãƒ¼ã‚¯ã‚¢ãƒƒãƒ—ã‚’åŒã˜ãƒšãƒ¼ã‚¸ã®ä¸‹ã«è¡¨ç¤ºã™ã‚ @lilypond[verbatim,quote,ragged-right,papersize=a8] \book { \header { tagline = ##f } - \relative c' { + \relative { a'4-\footnote \markup { \teeny 1 } #'(-3 . 0) \markup { 1. \bold フォルテ } \f @@ -1422,7 +1422,7 @@ LilyPond ã¯å¯¾å¿œã™ã‚‹ãƒžãƒ¼ã‚¯ã‚¢ãƒƒãƒ—ã‚’åŒã˜ãƒšãƒ¼ã‚¸ã®ä¸‹ã«è¡¨ç¤ºã™ã‚ \book { \header { tagline = ##f } \markup { "A simple tune" \footnote "*" \italic "* By me" } - \relative c' { + \relative { a'4 b8 e c4 d4 } } @@ -1892,10 +1892,10 @@ LilyPond ãŒä½¿ç”¨ã™ã‚‹ãƒ‘スã¨ãƒ•ã‚¡ã‚¤ãƒ«ã®ãƒªã‚¹ãƒˆã‚’表示ã—ã¾ã™ã€‚@c ã“ã“ã«ä¾‹ã‚’挙ã’ã¾ã™: @lilypond[verbatim,quote] -sopranoMusic = \relative c'' { a4 b c b8( a) } -altoMusic = \relative g' { e4 e e f } -tenorMusic = \relative c' { c4 b e d8( c) } -bassMusic = \relative c' { a4 gis a d, } +sopranoMusic = \relative { a'4 b c b8( a) } +altoMusic = \relative { e'4 e e f } +tenorMusic = \relative { c'4 b e d8( c) } +bassMusic = \relative { a4 gis a d, } allLyrics = \lyricmode {King of glo -- ry } << \new Staff = "Soprano" \sopranoMusic @@ -1986,8 +1986,8 @@ allLyrics = \lyricmode {King of glo -- ry } もㆠ1 ã¤ã¯ãƒˆãƒªãƒ«ã‚’明示的ã«å±•é–‹ã—ã¦ã„ã¾ã™: @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills {d8.\trill } \tag #'expand {\repeat unfold 3 {e32 d} } c32 d @@ -2006,8 +2006,8 @@ music = \relative g' { 音楽セクションを排除ã™ã‚‹æ–¹ãŒæ¥½ãªå ´åˆã‚‚ã‚ã‚Šã¾ã™: @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills {d8.\trill } \tag #'expand {\repeat unfold 3 {e32 d} } c32 d @@ -2231,8 +2231,8 @@ portuguese = \lyricmode { à vo -- cê uma can -- ção legal } -\relative c' { - c2 d e f g f e +\relative { + c'2 d e f g f e } \addlyrics { \bulgarian } \addlyrics { \hebrew } @@ -2280,8 +2280,8 @@ Unicode U+03BE ã®æ–‡å—を入力ã—ã¾ã™ @lilypond[quote,verbatim] \score { - \relative c'' { - c1 \mark \markup { \char ##x03EE } + \relative { + c''1 \mark \markup { \char ##x03EE } c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } } } \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } } @@ -2919,8 +2919,8 @@ MIDI ボリュームã«å½±éŸ¿ã‚’与ãˆã¾ã›ã‚“。@c \set Staff.midiInstrument = #"cello" \set Score.dynamicAbsoluteVolumeFunction = #myDynamics \new Voice { - \relative c'' { - a4\pp b c-\rfz + \relative { + a'4\pp b c-\rfz } } } @@ -2959,8 +2959,8 @@ midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction \key g \major \time 2/2 \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -2968,8 +2968,8 @@ midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3010,8 +3010,8 @@ MIDI 出力ã®å“質を著ã—ã高ã‚ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ \set Staff.midiInstrument = #"flute" \set Staff.midiMinimumVolume = #0.7 \set Staff.midiMaximumVolume = #0.9 - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -3021,8 +3021,8 @@ MIDI 出力ã®å“質を著ã—ã高ã‚ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ \set Staff.midiInstrument = #"clarinet" \set Staff.midiMinimumVolume = #0.3 \set Staff.midiMaximumVolume = #0.6 - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3079,8 +3079,8 @@ MIDI 最å°/最大ボリュームプãƒãƒ‘ティãŒè¨å®šã•ã‚Œã¦ã„ãªã„å ´å \time 2/2 \set Score.instrumentEqualizer = #my-instrument-equalizer \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis ~ + \new Voice \relative { + r2 g''\mp g fis ~ 4 g8 fis e2 ~ 4 d8 cis d2 } @@ -3088,8 +3088,8 @@ MIDI 最å°/最大ボリュームプãƒãƒ‘ティãŒè¨å®šã•ã‚Œã¦ã„ãªã„å ´å \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } @@ -3120,8 +3120,8 @@ MIDI 最å°/最大ボリュームプãƒãƒ‘ティãŒè¨å®šã•ã‚Œã¦ã„ãªã„å ´å @lilypond[verbatim,quote] \score { - \relative c' { - c cih cis cisih + \relative { + c' cih cis cisih d dih ees eeh e eih f fih fis fisih g gih diff --git a/Documentation/ja/notation/keyboards.itely b/Documentation/ja/notation/keyboards.itely index 3822d009b0..5bc4c77636 100644 --- a/Documentation/ja/notation/keyboards.itely +++ b/Documentation/ja/notation/keyboards.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -324,7 +324,7 @@ \new Staff = "up" { \new Voice = "melOne" { \key g \major - \autochange \relative c' { + \autochange \relative { g8 b a c b d c e d8 r fis, g a2 } diff --git a/Documentation/ja/notation/pitches.itely b/Documentation/ja/notation/pitches.itely index 5e64e0153d..8b7097676c 100644 --- a/Documentation/ja/notation/pitches.itely +++ b/Documentation/ja/notation/pitches.itely @@ -6,7 +6,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -156,7 +156,7 @@ ã“ã“ã§ã€å®Ÿéš›ã«ç›¸å¯¾ãƒ¢ãƒ¼ãƒ‰ã®ä¾‹ã‚’挙ã’ã¾ã™: @lilypond[verbatim,quote] -\relative c { +\relative { \clef bass c d e f g a b c @@ -167,7 +167,7 @@ オクターブ変更記å·ã¯ 4 度よりも大ããªéŸ³ç¨‹ã«å¯¾ã—ã¦ä½¿ç”¨ã•ã‚Œã¾ã™: @lilypond[verbatim,quote] -\relative c { +\relative { \clef bass c d e f g a b c @@ -179,7 +179,7 @@ 大ããªéŸ³ç¨‹ã«åºƒãŒã‚‹å¯èƒ½æ€§ãŒã‚ã‚Šã¾ã™: @lilypond[verbatim,quote] -\relative c { +\relative { c f b e a d g c } @@ -189,10 +189,10 @@ 最も内å´ã® @code{\relative} ブãƒãƒƒã‚¯ãŒé©ç”¨ã•ã‚Œã¾ã™ã€‚ @lilypond[verbatim,quote] -\relative c' { - c d e f - \relative c'' { - c d e f +\relative { + c' d e f + \relative { + c'' d e f } } @end lilypond @@ -215,12 +215,12 @@ 絶対モードã«ãªã‚Šã¾ã™ã€‚ @lilypond[verbatim,quote] -\relative c' { - d e +\relative { + d' e \transpose f g { d e - \relative c' { - d e + \relative { + d' e } } } @@ -235,8 +235,8 @@ 次ã®ä¾‹ã‚’ã€@code{c} ã®éŸ³ç¬¦ã«æ°—を付ã‘ã¦ã€æ³¨æ„æ·±ã検証ã—ã¦ãã ã•ã„。 @lilypond[verbatim,quote] -\relative c' { - c +\relative { + c' <c e g> <c' e g'> <c, e, g''> @@ -251,8 +251,8 @@ B ã®å¾Œã® F ダブル フラット㯠B よりも下ã«é…ç½®ã•ã‚Œã¾ã™ã€‚@c -- ãã‚Œãžã‚Œã®éŸ³ç¨‹ã«å«ã¾ã‚Œã‚‹åŠéŸ³ã®æ•°ã«é–¢ä¿‚ç„¡ã -- ã¨è¦‹ãªã•ã‚Œã¾ã™ã€‚ @lilypond[verbatim,quote] -\relative c'' { - c2 fis +\relative { + c''2 fis c2 ges b2 eisis b2 feses @@ -454,8 +454,8 @@ LilyPond ã®è¨˜å·ã¯ã„ã‹ãªã‚‹æ¨™æº–ã«ã‚‚æº–æ‹ ã—ã¾ã›ã‚“。 @lilypond[quote,verbatim] \language "italiano" -\relative do' { - do re mi sib +\relative { + do' re mi sib } @end lilypond @@ -632,8 +632,8 @@ a2 as e es a ases e eses è¦å‘Šã‚’発㗠(ãã—ã¦ãƒ”ッãƒã‚’変更ã—) ã¾ã™ã€‚ @lilypond[verbatim,quote] -\relative c'' { - c2 d='4 d +\relative { + c''2 d='4 d e2 f } @end lilypond @@ -650,8 +650,8 @@ a2 as e es a ases e eses ãã®å¾Œã«ç¶šã音符㯠@code{@var{controlpitch}} ã‹ã‚‰ç®—出ã•ã‚Œã¾ã™ã€‚ @lilypond[verbatim,quote] -\relative c'' { - c2 d +\relative { + c''2 d \octaveCheck c' e2 f } @@ -662,8 +662,8 @@ a2 as e es a ases e eses 2 番目ã®ãƒã‚§ãƒƒã‚¯ã¯å¤±æ•—ã—ã¦ã„ã¾ã›ã‚“。 @lilypond[verbatim,quote] -\relative c'' { - c4 f g f +\relative { + c''4 f g f c4 \octaveCheck c' @@ -723,9 +723,9 @@ D-メジャーã®èª¿ã§æ›¸ã‹ã‚ŒãŸæ¥½æ›²ã‚’æ€ã„æµ®ã‹ã¹ã¦ãã ã•ã„。@c @lilypond[verbatim,quote] \transpose d e { - \relative c' { + \relative { \key d \major - d4 fis a d + d'4 fis a d } } @end lilypond @@ -740,9 +740,9 @@ A ã®ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã§æ¼”å¥ã™ã‚‹ @lilypond[verbatim,quote] \transpose a c' { - \relative c' { + \relative { \key c \major - c4 d e g + c'4 d e g } } @end lilypond @@ -759,7 +759,7 @@ A ã®ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã§æ¼”å¥ã™ã‚‹ 2 番目ã®ç§»èª¿ã¯ãƒ•ãƒ©ãƒƒãƒˆã‚’èœåˆ»ã—ã€éŸ³ç¬¦ã®äº”ç·šèœä¸Šã§ã®ä½ç½®ã¯ä¸Šã«ä¸ŠãŒã‚Šã¾ã™ã€‚ @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \transpose c cis { \music } \transpose c des { \music } @@ -851,7 +851,7 @@ The @code{@var{musicexpr}} ã®éŸ³ç¨‹ã¯ @code{@var{around-pitch}} ã‚’ä¸å¿ƒã«@c マッピングã•ã‚Œã‚‹ã‚ˆã†ã«ç§»èª¿ã•ã‚Œã¾ã™ã€‚ @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \music \inversion d' d' \music @@ -883,7 +883,7 @@ music = \relative c' { c d e f } 音楽表記を後ã‚ã‹ã‚‰å‰ã«æ¼”å¥ã™ã‚‹é€†è¡Œã‚’作り出ã™ã“ã¨ãŒã§ãã¾ã™: @lilypond[verbatim,quote] -music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 } +music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 } \new Staff { \music @@ -937,8 +937,8 @@ music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 } é–“ã®éŸ³ç¨‹ã®åº¦æ•°ã®åˆ†ã ã‘シフトã•ã‚Œã¾ã™: @lilypond[verbatim,quote] -diatonicScale = \relative c' { c d e f g a b } -motif = \relative c' { c8 d e f g a b c } +diatonicScale = \relative { c' d e f g a b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -950,8 +950,8 @@ motif = \relative c' { c8 d e f g a b c } 上昇ã™ã‚‹éŸ³éšŽã®é•·ã•ã¯ä»»æ„ã§ã‚ã‚Šã€æŒ‡å®šã™ã‚‹éŸ³ç¨‹ã‚‚ä»»æ„ã§ã™: @lilypond[verbatim,quote] -pentatonicScale = \relative c' { ges aes bes des ees } -motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> } +pentatonicScale = \relative { ges aes bes des ees } +motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> } \new Staff { \motif @@ -964,8 +964,8 @@ motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> } ã§ãã¾ã™: @lilypond[verbatim,quote] -chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b } -motif = \relative c' { c8 d e f g a b c } +chromaticScale = \relative { c' cis d dis e f fis g gis a ais b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -1001,8 +1001,8 @@ motif = \relative c' { c8 d e f g a b c } @var{to-pitch} ã§åŒã˜å€¤ã‚’使用ã—ã¾ã™: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1015,8 +1015,8 @@ motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } 指定ã•ã‚ŒãŸ 2 ã¤ã®éŸ³ç¬¦ãŒæ—‹å›žç‚¹ã‚’囲んã§ã„ã‚‹ã¨è§£é‡ˆã™ã‚‹ã“ã¨ãŒã§ãã¾ã™: @lilypond[verbatim,quote] -scale = \relative c' { c g' } -motive = \relative c' { c c g' c, } +scale = \relative { c' g' } +motive = \relative { c' c g' c, } \new Staff { \motive @@ -1027,8 +1027,8 @@ motive = \relative c' { c c g' c, } å転ã¨é€†è¡Œã®æ“作を組ã¿åˆã‚ã›ã‚‹ã¨é€†è¡Œ-å転ã«ãªã‚Šã¾ã™: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1315,8 +1315,8 @@ fis freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL) (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT)) -\relative c' { - \key c\freygish c4 des e f +\relative { + \key c\freygish c'4 des e f \bar "||" \key d\freygish d es fis g } @end lilypond @@ -1555,12 +1555,12 @@ LilyPond ã¯ã©ã®è‡¨æ™‚記å·ã‚¹ã‚¿ã‚¤ãƒ«ã‚’使用ã™ã‚‹ã®ã‹ã‚’指定ã™ã‚‹ã @lilypond[verbatim,quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1570,8 +1570,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1637,12 +1637,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1652,8 +1652,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1709,12 +1709,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1724,8 +1724,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1778,12 +1778,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1793,8 +1793,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1842,12 +1842,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1857,8 +1857,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1910,12 +1910,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1925,8 +1925,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1972,12 +1972,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1987,8 +1987,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2038,12 +2038,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2053,8 +2053,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2097,12 +2097,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2112,8 +2112,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2160,12 +2160,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2175,8 +2175,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2217,12 +2217,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2232,8 +2232,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2276,12 +2276,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2291,8 +2291,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2333,12 +2333,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2348,8 +2348,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2395,12 +2395,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2410,8 +2410,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2457,12 +2457,12 @@ musicB = { @lilypond[quote,staffsize=18] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2472,8 +2472,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2518,12 +2518,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2533,8 +2533,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2577,12 +2577,12 @@ musicB = { @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2592,8 +2592,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2724,8 +2724,8 @@ forget = #(define-music-function (parser location music) (ly:music?) #{ } } -\relative c'' { - aes c e2 +\relative { + aes' c e2 cis,1 } @end lilypond diff --git a/Documentation/ja/notation/repeats.itely b/Documentation/ja/notation/repeats.itely index 5c506a6e27..6681ef0273 100644 --- a/Documentation/ja/notation/repeats.itely +++ b/Documentation/ja/notation/repeats.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -464,8 +464,8 @@ b1 @lilypond[verbatim,quote] voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } -\relative c'' { - c1 +\relative { + c''1 \set Score.repeatCommands = #(list(list 'volta voltaAdLib) 'start-repeat) c4 b d e diff --git a/Documentation/ja/notation/rhythms.itely b/Documentation/ja/notation/rhythms.itely index 5bdb2758c0..9241b923aa 100644 --- a/Documentation/ja/notation/rhythms.itely +++ b/Documentation/ja/notation/rhythms.itely @@ -6,7 +6,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -420,8 +420,8 @@ a2 ~ 2 @c KEEP LY @lilypond[verbatim,quote] -\relative c' { - r8 c8 ~ 2 r4 | +\relative { + r8 c'8 ~ 2 r4 | r8^"ã“ã†ã™ã¹ãã§ã¯ã‚ã‚Šã¾ã›ã‚“" c2 ~ 8 r4 } @end lilypond @@ -1629,10 +1629,10 @@ c8 c c 手動ã§é€£æ¡ã‚’付ã‘ã‚‹å¿…è¦ãŒã‚ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。 @lilypond[quote,verbatim] -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -1677,10 +1677,10 @@ c8 c c % 以上ã§ã€å„èœã¯ãã‚Œãžã‚Œã«æ‹åã‚’æŒã¤ã‚ˆã†ã«ãªã‚Šã¾ã™ -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -2075,8 +2075,8 @@ c16^"(3+2)" c c c c | \set Staff.beatStructure = #'(2 3 2) << \new Voice = one { - \relative c'' { - a8 a a a a a a + \relative { + a'8 a a a a a a } } \new Voice = two { @@ -3441,8 +3441,8 @@ MIDI 出力ã«ãŠã„ã¦è£…飾å°éŸ³ç¬¦ã¯ãã‚Œãžã‚Œ 1/4 ã®å®Ÿæ¼”å¥æ™‚é–“ã‚’æ ãã®éŸ³æ¥½è¡¨è¨˜ã¨åŒã˜é•·ã•ã®è¤‡æ•°å°ç¯€ä¼‘符ã¾ãŸã¯ @code{\skip} を生æˆã—ã¾ã™ã€‚ @lilypond[verbatim,quote] -MyCadenza = \relative c' { - c4 d8 e f g g4 +MyCadenza = \relative { + c'4 d8 e f g g4 f2 g4 g } diff --git a/Documentation/ja/notation/simultaneous.itely b/Documentation/ja/notation/simultaneous.itely index 3c673471c5..866a26acdb 100644 --- a/Documentation/ja/notation/simultaneous.itely +++ b/Documentation/ja/notation/simultaneous.itely @@ -6,7 +6,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -224,8 +224,8 @@ q2 c, | \new Voice \relative c'' { \chordRepeats #'(articulation-event) - \relative c'' - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + \relative + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c | } @end lilypond @@ -789,10 +789,10 @@ etc. @c KEEP LY @lilypond[quote,verbatim] -\new Staff \relative c'' { +\new Staff \relative { %% 簡略化ã•ã‚ŒãŸå…¥åŠ› << - { f2 } % 1: 最上段 + { f''2 } % 1: 最上段 \\ { g,2 } % 2: 最下段 \\ @@ -920,17 +920,17 @@ are at the same time differently dotted are not clear. 個々ã®ãƒ‘ートèœã¨çµåˆèœã§åŒã˜å¤‰æ•°ãŒä½¿ç”¨ã•ã‚Œã¦ã„ã¾ã™ã€‚ @lilypond[quote,verbatim] -instrumentOne = \relative c' { - c4 d e f | +instrumentOne = \relative { + c'4 d e f | R1 | d'4 c b a | b4 g2 f4 | e1 | } -instrumentTwo = \relative g' { +instrumentTwo = \relative { R1 | - g4 a b c | + g'4 a b c | d4 c b a | g4 f( e) d | e1 | @@ -1031,8 +1031,8 @@ instrumentOne = \relative c' { \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" | c2 c | } -instrumentTwo = \relative c' { - c2 c | +instrumentTwo = \relative { + c'2 c | e2 e | a,2 c | c2 c' | diff --git a/Documentation/ja/notation/spacing.itely b/Documentation/ja/notation/spacing.itely index 82234a683a..2bd86c66ae 100644 --- a/Documentation/ja/notation/spacing.itely +++ b/Documentation/ja/notation/spacing.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.12" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -1028,7 +1028,7 @@ increased by one. Default: @code{#f}. tagline = ##f } \score { - \relative c'' { c1 \break c1 \break c1 } + \relative { c''1 \break c1 \break c1 } } } @end lilypond @@ -1396,9 +1396,9 @@ c4 c c c | @lilypond[quote,ragged-right,verbatim] \new Voice \with { \remove "Forbid_line_break_engraver" -} \relative c'' { +} \relative { << - { c2. \tuplet 3/2 { c4 c c } c2. | } + { c''2. \tuplet 3/2 { c4 c c } c2. | } { s1 | \break s1 | } >> } @@ -1762,7 +1762,7 @@ LilyPond ã¯æ˜Žç¤ºçš„ãªæ”¹ãƒšãƒ¼ã‚¸ã§ã‚ã‚‹ ragged-bottom = ##t } -music = \relative c'' { c8 c c c } +music = \relative { c''8 c c c } \score { \new Staff { @@ -1797,7 +1797,7 @@ music = \relative c'' { c8 c c c } 通常ã€æ”¹è¡Œ/æ”¹ãƒšãƒ¼ã‚¸æƒ…å ±ã¯éŸ³ç¬¦å…¥åŠ›éƒ¨åˆ†ã«ç›´æŽ¥å…¥åŠ›ã—ã¾ã™ã€‚ @example -music = \relative c'' @{ c4 c c c @} +music = \relative @{ c''4 c c c @} \score @{ \new Staff @{ @@ -1816,7 +1816,7 @@ music = \relative c'' @{ c4 c c c @} ãã®ä»–ã®æ”¹è¡Œ/æ”¹ãƒšãƒ¼ã‚¸æƒ…å ±ã ã‘ã‚’ä¿æŒã—ã¾ã™ã€‚ @lilypond[quote,verbatim] -music = \relative c'' { c4 c c c } +music = \relative { c''4 c c c } \score { \new Staff << @@ -1847,7 +1847,7 @@ This pattern becomes especially helpful when overriding ä»–ã®æœ‰ç”¨ã ãŒé•·ã„プãƒãƒ‘ティを上書ãã™ã‚‹ã¨ãã«ã€éžå¸¸ã«å½¹ã«ç«‹ã¡ã¾ã™ã€‚ @lilypond[quote,verbatim] -music = \relative c'' { c4 c c c } +music = \relative { c''4 c c c } \score { \new Staff << @@ -2983,8 +2983,8 @@ c16[ c c8] @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -2994,8 +2994,8 @@ c16[ c c8] @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -3678,8 +3678,8 @@ e4 c g-\tweak X-offset #-2.7 -\tweak Y-offset #2.5 \f c @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | @@ -3697,8 +3697,8 @@ e4 c g-\tweak X-offset #-2.7 -\tweak Y-offset #2.5 \f c @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | diff --git a/Documentation/ja/notation/staff.itely b/Documentation/ja/notation/staff.itely index 4b181ae65b..ab8e317c43 100644 --- a/Documentation/ja/notation/staff.itely +++ b/Documentation/ja/notation/staff.itely @@ -6,7 +6,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -363,15 +363,15 @@ turned on with a @code{\paper} option. \score { \new StaffGroup << \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } } \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } @@ -585,8 +585,8 @@ d4 e f g @notation{オッシア} èœã‚’セットã™ã‚‹ã“ã¨ãŒã§ãã¾ã™: @lilypond[verbatim,quote] -\new Staff \relative c'' { - c4 b d c +\new Staff \relative { + c''4 b d c << { c4 b d c } \new Staff { e4 d f e } @@ -608,8 +608,8 @@ d4 e f g 最もé©åˆ‡ãªæ–¹æ³•ã§ã™ã€‚ @lilypond[verbatim,quote] -\new Staff = main \relative c'' { - c4 b d c +\new Staff = main \relative { + c''4 b d c << { c4 b d c } @@ -646,8 +646,8 @@ d4 e f g } { \stopStaff s1*6 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 << { e4 f e2 } \context Staff = ossia { @@ -683,12 +683,12 @@ d4 e f g fontSize = #-3 \override StaffSymbol.staff-space = #(magstep -3) \override StaffSymbol.thickness = #(magstep -3) - } \relative c'' { + } \relative { R1*3 - c4 e8 d c2 + c''4 e8 d c2 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 e4 f e2 g4 a g2 \break c4 b c2 @@ -758,7 +758,7 @@ d4 e f g \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c''' { a8 f e16 d c b a2 } +\relative { a''8 f e16 d c b a2 } @end lilypond @c 未訳: Frenched Score @@ -781,9 +781,9 @@ d4 e f g } } -\relative c' << +\relative << \new Staff { - e4 f g a \break + e'4 f g a \break b1 \break a4 b c2 } @@ -1093,12 +1093,12 @@ d4 e f g 引用部分ã®æ¼”å¥æ™‚間を示ã™éŸ³æ¥½è¡¨è¨˜ã§ã™ã€‚ @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { s1 } } \addQuote "flute" { \fluteNotes } @@ -1116,12 +1116,12 @@ oboeNotes = \relative c'' { 引用ã¯å¤šå£°ã¨ãªã‚Šã€äºˆæœŸã—ãªã„çµæžœã¨ãªã‚‹å¯èƒ½æ€§ãŒã‚ã‚Šã¾ã™ã€‚ @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } } \addQuote "flute" { \fluteNotes } @@ -1146,8 +1146,8 @@ clarinetNotes = \relative c'' { b4 ais a ais | cis4^"quoted" r8 bis\p b4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"clarinet" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"clarinet" { s1 } } \addQuote "clarinet" { \clarinetNotes } @@ -1175,13 +1175,13 @@ oboeNotes = \relative c'' { 引用ã•ã‚Œã‚‹éŸ³æ¥½ã‹ã‚‰å¼•ç”¨ã™ã‚‹ã‚ªãƒ–ジェクトをé¸æŠžã™ã‚‹ã“ã¨ãŒå¯èƒ½ã§ã™ã€‚ @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a2 g2 | +fluteNotes = \relative { + a'2 g2 | b4\<^"quoted" r8 ais a4\f( c->) } -oboeNotes = \relative c'' { - c2. b4 | +oboeNotes = \relative { + c''2. b4 | \quoteDuring #"flute" { s1 } } @@ -1328,8 +1328,8 @@ d,,4 r a r @code{UP} ã¯ç¬¬ 1 ボイスã«ç›¸å½“ã—ã€@code{DOWN} ã¯ç¬¬ 2 ボイスã«ç›¸å½“ã—ã¾ã™ã€‚ @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 | d8 c d e fis2 | g2 d | +fluteNotes = \relative { + r2. c''4 | d8 c d e fis2 | g2 d | } oboeNotes = \relative c'' { @@ -1360,8 +1360,8 @@ tie-event beam-event tuplet-span-event)} ã§ã‚ã‚Šã€éŸ³ç¬¦ã€ä¼‘符ã€ã‚¿ã‚¤ã€ ãã†ã—ãªã„ã¨éŸ³æ¥½è¡¨è¨˜å…¨ä½“㌠@code{CueVoice} コンテã‚ストã«å±žã—ã¦ã—ã¾ã„ã¾ã™ã€‚} @lilypond[verbatim,quote] -oboeNotes = \relative c'' { - r2 r8 d16(\f f e g f a) +oboeNotes = \relative { + r2 r8 d''16(\f f e g f a) g8 g16 g g2. } \addQuote "oboe" { \oboeNotes } @@ -1386,8 +1386,8 @@ oboeNotes = \relative c'' { åˆå›³éŸ³ç¬¦ãŒçµ‚ã‚ã£ãŸã¨ã“ã‚ã§æ‰‹å‹•ã§å…ƒã®éŸ³éƒ¨è¨˜å·ã«æˆ»ã™å¿…è¦ãŒã‚ã‚Šï½ã™ã€‚ @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1413,8 +1413,8 @@ bassoonNotes = \relative c { åˆå›³éŸ³éƒ¨ãŒçµ‚了ã—ãŸã¨ã“ã‚ã§å…ƒã®éŸ³éƒ¨è¨˜å·ã‚’自動的ã«èœåˆ»ã—ã¾ã™ã€‚ @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1445,10 +1445,10 @@ bassoonNotes = \relative c { ã“ã‚Œã¯ã€å…¨ã別ã®å ´æ‰€ã§ç™»éŒ²ã•ã‚ŒãŸæ¥½å™¨ã‹ã‚‰åˆå›³ã‚’å–ã‚‹å ´åˆã«æœ‰ç”¨ã§ã™ã€‚ @lilypond[verbatim,quote] -piccoloNotes = \relative c''' { +piccoloNotes = \relative { \clef "treble^8" R1 - c8 c c e g2 + c'''8 c c e g2 c4 g g2 } @@ -1487,8 +1487,8 @@ bassClarinetNotes = \relative c' { @ref{Using tags} ã‚’å‚ç…§ã—ã¦ãã ã•ã„。 @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { diff --git a/Documentation/ja/notation/text.itely b/Documentation/ja/notation/text.itely index dfcfd646c6..23bfe855ac 100644 --- a/Documentation/ja/notation/text.itely +++ b/Documentation/ja/notation/text.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -1271,7 +1271,7 @@ c^\markup { @lilypond[quote,verbatim,relative=1] c4 d^\markup { \score { - \relative c' { c4 d e f } + \relative { c'4 d e f } \layout { } } } diff --git a/Documentation/ja/notation/vocal.itely b/Documentation/ja/notation/vocal.itely index bb6a93e570..7ec5c737c9 100644 --- a/Documentation/ja/notation/vocal.itely +++ b/Documentation/ja/notation/vocal.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -165,7 +165,7 @@ ã•ã‚‰ãªã‚‹æƒ…å ±ã¯ã€@ref{Special characters} ã‚’å‚ç…§ã—ã¦ãã ã•ã„。 @lilypond[quote,verbatim] -\relative c'' { d8 c16 a bes8 f e' d c4 } +\relative { d''8 c16 a bes8 f e' d c4 } \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, } @end lilypond @@ -176,7 +176,7 @@ 例を挙ã’ã¾ã™: @lilypond[quote,verbatim] -\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. } +\relative { \time 3/4 e'4 e4. e8 d4 e d c2. } \addlyrics { "\"I" am so lone -- "ly,\"" said she } @end lilypond @@ -292,9 +292,9 @@ @c KEEP LY @lilypond[quote,ragged-right,verbatim] << - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c''4 b8. a16 g4. f8 e4 d c2 } % å‰ã§æŒ‡å®šã•ã‚ŒãŸæ¼”å¥æ™‚é–“ 2 を用ã„ã¾ã™ @@ -435,7 +435,7 @@ @lilypond[verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } } @end lilypond @@ -447,7 +447,7 @@ @lilypond[ragged-right,verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } \addlyrics { speel het spel } \addlyrics { joue le jeu } @@ -540,8 +540,8 @@ @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - c2 c2 + \relative { + c''2 c2 d1 } } @@ -551,8 +551,8 @@ } } \new Staff { - \relative c' { - c8 c c c c c c c + \relative { + c'8 c c c c c c c c8 c c c c c c c } } @@ -891,8 +891,8 @@ æŒè©žã¯æŒè©žãƒ¢ãƒ¼ãƒ‰ã§å…¥åŠ›ã™ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™: @lilypond[quote,verbatim] -musicOne = \relative c'' { - c4 b8. a16 g4. f8 e4 d c2 +musicOne = \relative { + c''4 b8. a16 g4. f8 e4 d c2 } verseOne = \lyricmode { Joy to the world, the Lord is come. @@ -922,8 +922,8 @@ verseOne = \lyricmode { 例を挙ã’ã¾ã™: @lilypond[quote,verbatim] -sopranoMusic = \relative c'' { c4 c c c } -contraltoMusic = \relative c'' { a4 a a a } +sopranoMusic = \relative { c''4 c c c } +contraltoMusic = \relative { a'4 a a a } sopranoWords = \lyricmode { Sop -- ra -- no words } contraltoWords = \lyricmode { Con -- tral -- to words } @@ -981,7 +981,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words } << \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics { @@ -1002,7 +1002,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words } << \new Staff = "staff" { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics \with { alignAboveContext = "staff" } { @@ -1031,7 +1031,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words } } \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \context Lyrics = "lyrics" { @@ -1053,7 +1053,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words } \new ChoirStaff << \new Staff { \new Voice = "sopranos" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics = "sopranos" @@ -1064,7 +1064,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words } } \new Staff { \new Voice = "contraltos" { - \relative c'' { a4 a a a } + \relative { a'4 a a a } } } \context Lyrics = "sopranos" { @@ -1126,8 +1126,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } @lilypond[verbatim,quote,ragged-right] \score { - \relative c' { - c c c c + \relative { + c' c c c c c c c } \addlyrics { @@ -1193,8 +1193,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1217,8 +1217,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1242,8 +1242,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat unfold 2 { b4 b b b } } } @@ -1268,8 +1268,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1295,8 +1295,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } << \new Staff { \new Voice = "singleVoice" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1334,8 +1334,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1359,8 +1359,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } The end sec -- tion. } \new Voice = "harmony" { - \relative c' { - f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 + \relative { + f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 } } >> @@ -1386,8 +1386,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b } \alternative { { b b } { b c } } } @@ -1826,8 +1826,8 @@ text = { @lilypond[verbatim,ragged-right,quote] << - \new Voice = melody \relative c' { - f4 \appoggiatura a32 b4 + \new Voice = melody \relative { + f'4 \appoggiatura a32 b4 \grace { f16 a16 } b2 \afterGrace b2 { f16[ a16] } \appoggiatura a32 b4 @@ -1954,8 +1954,8 @@ sau -- rus Rex @code{\markup} 㧠2 ã¤ã®æ–¹æ³•ã§æ”¹è¡Œã—ã¦ã„ã‚‹ã“ã¨ã«æ³¨æ„ã—ã¦ãã ã•ã„。 @lilypond[ragged-right,verbatim,quote] -melody = \relative c' { -e d c d | e e e e | +melody = \relative { +e' d c d | e e e e | d d e d | c1 | } @@ -1997,8 +1997,8 @@ its fleece was white as snow. @c KEEP LY @lilypond[ragged-right,quote,verbatim] -melody = \relative c' { - c4 c c c | d d d d +melody = \relative { + c'4 c c c | d d d d } text = \lyricmode { @@ -2296,12 +2296,12 @@ SATB (S: ソプラノã€A: アルトã€T: テナーã€B: ãƒã‚¹) ãƒœãƒ¼ã‚«ãƒ«èœ \new ChoirStaff << \new Staff { \new Voice { - \relative c'' { g4\f g g g } + \relative { g'4\f g g g } } } \new Staff { \new Voice { - \relative c' { d4 d d\p d } + \relative { d'4 d d\p d } } } >> @@ -2477,9 +2477,9 @@ LilyPond ã§å°è©žã‚’èœåˆ»ã™ã‚‹ã“ã¨ã¯ã§ãã¾ã™ãŒã€å°è©žã«ã¯éŸ³æ¥½ã \new Staff { \set Staff.vocalName = \markup \smallCaps Kaspar \set Staff.shortVocalName = \markup \smallCaps Kas. - \relative c' { + \relative { \clef "G_8" - c4 c c c + c'4 c c c \break c4 c c c } @@ -2488,7 +2488,7 @@ LilyPond ã§å°è©žã‚’èœåˆ»ã™ã‚‹ã“ã¨ã¯ã§ãã¾ã™ãŒã€å°è©žã«ã¯éŸ³æ¥½ã \set Staff.vocalName = \markup \smallCaps Melchior \set Staff.shortVocalName = \markup \smallCaps Mel \clef "bass" - \relative c' { + \relative { a4 a a a a4 a a a } @@ -2584,13 +2584,13 @@ LilyPond ã®æ‹¡å¼µ: @c KEEP LY @lilypond[quote,verbatim] -flute = \relative c'' { - s4 s4 e g +flute = \relative { + s4 s4 e'' g } \addQuote "flute" { \flute } -pianoRH = \relative c'' { - c4. g8 +pianoRH = \relative { + c''4. g8 % åˆå›³éŸ³ç¬¦ã®æ¥½å™¨åã‚’ã€åˆå›³éŸ³ç¬¦ã®ç›´å‰ã€ã‹ã¤èœã®ä¸Šã«é…ç½®ã—ã¾ã™ \new CueVoice { \override InstrumentSwitch.self-alignment-X = #RIGHT @@ -2598,7 +2598,7 @@ pianoRH = \relative c'' { } \cueDuring "flute" #UP { g4 bes4 } } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { \new PianoStaff << @@ -2645,7 +2645,7 @@ pianoRH = \relative c'' { \cueDuring "clarinet" #DOWN { c4. g8 } g4 bes4 } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { << @@ -2861,15 +2861,15 @@ stemOff = { \hide Staff.Stem } \score { \new StaffGroup << \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -2891,15 +2891,15 @@ stemOff = { \hide Staff.Stem } \new ChoirStaff << \new Staff \with { \remove "Bar_engraver" } { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -2971,8 +2971,8 @@ finalis = { } \score { - \relative c'' { - g2 a4 g + \relative { + g'2 a4 g \divisioMinima g2 a4 g \divisioMaior @@ -2995,8 +2995,8 @@ finalis = { @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3023,22 +3023,22 @@ finalis = { @c KEEP LY @lilypond[verbatim,quote] -SopranoMusic = \relative g' { - g1 | c2 b | a1 | \bar "||" +SopranoMusic = \relative { + g'1 | c2 b | a1 | \bar "||" a1 | d2 c | c b | c1 | \bar "||" } -AltoMusic = \relative c' { - e1 | g2 g | f1 | +AltoMusic = \relative { + e'1 | g2 g | f1 | f1 | f2 e | d d | e1 | } -TenorMusic = \relative a { - c1 | c2 c | c1 | +TenorMusic = \relative { + c'1 | c2 c | c1 | d1 | g,2 g | g g | g1 | } -BassMusic = \relative c { +BassMusic = \relative { c1 | e2 e | f1 | d1 | b2 c | g' g | c,1 | } diff --git a/Documentation/ja/notation/world.itely b/Documentation/ja/notation/world.itely index 025f23c841..c95d37d790 100644 --- a/Documentation/ja/notation/world.itely +++ b/Documentation/ja/notation/world.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -191,8 +191,8 @@ @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { - do re misb fa sol la sisb do sisb la sol fa misb re do +\relative { + do' re misb fa sol la sisb do sisb la sol fa misb re do } @end lilypond diff --git a/Documentation/ja/usage/external.itely b/Documentation/ja/usage/external.itely index bb64233371..17ea5d56fb 100644 --- a/Documentation/ja/usage/external.itely +++ b/Documentation/ja/usage/external.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -154,8 +154,8 @@ lilypond -dno-point-and-click file.ly @example \pointAndClickTypes #'note-event -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -163,8 +163,8 @@ lilypond -dno-point-and-click file.ly @example #(ly:set-option 'point-and-click 'note-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -185,8 +185,8 @@ lilypond -dpoint-and-click=note-event example.ly @example \pointAndClickTypes #'(note-event dynamic-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -194,8 +194,8 @@ lilypond -dpoint-and-click=note-event example.ly @example #(ly:set-option 'point-and-click '(note-event dynamic-event)) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example diff --git a/Documentation/ja/usage/lilypond-book.itely b/Documentation/ja/usage/lilypond-book.itely index e0f3f4bf69..ccb88627a4 100644 --- a/Documentation/ja/usage/lilypond-book.itely +++ b/Documentation/ja/usage/lilypond-book.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @@ -94,8 +94,8 @@ Windows ã‚„ Mac OS X ã®ã‚³ãƒžãƒ³ãƒ‰ ラインを用ã„㦠@code{lilypond-book} 例ãˆã°ã€ä»¥ä¸‹ã®ã‚ˆã†ã«: \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -156,8 +156,8 @@ Texinfo ã§å‡¦ç†ã•ã‚Œã‚‹ãŸã‚ã€ä¸Šè¨˜ã®ä¾‹ã¨ã¯ãƒ¬ã‚¤ã‚¢ã‚¦ãƒˆãŒå°‘ã—ç•° 例ãˆã°ã€ä»¥ä¸‹ã®ã‚ˆã†ã«: @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -181,8 +181,8 @@ c'4 f16 title = "A scale in LilyPond" } - \relative c' { - c d e f g a b c + \relative { + c' d e f g a b c } } @end lilypond @@ -794,8 +794,8 @@ LilyPond コマンドã®å¼•æ•°ã‚’ãã®ã¾ã¾å‡ºåŠ›ãƒ•ã‚¡ã‚¤ãƒ«ã«ã‚³ãƒ”ーã—ã ã¤ã¾ã‚Šã€ @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1186,8 +1186,8 @@ LilyPond æ–片を LaTex ドã‚ュメントã«çµ„ã¿è¾¼ã‚€ã“ã¨ãŒã§ãã¾ã™ã 通常㮠LaTeX テã‚スト。 \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1212,7 +1212,7 @@ LilyPond æ–片を Texinfo ã«çµ„ã¿è¾¼ã‚€ã“ã¨ãŒã§ãã¾ã™ã€‚@c Texinfo テã‚スト @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1240,8 +1240,8 @@ d4 c b a 以下ã®ã‚ˆã†ã«ã€lilypond-book 用ã®ãƒ‰ã‚ュメントã«ã¯è‡ªç”±ã«æ¥½èœã¨ テã‚ストを組ã¿åˆã‚ã›ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ <lilypond> -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} </lilypond> </p> diff --git a/Documentation/ja/usage/running.itely b/Documentation/ja/usage/running.itely index 23cf063b6c..d8d6fe6f33 100644 --- a/Documentation/ja/usage/running.itely +++ b/Documentation/ja/usage/running.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -1060,7 +1060,7 @@ LilyPond マニュアルã®ã»ã¨ã‚“ã©ã®ä¾‹ã¯ã“ã®æ‰‹æ³•ã‚’用ã„ã¦ã„ã¾ã @lilypond[quote,verbatim] \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } @end lilypond @@ -1069,7 +1069,7 @@ LilyPond マニュアルã®ã»ã¨ã‚“ã©ã®ä¾‹ã¯ã“ã®æ‰‹æ³•ã‚’用ã„ã¦ã„ã¾ã @lilypond[quote,verbatim] \new Voice { \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } } @end lilypond diff --git a/Documentation/ja/usage/suggestions.itely b/Documentation/ja/usage/suggestions.itely index 71b94dcadd..1147340047 100644 --- a/Documentation/ja/usage/suggestions.itely +++ b/Documentation/ja/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -185,8 +185,8 @@ LilyPond 入力ファイルã®æ§‹é€ ã‚’ã™ã£ãã‚Šã•ã›ã¦ãŠãã“ã¨ãŒä¸å 変更ã•ã‚Œã‚‹å¯èƒ½æ€§ã¯ã¾ãšã‚ã‚Šã¾ã›ã‚“。 @example -violin = \relative c'' @{ -g4 c'8. e16 +violin = \relative @{ +g'4 c'8. e16 @} ... \score @{ @@ -206,8 +206,8 @@ g4 c'8. e16 @example fthenp = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violin = \relative c'' @{ -g4\fthenp c'8. e16 +violin = \relative @{ +g'4\fthenp c'8. e16 @} @end example @@ -257,9 +257,9 @@ LilyPond ãŒè¿”ã™ãƒ¡ãƒƒã‚»ãƒ¼ã‚¸ã¯ã‚¨ãƒ©ãƒ¼ã‚’見ã¤ã‘出ã™@c 外ã—ãŸã¾ã¾ã«ã—ã¦ãŠãã¾ã™)。 @example -bass = \relative c' @{ +bass = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely index 3b7d55e94e..51a2056aa3 100644 --- a/Documentation/learning/common-notation.itely +++ b/Documentation/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: (different from policy.txt!) @@ -97,8 +97,8 @@ read, since they help to keep things organized. @c This example deliberately produces a warning @lilypond[verbatim,quote] -\relative g' { - g1 | e1 | c2. c' | g4 c g e | c4 r r2 | +\relative { + g'1 | e1 | c2. c' | g4 c g e | c4 r r2 | } @end lilypond @@ -765,9 +765,9 @@ following example, three sequences (all containing two separate notes) are combined simultaneously: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -796,8 +796,8 @@ expression, but as it begins with a single note it will be set out on a single staff. @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e2 f } { c2 <<b d>> } >> | } @end lilypond @@ -833,9 +833,9 @@ staff is marked by adding @code{\new Staff} before it. These and @code{>>}: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -863,9 +863,9 @@ is because scores with transposing instruments are more common than polyrhythmic scores. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -907,9 +907,9 @@ inserted inside a @code{PianoStaff}: Here is a small example: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -1023,10 +1023,10 @@ Here is the start of the melody to a nursery rhyme, @notation{Girls and boys come out to play}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -1036,10 +1036,10 @@ separating each syllable with a space. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come out to play, @@ -1070,10 +1070,10 @@ shine as bright as day}. Let's extend it: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1092,10 +1092,10 @@ to add a slur across them, for details, see @ref{Ties and slurs}: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1113,10 +1113,10 @@ manual beams}. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1132,10 +1132,10 @@ that should be included in the melisma: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1154,10 +1154,10 @@ first three bars of @notation{Dido's Lament}, from Purcell's @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1204,11 +1204,11 @@ Here's an example from Rossini's @notation{Figaro}, where @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- to -- tum del -- la cit -- tà @@ -1314,13 +1314,13 @@ later by placing a backslash in front of the name @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1472,10 +1472,10 @@ of errors. With @code{\relative}, the previous example is much easier to read and type: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond @@ -1496,7 +1496,7 @@ using @code{\relative} inside of @code{\relative}, the outer and inner relative sections are independent: @lilypond[verbatim,quote] -\relative c { c'4 \relative c'' { f g } c } +\relative { c'4 \relative { f'' g } c } @end lilypond @funindex \absolute @@ -1505,7 +1505,7 @@ mark the absolute music explicitly with @code{\absolute} to stop it from becoming part of the relative music: @lilypond[verbatim,quote] -\relative c { c'4 \absolute { f'' g'' } c } +\relative { c'4 \absolute { f'' g'' } c } @end lilypond @node After the tutorial diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely index 16f3c14b46..fb58d1f871 100644 --- a/Documentation/learning/fundamental.itely +++ b/Documentation/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.20" +@c \version "2.19.21" @node Fundamental concepts @chapter Fundamental concepts @@ -80,8 +80,8 @@ adds the extra commands which are needed when you give it simple input. LilyPond treats input like this: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -93,8 +93,8 @@ as shorthand for this: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -222,8 +222,8 @@ shown in @ref{Organizing pieces with variables}. All the templates use this: @example -melody = \relative c' @{ - c4 a b c +melody = \relative @{ + c'4 a b c @} \score @{ @@ -341,8 +341,8 @@ At this stage, we could start filling in notes. Inside the curly braces next to @code{\new Voice = "vocal"}, we could start writing @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -360,10 +360,10 @@ So, adding a few notes and a bass clef for the left hand, we now have a piece of real music: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { <g d g,>2~ <g d g,> } -lower = \relative c { b2 e } +upper = \relative { <g' d g,>2~ <g d g,> } +lower = \relative { b,2 e } \score { << @@ -409,8 +409,8 @@ duration of three notes: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -436,8 +436,8 @@ as follows: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -678,9 +678,9 @@ voice in context @code{"1"} and the lowest voice in context of slurs, stems, ties, dynamics etc., is set appropriately. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -702,9 +702,9 @@ split across the same voices in two constructs, shown here in the blue triangle voice. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -794,10 +794,10 @@ later sections. @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignore these for now - they are explained in Ch 4 @@ -874,10 +874,10 @@ we have learnt, using the @code{<< \\ >>} construct to enter the music of the first bar in three voices: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } >> | <c ees aes c>1 | } @@ -897,10 +897,10 @@ and placing the music in voice four. This is done by simply adding another pair of @code{\\}. @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { <ees, c>2 des } \\ % Omit Voice three @@ -959,8 +959,8 @@ the previous section: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -970,8 +970,8 @@ is equivalent to @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -980,8 +980,8 @@ Both of the above would produce @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1002,9 +1002,9 @@ Let us see in some simple examples exactly what effect markup, ties, slurs, and dynamics: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1073,8 +1073,8 @@ voice appears only briefly this might be a more natural way to typeset the music: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { @@ -1249,14 +1249,14 @@ rather than music. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1308,10 +1308,10 @@ examples this is often called @q{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1487,8 +1487,8 @@ annotated real-music example: \clef "treble" \key g \minor \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. | + \relative { % start of RH notes + d''4 ees16 c8. | d4 ees16 c8. | } % end of RH notes } % end of RH voice @@ -1498,14 +1498,14 @@ annotated real-music example: \key g \minor \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 <bes d> ees, <g c> | g8 <bes d> ees, <g c> | } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees | g4 ees | } % end of LH voice two notes @@ -1770,8 +1770,8 @@ So this turns off extra naturals in one staff: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1785,8 +1785,8 @@ and this turns them off in all staves: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1860,13 +1860,13 @@ like this: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1903,8 +1903,8 @@ throughout the @code{\score} or @code{\book} block in which the @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -1923,13 +1923,13 @@ within the score: \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1991,8 +1991,8 @@ produced by the @code{Staff_symbol_engraver}. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2077,24 +2077,24 @@ staff in a four-staff score, we could write \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2156,7 +2156,7 @@ soprano and cello. In this case, we would start with the @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2185,7 +2185,7 @@ Now we want to add a cello part. Let's look at the @q{Notes only} example: @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2223,7 +2223,7 @@ different notes. @example \version @w{"@version{}"} -sopranoMusic = \relative c' @{ +sopranoMusic = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2234,7 +2234,7 @@ sopranoLyrics = \lyricmode @{ Aaa Bee Cee Dee @} -celloMusic = \relative c @{ +celloMusic = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2291,7 +2291,7 @@ This looks a bit messy; the indentation is messed up now. That is easily fixed. Here's the complete soprano and cello template. @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2302,7 +2302,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2348,29 +2348,29 @@ from Handel's Messiah: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords @@ -2587,26 +2587,26 @@ for the three bars of the example above gives: @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2918,19 +2918,19 @@ is to add the music, and combine all the parts together. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -2984,7 +2984,7 @@ Music Glossary: By this point, you've seen this kind of thing: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -2996,8 +2996,8 @@ hornNotes = \relative c'' { c4 b dis c } You may even realize that this could be useful in minimalist music: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | @@ -3077,8 +3077,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c'' { - c4^"piu mosso" b a b +\relative { + c''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" b a b \padText #2.6 @@ -3109,7 +3109,7 @@ suppose that the file @file{horn-music.ly} contains the following part of a horn/@/bassoon duo @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3146,7 +3146,7 @@ tuning of a normal French Horn in@tie{}F. The transposition can be seen in the following output @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3174,7 +3174,7 @@ is a music function available to do this: Applying this to @code{hornNotes} gives: @lilypond[quote,ragged-right] -\compressMMRests \transpose f c' \relative c { +\compressMMRests \transpose f c' \relative { \time 2/4 R2*3 | r4 f8 a | cis4 f | e4 d | @@ -3200,7 +3200,7 @@ that the other voice is in @code{bassoonNotes} in the file leading to @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/learning/tutorial.itely b/Documentation/learning/tutorial.itely index dfb60fab0b..603b114dbe 100644 --- a/Documentation/learning/tutorial.itely +++ b/Documentation/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @node Tutorial @chapter Tutorial @@ -224,8 +224,8 @@ is within just one staff space of the previous note. @lilypond[verbatim,quote] % set the starting point to middle C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -237,8 +237,8 @@ closest D to the previous note. We can create melodies which have larger intervals, still using only @code{\relative} mode: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -255,8 +255,8 @@ starting octave: @lilypond[verbatim,quote] % one octave above middle C -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -269,8 +269,8 @@ if the note following a B is a C, D or E it will be assumed to be above the B, and an A, G or F will be assumed to be below. @lilypond[verbatim,quote] -\relative c'' { - b c % c is 1 staff space up, so is the c above +\relative { + b' c % c is 1 staff space up, so is the c above b d % d is 2 up or 5 down, so is the d above b e % e is 3 up or 4 down, so is the e above b a % a is 6 up or 1 down, so is the a below @@ -291,8 +291,8 @@ apostrophe) to the note name. We can lower the octave by adding a comma @code{,} to the note name. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -329,8 +329,8 @@ for the next note. The duration of the first note defaults to a quarter note. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -341,8 +341,8 @@ duration number. The duration of a dotted note must be stated explicitly (i.e., with a number). @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -359,8 +359,8 @@ A @notation{rest} is entered just like a note with the name @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -380,9 +380,9 @@ The @notation{time signature} can be set with the @code{\time} command: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -436,9 +436,9 @@ Music Glossary: @rglos{clef}. The @notation{clef} can be set using the @code{\clef} command: @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -724,8 +724,8 @@ this image: @c no verbatim here @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { Click here. } } +\relative { + c''4-\markup { \bold \huge { Click here. } } } @end lilypond diff --git a/Documentation/learning/tweaks.itely b/Documentation/learning/tweaks.itely index de6554579b..4300425df8 100644 --- a/Documentation/learning/tweaks.itely +++ b/Documentation/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.16" +@c \version "2.19.21" @node Tweaking output @chapter Tweaking output @@ -537,8 +537,8 @@ emphNoteHead = { \override NoteHead.color = #red \override NoteHead.font-size = 2 } -\relative c'' { - c4 a \once \emphNoteHead f d | +\relative { + c''4 a \once \emphNoteHead f d | } @end lilypond @@ -555,8 +555,8 @@ emphNoteHead = { \override NoteHead.color = #red \override NoteHead.font-size = 2 } -\relative c'' { - <c a \single \emphNoteHead f d>4 +\relative { + <c'' a \single \emphNoteHead f d>4 } @end lilypond @@ -1460,8 +1460,8 @@ how to introduce a new temporary staff, as in an @rglos{ossia}. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1487,8 +1487,8 @@ we simply set the stencil of each to @code{#f}, as follows: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1550,8 +1550,8 @@ So we could replace the example above with @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1575,8 +1575,8 @@ clearing the @code{stencil} here, leading to the result @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1639,8 +1639,8 @@ Let's try it in our ossia example: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1705,8 +1705,8 @@ objects in proportion. It is used like this: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1827,10 +1827,10 @@ this @q{nestling} of the notes on adjacent staves: @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -3041,8 +3041,8 @@ stencil with a markup containing the desired symbol(s), like this: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } -\relative c'' { - c4 +\relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3288,10 +3288,10 @@ example introduced at the end of @ref{I'm hearing Voices}, which was left looking like this: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ @@ -3323,10 +3323,10 @@ Here's the final result: @cindex force-hshift property, example @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 \once \override NoteColumn.force-hshift = 0.5 des } \\ @@ -3359,9 +3359,9 @@ dynamics, fingering and pedalling. @c This example should not be indexed @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3401,8 +3401,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3442,9 +3442,9 @@ produces by default: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4. g8 | + r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3468,8 +3468,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3499,9 +3499,9 @@ since these were all covered in the Tutorial. Doing this gives: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3525,8 +3525,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3569,9 +3569,9 @@ This completes bar two, giving: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3597,8 +3597,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3648,9 +3648,9 @@ to the end, giving: @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3680,8 +3680,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3722,9 +3722,9 @@ Applying these changes gives: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3757,8 +3757,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3792,9 +3792,9 @@ the @code{force-hshift} property. Here's the final result: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3835,8 +3835,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -4053,10 +4053,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/ly-examples/aucun-snippet.ly b/Documentation/ly-examples/aucun-snippet.ly index 23e89447aa..4f18456a31 100644 --- a/Documentation/ly-examples/aucun-snippet.ly +++ b/Documentation/ly-examples/aucun-snippet.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \include "example-header.ily" \paper { @@ -200,9 +200,9 @@ motetusWords = \lyricmode { mes or ai _ _ } -motetusNotes = \relative c' { +motetusNotes = \relative { \clef "treble_8" - c2. c8\startGroup b8 \slash c\stopGroup | % 1 + c'2. c8\startGroup b8 \slash c\stopGroup | % 1 a2. c4. | d2. e4. | % 2-3 f2. f8 e d | % 4 c2. ~ 4. | r2. r4. | % 5-6 @@ -210,7 +210,7 @@ motetusNotes = \relative c' { } -tenorNotes = \relative c { +tenorNotes = \relative { \clef "treble_8" f2. | a2. | g2. | r2. | % 1-4 c2. | b2. | c2. | % 5-7 diff --git a/Documentation/ly-examples/orchestra.ly b/Documentation/ly-examples/orchestra.ly index d784dfd6af..7654521ebb 100644 --- a/Documentation/ly-examples/orchestra.ly +++ b/Documentation/ly-examples/orchestra.ly @@ -1,4 +1,4 @@ -\version "2.19.0" +\version "2.19.21" \header { tagline = ##f @@ -166,19 +166,19 @@ modern = R1*9/8 | } - flutes = \relative c'''' { + flutes = \relative { \clef treble \key ees \minor \time 6/8 R2. - <ges, c,>16(\mf\< <ees bes> <c ges> <ees bes> <ges c,> <bes ees,>) <c ges>( <bes ees,> <ges c,> <bes ees,> <c ges> <ees bes>) | + <ges'' c,>16(\mf\< <ees bes> <c ges> <ees bes> <ges c,> <bes ees,>) <c ges>( <bes ees,> <ges c,> <bes ees,> <c ges> <ees bes>) | <ges c,>8-.->\!\ff \offCr r r r4 r8 | R2. | \time 9/8 R1*9/8 | } - oboes = \relative c''' { + oboes = \relative { \clef treble \key ees \minor \time 6/8 R2. | - <ges, c,>4(\mf\< <bes ees,>8 <c ges>4 <ees bes>8) | + <ges' c,>4(\mf\< <bes ees,>8 <c ges>4 <ees bes>8) | <ges c,>-.->\!\ff \offCr r r r4 r8 | R2. | \time 9/8 R1*9/8 | @@ -194,9 +194,9 @@ modern = R1*9/8 | } - bassoons = \relative c, { + bassoons = \relative { \clef bass \key ees \minor \time 6/8 - <ees bes'>4.\pp\< c'^"a2" | + <ees, bes'>4.\pp\< c'^"a2" | bes8-. bes-. bes-. ges-. ges-. ges-. | ees-.->\!\ff \offCr <ees bes'>4\pp ~ <ees bes'>4. ~ | <ees bes'>2. | \time 9/8 @@ -243,7 +243,7 @@ R2. | R1*9/8 | } - trombones = \relative c' { + trombones = \relative { \clef tenor \key ees \minor \time 6/8 r4 r8 <ges c>4.\mp\< ~ | <ges c>8-. <ges c>-. <ges c>-. <ges c>-. <ges c>-. <ges c>-. | @@ -252,16 +252,16 @@ R2. | R1*9/8 | } - tuba = \relative c,, { + tuba = \relative { \clef bass \key ees \minor \time 6/8 - <ees' ees'>4.(\pp\< <c c'> | + <ees, ees'>4.(\pp\< <c c'> | <bes bes'>8-.) <bes bes'>-. <bes bes'>-. <ges ges'>-. <ges ges'>-. <ges ges'>-. | <ees ees'>-.->\!\ff \offCr r r r4 r8 | R2. | \time 9/8 R1*9/8 | } - timpani = \relative c { + timpani = \relative { \clef bass \key ees \minor \time 6/8 ees8\< ees ees ees ees ees | bes bes bes bes bes bes | @@ -337,25 +337,25 @@ R2. | } - violinI = \relative c'''' { + violinI = \relative { \clef treble \key ees \minor \time 6/8 - ges,,16(\pp\< ees c ees ges bes) c( bes ges bes c ees) | + ges'16(\pp\< ees c ees ges bes) c( bes ges bes c ees) | ges( ees c ees ges bes) c( bes ges bes c ees) | ges8-.->\!\ff \offCr r r r4 r8 | R2. | \time 9/8 R1*9/8 | } - violinII = \relative c''' { + violinII = \relative { \clef treble \key ees \minor \time 6/8 - c,,16(\pp\< bes ges bes c ees) ges( ees c ees ges bes) | + c'16(\pp\< bes ges bes c ees) ges( ees c ees ges bes) | c( bes ges bes c ees) ges( ees c ees ges bes) | c8-.->\!\ff \offCr r r r4 r8 | R2. | \time 9/8 r4 r8 \repeat tremolo 6 { c,,32->\pp^\pont e } r4 r8 | } - viola = \relative c { + viola = \relative { \clef alto \key ees \minor \time 6/8 <ees bes'>8-.\pp\< <ees bes'>-. <ees bes'>-. <ges c>-. <ges c>-. <ges c>-. | <bes ees>-. <bes ees>-. <bes ees>-. <c ges'>-. <c ges'>-. <c ges'>-. | @@ -364,7 +364,7 @@ R2. | \repeat tremolo 12 { ges,32->^\pont bes } \repeat tremolo 6 {ges->( bes) } | } - cello = \relative c { + cello = \relative { \clef bass \key ees \minor \time 6/8 <c ges'>8-.\pp\< <c ges'>-. <c ges'>-. <bes ees>-. <bes ees>-. <bes ees>-. | <c ges'>-. <c ges'>-. <c ges'>-. <c ges'>-. <c ges'>-. <c ges'>-. | diff --git a/Documentation/nl/learning/common-notation.itely b/Documentation/nl/learning/common-notation.itely index 8bb4361689..0920e36af5 100644 --- a/Documentation/nl/learning/common-notation.itely +++ b/Documentation/nl/learning/common-notation.itely @@ -12,7 +12,7 @@ @c Translation checker: @c Translation checker committish: -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: (different from policy.txt!) @@ -716,9 +716,9 @@ sequenties (die allemaal enkele noten bevatten) simultaan samengesteld: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -747,8 +747,8 @@ maar omdat het begint met een enkele noot wordt het genoteerd op een enkele notenbalk. @lilypond[verbatim,quote] -\relative c'' { - c2 <<c e>> | +\relative { + c''2 <<c e>> | << { e2 f } { c2 <<b d>> } >> | } @end lilypond @@ -787,9 +787,9 @@ muziek dat een op een notebalk hoort gemarkeerd door er met @code{<<} en @code{>>}: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -822,9 +822,9 @@ instrumenten veel meer voorkomen dan polyritmische partituren. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -870,9 +870,9 @@ uitdrukking in een @code{PianoStaff} gestopt: Hier is een voorbeeldje: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef bass c,,4 c' | e c | } >> } @@ -997,10 +997,10 @@ Hier is het begin van de melodie van een slaapliedje, @notation{Girls and boys come out to play}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -1012,10 +1012,10 @@ een spatie. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come | out to play, @@ -1054,10 +1054,10 @@ doth shine as bright as day}. Laten we die ook invoeren: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1092,10 +1092,10 @@ legatoboog over de noten te zetten, voor details, zie @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1115,10 +1115,10 @@ waardestrepen te overschrijven, voor details, see @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1135,10 +1135,10 @@ worden opgenomen in de melisma: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1158,10 +1158,10 @@ Lament}, van Purcells @notation{Dido and Æneas}: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1213,11 +1213,11 @@ in Figaro's aria @notation{Largo al factotum}: @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1332,13 +1332,13 @@ LilyPond-commando). @c KEEP LY @lilypond[verbatim,quote] viool = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1497,10 +1497,10 @@ van fouten. met @code{\relative} is bovenstaand voorbeeld een stuk leesbaarder en ook eenvoudiger in te voeren: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond diff --git a/Documentation/nl/learning/fundamental.itely b/Documentation/nl/learning/fundamental.itely index a129a464ff..d6bc8d04cd 100644 --- a/Documentation/nl/learning/fundamental.itely +++ b/Documentation/nl/learning/fundamental.itely @@ -12,7 +12,7 @@ @c Translation checker: @c Translation checker committish: -@c \version "2.19.2" +@c \version "2.19.21" @node Fundamentele concepten @translationof Fundamental concepts @@ -91,8 +91,8 @@ als je het eenvoudige invoer geeft. LilyPond behandelt invoer zoals dit: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -104,8 +104,8 @@ als een afkorting voor dit: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -246,8 +246,8 @@ variabelen, zoals getoond in @ref{Stukken organiseren met variabelen}. Alle sjablonen gebruiken dat: @example -melodie = \relative c' @{ - c4 a b c +melodie = \relative @{ + c'4 a b c @} \score @{ @@ -367,8 +367,8 @@ At this stage, we could start filling in notes. Inside the curly braces next to @code{\new Voice = "vocal"}, we could start writing @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -386,10 +386,10 @@ So, adding a few notes and a bass clef for the left hand, we now have a piece of real music: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { <g d g,>2~ <g d g,> } -lower = \relative c { b2 e } +upper = \relative { <g' d g,>2~ <g d g,> } +lower = \relative { b,2 e } \score { << @@ -435,8 +435,8 @@ duration of three notes: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -462,8 +462,8 @@ as follows: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -704,9 +704,9 @@ voice in context @code{"1"} and the lowest voice in context of slurs, stems, ties, dynamics etc., is set appropriately. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -728,9 +728,9 @@ split across the same voices in two constructs, shown here in the blue triangle voice. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -820,10 +820,10 @@ later sections. @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignore these for now - they are explained in Ch 4 @@ -900,10 +900,10 @@ we have learnt, using the @code{<< \\ >>} construct to enter the music of the first bar in three voices: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes } >> | <c ees aes c>1 | } @@ -923,10 +923,10 @@ and placing the music in voice four. This is done by simply adding another pair of @code{\\}. @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { <ees, c>2 des } \\ % Omit Voice three @@ -985,8 +985,8 @@ the previous section: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -996,8 +996,8 @@ is equivalent to @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1006,8 +1006,8 @@ Both of the above would produce @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1028,9 +1028,9 @@ Let us see in some simple examples exactly what effect markup, ties, slurs, and dynamics: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1099,8 +1099,8 @@ voice appears only briefly this might be a more natural way to typeset the music: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { @@ -1270,14 +1270,14 @@ rather than music. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1329,10 +1329,10 @@ examples this is often called @q{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1508,8 +1508,8 @@ annotated real-music example: \clef "treble" \key g \minor \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. | + \relative { % start of RH notes + d''4 ees16 c8. | d4 ees16 c8. | } % end of RH notes } % end of RH voice @@ -1519,14 +1519,14 @@ annotated real-music example: \key g \minor \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 <bes d> ees, <g c> | g8 <bes d> ees, <g c> | } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees | g4 ees | } % end of LH voice two notes @@ -1791,8 +1791,8 @@ So this turns off extra naturals in one staff: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1806,8 +1806,8 @@ and this turns them off in all staves: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1881,13 +1881,13 @@ like this: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -1924,8 +1924,8 @@ throughout the @code{\score} or @code{\book} block in which the @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -1944,13 +1944,13 @@ within the score: \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2012,8 +2012,8 @@ produced by the @code{Staff_symbol_engraver}. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2098,24 +2098,24 @@ staff in a four-staff score, we could write \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2177,7 +2177,7 @@ soprano and cello. In this case, we would start with the @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2206,7 +2206,7 @@ Now we want to add a cello part. Let's look at the @q{Notes only} example: @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2244,7 +2244,7 @@ different notes. @example \version @w{"@version{}"} -sopranoMusic = \relative c' @{ +sopranoMusic = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2255,7 +2255,7 @@ sopranoLyrics = \lyricmode @{ Aaa Bee Cee Dee @} -celloMusic = \relative c @{ +celloMusic = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2312,7 +2312,7 @@ This looks a bit messy; the indentation is messed up now. That is easily fixed. Here's the complete soprano and cello template. @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2323,7 +2323,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2369,29 +2369,29 @@ from Handel's Messiah: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords @@ -2600,26 +2600,26 @@ for the three bars of the example above gives: @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2931,19 +2931,19 @@ is to add the music, and combine all the parts together. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -2997,7 +2997,7 @@ Music Glossary: By this point, you've seen this kind of thing: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3009,8 +3009,8 @@ hornNotes = \relative c'' { c4 b dis c } You may even realize that this could be useful in minimalist music: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | @@ -3094,8 +3094,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3126,7 +3126,7 @@ suppose that the file @file{horn-music.ly} contains the following part of a horn/@/bassoon duo @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3163,7 +3163,7 @@ tuning of a normal French Horn in@tie{}F. The transposition can be seen in the following output @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3221,7 +3221,7 @@ that the other voice is in @code{bassoonNotes} in the file leading to @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/nl/learning/tutorial.itely b/Documentation/nl/learning/tutorial.itely index d428ec33fb..7d32cfdd03 100644 --- a/Documentation/nl/learning/tutorial.itely +++ b/Documentation/nl/learning/tutorial.itely @@ -13,7 +13,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @node Leerboek @translationof Tutorial @@ -228,8 +228,8 @@ muziek, een @notation{toonladder}, waarin elke noot precies @lilypond[verbatim,quote] % zet het beginpunt op de centrale C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -244,8 +244,8 @@ steeds uitsluitend gebruikmakend van de @code{\relative} modus: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -262,8 +262,8 @@ c'}}}-commando, kunnen we het beginoctaaf veranderen: @lilypond[verbatim,quote] % één octaaf boven de centrale C -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -279,8 +279,8 @@ dan de B, en van een A, G of F wordt aangenomen dat hij lager is. @lilypond[verbatim,quote] -\relative c'' { - b c % c is 1 notenbalk-ruimte omhoog, dus de c hoger +\relative { + b' c % c is 1 notenbalk-ruimte omhoog, dus de c hoger b d % d is 2 omhoog of 5 omlaag, dus de d hoger b e % e is 3 omhoog of 4 omlaag, dus de e hoger b a % a is 6 omhoog of 1 omlaag, dus de a lager @@ -303,8 +303,8 @@ notenaam toe te voegen. We kunnen het octaaf verlagen door een komma @code{,} aan de notenaam toe toe voegen. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -342,8 +342,8 @@ gebruikt voor de volgende noot. De lengte van de eerste noot is standaard een kwartnoot. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -355,8 +355,8 @@ gepuncteerde noot moet expliciet worden aangegeven (d.w.z., altijd ook met een getal). @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -373,8 +373,8 @@ Een @notation{rust} voer je in net zoals een noot met de naam @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -392,9 +392,9 @@ Terminologie: @rglos{time signature}. De @notation{maatsoort} kun je aangeven met het @code{\time}-commando: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -448,9 +448,9 @@ De @notation{sleutel} kun je aangeven met het @code{\clef} commando: @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -761,8 +761,8 @@ afbeelding: @c no verbatim here @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { Klik hier. } } +\relative { + c''4-\markup { \bold \huge { Klik hier. } } } @end lilypond diff --git a/Documentation/nl/learning/tweaks.itely b/Documentation/nl/learning/tweaks.itely index 9abaa16d9b..014c1c8921 100644 --- a/Documentation/nl/learning/tweaks.itely +++ b/Documentation/nl/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Tweaking output @chapter Tweaking output @@ -1379,8 +1379,8 @@ how to introduce a new temporary staff, as in an @rglos{ossia}. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1406,8 +1406,8 @@ we simply set the stencil of each to @code{#f}, as follows: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1469,8 +1469,8 @@ So we could replace the example above with @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1494,8 +1494,8 @@ clearing the @code{stencil} here, leading to the result @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1558,8 +1558,8 @@ Let's try it in our ossia example: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1624,8 +1624,8 @@ objects in proportion. It is used like this: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1746,10 +1746,10 @@ this @q{nestling} of the notes on adjacent staves: @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -2738,8 +2738,8 @@ stencil with a markup containing the desired symbol(s), like this: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } -\relative c'' { - c4 +\relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -2974,10 +2974,10 @@ example introduced at the end of @ref{I'm hearing Voices}, which was left looking like this: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ @@ -3006,10 +3006,10 @@ Here's the final result: @cindex force-hshift property, example @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { <ees, c>2 @@ -3049,9 +3049,9 @@ dynamics, fingering and pedalling. @c This example should not be indexed @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3091,8 +3091,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3132,9 +3132,9 @@ produces by default: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4. g8 | + r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3158,8 +3158,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2 | +lhMusic = \relative { + r2 <c' g ees>2 | <d g, d>1 | r2. d,,4 r4 r | r4 @@ -3189,9 +3189,9 @@ since these were all covered in the Tutorial. Doing this gives: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3215,8 +3215,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1) | r2. d,,4 r4 r | r4 @@ -3259,9 +3259,9 @@ This completes bar two, giving: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3287,8 +3287,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3338,9 +3338,9 @@ to the end, giving: @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3370,8 +3370,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3412,9 +3412,9 @@ Applying these changes gives: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3447,8 +3447,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3482,9 +3482,9 @@ the @code{force-hshift} property. Here's the final result: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3525,8 +3525,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 <c g ees>2( | +lhMusic = \relative { + r2 <c' g ees>2( | <d g, d>1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3783,10 +3783,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/notation/ancient.itely b/Documentation/notation/ancient.itely index 381621ffd8..e8352162ee 100644 --- a/Documentation/notation/ancient.itely +++ b/Documentation/notation/ancient.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @node Ancient notation @@ -294,8 +294,8 @@ desired, as shown in the following example: @lilypond[quote,ragged-right] \score { - \relative c'' { - a1 + \relative { + a'1 \break g } @@ -2755,9 +2755,9 @@ either set as a single, left-aligned syllable: @lilypond[verbatim,ragged-right] \include "gregorian.ly" -chant = \relative c' { +chant = \relative { \clef "G_8" - c\breve c4 b4 a c2 c4 \divisioMaior + c'\breve c4 b4 a c2 c4 \divisioMaior c\breve c4 c f, f \finalis } diff --git a/Documentation/notation/changing-defaults.itely b/Documentation/notation/changing-defaults.itely index a1134477e6..7b974fbbb6 100644 --- a/Documentation/notation/changing-defaults.itely +++ b/Documentation/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.20" +@c \version "2.19.21" @node Changing defaults @chapter Changing defaults @@ -428,13 +428,13 @@ from the musical content. Either of these two forms is valid: % musical content \context Voice = "one" { - \relative c'' { - c4 c c c + \relative { + c''4 c c c } } \context Voice = "two" { - \relative c'' { - g8 g g4 g g + \relative { + g'8 g g4 g g } } >> @@ -456,13 +456,13 @@ from the musical content. Either of these two forms is valid: % musical content \context Voice = "one" { - \relative c'' { - c4 c c c + \relative { + c''4 c c c } } \context Voice = "two" { - \relative c'' { - g8 g g4 g g + \relative { + g'8 g g4 g g } } >> @@ -483,8 +483,8 @@ is used to set the context in which a Scheme procedure specified with @code{\applyContext} is executed: @example -\new Staff \relative c' @{ - c1 +\new Staff \relative @{ + c'1 \context Timing \applyContext #(lambda (ctx) (newline) @@ -562,8 +562,8 @@ In the following example, both voice A and voice B are kept alive in this way for the duration of the piece: @lilypond[quote,verbatim] -musicA = \relative c'' { d4 d d d } -musicB = \relative c'' { g4 g g g } +musicA = \relative { d''4 d d d } +musicB = \relative { g'4 g g g } keepVoicesAlive = { << \new Voice = "A" { s1*5 } % Keep Voice "A" alive for 5 bars @@ -601,8 +601,8 @@ melody and accompaniment would consist of several different sections, of course. @lilypond[quote,verbatim] -melody = \relative c'' { a4 a a a } -accompaniment = \relative c' { d4 d d d } +melody = \relative { a'4 a a a } +accompaniment = \relative { d'4 d d d } words = \lyricmode { These words fol -- low the mel -- o -- dy } \score { << @@ -640,14 +640,14 @@ to keep the melody line alive by simply including spacer notes to line it up correctly with the accompaniment: @lilypond[quote,verbatim] -melody = \relative c'' { +melody = \relative { s1 % skip a bar - a4 a a a + a'4 a a a s1 % skip a bar a4 a a a } -accompaniment = \relative c' { - d4 d d d +accompaniment = \relative { + d'4 d d d d4 d d d d4 d d d d4 d d d @@ -765,17 +765,17 @@ time signature. \consists "Timing_translator" \consists "Default_bar_line_engraver" } - \relative c'' { + \relative { \time 3/4 - c4 c c c c c + c''4 c c c c c } \new Staff \with { \consists "Timing_translator" \consists "Default_bar_line_engraver" } - \relative c'' { + \relative { \time 2/4 - c4 c c c c c + c''4 c c c c c } >> \layout { @@ -882,8 +882,8 @@ An @code{\override} command, but with the context name omitted @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Thicker stems" a a a + \relative { + a'4^"Thicker stems" a a a a4 a a\ff a } \layout { @@ -900,8 +900,8 @@ Directly setting a context property @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a\ff a } \layout { @@ -919,8 +919,8 @@ expression like @code{\accidentalStyle dodecaphonic} @lilypond[quote,verbatim] \score { - \relative c'' { - a4^"Dynamics above" a a a + \relative { + a'4^"Dynamics above" a a a a4 a a\ff a } \layout { @@ -948,8 +948,8 @@ StaffDefaults = \with { \score { \new Staff { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -976,8 +976,8 @@ the same command written in the music stream. @lilypond[quote,verbatim] \score { \new Staff { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -1025,8 +1025,8 @@ An @code{\override} command, but with the context name omitted \new Staff { \new Voice \with { \override Stem.thickness = #4.0 } { - \relative c'' { - a4^"Thick stems" a a a + \relative { + a'4^"Thick stems" a a a a4 a a a } } @@ -1041,15 +1041,15 @@ Directly setting a context property \score { << \new Staff { - \relative c'' { - a4^"Default font" a a a + \relative { + a'4^"Default font" a a a a4 a a a } } \new Staff \with { fontSize = #-4 } { - \relative c'' { - a4^"Smaller font" a a a + \relative { + a'4^"Smaller font" a a a a4 a a a } } @@ -1065,8 +1065,8 @@ A predefined command such as @code{\dynamicUp} << \new Staff { \new Voice { - \relative c'' { - a4^"Dynamics below" a a a + \relative { + a'4^"Dynamics below" a a a a4 a a\ff a } } @@ -1075,8 +1075,8 @@ A predefined command such as @code{\dynamicUp} { \new Voice \with { \dynamicUp } { - \relative c'' { - a4^"Dynamics above" a a a + \relative { + a'4^"Dynamics above" a a a a4 a a\ff a } } @@ -1168,8 +1168,8 @@ to indicate improvisation in jazz pieces, \accepts "ImproVoice" }} -\relative c'' { - a4 d8 bes8 \new ImproVoice { c4^"ad lib" c +\relative { + a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c c4 c^"undress" c_"while playing :)" c } a1 } @@ -1300,8 +1300,8 @@ Putting both into a @code{\layout} block, like Then the output at the start of this subsection can be entered as @example -\relative c'' @{ - a4 d8 bes8 +\relative @{ + a'4 d8 bes8 \new ImproVoice @{ c4^"ad lib" c c4 c^"undress" @@ -4125,8 +4125,8 @@ XinO = { \musicglyph #"noteheads.s2cross" } } -\relative c'' { - a a \XinO a a +\relative { + a' a \XinO a a } @end lilypond @@ -4691,8 +4691,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c'' { - c4^"piu mosso" b a b +\relative { + c''4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" b a b \padText #2.6 @@ -4716,7 +4716,7 @@ custosNote = #note #}) -\relative c' { c4 d e f \custosNote g } +\relative { c'4 d e f \custosNote g } @end lilypond Substitution functions with multiple arguments can be defined: diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely index 5ae834f3b7..3a98f7fa86 100644 --- a/Documentation/notation/chords.itely +++ b/Documentation/notation/chords.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.21" @node Chord notation @@ -410,8 +410,8 @@ chord mode. The displayed chord name will be the same, regardless of the mode of entry, unless there are inversions or added bass notes: @lilypond[verbatim,quote] -chordmusic = \relative c' { - <c e g>2 <f bes c> +chordmusic = \relative { + <c' e g>2 <f bes c> <f c' e g>1 \chordmode { c2 f:sus4 c1:/f @@ -1024,8 +1024,8 @@ of the figures is independent of the notes on the staff. @lilypond[verbatim,ragged-right,quote] << - \relative c'' { - c4 c'8 r8 c,4 c' + \relative { + c''4 c'8 r8 c,4 c' } \new FiguredBass { \figuremode { diff --git a/Documentation/notation/editorial.itely b/Documentation/notation/editorial.itely index 8f23a50cf8..4b2602b02d 100644 --- a/Documentation/notation/editorial.itely +++ b/Documentation/notation/editorial.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.18.0" +@c \version "2.19.21" @node Editorial annotations @section Editorial annotations @@ -845,8 +845,8 @@ pieces. Simple horizontal brackets are supported. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c2\startGroup +\relative { + c''2\startGroup d\stopGroup } @end lilypond @@ -860,8 +860,8 @@ Analysis brackets may be nested. \consists "Horizontal_bracket_engraver" } } -\relative c'' { - c4\startGroup\startGroup +\relative { + c''4\startGroup\startGroup d4\stopGroup e4\startGroup d4\stopGroup\stopGroup diff --git a/Documentation/notation/expressive.itely b/Documentation/notation/expressive.itely index 9ab9fdcb5c..a6dc9178b6 100644 --- a/Documentation/notation/expressive.itely +++ b/Documentation/notation/expressive.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.18.0" +@c \version "2.19.21" @node Expressive marks @section Expressive marks @@ -430,8 +430,8 @@ items such as text scripts, text spanners, and piano pedal marks. @lilypond[verbatim,quote] << - \new Staff \relative c' { - c2 d4 e | + \new Staff \relative { + c'2 d4 e | c4 e e,2 | g'4 a g a | c1 | @@ -529,8 +529,8 @@ The easiest way to create dynamic indications is to use @lilypond[verbatim,quote] moltoF = \markup { molto \dynamic f } -\relative c' { - <d e>16_\moltoF <d e> +\relative { + <d' e>16_\moltoF <d e> <d e>2.. } @end lilypond @@ -552,8 +552,8 @@ roundF = \markup { \center-align \concat { \bold { \italic ( } \dynamic f \bold { \italic ) } } } boxF = \markup { \bracket { \dynamic f } } -\relative c' { - c1_\roundF +\relative { + c'1_\roundF c1_\boxF } @end lilypond @@ -566,8 +566,8 @@ Simple, centered dynamic marks are easily created with the @lilypond[verbatim,quote] sfzp = #(make-dynamic-script "sfzp") -\relative c' { - c4 c c\sfzp c +\relative { + c'4 c c\sfzp c } @end lilypond @@ -592,8 +592,8 @@ mfEspress = \markup { \center-align \line { roundFdynamic = #(make-dynamic-script roundF) boxFdynamic = #(make-dynamic-script boxF) mfEspressDynamic = #(make-dynamic-script mfEspress) -\relative c' { - c4_\roundFdynamic\< d e f +\relative { + c'4_\roundFdynamic\< d e f g,1~_\boxFdynamic\> g1 g'1~\mfEspressDynamic @@ -608,8 +608,8 @@ explained in @rextend{Markup construction in Scheme}. moltoF = #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF } @end lilypond @@ -622,8 +622,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) -\relative c' { - <d e>16 <d e> +\relative { + <d' e>16 <d e> <d e>2..\moltoF <d e>1 } @end lilypond diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely index c1257539ec..e3882f912d 100644 --- a/Documentation/notation/fretted-strings.itely +++ b/Documentation/notation/fretted-strings.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Fretted string instruments @section Fretted string instruments @@ -185,7 +185,7 @@ tablature, by using @code{TabStaff} and @code{TabVoice} contexts. A calligraphic tablature clef is added automatically. @lilypond[quote,ragged-right,verbatim] -\new TabStaff \relative c' { +\new TabStaff \relative { a,8 a' <c e> a d,8 a' <d f> a } @@ -259,14 +259,14 @@ to @code{#t}. @lilypond[quote,ragged-right,verbatim] \layout { \omit Voice.StringNumber } \new StaffGroup << - \new Staff \relative c { + \new Staff \relative { \clef "treble_8" \time 2/4 c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 c,16 d e f g4 } - \new TabStaff \relative c { + \new TabStaff \relative { c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 \set TabStaff.minimumFret = #5 @@ -294,7 +294,7 @@ repetition}. This particular command is so common that it is available as @code{\tabChordRepeats}. @lilypond[quote,verbatim] -guitar = \relative c' { +guitar = \relative { r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } @@ -575,15 +575,15 @@ written. \omit StringNumber } { \clef "bass_8" - \relative c, { - c4 d e f + \relative { + c,4 d e f } } \new TabStaff \with { stringTunings = #bass-tuning } { - \relative c, { - c4 d e f + \relative { + c,4 d e f } } >> @@ -1751,7 +1751,7 @@ Dampened notes (also called @notation{dead notes}) are supported within normal and tablature staves: @lilypond[quote,ragged-right,verbatim] -music = \relative c' { +music = \relative { < a\3 \deadNote c\2 a'\1 >4 < b\3 \deadNote d\2 b'\1 > < c\3 \deadNote e\2 c'\1 > diff --git a/Documentation/notation/input.itely b/Documentation/notation/input.itely index 1db5b63e3d..aef1360068 100644 --- a/Documentation/notation/input.itely +++ b/Documentation/notation/input.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node General input and output @chapter General input and output @@ -884,8 +884,8 @@ top-level @code{\header} block. tagline = "... music notation for Everyone" } \score { - \relative c' { - c4 d e f + \relative { + c'4 d e f } } } @@ -1354,8 +1354,8 @@ is: @lilypond[quote,verbatim,papersize=a8landscape] \book { \header { tagline = ##f } - \relative c'' { - a4_\footnote #'(0 . -1) "A slur forced down" ( + \relative { + a'4_\footnote #'(0 . -1) "A slur forced down" ( b8^\footnote #'(1 . 0.5) "A manual beam forced up" [ b8 ] c4 ) @@ -1537,7 +1537,7 @@ For example: \auto-footnote "recent" \italic " Aug 2012" "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -1583,7 +1583,7 @@ aliases may be used (see @ref{ASCII aliases}): } "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -1606,7 +1606,7 @@ Unicode character codes may also be used to specify marks } "composition." } - \relative c' { + \relative { a'4 b8 e c4 d } } @@ -2019,10 +2019,10 @@ may be combined on one staff, see @ref{Automatic part combining}. Here is an example: @lilypond[verbatim,quote] -sopranoMusic = \relative c'' { a4 b c b8( a) } -altoMusic = \relative g' { e4 e e f } -tenorMusic = \relative c' { c4 b e d8( c) } -bassMusic = \relative c' { a4 gis a d, } +sopranoMusic = \relative { a'4 b c b8( a) } +altoMusic = \relative { e'4 e e f } +tenorMusic = \relative { c'4 b e d8( c) } +bassMusic = \relative { a4 gis a d, } allLyrics = \lyricmode {King of glo -- ry } << \new Staff = "Soprano" \sopranoMusic @@ -2118,8 +2118,8 @@ one showing trills with the usual notation, and one with trills explicitly expanded: @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills { d8.\trill } \tag #'expand { \repeat unfold 3 { e32 d } } c32 d @@ -2137,8 +2137,8 @@ music = \relative g' { Alternatively, it is sometimes easier to exclude sections of music: @lilypond[verbatim,quote] -music = \relative g' { - g8. c32 d +music = \relative { + g'8. c32 d \tag #'trills { d8.\trill } \tag #'expand {\repeat unfold 3 { e32 d } } c32 d @@ -2389,8 +2389,8 @@ portuguese = \lyricmode { à vo -- cê uma can -- ção legal } -\relative c' { - c2 d e f g f e +\relative { + c'2 d e f g f e } \addlyrics { \bulgarian } \addlyrics { \hebrew } @@ -2432,8 +2432,8 @@ lyrics and as stand-alone text below the score: @lilypond[quote,verbatim] \score { - \relative c'' { - c1 \mark \markup { \char ##x03EE } + \relative { + c''1 \mark \markup { \char ##x03EE } c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } } } \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } } diff --git a/Documentation/notation/keyboards.itely b/Documentation/notation/keyboards.itely index d9213d98f9..fbb2e616fa 100644 --- a/Documentation/notation/keyboards.itely +++ b/Documentation/notation/keyboards.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @node Keyboard and other multi-staff instruments @section Keyboard and other multi-staff instruments @@ -315,7 +315,7 @@ key signature in the lower staff: \new Staff = "up" { \new Voice = "melOne" { \key g \major - \autochange \relative c' { + \autochange \relative { g8 b a c b d c e d8 r fis, g a2 } diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index 2f7b822d9b..6ea4585f74 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Pitches @@ -162,10 +162,10 @@ absolute octave mode. Which choices are meaningful? Identifying middle C with @code{c'} is quite basic, so finding octaves of @code{c} tends to be straightforward. If your music starts with @code{gis} above @code{c'''}, you'd write something -like @code{\relative c''' @{ gis' @dots{} @}} +like @code{\relative @{ gis''' @dots{} @}} @item an octave of the first note inside -Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to +Writing @code{\relative @{ gis''' @dots{} @}} makes it easy to determine the absolute pitch of the first note inside. @item no explicit starting pitch @@ -181,7 +181,7 @@ The documentation will usually employ the first option. Here is the relative mode shown in action: @lilypond[verbatim,quote] -\relative c { +\relative { \clef bass c d e f g a b c @@ -193,8 +193,8 @@ Octave changing marks are used for intervals greater than a fourth: @lilypond[verbatim,quote] -\relative c'' { - c g c f, +\relative { + c'' g c f, c' a, e'' c } @end lilypond @@ -203,7 +203,7 @@ A note sequence without a single octave mark can nevertheless span large intervals: @lilypond[verbatim,quote] -\relative c { +\relative { c f b e a d g c } @@ -213,10 +213,10 @@ When @code{\relative} blocks are nested, the innermost @code{\relative} block applies. @lilypond[verbatim,quote] -\relative c' { - c d e f - \relative c'' { - c d e f +\relative { + c' d e f + \relative { + c'' d e f } } @end lilypond @@ -238,12 +238,12 @@ Music inside a @code{\transpose} block is absolute unless a @code{\relative} is included. @lilypond[verbatim,quote] -\relative c' { - d e +\relative { + d' e \transpose f g { d e - \relative c' { - d e + \relative { + d' e } } } @@ -260,8 +260,8 @@ relative to the preceding one. Examine the next example carefully, paying attention to the @code{c} notes. @lilypond[verbatim,quote] -\relative c' { - c +\relative { + c' <c e g> <c' e g'> <c, e, g''> @@ -277,8 +277,8 @@ double-diminished fifth, regardless of the number of semitones that each interval contains. @lilypond[verbatim,quote] -\relative c'' { - c2 fis +\relative { + c''2 fis c2 ges b2 eisis b2 feses @@ -468,8 +468,8 @@ using Italian note names: @lilypond[quote,verbatim] \language "italiano" -\relative do' { - do re mi sib +\relative { + do' re mi sib } @end lilypond @@ -641,8 +641,8 @@ octave @code{d''} instead of @code{d'} as indicated by the octave correction. @lilypond[verbatim,quote] -\relative c'' { - c2 d='4 d +\relative { + c''2 d='4 d e2 f } @end lilypond @@ -657,8 +657,8 @@ printed, but the previous note is not changed. Future notes are relative to the @code{@var{controlpitch}}. @lilypond[verbatim,quote] -\relative c'' { - c2 d +\relative { + c''2 d \octaveCheck c' e2 f } @@ -668,8 +668,8 @@ Compare the two bars below. The first and third @code{\octaveCheck} checks fail, but the second one does not fail. @lilypond[verbatim,quote] -\relative c'' { - c4 f g f +\relative { + c''4 f g f c4 \octaveCheck c' @@ -727,9 +727,9 @@ automatically transposed as well. @lilypond[verbatim,quote] \transpose d e { - \relative c' { + \relative { \key d \major - d4 fis a d + d'4 fis a d } } @end lilypond @@ -744,9 +744,9 @@ part will be produced with: @lilypond[verbatim,quote] \transpose a c' { - \relative c' { + \relative { \key c \major - c4 d e g + c'4 d e g } } @end lilypond @@ -763,7 +763,7 @@ the notes will remain on the same scale step, the second version will print flats on the scale step above. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \transpose c cis { \music } \transpose c des { \music } @@ -855,7 +855,7 @@ The @code{@var{musicexpr}} is inverted interval-by-interval around @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}. @lilypond[verbatim,quote] -music = \relative c' { c d e f } +music = \relative { c' d e f } \new Staff { \music \inversion d' d' \music @@ -886,7 +886,7 @@ Notation Reference: A music expression can be reversed to produce its retrograde: @lilypond[verbatim,quote] -music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 } +music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 } \new Staff { \music @@ -942,8 +942,8 @@ number of scale degrees given by the interval between @var{to-pitch} and @var{from-pitch}: @lilypond[verbatim,quote] -diatonicScale = \relative c' { c d e f g a b } -motif = \relative c' { c8 d e f g a b c } +diatonicScale = \relative { c' d e f g a b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -956,8 +956,8 @@ An ascending scale of any length and with any intervals may be specified: @lilypond[verbatim,quote] -pentatonicScale = \relative c' { ges aes bes des ees } -motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> } +pentatonicScale = \relative { ges aes bes des ees } +motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> } \new Staff { \motif @@ -970,8 +970,8 @@ similar effect to @code{\transpose}, but with the ability to specify the names of the notes to be used: @lilypond[verbatim,quote] -chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b } -motif = \relative c' { c8 d e f g a b c } +chromaticScale = \relative { c' cis d dis e f fis g gis a ais b } +motif = \relative { c'8 d e f g a b c } \new Staff { \motif @@ -1005,8 +1005,8 @@ So to simply invert around a note in the scale use the same value for @var{around-pitch} and @var{to-pitch}: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1019,8 +1019,8 @@ one of the notes and then transpose by one scale degree. The two notes specified can be interpreted as bracketing the pivot point: @lilypond[verbatim,quote] -scale = \relative c' { c g' } -motive = \relative c' { c c g' c, } +scale = \relative { c' g' } +motive = \relative { c' c g' c, } \new Staff { \motive @@ -1032,8 +1032,8 @@ The combined operation of inversion and retrograde produce the retrograde-inversion: @lilypond[verbatim,quote] -octatonicScale = \relative c' { ees f fis gis a b c d } -motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } +octatonicScale = \relative { ees' f fis gis a b c d } +motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif @@ -1348,8 +1348,8 @@ for each scale step when the mode starts on C. freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL) (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT)) -\relative c' { - \key c \freygish c4 des e f +\relative { + \key c \freygish c'4 des e f \bar "||" \key d \freygish d es fis g } @end lilypond @@ -1607,12 +1607,12 @@ each style, we use the following example: @lilypond[verbatim,quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1622,8 +1622,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1690,12 +1690,12 @@ last@tie{}@code{c}: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1705,8 +1705,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1763,12 +1763,12 @@ individual musicians. If the staff is to be used by one musician @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1778,8 +1778,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1829,12 +1829,12 @@ the upper staff: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1844,8 +1844,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1893,12 +1893,12 @@ defining the @code{cautionary-style} property of @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1908,8 +1908,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -1960,12 +1960,12 @@ accidental in a different voice in the previous measure: @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -1975,8 +1975,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2021,12 +2021,12 @@ typeset as cautionaries. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2036,8 +2036,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2086,12 +2086,12 @@ This accidental style applies to the current @code{GrandStaff} or @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2101,8 +2101,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2146,12 +2146,12 @@ typeset as cautionaries. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2161,8 +2161,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2205,12 +2205,12 @@ if the note is immediately repeated. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2220,8 +2220,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2262,12 +2262,12 @@ accidentals are printed as cautionary accidentals. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2277,8 +2277,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2322,12 +2322,12 @@ but they are canceled across voices in the same @code{Staff}. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2337,8 +2337,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2379,12 +2379,12 @@ accidentals are printed as cautionary accidentals. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2394,8 +2394,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2439,12 +2439,12 @@ including natural signs. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2454,8 +2454,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2497,12 +2497,12 @@ suppressed for pitches immediately repeated within the same staff. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2512,8 +2512,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2557,12 +2557,12 @@ but throughout voices. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2572,8 +2572,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2618,12 +2618,12 @@ key signature, except if the note is immediately repeated. @lilypond[quote,staffsize=18] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2633,8 +2633,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2679,12 +2679,12 @@ This is the same as @code{default} but with accidentals lasting @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2694,8 +2694,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2738,12 +2738,12 @@ the music. @lilypond[quote] musicA = { << - \relative c' { - cis'8 fis, bes4 <a cis>8 f bis4 | + \relative { + cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ - \relative c' { + \relative { ais'2 cis, | fis8 b a4 cis2 | } @@ -2753,8 +2753,8 @@ musicA = { musicB = { \clef bass \new Voice { - \voiceTwo \relative c' { - <fis, a cis>8[ <fis a cis> + \voiceTwo \relative { + <fis a cis>8[ <fis a cis> \change Staff = up cis' cis \change Staff = down @@ -2879,8 +2879,8 @@ printed if they are not part of the key signature. } } -\relative c'' { - aes c e2 +\relative { + aes' c e2 cis,1 } @end lilypond diff --git a/Documentation/notation/repeats.itely b/Documentation/notation/repeats.itely index 332887d543..8d9312716d 100644 --- a/Documentation/notation/repeats.itely +++ b/Documentation/notation/repeats.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @node Repeats @section Repeats @@ -486,8 +486,8 @@ then include the markup in a Scheme list. @lilypond[verbatim,quote] voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } -\relative c'' { - c1 +\relative { + c''1 \set Score.repeatCommands = #(list(list 'volta voltaAdLib) 'start-repeat) c4 b d e diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely index e885d22824..973bbb9456 100644 --- a/Documentation/notation/rhythms.itely +++ b/Documentation/notation/rhythms.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.20" +@c \version "2.19.21" @node Rhythms @section Rhythms @@ -435,8 +435,8 @@ dots cannot be used to denote the rhythm. Ties should also be used when note values cross larger subdivisions of the measure: @lilypond[verbatim,quote] -\relative c' { - r8 c~ 2 r4 | +\relative { + r8 c'~ 2 r4 | r8^"not" c2~ 8 r4 } @end lilypond @@ -1617,10 +1617,10 @@ may be necessary to insert beams manually, as the duration scaling will affect the autobeaming rules. @lilypond[quote,verbatim] -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -1663,10 +1663,10 @@ moving the @code{Timing_translator} and the % Now each staff has its own time signature. -\relative c' << +\relative << \new Staff { \time 3/4 - c4 c c | + c'4 c c | c4 c c | } \new Staff { @@ -2136,8 +2136,8 @@ enclosing context will apply. \set Staff.beatStructure = #'(2 3 2) << \new Voice = one { - \relative c'' { - a8 a a a a a a + \relative { + a'8 a a a a a a } } \new Voice = two { @@ -3560,8 +3560,8 @@ functions take a defined piece of music as an argument and generate a multi-measure rest or @code{\skip} exactly as long as the piece. @lilypond[verbatim,quote] -MyCadenza = \relative c' { - c4 d8 e f g g4 +MyCadenza = \relative { + c'4 d8 e f g g4 f2 g4 g } diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely index 707e071b29..893f8222f4 100644 --- a/Documentation/notation/simultaneous.itely +++ b/Documentation/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.16" +@c \version "2.19.21" @node Simultaneous notes @@ -219,8 +219,8 @@ in this example. \new Voice \relative c'' { \chordRepeats #'(articulation-event) - \relative c'' - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + \relative + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c | } @end lilypond @@ -776,10 +776,10 @@ of voices in your input file should not be the same as the vertical order of voices on the staff!} @lilypond[quote,verbatim] -\new Staff \relative c'' { +\new Staff \relative { %% abbreviated entry << - { f2 } % 1: highest + { f''2 } % 1: highest \\ { g,2 } % 2: lowest \\ @@ -894,17 +894,17 @@ accordingly. The same variables are used for the independent parts and the combined staff. @lilypond[quote,verbatim] -instrumentOne = \relative c' { - c4 d e f | +instrumentOne = \relative { + c'4 d e f | R1 | d'4 c b a | b4 g2 f4 | e1 | } -instrumentTwo = \relative g' { +instrumentTwo = \relative { R1 | - g4 a b c | + g'4 a b c | d4 c b a | g4 f( e) d | e1 | @@ -939,14 +939,14 @@ argument to zero means that the partcombiner splits notes with an interval of a second or more, setting it to one splits notes of a third or more, and so on. @lilypond[quote,verbatim] -instrumentOne = \relative c' { +instrumentOne = \relative { a4 b c d | e f g a | b c d e | } -instrumentTwo = \relative c' { - c4 c c c | +instrumentTwo = \relative { + c'4 c c c | c c c c | c c c c | } @@ -1035,8 +1035,8 @@ instrumentOne = \relative c' { \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" | c2 c | } -instrumentTwo = \relative c' { - c2 c | +instrumentTwo = \relative { + c'2 c | e2 e | a,2 c | c2 c' | diff --git a/Documentation/notation/spacing.itely b/Documentation/notation/spacing.itely index efd6fb2ed7..f8859d04c8 100644 --- a/Documentation/notation/spacing.itely +++ b/Documentation/notation/spacing.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.12" +@c \version "2.19.21" @ignore GDP TODO list @@ -1067,7 +1067,7 @@ sensible default, for example: tagline = ##f } \score { - \relative c'' { c1 \break c1 \break c1 } + \relative { c''1 \break c1 \break c1 } } } @end lilypond @@ -1434,9 +1434,9 @@ with the music: @lilypond[quote,ragged-right,verbatim] \new Voice \with { \remove "Forbid_line_break_engraver" -} \relative c'' { +} \relative { << - { c2. \tuplet 3/2 { c4 c c } c2. | } + { c''2. \tuplet 3/2 { c4 c c } c2. | } { s1 | \break s1 | } >> } @@ -2878,8 +2878,8 @@ than @code{1 16}. @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -2889,8 +2889,8 @@ than @code{1 16}. @lilypond[verbatim,line-width=12\cm] \score { - \relative c'' { - g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | @@ -3483,8 +3483,8 @@ example illustrates the default spacing: @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | @@ -3501,8 +3501,8 @@ duration longer, a @q{squeezing} effect occurs: @lilypond[verbatim,quote] \score { - \relative c'' { - g4 e e2 | + \relative { + g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely index bb59664769..dbb035a58e 100644 --- a/Documentation/notation/staff.itely +++ b/Documentation/notation/staff.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Staff notation @section Staff notation @@ -350,15 +350,15 @@ turned on with a @code{\paper} option. \score { \new StaffGroup << \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } } \new Staff { - \relative c'' { - c4 c c c + \relative { + c''4 c c c \break c4 c c c } @@ -577,8 +577,8 @@ Internals Reference: staff in the appropriate location: @lilypond[verbatim,quote] -\new Staff \relative c'' { - c4 b d c +\new Staff \relative { + c''4 b d c << { c4 b d c } \new Staff { e4 d f e } @@ -600,8 +600,8 @@ to align the ossia staff. This method is most appropriate when only a few ossia staves are needed. @lilypond[verbatim,quote] -\new Staff = "main" \relative c'' { - c4 b d c +\new Staff = "main" \relative { + c''4 b d c << { c4 b d c } @@ -634,8 +634,8 @@ example. } { \stopStaff s1*6 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 << { e4 f e2 } \context Staff = "ossia" { @@ -668,12 +668,12 @@ break. For more information about \remove "Time_signature_engraver" \hide Clef \magnifyStaff #2/3 - } \relative c'' { + } \relative { R1*3 - c4 e8 d c2 + c''4 e8 d c2 } - \new Staff \relative c' { - c4 b c2 + \new Staff \relative { + c'4 b c2 e4 f e2 g4 a g2 \break c4 b c2 @@ -741,7 +741,7 @@ alternative, @code{\stopStaff} may be used. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c''' { a8 f e16 d c b a2 } +\relative { a''8 f e16 d c b a2 } @end lilypond @@ -762,9 +762,9 @@ elements.} } } -\relative c' << +\relative << \new Staff { - e4 f g a \break + e'4 f g a \break b1 \break a4 b c2 } @@ -994,8 +994,8 @@ setFlute = { shortInstrumentName = #"Flt." midiInstrument = #"flute" } -\relative c'' { - g1 g g g \break +\relative { + g'1 g g g \break g1 g \prepPiccolo R R \break \setPiccolo g1 g g g \break @@ -1050,12 +1050,12 @@ quoted voice, as defined with @code{\addQuote}, and a music expression for the duration of the quote. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { s1 } } \addQuote "flute" { \fluteNotes } @@ -1073,12 +1073,12 @@ instead of spacer or multimeasure rests then the quote will appear as polyphony and may produce unexpected results. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a4 gis g gis | b4^"quoted" r8 ais\p a4( f) +fluteNotes = \relative { + a'4 gis g gis | b4^"quoted" r8 ais\p a4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a } } \addQuote "flute" { \fluteNotes } @@ -1102,8 +1102,8 @@ clarinetNotes = \relative c'' { b4 ais a ais | cis4^"quoted" r8 bis\p b4( f) } -oboeNotes = \relative c'' { - c4 cis c b \quoteDuring #"clarinet" { s1 } +oboeNotes = \relative { + c''4 cis c b \quoteDuring #"clarinet" { s1 } } \addQuote "clarinet" { \clarinetNotes } @@ -1133,13 +1133,13 @@ of these objects from the quoted music are displayed by using the @code{quotedEventTypes} context property. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - a2 g2 | +fluteNotes = \relative { + a'2 g2 | b4\<^"quoted" r8 ais a4\f( c->) } -oboeNotes = \relative c'' { - c2. b4 | +oboeNotes = \relative { + c''2. b4 | \quoteDuring #"flute" { s1 } } @@ -1276,8 +1276,8 @@ corresponds to the first and second voices respectively, determining how the cue notes are printed in relation to the other voice. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 | d8 c d e fis2 | g2 d | +fluteNotes = \relative { + r2. c''4 | d8 c d e fis2 | g2 d | } oboeNotes = \relative c'' { @@ -1310,8 +1310,8 @@ or else the entire music expression would belong to the @code{CueVoice} context.} @lilypond[verbatim,quote] -oboeNotes = \relative c'' { - r2 r8 d16(\f f e g f a) +oboeNotes = \relative { + r2 r8 d''16(\f f e g f a) g8 g16 g g2. } \addQuote "oboe" { \oboeNotes } @@ -1331,8 +1331,8 @@ this can be done manually but the original clef should also be restored manually at the end of the cue notes. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1358,8 +1358,8 @@ clef that needs to be printed for the cue notes but will automatically print the original clef once the cue notes have finished. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { @@ -1392,10 +1392,10 @@ represent the sound of a concert middle C. This is useful for taking cues from an instrument in a completely different register. @lilypond[verbatim,quote] -piccoloNotes = \relative c''' { +piccoloNotes = \relative { \clef "treble^8" R1 - c8 c c e g2 + c'''8 c c e g2 c4 g g2 } @@ -1430,8 +1430,8 @@ changes and a label identifying the source instrument, can be tagged for selective inclusion in the score; see @ref{Using tags}. @lilypond[verbatim,quote] -fluteNotes = \relative c'' { - r2. c4 d8 c d e fis2 g2 d2 +fluteNotes = \relative { + r2. c''4 d8 c d e fis2 g2 d2 } bassoonNotes = \relative c { diff --git a/Documentation/notation/text.itely b/Documentation/notation/text.itely index 221e2fdcff..15084268e3 100644 --- a/Documentation/notation/text.itely +++ b/Documentation/notation/text.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @node Text @section Text @@ -1247,7 +1247,7 @@ block, as demonstrated here: @lilypond[quote,verbatim,relative=1] c4 d^\markup { \score { - \relative c' { c4 d e f } + \relative { c'4 d e f } \layout { } } } diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely index 013fabfd9b..fe6f26e880 100644 --- a/Documentation/notation/vocal.itely +++ b/Documentation/notation/vocal.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Vocal music @section Vocal music @@ -156,7 +156,7 @@ into the input file, providing it is saved with UTF-8 encoding. For more information, see @ref{Special characters}. @lilypond[quote,verbatim] -\relative c'' { d8 c16 a bes8 f ees' d c4 } +\relative { d''8 c16 a bes8 f ees' d c4 } \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, } @end lilypond @@ -165,7 +165,7 @@ with a backslash character and the whole syllable has to be enclosed between additional quotes. For example, @lilypond[quote,verbatim] -\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. } +\relative { \time 3/4 e'4 e4. e8 d4 e d c2. } \addlyrics { "\"I" am so lone -- "ly,\"" said she } @end lilypond @@ -289,9 +289,9 @@ and entered with @code{\lyricmode}. @lilypond[quote,ragged-right,verbatim] << - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c''4 b8. a16 g4. f8 e4 d c2 } % uses previous explicit duration of 2; @@ -432,7 +432,7 @@ Here is an example, @lilypond[verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } } @end lilypond @@ -444,7 +444,7 @@ More stanzas can be added by adding more @lilypond[ragged-right,verbatim,quote] { \time 3/4 - \relative c' { c2 e4 g2. } + \relative { c'2 e4 g2. } \addlyrics { play the game } \addlyrics { speel het spel } \addlyrics { joue le jeu } @@ -534,8 +534,8 @@ Here are two examples: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - c2 c2 + \relative { + c''2 c2 d1 } } @@ -545,8 +545,8 @@ Here are two examples: } } \new Staff { - \relative c' { - c8 c c c c c c c + \relative { + c'8 c c c c c c c c8 c c c c c c c } } @@ -884,8 +884,8 @@ Variables containing lyrics can be created, but the lyrics must be entered in lyric mode: @lilypond[quote,verbatim] -musicOne = \relative c'' { - c4 b8. a16 g4. f8 e4 d c2 +musicOne = \relative { + c''4 b8. a16 g4. f8 e4 d c2 } verseOne = \lyricmode { Joy to the world, the Lord is come. @@ -914,8 +914,8 @@ voices referenced by @code{\lyricsto} have always been defined earlier. For example: @lilypond[quote,verbatim] -sopranoMusic = \relative c'' { c4 c c c } -contraltoMusic = \relative c'' { a4 a a a } +sopranoMusic = \relative { c''4 c c c } +contraltoMusic = \relative { a'4 a a a } sopranoWords = \lyricmode { Sop -- ra -- no words } contraltoWords = \lyricmode { Con -- tral -- to words } @@ -973,7 +973,7 @@ context: << \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics { @@ -995,7 +995,7 @@ specify the position of the lyrics: << \new Staff = "staff" { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics \with { alignAboveContext = "staff" } { @@ -1022,7 +1022,7 @@ follows: } \new Staff { \new Voice = "melody" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \context Lyrics = "lyrics" { @@ -1043,7 +1043,7 @@ is an example of the second method: \new ChoirStaff << \new Staff { \new Voice = "sopranos" { - \relative c'' { c4 c c c } + \relative { c''4 c c c } } } \new Lyrics = "sopranos" @@ -1053,7 +1053,7 @@ is an example of the second method: } \new Staff { \new Voice = "contraltos" { - \relative c'' { a4 a a a } + \relative { a'4 a a a } } } \context Lyrics = "sopranos" { @@ -1114,8 +1114,8 @@ To make this change for all lyrics in the score, set the property in the @lilypond[verbatim,quote,ragged-right] \score { - \relative c' { - c c c c + \relative { + c' c c c c c c c } \addlyrics { @@ -1179,8 +1179,8 @@ unchanged. << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1204,8 +1204,8 @@ unfolded. << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1229,8 +1229,8 @@ simply enter all the words: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat unfold 2 { b4 b b b } } } @@ -1255,8 +1255,8 @@ correctly nested in parallel sections: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b b b } } } @@ -1282,8 +1282,8 @@ More verses may be added in a similar way: << \new Staff { \new Voice = "singleVoice" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1322,8 +1322,8 @@ To position them correctly use @code{alignBelowContext}: << \new Staff { \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 3 { b4 b b b } c4 c c c } @@ -1347,8 +1347,8 @@ To position them correctly use @code{alignBelowContext}: The end sec -- tion. } \new Voice = "harmony" { - \relative c' { - f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 + \relative { + f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 } } >> @@ -1374,8 +1374,8 @@ same structure can be used for both the lyrics and music. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - a4 a a a + \relative { + a'4 a a a \repeat volta 2 { b4 b } \alternative { { b b } { b c } } } @@ -1903,8 +1903,8 @@ changed: @lilypond[verbatim,ragged-right,quote] << - \new Voice = melody \relative c' { - f4 \appoggiatura a32 b4 + \new Voice = melody \relative { + f'4 \appoggiatura a32 b4 \grace { f16 a16 } b2 \afterGrace b2 { f16[ a16] } \appoggiatura a32 b4 @@ -2031,8 +2031,8 @@ different ways to force linebreaks when using @code{\markup}. @lilypond[ragged-right,verbatim,quote] -melody = \relative c' { -e d c d | e e e e | +melody = \relative { +e' d c d | e e e e | d d e d | c1 | } @@ -2073,8 +2073,8 @@ introduces each verse. The following example shows how to produce such output in LilyPond. @lilypond[ragged-right,quote,verbatim] -melody = \relative c' { - c4 c c c | d d d d +melody = \relative { + c'4 c c c | d d d d } text = \lyricmode { @@ -2367,12 +2367,12 @@ above their respective staves, as shown here: \new ChoirStaff << \new Staff { \new Voice { - \relative c'' { g4\f g g g } + \relative { g'4\f g g g } } } \new Staff { \new Voice { - \relative c' { d4 d d\p d } + \relative { d'4 d d\p d } } } >> @@ -2544,9 +2544,9 @@ staff is dedicated to that character alone: \new Staff { \set Staff.vocalName = \markup \smallCaps Kaspar \set Staff.shortVocalName = \markup \smallCaps Kas. - \relative c' { + \relative { \clef "G_8" - c4 c c c + c'4 c c c \break c4 c c c } @@ -2555,7 +2555,7 @@ staff is dedicated to that character alone: \set Staff.vocalName = \markup \smallCaps Melchior \set Staff.shortVocalName = \markup \smallCaps Mel \clef "bass" - \relative c' { + \relative { a4 a a a a4 a a a } @@ -2641,19 +2641,19 @@ close to the start of the cue notes. The following example shows how this is done. @lilypond[quote,verbatim] -flute = \relative c'' { - s4 s4 e g +flute = \relative { + s4 s4 e'' g } \addQuote "flute" { \flute } -pianoRH = \relative c'' { - c4. g8 +pianoRH = \relative { + c''4. g8 % position name of cue-ing instrument just before the cue notes, % and above the staff <>^\markup { \right-align { \tiny "Flute" } } \cueDuring "flute" #UP { g4 bes4 } } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { \new PianoStaff << @@ -2689,7 +2689,7 @@ pianoRH = \relative c'' { \cueDuring "clarinet" #DOWN { c4. g8 } g4 bes4 } -pianoLH = \relative c { c4 <c' e> e, <g c> } +pianoLH = \relative { c4 <c' e> e, <g c> } \score { << @@ -2900,15 +2900,15 @@ all staves remove the bar line engraver completely: \score { \new StaffGroup << \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -2930,15 +2930,15 @@ Bar lines can also be removed on a staff-by-staff basis: \new ChoirStaff << \new Staff \with { \remove "Bar_engraver" } { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3008,8 +3008,8 @@ finalis = { } \score { - \relative c'' { - g2 a4 g + \relative { + g'2 a4 g \divisioMinima g2 a4 g \divisioMaior @@ -3032,8 +3032,8 @@ Chants usually omit the time signature and often omit the clef too. @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - a4 b c2 | + \relative { + a'4 b c2 | a4 b c2 | a4 b c2 | } @@ -3058,22 +3058,22 @@ in each half always contains a single chord of whole notes. This is the @qq{reciting note}. Chants are usually centered on the page. @lilypond[verbatim,quote] -SopranoMusic = \relative g' { - g1 | c2 b | a1 | \bar "||" +SopranoMusic = \relative { + g'1 | c2 b | a1 | \bar "||" a1 | d2 c | c b | c1 | \bar "||" } -AltoMusic = \relative c' { - e1 | g2 g | f1 | +AltoMusic = \relative { + e'1 | g2 g | f1 | f1 | f2 e | d d | e1 | } -TenorMusic = \relative a { - c1 | c2 c | c1 | +TenorMusic = \relative { + c'1 | c2 c | c1 | d1 | g,2 g | g g | g1 | } -BassMusic = \relative c { +BassMusic = \relative { c1 | e2 e | f1 | d1 | b2 c | g' g | c,1 | } diff --git a/Documentation/notation/world.itely b/Documentation/notation/world.itely index 920650c5dc..f7efd116e3 100644 --- a/Documentation/notation/world.itely +++ b/Documentation/notation/world.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node World music @section World music @@ -190,8 +190,8 @@ notated: @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { - do re misb fa sol la sisb do sisb la sol fa misb re do +\relative { + do' re misb fa sol la sisb do sisb la sol fa misb re do } @end lilypond diff --git a/Documentation/snippets/creating-custom-dynamics-in-midi-output.ly b/Documentation/snippets/creating-custom-dynamics-in-midi-output.ly index 572126232f..71080b7df5 100644 --- a/Documentation/snippets/creating-custom-dynamics-in-midi-output.ly +++ b/Documentation/snippets/creating-custom-dynamics-in-midi-output.ly @@ -4,8 +4,8 @@ % and then run scripts/auxiliar/makelsr.py % % This file is in the public domain. -%% Note: this file works from version 2.18.0 -\version "2.18.0" +%% Note: this file works from version 2.19.21 +\version "2.19.21" \header { @@ -32,8 +32,8 @@ \set Staff.midiInstrument = #"cello" \set Score.dynamicAbsoluteVolumeFunction = #myDynamics \new Voice { - \relative c'' { - a4\pp b c-\rfz + \relative { + a'4\pp b c-\rfz } } } diff --git a/Documentation/snippets/new/creating-custom-dynamics-in-midi-output.ly b/Documentation/snippets/new/creating-custom-dynamics-in-midi-output.ly index 49d9e66a68..df2befd970 100644 --- a/Documentation/snippets/new/creating-custom-dynamics-in-midi-output.ly +++ b/Documentation/snippets/new/creating-custom-dynamics-in-midi-output.ly @@ -1,4 +1,4 @@ -\version "2.18.0" +\version "2.19.21" \header { @@ -24,8 +24,8 @@ \set Staff.midiInstrument = #"cello" \set Score.dynamicAbsoluteVolumeFunction = #myDynamics \new Voice { - \relative c'' { - a4\pp b c-\rfz + \relative { + a'4\pp b c-\rfz } } } diff --git a/Documentation/snippets/new/replacing-default-midi-instrument-equalization.ly b/Documentation/snippets/new/replacing-default-midi-instrument-equalization.ly index adb2740592..dbe4e948a1 100644 --- a/Documentation/snippets/new/replacing-default-midi-instrument-equalization.ly +++ b/Documentation/snippets/new/replacing-default-midi-instrument-equalization.ly @@ -1,4 +1,4 @@ -\version "2.18.0" +\version "2.19.21" \header { @@ -38,8 +38,8 @@ \time 2/2 \set Score.instrumentEqualizer = #my-instrument-equalizer \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -47,8 +47,8 @@ \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } diff --git a/Documentation/snippets/new/vocal-ensemble-template-with-automatic-piano-reduction.ly b/Documentation/snippets/new/vocal-ensemble-template-with-automatic-piano-reduction.ly index efc99f22d0..f144448eb3 100644 --- a/Documentation/snippets/new/vocal-ensemble-template-with-automatic-piano-reduction.ly +++ b/Documentation/snippets/new/vocal-ensemble-template-with-automatic-piano-reduction.ly @@ -1,4 +1,4 @@ -\version "2.19.12" +\version "2.19.21" \header { lsrtags = "automatic-notation, keyboards, template, vocal-music" @@ -26,28 +26,28 @@ global = { \time 4/4 } -sopMusic = \relative c'' { - c4 c c8[( b)] c4 +sopMusic = \relative { + c''4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } -altoMusic = \relative c' { - e4 f d e +altoMusic = \relative { + e'4 f d e } altoWords =\lyricmode { ha ha ha ha } -tenorMusic = \relative c' { +tenorMusic = \relative { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } -bassMusic = \relative c { +bassMusic = \relative { c4 c g c } bassWords = \lyricmode { diff --git a/Documentation/snippets/new/vocal-ensemble-template.ly b/Documentation/snippets/new/vocal-ensemble-template.ly index 3832db63d1..934d654cce 100644 --- a/Documentation/snippets/new/vocal-ensemble-template.ly +++ b/Documentation/snippets/new/vocal-ensemble-template.ly @@ -1,4 +1,4 @@ -\version "2.19.12" +\version "2.19.21" \header { lsrtags = "really-simple, template, vocal-music" @@ -25,28 +25,28 @@ global = { \time 4/4 } -sopMusic = \relative c'' { - c4 c c8[( b)] c4 +sopMusic = \relative { + c''4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } -altoMusic = \relative c' { - e4 f d e +altoMusic = \relative { + e'4 f d e } altoWords = \lyricmode { ha ha ha ha } -tenorMusic = \relative c' { +tenorMusic = \relative { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } -bassMusic = \relative c { +bassMusic = \relative { c4 c g c } bassWords = \lyricmode { diff --git a/Documentation/snippets/replacing-default-midi-instrument-equalization.ly b/Documentation/snippets/replacing-default-midi-instrument-equalization.ly index 038198f0fc..2dcdd90f27 100644 --- a/Documentation/snippets/replacing-default-midi-instrument-equalization.ly +++ b/Documentation/snippets/replacing-default-midi-instrument-equalization.ly @@ -4,8 +4,8 @@ % and then run scripts/auxiliar/makelsr.py % % This file is in the public domain. -%% Note: this file works from version 2.18.0 -\version "2.18.0" +%% Note: this file works from version 2.19.21 +\version "2.19.21" \header { @@ -46,8 +46,8 @@ \time 2/2 \set Score.instrumentEqualizer = #my-instrument-equalizer \set Staff.midiInstrument = #"flute" - \new Voice \relative c''' { - r2 g\mp g fis~ + \new Voice \relative { + r2 g''\mp g fis~ 4 g8 fis e2~ 4 d8 cis d2 } @@ -55,8 +55,8 @@ \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" - \new Voice \relative c'' { - b1\p a2. b8 a + \new Voice \relative { + b'1\p a2. b8 a g2. fis8 e fis2 r } diff --git a/Documentation/snippets/vocal-ensemble-template-with-automatic-piano-reduction.ly b/Documentation/snippets/vocal-ensemble-template-with-automatic-piano-reduction.ly index 747e1ae8dc..1f24643768 100644 --- a/Documentation/snippets/vocal-ensemble-template-with-automatic-piano-reduction.ly +++ b/Documentation/snippets/vocal-ensemble-template-with-automatic-piano-reduction.ly @@ -4,8 +4,8 @@ % and then run scripts/auxiliar/makelsr.py % % This file is in the public domain. -%% Note: this file works from version 2.19.12 -\version "2.19.12" +%% Note: this file works from version 2.19.21 +\version "2.19.21" \header { lsrtags = "automatic-notation, keyboards, template, vocal-music" @@ -34,28 +34,28 @@ global = { \time 4/4 } -sopMusic = \relative c'' { - c4 c c8[( b)] c4 +sopMusic = \relative { + c''4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } -altoMusic = \relative c' { - e4 f d e +altoMusic = \relative { + e'4 f d e } altoWords =\lyricmode { ha ha ha ha } -tenorMusic = \relative c' { +tenorMusic = \relative { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } -bassMusic = \relative c { +bassMusic = \relative { c4 c g c } bassWords = \lyricmode { diff --git a/Documentation/snippets/vocal-ensemble-template.ly b/Documentation/snippets/vocal-ensemble-template.ly index 16f28d9e31..ad4c0f5789 100644 --- a/Documentation/snippets/vocal-ensemble-template.ly +++ b/Documentation/snippets/vocal-ensemble-template.ly @@ -4,8 +4,8 @@ % and then run scripts/auxiliar/makelsr.py % % This file is in the public domain. -%% Note: this file works from version 2.19.12 -\version "2.19.12" +%% Note: this file works from version 2.19.21 +\version "2.19.21" \header { lsrtags = "really-simple, template, vocal-music" @@ -33,28 +33,28 @@ global = { \time 4/4 } -sopMusic = \relative c'' { - c4 c c8[( b)] c4 +sopMusic = \relative { + c''4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } -altoMusic = \relative c' { - e4 f d e +altoMusic = \relative { + e'4 f d e } altoWords = \lyricmode { ha ha ha ha } -tenorMusic = \relative c' { +tenorMusic = \relative { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } -bassMusic = \relative c { +bassMusic = \relative { c4 c g c } bassWords = \lyricmode { diff --git a/Documentation/usage/external.itely b/Documentation/usage/external.itely index 3b4ff955b9..4ce439ee0c 100644 --- a/Documentation/usage/external.itely +++ b/Documentation/usage/external.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node External programs @chapter External programs @@ -251,8 +251,8 @@ Hard-coded in the @file{.ly} file: @example \pointAndClickTypes #'note-event -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -260,8 +260,8 @@ or @example #(ly:set-option 'point-and-click 'note-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -282,8 +282,8 @@ Hard-coded in the @file{.ly} file: @example \pointAndClickTypes #'(note-event dynamic-event) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example @@ -291,8 +291,8 @@ or @example #(ly:set-option 'point-and-click '(note-event dynamic-event)) -\relative c' @{ - c2\f( f) +\relative @{ + c'2\f( f) @} @end example diff --git a/Documentation/usage/lilypond-book.itely b/Documentation/usage/lilypond-book.itely index 958fa8a1d1..d8e55e1832 100644 --- a/Documentation/usage/lilypond-book.itely +++ b/Documentation/usage/lilypond-book.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Note: keep this node named so that `info lilypond-book' brings you here. @node lilypond-book @@ -85,8 +85,8 @@ Documents for \verb+lilypond-book+ may freely mix music and text. For example, \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -144,8 +144,8 @@ Documents for @command{lilypond-book} may freely mix music and text. For example, @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -169,8 +169,8 @@ entire snippet must be enclosed in a @code{\book @{ @}} construct. title = "A scale in LilyPond" } - \relative c' { - c d e f g a b c + \relative { + c' d e f g a b c } } @end lilypond @@ -765,8 +765,8 @@ example, the music will be interpreted in relative mode, but the verbatim quote will not show the @code{relative} block, i.e. @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1153,8 +1153,8 @@ You can include LilyPond fragments in a LaTeX document. Normal LaTeX text. \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1179,7 +1179,7 @@ is written in Texinfo. Texinfo text @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1206,8 +1206,8 @@ d4 c b a Documents for lilypond-book may freely mix music and text. For example, <lilypond> -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} </lilypond> </p> diff --git a/Documentation/usage/suggestions.itely b/Documentation/usage/suggestions.itely index 263e12e687..56ddfe24c8 100644 --- a/Documentation/usage/suggestions.itely +++ b/Documentation/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Suggestions for writing files @chapter Suggestions for writing files @@ -99,8 +99,8 @@ indicators) will help avoid such problems. For example; @example \new Staff @{ - \relative g' @{ - r4 g8 g c8 c4 d | + \relative @{ + r4 g'8 g c8 c4 d | e4 r8 | % Ossia section << @@ -118,7 +118,7 @@ indicators) will help avoid such problems. For example; is much easier to follow than; @example -\new Staff @{ \relative g' @{ r4 g8 g c4 c8 d | e4 r8 +\new Staff @{ \relative @{ r4 g'8 g c4 c8 d | e4 r8 % Ossia section << @{ f8 c c @} \new Staff @{ f8 f c @} >> r4 | @} @} @end example @@ -205,8 +205,8 @@ the @code{violin} definition is extremely unlikely to change in a new version of LilyPond. @example -violin = \relative c'' @{ -g4 c'8. e16 +violin = \relative @{ +g'4 c'8. e16 @} @dots{} \score @{ @@ -227,8 +227,8 @@ need to do this once, and we can still avoid touching anything inside @example fthenp = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violin = \relative c'' @{ -g4\fthenp c'8. e16 +violin = \relative @{ +g'4\fthenp c'8. e16 @} @end example @@ -275,9 +275,9 @@ then comment out all of the bass music (but leave @code{\bass} in the @code{\score} uncommented. @example -bass = \relative c' @{ +bass = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/input/regression/accidental-clef-change.ly b/input/regression/accidental-clef-change.ly index bab45b8d93..88469796ae 100644 --- a/input/regression/accidental-clef-change.ly +++ b/input/regression/accidental-clef-change.ly @@ -7,11 +7,11 @@ } -\version "2.16.0" -\new Staff \relative c' { +\version "2.19.21" +\new Staff \relative { \key g \major \clef treble - cis dis f + cis' dis f \clef bass <c dis fis> } diff --git a/input/regression/accidental-collision.ly b/input/regression/accidental-collision.ly index 063c8065b1..923bffb36f 100644 --- a/input/regression/accidental-collision.ly +++ b/input/regression/accidental-collision.ly @@ -2,9 +2,9 @@ texidoc = "accidentals avoid stems of other notes too." } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##t } -\new Staff \relative c' <<bes' \\ a'>> +\new Staff \relative <<bes' \\ a'>> diff --git a/input/regression/accidental-forced-tie.ly b/input/regression/accidental-forced-tie.ly index 77fa641c5d..bd4148ccd3 100644 --- a/input/regression/accidental-forced-tie.ly +++ b/input/regression/accidental-forced-tie.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Accidentals can be forced with ! and ? even if the @@ -11,8 +11,8 @@ after a bar line are valid for the whole measure. ragged-right = ##t } -\relative c'' { - gis4 ~ gis!~ gis? r4 +\relative { + gis'4 ~ gis!~ gis? r4 fis1 ~ fis!2 fis ~ fis?2 fis diff --git a/input/regression/accidental-grouping.ly b/input/regression/accidental-grouping.ly index b8cfce4fbc..f1ec07e0b7 100644 --- a/input/regression/accidental-grouping.ly +++ b/input/regression/accidental-grouping.ly @@ -1,4 +1,4 @@ -\version "2.17.10" +\version "2.19.21" \header { texidoc = "By setting @code{accidentalGrouping} to @code{'voice}, @@ -7,8 +7,8 @@ in different voices as seen in this test's E-sharp. " } - \relative c''' { - << { <gis cis eis gis>1 } \\ + \relative { + << { <gis'' cis eis gis>1 } \\ { eis, } >> \set Staff . accidentalGrouping = #'voice << { <gis' cis eis gis>1 } \\ diff --git a/input/regression/accidental-ledger.ly b/input/regression/accidental-ledger.ly index d281e2be9c..33bf0f9aff 100644 --- a/input/regression/accidental-ledger.ly +++ b/input/regression/accidental-ledger.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -9,7 +9,7 @@ and only if the accidental is horizontally close to the head. " } -\relative c { +\relative { disis dis d diff --git a/input/regression/accidental-placement-samepitch.ly b/input/regression/accidental-placement-samepitch.ly index 4daaa2e7bc..bed366e576 100644 --- a/input/regression/accidental-placement-samepitch.ly +++ b/input/regression/accidental-placement-samepitch.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "When two (or more) accidentals modify the same pitch, @@ -8,7 +8,7 @@ as one another. In either case, collisions with accidentals of different pitches are correctly computed." } -\relative c'' -{<< <dis aeses as a! a! ais aisis a,! aeh cis'> \\ <ais aih> >> } +\relative +{<< <dis'' aeses as a! a! ais aisis a,! aeh cis'> \\ <ais aih> >> } \paper {ragged-right = ##t} diff --git a/input/regression/accidental-placement.ly b/input/regression/accidental-placement.ly index 008513d5ae..2a3ba81966 100644 --- a/input/regression/accidental-placement.ly +++ b/input/regression/accidental-placement.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -15,9 +15,9 @@ flats in a sixth should be staggered. " } -\context Voice \relative c' +\context Voice \relative { - <d e! bes'!>4 + <d' e! bes'!>4 cis4 c4 \transpose c c' { diff --git a/input/regression/accidental-quarter.ly b/input/regression/accidental-quarter.ly index a1fc977745..46100c7ae4 100644 --- a/input/regression/accidental-quarter.ly +++ b/input/regression/accidental-quarter.ly @@ -3,12 +3,12 @@ texidoc = "Quarter tone notation is supported, including threequarters flat." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c'' { +\relative { \time 12/4 - ceses4 + ceses''4 ceseh ces ceh diff --git a/input/regression/accidental-single-double.ly b/input/regression/accidental-single-double.ly index c849234597..df1d7df36f 100644 --- a/input/regression/accidental-single-double.ly +++ b/input/regression/accidental-single-double.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc=" A sharp sign after a double sharp sign, as well as a flat sign @@ -7,7 +7,7 @@ natural sign. " } -thenotes = \relative cis' { +thenotes = \relative { \time 4/4 gisis'4 gis geses ges | } diff --git a/input/regression/accidental-tie.ly b/input/regression/accidental-tie.ly index 3929e27450..fd733ed6cf 100644 --- a/input/regression/accidental-tie.ly +++ b/input/regression/accidental-tie.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "The second and third notes should not get accidentals, @@ -14,8 +14,8 @@ ragged-right = ##t } -mus = \relative c' { - f1~ +mus = \relative { + f'1~ 2~4 % ~ f8 fis8 gis8 ~ \break diff --git a/input/regression/accidental-unbroken-tie-spacing.ly b/input/regression/accidental-unbroken-tie-spacing.ly index fc3e78c6e4..feae702a9e 100644 --- a/input/regression/accidental-unbroken-tie-spacing.ly +++ b/input/regression/accidental-unbroken-tie-spacing.ly @@ -3,12 +3,12 @@ texidoc = "Space is allowed for the actual size of accidentals on tied notes." } -\version "2.19.13" +\version "2.19.21" \paper {ragged-right = ##t } -\relative c' { +\relative { \clef treble \time 3/4 - c8 b2 <g b des f>8 ~ | + c'8 b2 <g b des f>8 ~ | <g b des f>8 r % Large accidental \override Staff.Accidental.stencil = diff --git a/input/regression/accidental.ly b/input/regression/accidental.ly index 4fa0feddbc..3e95168608 100644 --- a/input/regression/accidental.ly +++ b/input/regression/accidental.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc=" @@ -10,7 +10,7 @@ fourth show forced and cautionary accidentals. \layout { ragged-right = ##t } -foo = \relative c'' { \key as \major dis4 dis dis!^"force" dis? } +foo = \relative { \key as \major dis''4 dis dis!^"force" dis? } << \foo \context NoteNames \foo diff --git a/input/regression/alignment-order.ly b/input/regression/alignment-order.ly index 5a6be94daf..3616791b62 100644 --- a/input/regression/alignment-order.ly +++ b/input/regression/alignment-order.ly @@ -3,14 +3,14 @@ anywhere in the vertical alignment. " } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' << - \new Staff = "1" { c2 c s1 } +\relative << + \new Staff = "1" { c'2 c s1 } \new Staff = "2" { c2 c s1 } \new StaffGroup << \new Staff = "3" { c2 c s1 } diff --git a/input/regression/alignment-vertical-manual-setting.ly b/input/regression/alignment-vertical-manual-setting.ly index 1314f2941a..036a26419e 100644 --- a/input/regression/alignment-vertical-manual-setting.ly +++ b/input/regression/alignment-vertical-manual-setting.ly @@ -6,12 +6,12 @@ } -\version "2.17.6" +\version "2.19.21" \book { \score { - \relative c'' \new StaffGroup << - \new Staff { c1 c c c } + \relative \new StaffGroup << + \new Staff { c''1 c c c } \new Staff { c c c c } \new Staff { \overrideProperty diff --git a/input/regression/alter-broken.ly b/input/regression/alter-broken.ly index 14652297e6..b507bd42b1 100644 --- a/input/regression/alter-broken.ly +++ b/input/regression/alter-broken.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "The command @code{\\alterBroken} may be used to override the @@ -12,8 +12,8 @@ its usage with a variety of data types." #(ly:expect-warning (_ "not a spanner name")) -\relative c'' { - d4-\alterBroken #'positions #'((3 . 3) (5 . 5)) +\relative { + d''4-\alterBroken #'positions #'((3 . 3) (5 . 5)) -\alterBroken #'color #'((0 0 1) (1 0 0)) -\alterBroken #'dash-definition #'( ((0 1 0.4 0.75)) ((0 0.5 0.4 0.75) (0.5 1 1 1)) ) diff --git a/input/regression/ambitus-cue.ly b/input/regression/ambitus-cue.ly index bf6f6fc990..75e4d97c6b 100644 --- a/input/regression/ambitus-cue.ly +++ b/input/regression/ambitus-cue.ly @@ -1,4 +1,4 @@ -\version "2.19.19" +\version "2.19.21" \header { texidoc = "Ambitus for pieces beginning with @code{\\cueDuringWithClef}. @@ -14,7 +14,7 @@ contexts. " } -\addQuote "other" \relative c { r4 c e g } +\addQuote "other" \relative { r4 c e g } \new Staff \new Voice \relative c' { diff --git a/input/regression/ambitus.ly b/input/regression/ambitus.ly index b5c579b01d..12b84d5630 100644 --- a/input/regression/ambitus.ly +++ b/input/regression/ambitus.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Ambitus indicate pitch ranges for voices. @@ -22,13 +22,13 @@ visible; the accidentals are prevented from colliding. \time 2/4 c4 f' } - \new Staff \relative c' { + \new Staff \relative { \time 2/4 \key d \major - cis as' + cis' as' } - \new Staff \relative c' { + \new Staff \relative { \time 2/4 - c4 cis + c'4 cis } >> diff --git a/input/regression/apply-context.ly b/input/regression/apply-context.ly index 712f4ec237..90ebff0c99 100644 --- a/input/regression/apply-context.ly +++ b/input/regression/apply-context.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -17,8 +17,8 @@ This example prints a bar-number during processing on stdout. \layout { ragged-right= ##t } -\relative c'' { - c1 c1 +\relative { + c''1 c1 %% todo: should put something interesting in the .tex output. diff --git a/input/regression/arpeggio-no-staff-symbol.ly b/input/regression/arpeggio-no-staff-symbol.ly index c2d4380214..a472e68a70 100644 --- a/input/regression/arpeggio-no-staff-symbol.ly +++ b/input/regression/arpeggio-no-staff-symbol.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Arpeggios stil work in the absence of a staff-symbol." } \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - <c c'>\arpeggio +\relative { + <c' c'>\arpeggio } diff --git a/input/regression/arpeggio-span-one-staff.ly b/input/regression/arpeggio-span-one-staff.ly index c5860407b1..8a48a9bc4c 100644 --- a/input/regression/arpeggio-span-one-staff.ly +++ b/input/regression/arpeggio-span-one-staff.ly @@ -2,15 +2,15 @@ texidoc = "Span arpeggios within one staff also work" } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } \new PianoStaff << \set PianoStaff.connectArpeggios = ##t - \new Staff \relative c'' { + \new Staff \relative { << { - c2\arpeggio + c''2\arpeggio } \\ { diff --git a/input/regression/articulation-snappizzicato.ly b/input/regression/articulation-snappizzicato.ly index 784f721789..65e1bc2b15 100644 --- a/input/regression/articulation-snappizzicato.ly +++ b/input/regression/articulation-snappizzicato.ly @@ -1,6 +1,6 @@ \header { texidoc = "The snappizzicato articulation adds a snappizzicato sign to the note." } -\version "2.16.0" +\version "2.19.21" -\relative c'' { c4\snappizzicato } +\relative { c''4\snappizzicato } diff --git a/input/regression/auto-beam-no-beam.ly b/input/regression/auto-beam-no-beam.ly index bf82fb1f4c..1791e946c5 100644 --- a/input/regression/auto-beam-no-beam.ly +++ b/input/regression/auto-beam-no-beam.ly @@ -6,9 +6,9 @@ } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c' { c8 c-\noBeam c c } +\relative { c'8 c-\noBeam c c } diff --git a/input/regression/auto-beam.ly b/input/regression/auto-beam.ly index 8c58935d81..03a34d1e5c 100644 --- a/input/regression/auto-beam.ly +++ b/input/regression/auto-beam.ly @@ -3,7 +3,7 @@ beam." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t @@ -14,7 +14,7 @@ beam." } -\relative c'' { - a\longa a\breve +\relative { + a'\longa a\breve a1 a2 a4 a8 a16 a32 a64 a64 } diff --git a/input/regression/auto-change.ly b/input/regression/auto-change.ly index f57fe6cbc1..c89034362c 100644 --- a/input/regression/auto-change.ly +++ b/input/regression/auto-change.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -13,7 +13,7 @@ note. When central C is reached, staff is not yet switched (by default). \context PianoStaff << \context Staff = "up" { - \autochange \new Voice << \relative c' { g4 c e d c r4 a g } >> + \autochange \new Voice << \relative { g4 c e d c r4 a g } >> } \context Staff = "down" { \clef bass diff --git a/input/regression/autobeam-tuplet-recheck.ly b/input/regression/autobeam-tuplet-recheck.ly index 37a1361d9b..427edd7ec8 100644 --- a/input/regression/autobeam-tuplet-recheck.ly +++ b/input/regression/autobeam-tuplet-recheck.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { @@ -7,9 +7,9 @@ In the example, the first beat should be beamed completely together." } -\relative c' { +\relative { \time 2/4 - c16 c + c'16 c \tuplet 3/2 { c8 c16 } \tuplet 3/2 { c8 c16 } c16 c diff --git a/input/regression/bar-line-define-bar-glyph.ly b/input/regression/bar-line-define-bar-glyph.ly index cceab759f1..229075915b 100644 --- a/input/regression/bar-line-define-bar-glyph.ly +++ b/input/regression/bar-line-define-bar-glyph.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc = "New bar line glyphs can be defined in Scheme." } @@ -16,9 +16,9 @@ \defineBarLine "0" #'("0" "" "") -\relative c' \new StaffGroup << +\relative \new StaffGroup << \new Staff { - c4 c \bar "0" c c \bar "0" \break + c'4 c \bar "0" c c \bar "0" \break c1 } \new Staff { diff --git a/input/regression/bar-line-define-bar-line.ly b/input/regression/bar-line-define-bar-line.ly index b181aa3890..7c1e73635f 100644 --- a/input/regression/bar-line-define-bar-line.ly +++ b/input/regression/bar-line-define-bar-line.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc = "New bar line styles can be defined by @code{\\defineBarLine}." } @@ -8,9 +8,9 @@ \defineBarLine "[|;" #'("|" "[|;" " |") \defineBarLine ";|]" #'(";|]" "" " |") -\relative c' \new StaffGroup << +\relative \new StaffGroup << \new Staff { - c4 c \bar "[|;" c c \bar ";|]" \break + c'4 c \bar "[|;" c c \bar ";|]" \break c4 c \bar ";|]" c c \bar "[|;" \break c1 } \new Staff { diff --git a/input/regression/bar-line-segno.ly b/input/regression/bar-line-segno.ly index 3bbf05e075..24f5dfcf11 100644 --- a/input/regression/bar-line-segno.ly +++ b/input/regression/bar-line-segno.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc = "Segno bar lines can be used to mark the begin and the end of a segno part." @@ -6,9 +6,9 @@ \paper { ragged-right = ##t } -\relative c' \new StaffGroup << +\relative \new StaffGroup << \new Staff { - c4 \bar "S" c \bar "S-|" c \bar "S-S" c \bar ":|.S" \break + c'4 \bar "S" c \bar "S-|" c \bar "S-S" c \bar ":|.S" \break c4 c \bar ":|.S.|:" c c \bar ":|.S.|:-S" \break c4 c c2 \bar "S.|:" \break c1 \bar ":|.S-S" \break diff --git a/input/regression/bar-lines.ly b/input/regression/bar-lines.ly index 3beb61a904..42fb31a15f 100644 --- a/input/regression/bar-lines.ly +++ b/input/regression/bar-lines.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc = "Various types of bar lines can be drawn. @@ -15,9 +15,9 @@ space, centered on the top-most barline. " } -\relative c' \new StaffGroup << +\relative \new StaffGroup << \new Staff = "1" { - c2 \bar "!" c + c'2 \bar "!" c s1 c2 \bar ";" c s1 diff --git a/input/regression/bar-number-check-warning.ly b/input/regression/bar-number-check-warning.ly index 7bede8d7ca..9c20c082ae 100644 --- a/input/regression/bar-number-check-warning.ly +++ b/input/regression/bar-number-check-warning.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "Barcheck failed got ~a expect ~a") 3 15) @@ -10,8 +10,8 @@ bar number is correct. } -\relative c'' { - c1 | +\relative { + c''1 | \barNumberCheck #2 % OK c1 | \barNumberCheck #15 % Warning diff --git a/input/regression/beam-beamlet-grace.ly b/input/regression/beam-beamlet-grace.ly index 75de18e031..49452cfd66 100644 --- a/input/regression/beam-beamlet-grace.ly +++ b/input/regression/beam-beamlet-grace.ly @@ -3,12 +3,12 @@ texidoc = "Beamlets in grace notes remain readable." } -\version "2.17.28" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c' +\relative \context Staff { - f1 \grace { a'8 f16 } g1 + f'1 \grace { a'8 f16 } g1 } diff --git a/input/regression/beam-collision-classic.ly b/input/regression/beam-collision-classic.ly index 95dd35c78b..483f74732b 100644 --- a/input/regression/beam-collision-classic.ly +++ b/input/regression/beam-collision-classic.ly @@ -7,7 +7,7 @@ % debug-beam-scoring = ##t } -\version "2.17.6" +\version "2.19.21" \new Staff { @@ -22,18 +22,18 @@ r8 r4 | % Ligeti 1st etude. - \relative c'' + \relative << - { g8[ a b c d] } \\ + { g'8[ a b c d] } \\ { s4. <f, f'>4. } >> r4. % Ligeti 1st etude. - \relative c'' + \relative << { - s4. <g g'>4. + s4. <g' g'>4. } \\ { % \override Beam.inspect-quants = #'(-4 . -3) @@ -43,16 +43,16 @@ r4. % Ligeti 1st etude. - \relative c' + \relative << - { <d d'>2. } \\ + { <d' d'>2. } \\ { a'8[ b c] } >> % Schubert morgenlied. \clef bass - \relative c { - a16[ d fis d a d] + \relative { + a,16[ d fis d a d] } } diff --git a/input/regression/beam-collision-cross-staff.ly b/input/regression/beam-collision-cross-staff.ly index 120b488c8d..7c8b659fbe 100644 --- a/input/regression/beam-collision-cross-staff.ly +++ b/input/regression/beam-collision-cross-staff.ly @@ -2,7 +2,7 @@ texidoc = "cross staff beams work with collisions." } -\version "2.16.0" +\version "2.19.21" << \new Staff = "PianoRH" s4. @@ -12,13 +12,13 @@ >> << - \new Staff = up \relative c' { - c8 c c c + \new Staff = up \relative { + c'8 c c c c c c c b' b b b } - \new Staff = down \relative c' { - s8 c c \change Staff = up c + \new Staff = down \relative { + s8 c' c \change Staff = up c \change Staff = down c [ c s16 \change Staff = up a'16 s16 a16 ] \stemUp \change Staff = down b8 b b b \change Staff = up diff --git a/input/regression/beam-collision-cross-staff2.ly b/input/regression/beam-collision-cross-staff2.ly index dd09c9651d..0c3ba11cde 100644 --- a/input/regression/beam-collision-cross-staff2.ly +++ b/input/regression/beam-collision-cross-staff2.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Cross staff beams do collision avoidance. @@ -7,7 +7,7 @@ \new PianoStaff << \new Staff = up \relative c' { s2 } - \new Staff \relative c' { + \new Staff \relative { \clef bass \time 2/4 g,32 [ d' \change Staff = up d' gis a c d g ] r4 | diff --git a/input/regression/beam-collision-grace.ly b/input/regression/beam-collision-grace.ly index cdc747be20..00e9c27201 100644 --- a/input/regression/beam-collision-grace.ly +++ b/input/regression/beam-collision-grace.ly @@ -1,14 +1,14 @@ -\version "2.17.28" +\version "2.19.21" \header { texidoc = " The beaming algorithm handles collisions between beams and grace notes too. " } -\relative c' { - e'8[ f e \grace { f,16 a } e'8] +\relative { + e''8[ f e \grace { f,16 a } e'8] } \relative c'{ diff --git a/input/regression/beam-collision-off.ly b/input/regression/beam-collision-off.ly index aec8fa6d00..16ca04f875 100644 --- a/input/regression/beam-collision-off.ly +++ b/input/regression/beam-collision-off.ly @@ -1,11 +1,11 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Beams can be allowed to collide with grobs by overriding the collision-interfaces property." } -\relative c' { - c8 [ des' ] +\relative { + c'8 [ des' ] \once \override Beam.collision-interfaces = #'(beam-interface clef-interface ;inline-accidental-interface diff --git a/input/regression/beam-collision-opposite-stem.ly b/input/regression/beam-collision-opposite-stem.ly index 58ca10839d..d9068f5790 100644 --- a/input/regression/beam-collision-opposite-stem.ly +++ b/input/regression/beam-collision-opposite-stem.ly @@ -3,27 +3,27 @@ correctly." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } { - \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 e16 [ s cis, ] } \\ { b''16 [ s b ] } >> } - \relative c'' { << { s16 d16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 c16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 b16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 a16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 g16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 c,16 [ s cis' ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 c,16 [ s cis'' ] } \\ { b16 [ s b ] } >> } - \relative c'' { << { s16 f,16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 e,16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 d,16 [ s cis ] } \\ { b'16 [ s b ] } >> } - \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s d ] } >> } - \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s f' ] } >> } - \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s a ] } >> } - \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s gis ] } >> } + \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 e''16 [ s cis, ] } \\ { b''16 [ s b ] } >> } + \relative { << { s16 d''16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 c''16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 b'16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 a'16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 g'16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 c'16 [ s cis' ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 c'16 [ s cis'' ] } \\ { b16 [ s b ] } >> } + \relative { << { s16 f'16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 e'16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 d'16 [ s cis ] } \\ { b'16 [ s b ] } >> } + \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s d ] } >> } + \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s f' ] } >> } + \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s a ] } >> } + \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s gis ] } >> } } diff --git a/input/regression/beam-collision-prefatory-matter.ly b/input/regression/beam-collision-prefatory-matter.ly index b601528b95..3dc78a7b4f 100644 --- a/input/regression/beam-collision-prefatory-matter.ly +++ b/input/regression/beam-collision-prefatory-matter.ly @@ -8,11 +8,11 @@ % debug-beam-scoring = ##t } -\version "2.17.15" +\version "2.19.21" -\relative c' { +\relative { \time 2/4 - c8[ \clef "bass" e,, ] + c'8[ \clef "bass" e,, ] r8 e8[ | \time 1/4 diff --git a/input/regression/beam-collision-scaled-staff.ly b/input/regression/beam-collision-scaled-staff.ly index 89514aa5ba..14ab9ae958 100644 --- a/input/regression/beam-collision-scaled-staff.ly +++ b/input/regression/beam-collision-scaled-staff.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Beam collisions are resistant to scaled down staves." } @@ -8,7 +8,7 @@ \override StaffSymbol.staff-space = #(magstep -3) \override StaffSymbol.thickness = #(magstep -3) } << - \relative c'' { e16[ f] } + \relative { e''16[ f] } \\ \relative c''' { \autoBeamOff g b } >> diff --git a/input/regression/beam-collision-voice-only.ly b/input/regression/beam-collision-voice-only.ly index a6bf7d8780..b17cdbbaed 100644 --- a/input/regression/beam-collision-voice-only.ly +++ b/input/regression/beam-collision-voice-only.ly @@ -1,12 +1,12 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Beam collision can be tweaked to only apply to the grobs within the beam's original voice." } -\relative c' { +\relative { \time 5/4 - << { c8[ s c ] } \\ { s8 c' s8 } >> + << { c'8[ s c ] } \\ { s8 c' s8 } >> c,[ des' ] \override Staff.Beam.collision-voice-only = ##t << { c,8[ s c ] } \\ { s8 c' s8 } >> diff --git a/input/regression/beam-concave-chord.ly b/input/regression/beam-concave-chord.ly index 59643345f2..6b173a7b1b 100644 --- a/input/regression/beam-concave-chord.ly +++ b/input/regression/beam-concave-chord.ly @@ -1,14 +1,14 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Concave beaming works for chords as well as monophonic music. " } -morgenliedBeam = \relative c'' \new Voice { +morgenliedBeam = \relative \new Voice { \time 3/8 % morgenlied - c16 b c e g <e b'> | + c''16 b c e g <e b'> | \stemUp c16 b c e g <e b'> | } diff --git a/input/regression/beam-concave-damped.ly b/input/regression/beam-concave-damped.ly index 3f58949dd5..c49eb478a0 100644 --- a/input/regression/beam-concave-damped.ly +++ b/input/regression/beam-concave-damped.ly @@ -2,14 +2,14 @@ texidoc = "Beams that are not strictly concave are damped according to their concaveness. " } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c'' { +\relative { \time 2/4 - g'=''8[ d a' b] + g''=''8[ d a' b] \time 3/4 f=''8[ e d c g b] b,16[ f' g a] diff --git a/input/regression/beam-concave.ly b/input/regression/beam-concave.ly index d165f4e5f4..c45dec6c36 100644 --- a/input/regression/beam-concave.ly +++ b/input/regression/beam-concave.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header{ texidoc = "Fully concave beams should be horizontal. Informally spoken, @@ -15,9 +15,9 @@ resetMeasure = \set Score.measurePosition = #(ly:make-moment 0/1) %% examples from Ross. -rossFourBeams =\relative c'' { +rossFourBeams =\relative { \time 2/4 - c8[ e b c] + c''8[ e b c] b[ c d b] c[ f b, c] @@ -31,9 +31,9 @@ rossFourBeams =\relative c'' { f[g g e] a[ d, b' g] } -rossThreeBeams = \relative c'' { +rossThreeBeams = \relative { \time 6/8 - e[ a, c] f[ d g] + e''[ a, c] f[ d g] f,[ b g] a[ b f] d'[ c b a b e] c[ b a c b a] diff --git a/input/regression/beam-cross-staff-rest.ly b/input/regression/beam-cross-staff-rest.ly index c957a14eca..93f294a40b 100644 --- a/input/regression/beam-cross-staff-rest.ly +++ b/input/regression/beam-cross-staff-rest.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Placement of beamed cross staff rests should be @@ -11,8 +11,8 @@ Down = \change Staff = "down" \new PianoStaff << \new Staff = "up" - \relative c'' { - \time 6/8 a2. + \relative { + \time 6/8 a'2. c'8[ \Down c,16 \Up fis \Down r fis] \Up } \new Staff = "down" { s2. s4. } diff --git a/input/regression/beam-forced-direction.ly b/input/regression/beam-forced-direction.ly index 682cf8f4d1..04d0caa47e 100644 --- a/input/regression/beam-forced-direction.ly +++ b/input/regression/beam-forced-direction.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The direction of manual beams can be forced using @@ -6,7 +6,7 @@ " } -\relative c' { +\relative { \time 2/4 - c8_[] c'^[ d e] + c'8_[] c'^[ d e] } diff --git a/input/regression/beam-funky.ly b/input/regression/beam-funky.ly index cf47dc9c50..1139907857 100644 --- a/input/regression/beam-funky.ly +++ b/input/regression/beam-funky.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "In complex configurations of knee beaming, according to @@ -25,7 +25,7 @@ beam. This is in disagreement with the current algorithm." b''' b b b] \transpose c' a, { - \relative b'' { g,16[ g'''16 + \relative { g'16[ g'''16 g,,,16 g'''16 g,,,16 g'''16 g,,,16 g'''16 diff --git a/input/regression/beam-length.ly b/input/regression/beam-length.ly index 53685449ce..c1603fecd0 100644 --- a/input/regression/beam-length.ly +++ b/input/regression/beam-length.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc=" @@ -9,7 +9,7 @@ Beams should look the same. \layout { ragged-right= ##t } -\context Voice \relative c { +\context Voice \relative { d''8[ d d] d[ g d] c c } diff --git a/input/regression/beam-manual-beaming.ly b/input/regression/beam-manual-beaming.ly index 8ec0c42117..dfb0175d93 100644 --- a/input/regression/beam-manual-beaming.ly +++ b/input/regression/beam-manual-beaming.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { @@ -10,8 +10,8 @@ ragged-right = ##t } -\relative c'' { - c32[ c +\relative { + c''32[ c %% WARNING: #'beaming is written, so this %% property can not be shared between objects. Always use diff --git a/input/regression/beam-multiple-cross-staff.ly b/input/regression/beam-multiple-cross-staff.ly index 0c382b2f76..ba65677e90 100644 --- a/input/regression/beam-multiple-cross-staff.ly +++ b/input/regression/beam-multiple-cross-staff.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Kneed beams (often happens with cross-staff beams) @@ -19,7 +19,7 @@ to the last beam. \oneVoice f[ g \change Staff = SA a c] } - \new Staff = SB \relative c' { + \new Staff = SB \relative { \clef bass b8[ b16 \voiceOne b,,16 ] diff --git a/input/regression/beam-multiplicity-over-rests.ly b/input/regression/beam-multiplicity-over-rests.ly index e875bb2c80..f3b6b96323 100644 --- a/input/regression/beam-multiplicity-over-rests.ly +++ b/input/regression/beam-multiplicity-over-rests.ly @@ -1,12 +1,12 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "When a beam goes over a rest, beamlets should be as necessary to show the beat structure." } -\relative c' { - c8[ r16 c32 c32] +\relative { + c'8[ r16 c32 c32] c32[ r16 c32 c8] c32[ r16 c64 c64 ~ 16.. c64] c32[ c32 r16 c8] diff --git a/input/regression/beam-over-barline.ly b/input/regression/beam-over-barline.ly index 12c092f830..f2fec5c7c2 100644 --- a/input/regression/beam-over-barline.ly +++ b/input/regression/beam-over-barline.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Explicit beams may cross barlines. " } \layout { ragged-right= ##t } -\relative c'' { c2. c8[ c8 c8 c8] } +\relative { c''2. c8[ c8 c8 c8] } diff --git a/input/regression/beam-position.ly b/input/regression/beam-position.ly index 9e8b045a12..6c6b53a73d 100644 --- a/input/regression/beam-position.ly +++ b/input/regression/beam-position.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header{ texidoc=" Beams on ledgered notes should always reach the middle staff @@ -14,7 +14,7 @@ note beams. Override with @code{no-stem-extend}. " } -\context Voice \relative c { +\context Voice \relative { f8[ f] f64[ f] \grace { f8[ e8] diff --git a/input/regression/beam-quanting-horizontal.ly b/input/regression/beam-quanting-horizontal.ly index 3550064738..e1645529e6 100644 --- a/input/regression/beam-quanting-horizontal.ly +++ b/input/regression/beam-quanting-horizontal.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header{ @@ -9,8 +9,8 @@ lengths are between 2 and 1.5." } -\relative c' { - c8[ c] a''[ a] +\relative { + c'8[ c] a''[ a] a,[ a] c[ c] d,8[ d] g'[ g] g,[ g] d'[ d] diff --git a/input/regression/beam-quarter.ly b/input/regression/beam-quarter.ly index 5eb2b83632..7c9431de28 100644 --- a/input/regression/beam-quarter.ly +++ b/input/regression/beam-quarter.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "stem does not fit in beam")) @@ -8,6 +8,6 @@ texidoc= "Quarter notes may be beamed: the beam is halted momentarily." } -\relative c'' { - c8[ c4 c8] % should warn here! +\relative { + c''8[ c4 c8] % should warn here! } diff --git a/input/regression/beam-rest-extreme.ly b/input/regression/beam-rest-extreme.ly index 4dccd6b394..01432c3c8d 100644 --- a/input/regression/beam-rest-extreme.ly +++ b/input/regression/beam-rest-extreme.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Beamed rests are given a pure height approximation @@ -6,8 +6,8 @@ that gets their spacing correct in the majority of circumstances. " } -\relative c'' { - <f b c f>16[ r <f bes c f> <f b c f>] +\relative { + <f'' b c f>16[ r <f bes c f> <f b c f>] <f b c f>16[ r <f'' bes c f> <f b c f>] <f b c f>16[ r <f,, bes c f> <f b c f>] <f, b c f>16[ r <f bes c f> <f b c f>] diff --git a/input/regression/beam-rest.ly b/input/regression/beam-rest.ly index 5598345741..f0552e3b06 100644 --- a/input/regression/beam-rest.ly +++ b/input/regression/beam-rest.ly @@ -3,11 +3,11 @@ texidoc = "The number of beams does not change on a rest." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c, { +\relative { \clef bass - e8[ r16 f d'8 e16 e16] c8[ c16 r16 bes8 r16 c16] | + e,8[ r16 f d'8 e16 e16] c8[ c16 r16 bes8 r16 c16] | } diff --git a/input/regression/beam-single-stem.ly b/input/regression/beam-single-stem.ly index 6dc7e80019..d3a3212598 100644 --- a/input/regression/beam-single-stem.ly +++ b/input/regression/beam-single-stem.ly @@ -4,10 +4,10 @@ clip-edges is switched off automatically." } -\version "2.16.0" +\version "2.19.21" -\relative c' { - d16[] +\relative { + d'16[] \set stemRightBeamCount = #0 d32[] } diff --git a/input/regression/beaming-ternary-metrum.ly b/input/regression/beaming-ternary-metrum.ly index 65658ac9a1..c22eaec5f0 100644 --- a/input/regression/beaming-ternary-metrum.ly +++ b/input/regression/beaming-ternary-metrum.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -11,9 +11,9 @@ \layout { ragged-right = ##t} -\relative c'' { +\relative { \time 6/8 - c8. c16 c16 c16 + c''8. c16 c16 c16 c8. c16 c16 c16 } diff --git a/input/regression/beaming.ly b/input/regression/beaming.ly index bb8bba1872..ebc65e8d67 100644 --- a/input/regression/beaming.ly +++ b/input/regression/beaming.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header{ texidoc=" @@ -8,9 +8,9 @@ case, line breaks are forbidden. " } -\context Staff \relative c'' { +\context Staff \relative { - c8[ \tuplet 3/2 { c16 d e] } + c''8[ \tuplet 3/2 { c16 d e] } s4*3 c8.[ c16] diff --git a/input/regression/beamlet-point-toward-beat.ly b/input/regression/beamlet-point-toward-beat.ly index 014e556b89..2938357860 100644 --- a/input/regression/beamlet-point-toward-beat.ly +++ b/input/regression/beamlet-point-toward-beat.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @@ -9,9 +9,9 @@ the second beam strictly follows the beat. } -\relative c'' { +\relative { \time 6/8 - a8. a16 a a + a'8. a16 a a \set strictBeatBeaming = ##t a8. a16 a a } diff --git a/input/regression/beams.ly b/input/regression/beams.ly index ebb3bbf501..59e5eac256 100644 --- a/input/regression/beams.ly +++ b/input/regression/beams.ly @@ -1,14 +1,14 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Beaming can be also given explicitly." } \layout { ragged-right= ##t } -\relative c' +\relative { - c16[ c8.] + c'16[ c8.] c8.[ c16] c8[ c16 c16 c8] c8[ c16 e16 g8] diff --git a/input/regression/bend-dot.ly b/input/regression/bend-dot.ly index 26ae2aff3e..1408d6633d 100644 --- a/input/regression/bend-dot.ly +++ b/input/regression/bend-dot.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Bends avoid dots, but only if necessary." } @@ -9,7 +9,7 @@ \score { << - \new Staff \relative c' { + \new Staff \relative { \time 4/4 g''4.-\bendAfter #+1 s8 s2 diff --git a/input/regression/book-identifier-markup.ly b/input/regression/book-identifier-markup.ly index aef1182a32..0dee84bcd4 100644 --- a/input/regression/book-identifier-markup.ly +++ b/input/regression/book-identifier-markup.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "A @code{\\book} or @code{\\bookpart} identifier can contain @@ -6,7 +6,7 @@ top-level markup and page-markers." } mypart = \bookpart { - \relative c' { c1 } + \relative { c'1 } \label #'marker \markup { Page \page-ref #'marker "8" "?" } } diff --git a/input/regression/bookpart-variable.ly b/input/regression/bookpart-variable.ly index 204b98802e..d693aa52ff 100644 --- a/input/regression/bookpart-variable.ly +++ b/input/regression/bookpart-variable.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -9,8 +9,8 @@ No segfault should occur in this case. } mypart = \bookpart { - \relative c' { - c1 + \relative { + c'1 } } diff --git a/input/regression/breathing-sign-ancient.ly b/input/regression/breathing-sign-ancient.ly index 8e1a528753..e6ba1472e2 100644 --- a/input/regression/breathing-sign-ancient.ly +++ b/input/regression/breathing-sign-ancient.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header{ texidoc=" @@ -11,9 +11,9 @@ finalis, the latter three looking similar to bar glyphs. \include "gregorian.ly" \context VaticanaStaff { - \relative c' { + \relative { % here is no \breathe - c g c + c' g c % \virgula applies rcomma, but in a smaller font c \virgula g c @@ -37,9 +37,9 @@ finalis, the latter three looking similar to bar glyphs. } } -mus = \relative f' { +mus = \relative { \clef tenor - c g c + c' g c c \virgula g c c \caesura g c c \divisioMinima g c diff --git a/input/regression/breathing-sign.ly b/input/regression/breathing-sign.ly index f9e3787859..239bf22a94 100644 --- a/input/regression/breathing-sign.ly +++ b/input/regression/breathing-sign.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header{ texidoc=" Breathing signs are available in different tastes: commas (default), @@ -9,12 +9,12 @@ ticks, vees and `railroad tracks' (caesura)." { %% Modern notation: \new Staff { - \relative c'' { + \relative { %% by default, \breathe uses the rcomma, just as if saying: %% \override BreathingSign.text = %% #(make-musicglyph-markup "scripts.rcomma") %% - c4 c \breathe c c | + c''4 c \breathe c c | %% rvarcomma and lvarcomma are variations of the default rcomma %% and lcomma diff --git a/input/regression/cadenza-grace-autobeam.ly b/input/regression/cadenza-grace-autobeam.ly index 8340d26cd9..4f06d4627d 100644 --- a/input/regression/cadenza-grace-autobeam.ly +++ b/input/regression/cadenza-grace-autobeam.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.21" \header { @@ -9,8 +9,8 @@ \layout { ragged-right = ##t } -\relative c' { - e8 e e e e e e e +\relative { + e'8 e e e e e e e \cadenzaOn <>^\markup \typewriter "\\cadenzaOn" e e e e e e e e \cadenzaOff diff --git a/input/regression/chord-names-in-grand-staff.ly b/input/regression/chord-names-in-grand-staff.ly index f81d4fe299..8a43cde114 100644 --- a/input/regression/chord-names-in-grand-staff.ly +++ b/input/regression/chord-names-in-grand-staff.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -15,14 +15,14 @@ example should be printed above the top staff. f1 } \new Staff { - \relative c'' { - a4 a a a + \relative { + a'4 a a a } } \new Staff { \clef "bass" - \relative c { - a4 a a a + \relative { + a,4 a a a } } >> diff --git a/input/regression/chord-repetition-relative.ly b/input/regression/chord-repetition-relative.ly index 1732708394..766404c693 100644 --- a/input/regression/chord-repetition-relative.ly +++ b/input/regression/chord-repetition-relative.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @@ -9,5 +9,5 @@ the same octaves as the original one. { <c''' d'' g''>4^"absolute" q q q - \relative c' { <c'' d, g>4^"relative" q q q } + \relative { <c''' d, g>4^"relative" q q q } } diff --git a/input/regression/chord-repetition-script-stack.ly b/input/regression/chord-repetition-script-stack.ly index 5da80dd954..191daf8a91 100644 --- a/input/regression/chord-repetition-script-stack.ly +++ b/input/regression/chord-repetition-script-stack.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Post events such as fingerings and scripts added to a @@ -6,6 +6,6 @@ chord repetition follow the same basic stacking order as chords. " } -\relative c' { - <c e g>2-1-2-3 q_"q"-1-2-3 +\relative { + <c' e g>2-1-2-3 q_"q"-1-2-3 } diff --git a/input/regression/chord-repetition-times.ly b/input/regression/chord-repetition-times.ly index ba8f1fdbe6..4a193625e0 100644 --- a/input/regression/chord-repetition-times.ly +++ b/input/regression/chord-repetition-times.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { @@ -9,7 +9,7 @@ correctly on them. " } -\relative c' { - <c e g>4 r <c e g>2 ~ | +\relative { + <c' e g>4 r <c e g>2 ~ | \tuplet 3/2 { <c e g>4 q q } \tuplet 3/2 { q q q } | } diff --git a/input/regression/chord-repetition.ly b/input/regression/chord-repetition.ly index 52d001d273..a2a0ca82db 100644 --- a/input/regression/chord-repetition.ly +++ b/input/regression/chord-repetition.ly @@ -1,4 +1,4 @@ -\version "2.17.25" +\version "2.19.21" \header { texidoc = " @@ -8,6 +8,6 @@ fingerings, etc are not repeated. " } -\relative c' { - <c-1 e-3 g-5>8\p( q) q4-! q8.\(^"text" q16 q4-!\) +\relative { + <c'-1 e-3 g-5>8\p( q) q4-! q8.\(^"text" q16 q4-!\) } diff --git a/input/regression/chord-scripts.ly b/input/regression/chord-scripts.ly index 74aeda9fd0..c0f980a925 100644 --- a/input/regression/chord-scripts.ly +++ b/input/regression/chord-scripts.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Scripts can also be attached to chord elements. They obey manual direction indicators." } -\relative c'' { - < c-. >4 +\relative { + < c''-. >4 < c-> >4 < c-. e-. g-. b-. >4 < c^^ >4 diff --git a/input/regression/chromatic-scales.ly b/input/regression/chromatic-scales.ly index ccfeb1e5be..7e6ddb4da2 100644 --- a/input/regression/chromatic-scales.ly +++ b/input/regression/chromatic-scales.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header{ texidoc="@code{staffLineLayoutFunction} is used to change the position of the notes. This sets @code{staffLineLayoutFunction} to @code{ly:pitch-semitones} to @@ -7,7 +7,7 @@ space and line equal to one semitone. " } -scales = \relative c' { +scales = \relative { a ais b c cis d dis e f fis g gis a } diff --git a/input/regression/clef-ottava.ly b/input/regression/clef-ottava.ly index 6ed391c542..776fb25b06 100644 --- a/input/regression/clef-ottava.ly +++ b/input/regression/clef-ottava.ly @@ -5,13 +5,13 @@ but they don't confuse one another." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t} -\relative c'' { +\relative { \clef "alto" - a b c a + a' b c a \ottava #1 a b c a \clef "bass" diff --git a/input/regression/clef-transposition.ly b/input/regression/clef-transposition.ly index d2ff5730aa..7b68e03fd0 100644 --- a/input/regression/clef-transposition.ly +++ b/input/regression/clef-transposition.ly @@ -1,5 +1,5 @@ -\version "2.16.0" \header { +\version "2.19.21" \header { texidoc = "Clefs may be transposed up or down by arbitrary amount, including 15 for two octaves." @@ -8,10 +8,10 @@ by arbitrary amount, including 15 for two octaves." \layout { ragged-right = ##t } -\relative c'' { +\relative { \clef "G_8" - c4 + c''4 \clef "G_15" c4 \clef "G_7" diff --git a/input/regression/cluster-break.ly b/input/regression/cluster-break.ly index d40b04aea5..ecb04966fc 100644 --- a/input/regression/cluster-break.ly +++ b/input/regression/cluster-break.ly @@ -1,14 +1,14 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Clusters behave well across line breaks." } \layout { ragged-right = ##t } -fragment = \relative c' { +fragment = \relative { \time 2/4 - <e d'>4 + <e' d'>4 <g a>4 | \break <e a> <f a> diff --git a/input/regression/cluster-cross-staff.ly b/input/regression/cluster-cross-staff.ly index 4021a56cab..994b8ddfb8 100644 --- a/input/regression/cluster-cross-staff.ly +++ b/input/regression/cluster-cross-staff.ly @@ -7,14 +7,14 @@ ragged-right= ##t } -\version "2.16.0" +\version "2.19.21" \new PianoStaff << \new Staff = "up" { s1 *2 } \new Staff = "down" << - \applyMusic #notes-to-clusters \relative c { <c e>4 <f a> <b e> \change Staff = up <e a> + \applyMusic #notes-to-clusters \relative { <c e>4 <f a> <b e> \change Staff = up <e a> <a d> <d g> } { \clef bass s1 * 2 } diff --git a/input/regression/cluster-style.ly b/input/regression/cluster-style.ly index 273d0a4d6d..3558648cbc 100644 --- a/input/regression/cluster-style.ly +++ b/input/regression/cluster-style.ly @@ -1,14 +1,14 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Clusters behave well across line breaks." } \layout { ragged-right = ##t } -fragment = \relative c' { - <e d'>4 +fragment = \relative { + <e' d'>4 <g a>4 <e a>4 } diff --git a/input/regression/cluster.ly b/input/regression/cluster.ly index 6001ed583d..8ec7e4e898 100644 --- a/input/regression/cluster.ly +++ b/input/regression/cluster.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Clusters are a device to denote that a complete range of notes is to be played." @@ -7,8 +7,8 @@ notes is to be played." \layout { ragged-right = ##t } -fragment = \relative c' { - c4 f4 <e d'>4 +fragment = \relative { + c'4 f4 <e d'>4 <g a>8 <e a> a4 c2 <d b>4 e4 c4 } diff --git a/input/regression/collision-alignment.ly b/input/regression/collision-alignment.ly index 87babb6934..428277be93 100644 --- a/input/regression/collision-alignment.ly +++ b/input/regression/collision-alignment.ly @@ -7,12 +7,12 @@ \layout { ragged-right = ##t } -\version "2.17.15" +\version "2.19.21" -\relative c' << +\relative << \new Staff { << - { f g } \\ + { f' g } \\ { g f } >> } \new Staff { diff --git a/input/regression/collision-dots-invert.ly b/input/regression/collision-dots-invert.ly index 7993cc9436..2be79283ec 100644 --- a/input/regression/collision-dots-invert.ly +++ b/input/regression/collision-dots-invert.ly @@ -6,9 +6,9 @@ } \layout { ragged-right = ##t } -\version "2.16.0" -\relative c'' { - << <a c>2\\ { <b d>4 <b d>4 } >> +\version "2.19.21" +\relative { + << <a' c>2\\ { <b d>4 <b d>4 } >> << { <a c>2 } \\ { <b d>4. <b e>8 } >> } diff --git a/input/regression/collision-dots-up-space-dotted.ly b/input/regression/collision-dots-up-space-dotted.ly index b9db8bbcfd..c758b28706 100644 --- a/input/regression/collision-dots-up-space-dotted.ly +++ b/input/regression/collision-dots-up-space-dotted.ly @@ -6,12 +6,12 @@ } -\version "2.17.6" +\version "2.19.21" \paper{ ragged-right=##t } -\new Staff \relative c' << - { fis4. +\new Staff \relative << + { fis'4. \override Staff.NoteCollision.prefer-dotted-right = ##f fis4. } \\ diff --git a/input/regression/collision-harmonic-no-dots.ly b/input/regression/collision-harmonic-no-dots.ly index cd5669ff03..7641608dd0 100644 --- a/input/regression/collision-harmonic-no-dots.ly +++ b/input/regression/collision-harmonic-no-dots.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Collision resolution involving dotted harmonic heads @@ -7,9 +7,9 @@ will only retrieve @code{'dot-count} from live grobs. " } -\relative c' { +\relative { << - { <fis\harmonic>2. } + { <fis'\harmonic>2. } \\ { e2. } >> diff --git a/input/regression/collision-head-chords.ly b/input/regression/collision-head-chords.ly index 2d52f34bff..2dfadebd33 100644 --- a/input/regression/collision-head-chords.ly +++ b/input/regression/collision-head-chords.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Note heads in collisions should be merged if they have the same positions in the extreme note heads. @@ -9,8 +9,8 @@ they have the same positions in the extreme note heads. -\relative c'' { - c4 +\relative { + c''4 << { c4 d4 <c d>8 <c d> <c d> } \\ { c4 c <a b>8 <b c> <c d>8 } >> } diff --git a/input/regression/collision-heads.ly b/input/regression/collision-heads.ly index ce5c56e04f..b1d9b1e598 100644 --- a/input/regression/collision-heads.ly +++ b/input/regression/collision-heads.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Open and black note heads are not merged by default." @@ -8,9 +8,9 @@ \layout { ragged-right= ##t } -\context Staff \relative c'' << +\context Staff \relative << { - c2 c8 c4. + c''2 c8 c4. }\\ { c8 c4. c2 diff --git a/input/regression/collision-manual.ly b/input/regression/collision-manual.ly index 685090b78a..9fad6597d7 100644 --- a/input/regression/collision-manual.ly +++ b/input/regression/collision-manual.ly @@ -2,14 +2,14 @@ texidoc = "Collision resolution may be forced manually with @code{force-hshift}. " } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' { - << { f +\relative { + << { f' \override NoteColumn.force-hshift = #0.1 f } \\ { e e } diff --git a/input/regression/collision-merge-differently-dotted.ly b/input/regression/collision-merge-differently-dotted.ly index 9da7bed233..e2c0da08b3 100644 --- a/input/regression/collision-merge-differently-dotted.ly +++ b/input/regression/collision-merge-differently-dotted.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "If @code{NoteCollision} has @@ -10,9 +10,9 @@ should not disappear when merging similar note heads." \layout { ragged-right= ##t } -\context Staff \relative c'' << +\context Staff \relative << { - g8[ g8] + g'8[ g8] \override Staff.NoteCollision.merge-differently-dotted = ##t g8[ g8] g4. r8 g8. g16 diff --git a/input/regression/collision-merge-dots.ly b/input/regression/collision-merge-dots.ly index df0a0e0f84..7b7544082e 100644 --- a/input/regression/collision-merge-dots.ly +++ b/input/regression/collision-merge-dots.ly @@ -4,11 +4,11 @@ } \layout { ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" { - \relative c'' \new Staff { - << { d8. e16 } \\ { d8. b16 } >> + \relative \new Staff { + << { d''8. e16 } \\ { d8. b16 } >> } } diff --git a/input/regression/collision-seconds.ly b/input/regression/collision-seconds.ly index f1b2134a51..9742c56900 100644 --- a/input/regression/collision-seconds.ly +++ b/input/regression/collision-seconds.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Seconds do not confuse the collision algorithm. @@ -7,7 +7,7 @@ or come relatively close, but the second in each measure needs more space to make clear which notes belong to which voice." } -\relative f << { +\relative << { <a' b>2 <a b d e> <a e' f> <a e' f> <a b c> <f g a> \bar "||" <f g c> <g a c> <f g c d> <f g c d> } \\ { diff --git a/input/regression/collisions.ly b/input/regression/collisions.ly index 5b03483b6b..eeea895cdc 100644 --- a/input/regression/collisions.ly +++ b/input/regression/collisions.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc=" In addition to normal collision rules, there is support for polyphony, @@ -8,16 +8,16 @@ where the collisions are avoided by shifting middle voices horizontally. twovoice = -\relative c' \context Staff << +\relative \context Staff << { g4 f f e e d d c } \\ { c4 c d d e e f f } >> twovoicechords = \context Staff << - \relative c' { - e4 d c b a g f + \relative { + e'4 d c b a g f }\\ - \relative c' { + \relative { <a c>4 <a c>4 <a c>4 <a c>4 <a c> <a c> <a c> } @@ -30,9 +30,9 @@ threevoice = \context Staff << { e4 e e e e e e e } >> -hairyChord = \context Staff \relative c'' +hairyChord = \context Staff \relative << - e \\ + e'' \\ fis, \\ cis' \\ \\ diff --git a/input/regression/completion-heads-lyrics.ly b/input/regression/completion-heads-lyrics.ly index 4dd7d26d3f..ccea9ad8ca 100644 --- a/input/regression/completion-heads-lyrics.ly +++ b/input/regression/completion-heads-lyrics.ly @@ -1,10 +1,10 @@ \header { texidoc = "You can put lyrics under completion heads." } -\version "2.16.0" +\version "2.19.21" -mel = \relative c'' { - c1. c1. +mel = \relative { + c''1. c1. } lyr = \lyricmode { diff --git a/input/regression/completion-heads-polyphony-2.ly b/input/regression/completion-heads-polyphony-2.ly index e9c668e457..349052f742 100644 --- a/input/regression/completion-heads-polyphony-2.ly +++ b/input/regression/completion-heads-polyphony-2.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @@ -14,8 +14,8 @@ Complex completion heads work properly in a polyphonic environment. } } -\context Staff \relative c'' << - { c4. c c c4 c4. c4 } +\context Staff \relative << + { c''4. c c c4 c4. c4 } \\ { g8 g2 g1 g4. } >> diff --git a/input/regression/completion-heads-polyphony.ly b/input/regression/completion-heads-polyphony.ly index e8873c6881..4b41e11d2b 100644 --- a/input/regression/completion-heads-polyphony.ly +++ b/input/regression/completion-heads-polyphony.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Completion heads are broken across bar lines. This was @@ -16,7 +16,7 @@ Completion heads are not fooled by polyphony with a different rhythm. } } -\context Staff \relative c'' << - { c2. c bes2 } \\ +\context Staff \relative << + { c''2. c bes2 } \\ { c2. a8 g4 f4. g4 f } >> diff --git a/input/regression/completion-heads-tie.ly b/input/regression/completion-heads-tie.ly index 979359bf29..bfa7ab3dac 100644 --- a/input/regression/completion-heads-tie.ly +++ b/input/regression/completion-heads-tie.ly @@ -5,7 +5,7 @@ } -\version "2.19.2" +\version "2.19.21" \paper{ ragged-right=##t } @@ -13,6 +13,6 @@ \remove "Note_heads_engraver" \consists "Completion_heads_engraver" } { - \relative c'' { r2 d1 ~ 1 d2 } + \relative { r2 d''1 ~ 1 d2 } } diff --git a/input/regression/complex-once.ly b/input/regression/complex-once.ly index d3a5a4553b..d69aab7639 100644 --- a/input/regression/complex-once.ly +++ b/input/regression/complex-once.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc= "This tests @code{\\once} applied to multiple property operations." } -\relative c' { - c4 d \hideNotes e4 f | +\relative { + c'4 d \hideNotes e4 f | \unHideNotes g a \once \hideNotes b c | } diff --git a/input/regression/context-mod-context.ly b/input/regression/context-mod-context.ly index 5f3bb9901b..a3db629b51 100644 --- a/input/regression/context-mod-context.ly +++ b/input/regression/context-mod-context.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Context modifications can be stored into a variable as a @@ -12,7 +12,7 @@ ctxmod = \with { \override StaffSymbol.line-count = 4 } -music = \relative c'' { \key fis \minor c1 d e } +music = \relative { \key fis \minor c''1 d e } \score { << \new Staff { \music} diff --git a/input/regression/context-mod-with.ly b/input/regression/context-mod-with.ly index 3857cd1593..999c94bab8 100644 --- a/input/regression/context-mod-with.ly +++ b/input/regression/context-mod-with.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Context modifications can be stored into a variable as a @@ -26,7 +26,7 @@ ctxmod = \with { } -music = \relative c'' { \key fis \minor c1 d e } +music = \relative { \key fis \minor c''1 d e } \score { << \override Score.RehearsalMark.self-alignment-X = #LEFT diff --git a/input/regression/context-nested-staffgroup.ly b/input/regression/context-nested-staffgroup.ly index 59aa604eed..c9e6dbcb23 100644 --- a/input/regression/context-nested-staffgroup.ly +++ b/input/regression/context-nested-staffgroup.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Contexts of the same type can be nested." } -\new StaffGroup \relative c' << - \new Staff { c1 } +\new StaffGroup \relative << + \new Staff { c'1 } \new StaffGroup << \new Staff { c1 } \new StaffGroup << diff --git a/input/regression/cue-clef-after-barline.ly b/input/regression/cue-clef-after-barline.ly index 0969fbcb62..8f222b1955 100644 --- a/input/regression/cue-clef-after-barline.ly +++ b/input/regression/cue-clef-after-barline.ly @@ -1,12 +1,12 @@ -\version "2.17.6" +\version "2.19.21" instrument = \relative c' { \repeat unfold 40 { c8 } } \addQuote "instrQuote" \instrument -Solo = \relative c' { - c2 c | +Solo = \relative { + c'2 c | % Change the break-align-orders of the score so that cue-clef comes after bar-line \override Score.BarLine.space-alist.cue-clef = #'(minimum-space . 1.0) diff --git a/input/regression/cue-clef-manually.ly b/input/regression/cue-clef-manually.ly index fcd94201f3..aa3535a92e 100644 --- a/input/regression/cue-clef-manually.ly +++ b/input/regression/cue-clef-manually.ly @@ -1,7 +1,7 @@ -\version "2.16.0" +\version "2.19.21" -Solo = \relative c' { - c4 c c c | +Solo = \relative { + c'4 c c c | % Manually written cue notes, not quoted from another lilypond voice: << diff --git a/input/regression/cue-clef-new-line.ly b/input/regression/cue-clef-new-line.ly index e9b3e64f08..cf1c1605a3 100644 --- a/input/regression/cue-clef-new-line.ly +++ b/input/regression/cue-clef-new-line.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Clefs for cue notes and line breaks. If the cue notes start in a @@ -13,7 +13,7 @@ line plus an additional cue clef after the time/@/key signature." vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 } \addQuote vIQuote { \vI } -Solo = \relative c { +Solo = \relative { \clef "bass" c1 | \break \cueDuringWithClef #"vIQuote" #UP #"tenor" { R1 } | \break diff --git a/input/regression/cue-clef-transposition-optional.ly b/input/regression/cue-clef-transposition-optional.ly index caeaf13193..bf13c22974 100644 --- a/input/regression/cue-clef-transposition-optional.ly +++ b/input/regression/cue-clef-transposition-optional.ly @@ -1,4 +1,4 @@ -\version "2.17.7" +\version "2.19.21" \header { texidoc = "Optional transposition for clefs for cue notes is supported @@ -8,8 +8,8 @@ by using parentheses or brackets around the transposition number." vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 } \addQuote vIQuote { \vI } -Solo = \relative c' { - \clef "treble_8" c1 | +Solo = \relative { + \clef "treble_8" c'1 | \cueDuringWithClef #"vIQuote" #UP #"bass^(15)" { R1 } | c1 | \break c c diff --git a/input/regression/cue-clef-transposition.ly b/input/regression/cue-clef-transposition.ly index dd26c9f25d..8882ef11b6 100644 --- a/input/regression/cue-clef-transposition.ly +++ b/input/regression/cue-clef-transposition.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Transposition for clefs for cue notes." @@ -7,8 +7,8 @@ vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 } \addQuote vIQuote { \vI } -Solo = \relative c' { - \clef "treble_8" c1 | +Solo = \relative { + \clef "treble_8" c'1 | \cueDuringWithClef #"vIQuote" #UP #"bass^8" { R1 } | c1 | \break c c diff --git a/input/regression/cue-clef.ly b/input/regression/cue-clef.ly index 1cf19a2b8c..f87668ecc4 100644 --- a/input/regression/cue-clef.ly +++ b/input/regression/cue-clef.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Clefs for cue notes: Print a cue clef at the begin of the cue @@ -8,7 +8,7 @@ notes and a canceling clef after the cue notes." vI = \relative c'' { \clef "treble" \repeat unfold 16 g4 } \addQuote vIQuote { \vI } -Solo = \relative c { +Solo = \relative { \clef "bass" c4 \cueDuringWithClef #"vIQuote" #DOWN #"treble" { r4 r2 | diff --git a/input/regression/define-event-function.ly b/input/regression/define-event-function.ly index ce88d94fef..4aa75b6b17 100644 --- a/input/regression/define-event-function.ly +++ b/input/regression/define-event-function.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header{ @@ -14,8 +14,8 @@ dynScript = #(define-event-function (parser location text) (markup?) (make-dynamic-script text)) -\relative c' { - c1\dynScript pp +\relative { + c'1\dynScript pp c^\dynScript "fp" c_\dynScript "spz" } diff --git a/input/regression/display-lily-tests.ly b/input/regression/display-lily-tests.ly index 6ff266c4ef..7368dfae34 100644 --- a/input/regression/display-lily-tests.ly +++ b/input/regression/display-lily-tests.ly @@ -1,4 +1,4 @@ -\version "2.17.25" +\version "2.19.21" #(use-modules (srfi srfi-13) (ice-9 format)) @@ -189,7 +189,7 @@ stderr of this run." \test ##[ { 4 4 8 \tuplet 3/2 { 8[ 16] } 16 } #] %% \relative and \tranpose -\test #"NOT A BUG" ##[ \relative c' { c4 b4 } #] % RelativeOctaveMusic +\test #"NOT A BUG" ##[ \relative { c'4 b4 } #] % RelativeOctaveMusic \test #"NOT A BUG" ##[ \transpose c d { c4 d4 } #] % TransposedMusic %% Repeats diff --git a/input/regression/dot-column-engraver.ly b/input/regression/dot-column-engraver.ly index f87e23f038..e63174d60e 100644 --- a/input/regression/dot-column-engraver.ly +++ b/input/regression/dot-column-engraver.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Dot Columns are engraved in the Staff by default, @@ -7,8 +7,8 @@ If Dot_column_engraver is moved to Voice, separate dot columns are engraved, and these dots avoid notes in other voices." } -music = \relative c'' { \time 3/4 << { - <d f g>4. c c b g f a <a b> a <a' b> +music = \relative { \time 3/4 << { + <d'' f g>4. c c b g f a <a b> a <a' b> } \\ \tuplet 2/1 { <f, g b>2. a-- <a b> <g a>-. a2. a-- a a b <a b> \bar "|." } >> } diff --git a/input/regression/dot-dot-count-override.ly b/input/regression/dot-dot-count-override.ly index 7d2d1ab293..29e2db0537 100644 --- a/input/regression/dot-dot-count-override.ly +++ b/input/regression/dot-dot-count-override.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "The @code{dot-count} property @@ -6,8 +6,8 @@ for @code{Dots} can be modified by the user." } -\relative c'' { - c4.. a16 +\relative { + c''4.. a16 \override Dots.dot-count = #4 g4.. e16 \override Dots.dot-count = #0 diff --git a/input/regression/dot-rest-beam-trigger.ly b/input/regression/dot-rest-beam-trigger.ly index 478663fcf3..9fd8509773 100644 --- a/input/regression/dot-rest-beam-trigger.ly +++ b/input/regression/dot-rest-beam-trigger.ly @@ -6,11 +6,11 @@ } -\version "2.16.0" -\new Staff \relative c'' +\version "2.19.21" +\new Staff \relative { << - { \time 12/16 c16[ b a r b g] } + { \time 12/16 c''16[ b a r b g] } \\ { r8. r } >> diff --git a/input/regression/dot-up-voice-collision.ly b/input/regression/dot-up-voice-collision.ly index fa3035fcc7..9efdf0f284 100644 --- a/input/regression/dot-up-voice-collision.ly +++ b/input/regression/dot-up-voice-collision.ly @@ -5,14 +5,14 @@ } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } \new Staff { \key e \major \time 3/4 - \relative c'' { - << { dis4. } \\ + \relative { + << { dis''4. } \\ { fis,4 } \\ { b8 } >> } } diff --git a/input/regression/dots.ly b/input/regression/dots.ly index a811a9dc10..65a97fb918 100644 --- a/input/regression/dots.ly +++ b/input/regression/dots.ly @@ -1,4 +1,4 @@ -\version "2.16.0" \header{ +\version "2.19.21" \header{ texidoc=" Both noteheads and rests can have dots. @@ -22,9 +22,9 @@ The priorities to print the dots are (ranked in importance): -\context Voice \relative c'' { +\context Voice \relative { \time 6/8 - d4. g,, + d''4. g,, \stemDown <b'' c d e>4. <f g a b> <f a c> <e a c> <b f' c' g'> diff --git a/input/regression/double-repeat.ly b/input/regression/double-repeat.ly index 9ce981dc59..7718979138 100644 --- a/input/regression/double-repeat.ly +++ b/input/regression/double-repeat.ly @@ -1,11 +1,11 @@ -\version "2.17.5" +\version "2.19.21" \header { texidoc = "Three types of double repeat bar line are supported." } \new StaffGroup << - \new Staff \relative c' { - c1 + \new Staff \relative { + c'1 \mark "\":|:\"" \bar ":..:" c1 diff --git a/input/regression/duration-identifier-compressed.ly b/input/regression/duration-identifier-compressed.ly index 96b59cb81c..078ae8f453 100644 --- a/input/regression/duration-identifier-compressed.ly +++ b/input/regression/duration-identifier-compressed.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "The compression factor of a duration identifier is @@ -9,7 +9,7 @@ correctly accounted for by the parser." wholeHalved = #(ly:make-duration 0 0 1/2) -\relative c' { - c\wholeHalved c | +\relative { + c'\wholeHalved c | c\wholeHalved. c4 | } diff --git a/input/regression/dynamics-alignment-autobreak.ly b/input/regression/dynamics-alignment-autobreak.ly index d4ecfc9238..41362485e4 100644 --- a/input/regression/dynamics-alignment-autobreak.ly +++ b/input/regression/dynamics-alignment-autobreak.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "If a dynamic has an explicit direction that differs from the @@ -6,8 +6,8 @@ dynamic line spanner's direction, automatically break the dynamic line spanner. " } -\relative c' { - c1^\< +\relative { + c'1^\< c1_\> f,1\p diff --git a/input/regression/dynamics-alignment-breaker-linebreak.ly b/input/regression/dynamics-alignment-breaker-linebreak.ly index 0d3bb86755..4413e76ba2 100644 --- a/input/regression/dynamics-alignment-breaker-linebreak.ly +++ b/input/regression/dynamics-alignment-breaker-linebreak.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{\\breakDynamicSpan} shall also work if a @@ -6,9 +6,9 @@ dynamic spanner crosses a line break. " } -\relative c' { +\relative { % spanner really crosses linebreak: - c1\<\breakDynamicSpan c'' \break + c'1\<\breakDynamicSpan c'' \break c,,1 % new spanner immediately after linebreak (with broken spanner): c''1\>\breakDynamicSpan \break diff --git a/input/regression/dynamics-alignment-breaker-order.ly b/input/regression/dynamics-alignment-breaker-order.ly index a295f8e551..2d5603afc8 100644 --- a/input/regression/dynamics-alignment-breaker-order.ly +++ b/input/regression/dynamics-alignment-breaker-order.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{\\breakDynamicSpan} work whether it is placed together @@ -6,7 +6,7 @@ with the start or the end of a spanner. Both lines should be identical. " } -\relative c { +\relative { c1\< c'' % break directly before and after \> : c,1\breakDynamicSpan\>\breakDynamicSpan diff --git a/input/regression/dynamics-alignment-breaker-subsequent-spanner.ly b/input/regression/dynamics-alignment-breaker-subsequent-spanner.ly index a7c9e8d28e..5776eadbac 100644 --- a/input/regression/dynamics-alignment-breaker-subsequent-spanner.ly +++ b/input/regression/dynamics-alignment-breaker-subsequent-spanner.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{\\breakDynamicSpan} shall only have an effect on the current @@ -6,10 +6,10 @@ spanner, not on subsequent spanners. " } -\relative c' { +\relative { % Check that the effect of \breakDynamic span is only for the current % spanner and not for the following spanners, too. - c1\<\breakDynamicSpan c'' + c'1\<\breakDynamicSpan c'' c,,1\> f,1\p % <= the \> and the \p should be aligned! } diff --git a/input/regression/dynamics-alignment-breaker.ly b/input/regression/dynamics-alignment-breaker.ly index b452c8d32d..d79b768590 100644 --- a/input/regression/dynamics-alignment-breaker.ly +++ b/input/regression/dynamics-alignment-breaker.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Hairpins, DynamicTextSpanners and dynamics can be @@ -7,8 +7,8 @@ causes the alignment spanner to end prematurely. " } -\relative c' { - c1^\< +\relative { + c'1^\< \dimTextDim c1_\> f,1\p diff --git a/input/regression/dynamics-alignment-no-line.ly b/input/regression/dynamics-alignment-no-line.ly index fd38e75b99..b3f9442652 100644 --- a/input/regression/dynamics-alignment-no-line.ly +++ b/input/regression/dynamics-alignment-no-line.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "If the line for a @code{DynamicTextSpanner} is hidden, the @@ -6,8 +6,8 @@ alignment spanner for dynamics is ended early. This allows consecutive dynamics to be unlinked." } -\relative g' { - g4\p\cresc g g g +\relative { + g'4\p\cresc g g g g,1\f \override DynamicTextSpanner.style = #'none diff --git a/input/regression/dynamics-avoid-cross-staff-stem-3.ly b/input/regression/dynamics-avoid-cross-staff-stem-3.ly index 0b0b7b6247..5b56f4dc5d 100644 --- a/input/regression/dynamics-avoid-cross-staff-stem-3.ly +++ b/input/regression/dynamics-avoid-cross-staff-stem-3.ly @@ -1,4 +1,4 @@ -\version "2.17.17" +\version "2.19.21" \header { texidoc = "Cross-staff @code{Dynamic} does not trigger a cyclic @@ -8,8 +8,8 @@ dependency for direction look-up. << \new Staff = "up" - \relative c' { - f8 + \relative { + f'8 \change Staff = "down" c e\f %should not trigger cyclic dependency \change Staff = "up" diff --git a/input/regression/dynamics-broken-hairpin.ly b/input/regression/dynamics-broken-hairpin.ly index 8946b5bbd3..b412a7ea94 100644 --- a/input/regression/dynamics-broken-hairpin.ly +++ b/input/regression/dynamics-broken-hairpin.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc = "Broken crescendi should be open on one side." } @@ -9,7 +9,7 @@ texidoc = "Broken crescendi should be open on one side." } -\relative c'' { - c1 \< \break c1\! \> \break c1\! +\relative { + c''1 \< \break c1\! \> \break c1\! } diff --git a/input/regression/dynamics-context-textspan.ly b/input/regression/dynamics-context-textspan.ly index 083585c31d..3243105bf5 100644 --- a/input/regression/dynamics-context-textspan.ly +++ b/input/regression/dynamics-context-textspan.ly @@ -1,19 +1,19 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Text spanners work in the @code{Dynamics} context." } << - \new Staff \relative c' { - c1 | c + \new Staff \relative { + c'1 | c } \new Dynamics { \override TextSpanner.bound-details.left.text = #"rit." s1\startTextSpan s1\stopTextSpan } - \new Staff \relative c' { - c1 | c + \new Staff \relative { + c'1 | c } >> diff --git a/input/regression/dynamics-custom-text-spanner-postfix.ly b/input/regression/dynamics-custom-text-spanner-postfix.ly index 23e1512f86..ee4132b80c 100644 --- a/input/regression/dynamics-custom-text-spanner-postfix.ly +++ b/input/regression/dynamics-custom-text-spanner-postfix.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Postfix functions for custom crescendo text spanners. The spanners @@ -15,8 +15,8 @@ mydecresc = #(define-music-function (parser location mymarkup) (string?) (make-music 'DecrescendoEvent 'span-direction START 'span-type 'text 'span-text mymarkup)) -\relative c' { - c4-\mycresc "custom cresc" c4 c4 c4 | +\relative { + c'4-\mycresc "custom cresc" c4 c4 c4 | c4 c4 c4 c4 | c4-\mydecresc "custom decresc" c4 c4 c4 | c4 c4\! c4 c4 diff --git a/input/regression/dynamics-glyphs.ly b/input/regression/dynamics-glyphs.ly index 693dc0b143..de74a114f1 100644 --- a/input/regression/dynamics-glyphs.ly +++ b/input/regression/dynamics-glyphs.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header {texidoc = "Dynamic letters are kerned, and their weight matches that of the hairpin signs. The dynamic scripts should be @@ -8,8 +8,8 @@ closer to the note head (staccato, accent) are reckoned with. " } -\relative c'' { - c1\ff +\relative { + c''1\ff e,-.-> \f e \rfz c' \mf diff --git a/input/regression/dynamics-hairpin-length.ly b/input/regression/dynamics-hairpin-length.ly index 78d25a6f1c..0260514c19 100644 --- a/input/regression/dynamics-hairpin-length.ly +++ b/input/regression/dynamics-hairpin-length.ly @@ -6,13 +6,13 @@ respectively." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c'' { - c4 \< c4 \! +\relative { + c''4 \< c4 \! c4 \< c \!\> c\! c4 \< c c \! \fff\> c c\! diff --git a/input/regression/dynamics-rest-positioning.ly b/input/regression/dynamics-rest-positioning.ly index 7082e4abcf..e64c5486fa 100644 --- a/input/regression/dynamics-rest-positioning.ly +++ b/input/regression/dynamics-rest-positioning.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Text dynamics are positioned correctly on rests, i.e., centered on the parent object." } -\relative c'' { - g2\p r\p +\relative { + g'2\p r\p g4\f s r4\f s } diff --git a/input/regression/dynamics-text-dynamics-context.ly b/input/regression/dynamics-text-dynamics-context.ly index 18b1d5ba4e..7b3980d653 100644 --- a/input/regression/dynamics-text-dynamics-context.ly +++ b/input/regression/dynamics-text-dynamics-context.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The @code{X-offset} of @code{DynamicText} grobs in a @@ -12,8 +12,8 @@ \new PianoStaff << \new Staff = "up" { \clef treble - \relative c' { - c4\p c c\mp c | + \relative { + c'4\p c c\mp c | c4\mf c c\f c | << \repeat unfold 8 c4 diff --git a/input/regression/dynamics-text-spanner-postfix.ly b/input/regression/dynamics-text-spanner-postfix.ly index 214f8fcee9..cf367fb8c2 100644 --- a/input/regression/dynamics-text-spanner-postfix.ly +++ b/input/regression/dynamics-text-spanner-postfix.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The \cresc, \dim and \decresc spanners are now postfix operators @@ -11,8 +11,8 @@ hairpins by default, \cresc etc. produce text spanners by default." crpoco = #(make-music 'CrescendoEvent 'span-direction START 'span-type 'text 'span-text "cresc. poco a poco") -\relative c' { - c4\cresc d4 e4 f4 | +\relative { + c'4\cresc d4 e4 f4 | g4 a4\! b4\crpoco c4 | c4 d4 e4 f4 | g4 a4\! b4\< c4 | diff --git a/input/regression/empty-chord.ly b/input/regression/empty-chord.ly index 22790b8fbc..202bc8d0cf 100644 --- a/input/regression/empty-chord.ly +++ b/input/regression/empty-chord.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Empty chords accept articulations, occupy no time, and leave the current duration unchanged." } -\relative c' { - r4 e8( g <>) ^"sul D" \f \> \repeat unfold 8 { c-. } <>\sfz +\relative { + r4 e'8( g <>) ^"sul D" \f \> \repeat unfold 8 { c-. } <>\sfz <>\downbow \repeat unfold 2 { c g } c1\> <>\enddecr } diff --git a/input/regression/figured-bass-alteration.ly b/input/regression/figured-bass-alteration.ly index 0520c1ad9a..26d32a8d86 100644 --- a/input/regression/figured-bass-alteration.ly +++ b/input/regression/figured-bass-alteration.ly @@ -3,16 +3,16 @@ texidoc = "Bass figures can carry alterations." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right= ##t } -\relative c'' { +\relative { \new Voice << - { c4 c c } + { c''4 c c } \figures { <3- > <3! > <3+ > diff --git a/input/regression/figured-bass-continuation-center.ly b/input/regression/figured-bass-continuation-center.ly index 01694b9054..bd04ea4c2c 100644 --- a/input/regression/figured-bass-continuation-center.ly +++ b/input/regression/figured-bass-continuation-center.ly @@ -6,14 +6,14 @@ true." } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##t } << - \relative c' \new Voice { - c8 c b b a a b b + \relative \new Voice { + c'8 c b b a a b b c c b b } diff --git a/input/regression/figured-bass-continuation-modifiers.ly b/input/regression/figured-bass-continuation-modifiers.ly index 5dc20fa35e..3a572a4f4f 100644 --- a/input/regression/figured-bass-continuation-modifiers.ly +++ b/input/regression/figured-bass-continuation-modifiers.ly @@ -5,11 +5,11 @@ } -\version "2.17.15" +\version "2.19.21" << - \relative c' \new Voice { - c8 c c c c c + \relative \new Voice { + c'8 c c c c c } \figures { \bassFigureExtendersOn diff --git a/input/regression/figured-bass-continuation.ly b/input/regression/figured-bass-continuation.ly index cb3cf4999a..941b57cbc2 100644 --- a/input/regression/figured-bass-continuation.ly +++ b/input/regression/figured-bass-continuation.ly @@ -5,14 +5,14 @@ figures. They are switched on with @code{useBassFigureExtenders}" } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##t } << - \relative c' \new Voice { - c8 c b b a a b b + \relative \new Voice { + c'8 c b b a a b b c^"the same with extenders" c b b a a b b } diff --git a/input/regression/figured-bass-implicit.ly b/input/regression/figured-bass-implicit.ly index b8128d2dd6..346d5efe70 100644 --- a/input/regression/figured-bass-implicit.ly +++ b/input/regression/figured-bass-implicit.ly @@ -6,15 +6,15 @@ } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } << - \relative c'' \new Voice { - c^"normal" c c c^"extenders" c c c_"implicit" c + \relative \new Voice { + c''^"normal" c c c^"extenders" c c c_"implicit" c } \figures { <3 6!> diff --git a/input/regression/figured-bass-staff.ly b/input/regression/figured-bass-staff.ly index e7e4dd4597..0de15a44d5 100644 --- a/input/regression/figured-bass-staff.ly +++ b/input/regression/figured-bass-staff.ly @@ -3,7 +3,7 @@ ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" \header { @@ -21,8 +21,8 @@ controlling figured bass should be set in @code{Staff} context. << \new Staff = someUniqueName - \relative c'' { - c4 c'8 r8 c,4 c' + \relative { + c''4 c'8 r8 c,4 c' } %% send to existing Staff. diff --git a/input/regression/finger-chords-order.ly b/input/regression/finger-chords-order.ly index 13ba41b7b6..81041f9728 100644 --- a/input/regression/finger-chords-order.ly +++ b/input/regression/finger-chords-order.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -9,12 +9,12 @@ is independent of up/@/down direction." \paper { ragged-right = ##t } -\relative c' { +\relative { %% input order is not 1 2 3 , output is. - <c-1 g'-3 e-2 b'-4 d-5 f-6 a-7 c-8 > 4 + <c'-1 g'-3 e-2 b'-4 d-5 f-6 a-7 c-8 > 4 - \relative c'' { - <a^1 cis^3 e^5> + \relative { + <a'^1 cis^3 e^5> <a_1 cis_3 e_5> } } diff --git a/input/regression/fingering.ly b/input/regression/fingering.ly index 3e3381326d..bd958282cb 100644 --- a/input/regression/fingering.ly +++ b/input/regression/fingering.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Automatic fingering tries to put fingering instructions @@ -8,8 +8,8 @@ next to noteheads. \layout { ragged-right= ##t } -\relative c' { - c4-4 +\relative { + c'4-4 <c-1 f-4> < c-1 e-2 g-3 b-4 > } diff --git a/input/regression/follow-voice-consecutive.ly b/input/regression/follow-voice-consecutive.ly index 308391312a..a5aafbaa8e 100644 --- a/input/regression/follow-voice-consecutive.ly +++ b/input/regression/follow-voice-consecutive.ly @@ -1,13 +1,13 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc= "The voice follower is not confused when set for consecutive sets of staff switches." } -\new PianoStaff \relative c' << +\new PianoStaff \relative << \new Staff = "one" { - c4 + c'4 \showStaffSwitch \change Staff = two a4 diff --git a/input/regression/font-family-override.ly b/input/regression/font-family-override.ly index 228bcaa072..cc7fe81033 100644 --- a/input/regression/font-family-override.ly +++ b/input/regression/font-family-override.ly @@ -5,7 +5,7 @@ } -\version "2.17.6" +\version "2.19.21" \paper { % change for other default global staff size. @@ -35,9 +35,9 @@ } \score { - \relative c'' { + \relative { - c^\markup { roman: foo \bold bla \italic bar \italic \bold baz } + c''^\markup { roman: foo \bold bla \italic bar \italic \bold baz } c'_\markup { \override #'(font-family . sans) { diff --git a/input/regression/footnote-auto-numbering-page-reset.ly b/input/regression/footnote-auto-numbering-page-reset.ly index 58799d03dc..369db807f7 100644 --- a/input/regression/footnote-auto-numbering-page-reset.ly +++ b/input/regression/footnote-auto-numbering-page-reset.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "This is an example of automatic footnote numbering where the number is reset on each page. It uses the symbol-footnotes @@ -31,10 +31,10 @@ a b c d } \markup { k \auto-footnote l m } -\relative c' { a1 } +\relative { a1 } -\relative c' { - d4 e +\relative { + d'4 e < f \footnote #'(1 . -1) \markup { n } a c > a8-\footnote #'(1 . 1) \markup { p } \< -\footnote #'(1 . 1) \markup { o } [ b c d ] a4 b c | diff --git a/input/regression/footnote-auto-numbering-vertical-order.ly b/input/regression/footnote-auto-numbering-vertical-order.ly index 61c156b3ff..a7c86686ea 100644 --- a/input/regression/footnote-auto-numbering-vertical-order.ly +++ b/input/regression/footnote-auto-numbering-vertical-order.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "This regtest makes sure that footnote numbers are laid out in the correct vertical order. @@ -28,8 +28,8 @@ in the correct vertical order. \book { \score { << - \new Staff \relative c' { - d4 e + \new Staff \relative { + d'4 e \once \override FootnoteItem.numbering-assertion-function = #(lambda (grob) (make-footnote-numbering-assertion-function 0)) < f \footnote #'(1 . -1) \markup { n } a c > @@ -57,8 +57,8 @@ in the correct vertical order. -\single\footnote #'(1 . 1) \markup { o } Beam [ b c d ] a4 b c | d a b c\! |\break } - \new Staff \relative c' { - d4 e + \new Staff \relative { + d'4 e \once \override FootnoteItem.numbering-assertion-function = #(lambda (grob) (make-footnote-numbering-assertion-function 1)) < f \footnote #'(1 . -1) \markup { n } a c > diff --git a/input/regression/footnote-auto-numbering.ly b/input/regression/footnote-auto-numbering.ly index 9520780fce..6de6c843e1 100644 --- a/input/regression/footnote-auto-numbering.ly +++ b/input/regression/footnote-auto-numbering.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "This is an example of automatic footnote numbering where the number is not reset on each page. It uses the default @@ -48,10 +48,10 @@ footnotes. \markup { k \auto-footnote l m } -\relative c' { a1 } +\relative { a1 } -\relative c' { - d4 e +\relative { + d'4 e \once \override FootnoteItem.numbering-assertion-function = #(lambda (grob) (make-footnote-numbering-assertion-function 5)) < f \footnote #'(1 . -1) \markup { n } a c > diff --git a/input/regression/footnote-break-visibility.ly b/input/regression/footnote-break-visibility.ly index 4e0821ab63..5d688dcbc6 100644 --- a/input/regression/footnote-break-visibility.ly +++ b/input/regression/footnote-break-visibility.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "With grobs that have break visibility, footnotes will automatically take the break visibility of the grob being footnoted. @@ -12,8 +12,8 @@ This behavior can be overridden. \new Staff { - \relative c' { - c1 + \relative { + c'1 \footnote "foo" #'(0 . 2) "bar" Staff.TimeSignature \time 3/4 \break \pageBreak diff --git a/input/regression/footnote-spanner.ly b/input/regression/footnote-spanner.ly index 9798709ef9..78fa5f316b 100644 --- a/input/regression/footnote-spanner.ly +++ b/input/regression/footnote-spanner.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Footnotes are annotated at the correct place, and the annotation goes to the correct page." @@ -12,8 +12,8 @@ annotation goes to the correct page." \book { -\relative c'' { -b4-\single\footnote +\relative { +b'4-\single\footnote \markup { \tiny "1." } #'(0.5 . 0.5) \markup { 1. \justify { Goes to the first broken spanner. } } Hairpin diff --git a/input/regression/footnote.ly b/input/regression/footnote.ly index e33602dfc4..265510a03f 100644 --- a/input/regression/footnote.ly +++ b/input/regression/footnote.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Lilypond does footnotes." } @@ -22,10 +22,10 @@ a b c d } \markup { k \footnote \concat { l \super 5 } \line { 5. m } } -\relative c' { a1 } +\relative { a1 } -\relative c' { - d4 e +\relative { + d'4 e < f \footnote \markup { \tiny 6 } #'(1 . -1) \markup { 6. n } a c > a8-\footnote \markup { \tiny 8 } #'(1 . 1) \markup { 8. p } \< -\footnote \markup { \tiny 7 } #'(1 . 1) \markup { 7. o } diff --git a/input/regression/fret-boards.ly b/input/regression/fret-boards.ly index a580ab4c9a..f28d5a48e8 100644 --- a/input/regression/fret-boards.ly +++ b/input/regression/fret-boards.ly @@ -6,9 +6,9 @@ best when one string number is indicated in advance " } -\version "2.16.0" +\version "2.19.21" -foo = \relative c { +foo = \relative { <d\5 fis a d fis>_\markup { \fret-diagram-terse #"x;5;4;2;3;2;" } diff --git a/input/regression/full-measure-rest-fermata.ly b/input/regression/full-measure-rest-fermata.ly index 70804c3dba..9df72fdfd7 100644 --- a/input/regression/full-measure-rest-fermata.ly +++ b/input/regression/full-measure-rest-fermata.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc=" @@ -8,9 +8,9 @@ be closer to the staff than other articulations." \layout { ragged-right = ##t } -\relative c'' { +\relative { R1 - a1^"should be lower" + a'1^"should be lower" R1^"should be higher" \break R1 diff --git a/input/regression/glissando-accidental.ly b/input/regression/glissando-accidental.ly index d3c023d3c1..646972d0e0 100644 --- a/input/regression/glissando-accidental.ly +++ b/input/regression/glissando-accidental.ly @@ -2,8 +2,8 @@ texidoc = "Glissandi stop before hitting accidentals." } -\version "2.16.0" +\version "2.19.21" -\relative c'' { - a1\glissando cis +\relative { + a'1\glissando cis } diff --git a/input/regression/glissando-chord.ly b/input/regression/glissando-chord.ly index 971074b133..444b060d7c 100644 --- a/input/regression/glissando-chord.ly +++ b/input/regression/glissando-chord.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "LilyPond typesets glissandi between chords." } -\relative c' { - c1 \glissando g' +\relative { + c'1 \glissando g' c,1 \glissando s1 g' <c, e>1 \glissando <g' b> <c, e>1 \glissando s1 <g' b> diff --git a/input/regression/glissando-consecutive.ly b/input/regression/glissando-consecutive.ly index e99f56f084..012103c4af 100644 --- a/input/regression/glissando-consecutive.ly +++ b/input/regression/glissando-consecutive.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" %% This should really be 2.15.0, because the glissando code %% hasn't been backported -- this is a git-only test at this point @@ -8,6 +8,6 @@ } -\relative c' { - c1 \glissando d1 \glissando e1 +\relative { + c'1 \glissando d1 \glissando e1 } diff --git a/input/regression/glissando-dots.ly b/input/regression/glissando-dots.ly index c0c6621231..b0a279029d 100644 --- a/input/regression/glissando-dots.ly +++ b/input/regression/glissando-dots.ly @@ -1,4 +1,4 @@ -\version "2.19.16" +\version "2.19.21" \header { texidoc = "Glissandi begin after dots by default. This behavior may @@ -11,8 +11,8 @@ be changed by overriding the @code{start-at-dot} property. ragged-right = ##t } -\relative c'' { - c2.\glissando b4 +\relative { + c''2.\glissando b4 c2..\glissando b8 c2...\glissando b16 \bar "||" diff --git a/input/regression/glissando-no-break.ly b/input/regression/glissando-no-break.ly index 5c611c27c8..713bc0514f 100644 --- a/input/regression/glissando-no-break.ly +++ b/input/regression/glissando-no-break.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "forced break was overridden by some other event, should you be using bar checks?")) @@ -12,8 +12,8 @@ Use @code{breakable} grob property to override." \layout { ragged-right = ##t } -\relative c' { - c1 +\relative { + c'1 c1\glissando \break d'1 diff --git a/input/regression/glissando-skip.ly b/input/regression/glissando-skip.ly index 94dd576dcc..543b26d308 100644 --- a/input/regression/glissando-skip.ly +++ b/input/regression/glissando-skip.ly @@ -1,11 +1,11 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "@code{NoteColumn} grobs can be skipped over by glissandi. " } -\relative c' { +\relative { a2 \glissando \once \override NoteColumn.glissando-skip = ##t f''4 d, diff --git a/input/regression/grace-bar-line.ly b/input/regression/grace-bar-line.ly index badaa1ae74..e5017a98da 100644 --- a/input/regression/grace-bar-line.ly +++ b/input/regression/grace-bar-line.ly @@ -1,5 +1,5 @@ -\version "2.17.28" +\version "2.19.21" \header { texidoc = "Bar line should come before the grace note." } @@ -10,8 +10,8 @@ -\relative c' \context Staff { - f1 \grace { a'16 f } g1 } +\relative \context Staff { + f'1 \grace { a'16 f } g1 } diff --git a/input/regression/grace-bar-number.ly b/input/regression/grace-bar-number.ly index 1f54387c68..c59a5d56e7 100644 --- a/input/regression/grace-bar-number.ly +++ b/input/regression/grace-bar-number.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Grace notes do tricky things with timing. If a measure @@ -12,7 +12,7 @@ printed correctly. \layout { ragged-right = ##t } -\relative c'' { c1 \break +\relative { c''1 \break \grace c8 c1 } diff --git a/input/regression/grace-beam.ly b/input/regression/grace-beam.ly index 8566a522ea..a098b5e296 100644 --- a/input/regression/grace-beam.ly +++ b/input/regression/grace-beam.ly @@ -9,9 +9,9 @@ Unbeamed grace notes are not put into normal beams. \layout { ragged-right= ##t } -\version "2.17.28" -\relative c'' { - c4 d8[ +\version "2.19.21" +\relative { + c''4 d8[ \grace { e32 d c d } e8] e[ e \grace { f16 } e8 e] diff --git a/input/regression/grace-end.ly b/input/regression/grace-end.ly index bacb821e1f..1c9a145376 100644 --- a/input/regression/grace-end.ly +++ b/input/regression/grace-end.ly @@ -1,4 +1,4 @@ -\version "2.17.28" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) @@ -7,6 +7,6 @@ Grace notes after the last note do not confuse the timing code." } -\context Voice \relative c' { - c4 \grace { d16 d16 } +\context Voice \relative { + c'4 \grace { d16 d16 } } diff --git a/input/regression/grace-nest3.ly b/input/regression/grace-nest3.ly index 0425408c48..76557fbf7a 100644 --- a/input/regression/grace-nest3.ly +++ b/input/regression/grace-nest3.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "In nested syntax, graces are still properly handled." } \layout { ragged-right= ##t } -\relative c'' { - f1 +\relative { + f''1 \grace e8 f1 << { \grace { e8 } f1 } >> } diff --git a/input/regression/grace-nest5.ly b/input/regression/grace-nest5.ly index 2e4e221296..36fcb263a4 100644 --- a/input/regression/grace-nest5.ly +++ b/input/regression/grace-nest5.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Graces notes may have the same duration as the main note." } \layout { ragged-right = ##t } -\relative c'' { - s2 <f>4 +\relative { + s2 <f''>4 \grace g e4 } diff --git a/input/regression/grace-part-combine.ly b/input/regression/grace-part-combine.ly index 2862435d05..6310560371 100644 --- a/input/regression/grace-part-combine.ly +++ b/input/regression/grace-part-combine.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Grace notes may be put in a @code{partcombine}r." } @@ -9,11 +9,11 @@ \new Staff \partcombine -\relative c'' { - c4 d e f \grace f16 g1 +\relative { + c''4 d e f \grace f16 g1 } -\relative c' { - c4 d e2 g1 +\relative { + c'4 d e2 g1 } diff --git a/input/regression/grace-stem-length.ly b/input/regression/grace-stem-length.ly index 6bae7e187c..45bb6963bf 100644 --- a/input/regression/grace-stem-length.ly +++ b/input/regression/grace-stem-length.ly @@ -3,15 +3,15 @@ normal notes, if possible. They should never be longer, even if that would lead to beam quanting problems." } -\version "2.17.28" +\version "2.19.21" \layout { ragged-right = ##t % "debug-beam-quanting" = ##t } -\relative c'' { - << { d8.\noBeam d16 } \\ >> \grace { d16 } c8.[ b16] +\relative { + << { d''8.\noBeam d16 } \\ >> \grace { d16 } c8.[ b16] << { c16[ b] } \\ >> \grace { c16 b } d4 diff --git a/input/regression/grace-sync.ly b/input/regression/grace-sync.ly index cd24450032..46436737e1 100644 --- a/input/regression/grace-sync.ly +++ b/input/regression/grace-sync.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Grace notes in different voices/@/staves are synchronized." } @@ -6,9 +6,9 @@ \layout { ragged-right = ##t} -\relative c'' << +\relative << \context Staff { - c2 + c''2 \grace c8 c4 c4 } diff --git a/input/regression/grace-types.ly b/input/regression/grace-types.ly index f645001872..33d7a30264 100644 --- a/input/regression/grace-types.ly +++ b/input/regression/grace-types.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "There are three different kinds of grace types: the base grace switches to smaller type, the appoggiatura inserts also a slur, and the @@ -9,8 +9,8 @@ acciaccatura inserts a slur and slashes the stem." ragged-right = ##t } -\relative c'' { - c4 \grace { d8 } c4 +\relative { + c''4 \grace { d8 } c4 \appoggiatura { d8 } c \acciaccatura { d } c } diff --git a/input/regression/hairpin-barline-break.ly b/input/regression/hairpin-barline-break.ly index 3dffd61e59..43e225cd2b 100644 --- a/input/regression/hairpin-barline-break.ly +++ b/input/regression/hairpin-barline-break.ly @@ -5,14 +5,14 @@ do not print that ending. But on the previous line, this hairpin should not be left open, and should end at the bar line. " } -\version "2.17.6" +\version "2.19.21" \layout { line-width = 4.\cm } -\relative c' { - c1\> +\relative { + c'1\> \break c1\! \override Hairpin.to-barline = ##f diff --git a/input/regression/hairpin-clef.ly b/input/regression/hairpin-clef.ly index 43acfdf0fb..a480dc4ba7 100644 --- a/input/regression/hairpin-clef.ly +++ b/input/regression/hairpin-clef.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Broken hairpins are not printed too high after treble clefs. " } -\relative c'' { - c4^\< c c c \break c c c c\! | +\relative { + c''4^\< c c c \break c c c c\! | } diff --git a/input/regression/hairpin-key-signature.ly b/input/regression/hairpin-key-signature.ly index 0811099115..32ddc15f8e 100644 --- a/input/regression/hairpin-key-signature.ly +++ b/input/regression/hairpin-key-signature.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Broken hairpins are not printed too high after key signatures. " } -\relative c'' { +\relative { \key e \major - c4^\< c c c \break c c c c\! | + c''4^\< c c c \break c c c c\! | } diff --git a/input/regression/hairpin-span-bar.ly b/input/regression/hairpin-span-bar.ly index cacea3ac2e..43129b4368 100644 --- a/input/regression/hairpin-span-bar.ly +++ b/input/regression/hairpin-span-bar.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{Hairpin} grobs do not collide with @code{SpanBar} grobs. @@ -10,16 +10,16 @@ \score { << \new GrandStaff << - \new Staff \relative c'' { a\< a a a \break a a a a \break a a a a\! } - \new Staff \relative c'' { a4 a a a s1 a4 a a a } + \new Staff \relative { a'\< a a a \break a a a a \break a a a a\! } + \new Staff \relative { a'4 a a a s1 a4 a a a } >> \new GrandStaff << - \new Staff \relative c'' { a^\< a a a a a a a a a a a\! } + \new Staff \relative { a'^\< a a a a a a a a a a a\! } \new Staff \relative c'' { \repeat unfold 12 a4 } >> \new GrandStaff << - \new Staff \relative c'' { a4 a a a s1 a4 a a a } - \new Staff \relative c'' { a^\< a a a a a a a a a a a\! } + \new Staff \relative { a'4 a a a s1 a4 a a a } + \new Staff \relative { a'^\< a a a a a a a a a a a\! } >> >> \layout { diff --git a/input/regression/hairpin-to-barline-mark.ly b/input/regression/hairpin-to-barline-mark.ly index c5f600a7dd..96871debc5 100644 --- a/input/regression/hairpin-to-barline-mark.ly +++ b/input/regression/hairpin-to-barline-mark.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -6,8 +6,8 @@ } -\new Staff \relative c' { - c1\< +\new Staff \relative { + c'1\< \mark "Very long mark" c4\> c c c\! } diff --git a/input/regression/hairpin-to-rest.ly b/input/regression/hairpin-to-rest.ly index 0022f96130..7e617dcd75 100644 --- a/input/regression/hairpin-to-rest.ly +++ b/input/regression/hairpin-to-rest.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Hairpins end at the left edge of a rest." } @@ -6,6 +6,6 @@ \layout{ ragged-right=##t } -\relative c'' { - c2\p\> r4\! +\relative { + c''2\p\> r4\! } diff --git a/input/regression/hara-kiri-keep-previous-settings.ly b/input/regression/hara-kiri-keep-previous-settings.ly index 545500c90b..9aab6fef3d 100644 --- a/input/regression/hara-kiri-keep-previous-settings.ly +++ b/input/regression/hara-kiri-keep-previous-settings.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = @@ -21,9 +21,9 @@ not erase previous settings to the Staff context. % Old \RemoveEmptyStaffContext: Will erase previous settings... \score { << - \new Staff \relative c'' { c4 c c c \break s1 \break c4 c c c \break c c c c} - \new Staff \relative c'' { d4 d d d s1 s1 s1 } - \new Staff \relative c'' { e4 e e e s1 e4 e e e s1 } + \new Staff \relative { c''4 c c c \break s1 \break c4 c c c \break c c c c} + \new Staff \relative { d''4 d d d s1 s1 s1 } + \new Staff \relative { e''4 e e e s1 e4 e e e s1 } >> \layout { \context { \RemoveEmptyStaffContext } @@ -33,9 +33,9 @@ not erase previous settings to the Staff context. % New \RemoveEmptyStaves settings: Preserves previous settings... \score { << - \new Staff \relative c'' { c4 c c c \break s1 \break c4 c c c \break c c c c} - \new Staff \relative c'' { d4 d d d s1 s1 s1 } - \new Staff \relative c'' { e4 e e e s1 e4 e e e s1 } + \new Staff \relative { c''4 c c c \break s1 \break c4 c c c \break c c c c} + \new Staff \relative { d''4 d d d s1 s1 s1 } + \new Staff \relative { e''4 e e e s1 e4 e e e s1 } >> \layout { \context { \Staff \RemoveEmptyStaves } diff --git a/input/regression/harp-pedals.ly b/input/regression/harp-pedals.ly index 71e889c0a6..471d9c2095 100644 --- a/input/regression/harp-pedals.ly +++ b/input/regression/harp-pedals.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "Harp pedal diagram contains ~a pedals rather than the usual 7.") 0) @@ -18,8 +18,8 @@ The third diagram uses an empty string, the third contains invalid characters. Both cases will create warnings, but should still not fail with an error." } -\relative c'' { - c1^\markup \harp-pedal #"^v-|vv-^" +\relative { + c''1^\markup \harp-pedal #"^v-|vv-^" % circled boxes: c1^\markup \harp-pedal #"o^ovo-|vovo-o^" % invalid pedal specifications, which still should be handled gracefully: diff --git a/input/regression/header-book-multiplescores.ly b/input/regression/header-book-multiplescores.ly index 3e33d1ae2e..e7167ad51a 100644 --- a/input/regression/header-book-multiplescores.ly +++ b/input/regression/header-book-multiplescores.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc=" @@ -14,7 +14,7 @@ Changing the header fields in a book or a bookpart shall not have any effect on title = "Title correct (set at top level)" } \score { - \relative c' { c1 } + \relative { c'1 } } diff --git a/input/regression/horizontal-bracket-tweak.ly b/input/regression/horizontal-bracket-tweak.ly index 3ffb66efc5..a1ac14d0f9 100644 --- a/input/regression/horizontal-bracket-tweak.ly +++ b/input/regression/horizontal-bracket-tweak.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Horizontal brackets are created with the correct event-cause, ensuring @@ -12,8 +12,8 @@ tweaks are applied to the correct spanner." } } -\relative c' { - c1-\tweak thickness #6 \startGroup +\relative { + c'1-\tweak thickness #6 \startGroup c1\startGroup c1\stopGroup c1\stopGroup diff --git a/input/regression/horizontal-bracket.ly b/input/regression/horizontal-bracket.ly index 73262e1a77..c2e1ec55c0 100644 --- a/input/regression/horizontal-bracket.ly +++ b/input/regression/horizontal-bracket.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -24,9 +24,9 @@ analysis brackets start and end. } -\relative c'' +\relative { - c4\startGroup\startGroup\startGroup + c''4\startGroup\startGroup\startGroup c4\stopGroup c4\startGroup c4\stopGroup\stopGroup diff --git a/input/regression/identifier-following-chordmode.ly b/input/regression/identifier-following-chordmode.ly index 63790a7b55..1815c55b76 100644 --- a/input/regression/identifier-following-chordmode.ly +++ b/input/regression/identifier-following-chordmode.ly @@ -7,7 +7,7 @@ modifier." } -\version "2.16.0" +\version "2.19.21" myDisplayMusic = #(define-void-function (parser location music) @@ -16,6 +16,6 @@ myDisplayMusic = \myDisplayMusic \chordmode { c } -m = \relative c' { c4 d e f } +m = \relative { c'4 d e f } \new Staff { \m } diff --git a/input/regression/include-string.ly b/input/regression/include-string.ly index a5f772a44e..619e1b4ee0 100644 --- a/input/regression/include-string.ly +++ b/input/regression/include-string.ly @@ -1,8 +1,8 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{ly:parser-include-string} should include the current string like a file @code{\\include}." } -#(ly:parser-include-string parser "\\relative c' { a4 b c d }") +#(ly:parser-include-string parser "\\relative { a4 b c d }") diff --git a/input/regression/instrument-cue-name.ly b/input/regression/instrument-cue-name.ly index e7454346fb..369f2fea36 100644 --- a/input/regression/instrument-cue-name.ly +++ b/input/regression/instrument-cue-name.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -7,8 +7,8 @@ names for cue notes. It can also be unset properly." } -\relative c'' { - c4 +\relative { + c''4 \set Voice.instrumentCueName = "In.1" c2. \set Voice.instrumentCueName = "I.2" diff --git a/input/regression/instrument-name-pedal-lyrics.ly b/input/regression/instrument-name-pedal-lyrics.ly index 860a6b129f..4bc60ae4b7 100644 --- a/input/regression/instrument-name-pedal-lyrics.ly +++ b/input/regression/instrument-name-pedal-lyrics.ly @@ -1,17 +1,17 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{Dynamics} and @code{Lyrics} lines below a @code{PianoStaff} do not affect the placement of the instrument name." } -upper = \relative c'' { - a4 b c d +upper = \relative { + a'4 b c d } -lower = \relative c { +lower = \relative { \clef bass - a2 c + a,2 c } \score { diff --git a/input/regression/instrument-switch-invalid-warning.ly b/input/regression/instrument-switch-invalid-warning.ly index 80df393fce..0ef544cc3d 100644 --- a/input/regression/instrument-switch-invalid-warning.ly +++ b/input/regression/instrument-switch-invalid-warning.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "No such instrument: ~a") "bassClar") @@ -7,9 +7,9 @@ the given instrument definition does not exist." } -\relative c' +\relative { - c4 + c'4 \instrumentSwitch "bassClar" c } diff --git a/input/regression/instrument-switch.ly b/input/regression/instrument-switch.ly index fc6542c8c2..e72d287258 100644 --- a/input/regression/instrument-switch.ly +++ b/input/regression/instrument-switch.ly @@ -5,7 +5,7 @@ properties for an in staff instrument switch. " } -\version "2.17.15" +\version "2.19.21" \addInstrumentDefinition #"bassClar" #`((instrumentTransposition . ,(ly:make-pitch -1 6 FLAT)) (instrumentName . "bla") @@ -21,9 +21,9 @@ properties for an in staff instrument switch. " ragged-right = ##t } -\relative c' +\relative { - c4 + c'4 \instrumentSwitch "bassClar" c2.\break c1\break diff --git a/input/regression/key-clefs.ly b/input/regression/key-clefs.ly index cef2ac4b52..d4e224dc5d 100644 --- a/input/regression/key-clefs.ly +++ b/input/regression/key-clefs.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Each clef has its own accidental placing rules, which can be adjusted using @code{sharp-positions} and @code{flat-positions}." } @@ -7,11 +7,11 @@ and @code{flat-positions}." } #(set-global-staff-size 16) -\relative cis' { +\relative { % \clef french % same as octaviated bass \clef violin - \key cis \major cis1 \key ces \major ces + \key cis \major cis'1 \key ces \major ces \clef soprano \key cis \major cis \key ces \major ces \break \clef mezzosoprano diff --git a/input/regression/key-signature-left-edge.ly b/input/regression/key-signature-left-edge.ly index fd7fc1403e..70b4687b3a 100644 --- a/input/regression/key-signature-left-edge.ly +++ b/input/regression/key-signature-left-edge.ly @@ -5,9 +5,9 @@ proper padding > 0 to the start of the staff lines." } -\version "2.16.0" +\version "2.19.21" -m = \relative c' { \key f \major c8 } +m = \relative { \key f \major c'8 } % Default spacing should not be affected \score { diff --git a/input/regression/laissez-vibrer-chords.ly b/input/regression/laissez-vibrer-chords.ly index 26d284654c..cd2f00e2d4 100644 --- a/input/regression/laissez-vibrer-chords.ly +++ b/input/regression/laissez-vibrer-chords.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @code{\\laissezVibrer} ties should also work on individual notes of a chord. " } -\relative c' { - <d-\laissezVibrer g>1 +\relative { + <d'-\laissezVibrer g>1 <d^\laissezVibrer g_\laissezVibrer>1 } diff --git a/input/regression/laissez-vibrer-tie-head-direction.ly b/input/regression/laissez-vibrer-tie-head-direction.ly index af166fece5..56080f38a1 100644 --- a/input/regression/laissez-vibrer-tie-head-direction.ly +++ b/input/regression/laissez-vibrer-tie-head-direction.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "The 'head-direction of a LaissezVibrerTieColumn should @@ -6,8 +6,8 @@ be able to be set without causing a segmentation fault." } -\relative c'' { - c2 \laissezVibrer +\relative { + c''2 \laissezVibrer \once \override LaissezVibrerTieColumn.head-direction = #RIGHT c \laissezVibrer } diff --git a/input/regression/laissez-vibrer-ties.ly b/input/regression/laissez-vibrer-ties.ly index 53d868c1f0..5ae493913e 100644 --- a/input/regression/laissez-vibrer-ties.ly +++ b/input/regression/laissez-vibrer-ties.ly @@ -10,13 +10,13 @@ They have fixed size. Their formatting can be tuned with " } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' { - <c e g>\laissezVibrer r4 +\relative { + <c' e g>\laissezVibrer r4 <c f g>\laissezVibrer r <c d f g>\laissezVibrer r <c d f g>4.\laissezVibrer r8 diff --git a/input/regression/landscape.ly b/input/regression/landscape.ly index 73f58967b8..0868465001 100644 --- a/input/regression/landscape.ly +++ b/input/regression/landscape.ly @@ -1,9 +1,9 @@ -\version "2.16.0" +\version "2.19.21" #(set-default-paper-size "a6" 'landscape) \header { texidoc = " Scores may be printed in landscape mode."} -pattern = \relative c' { a b c d \break } +pattern = \relative { a b c d \break } \book { \score { diff --git a/input/regression/layout-from.ly b/input/regression/layout-from.ly index 80892c6c95..580709c205 100644 --- a/input/regression/layout-from.ly +++ b/input/regression/layout-from.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = " @@ -9,7 +9,7 @@ into context modifications. } \score { - \relative c' { cis cis cis cis } + \relative { cis' cis cis cis } \layout { \accidentalStyle dodecaphonic } diff --git a/input/regression/ledger-line-minimum.ly b/input/regression/ledger-line-minimum.ly index b5ba06a9c5..2a4cd65879 100644 --- a/input/regression/ledger-line-minimum.ly +++ b/input/regression/ledger-line-minimum.ly @@ -7,10 +7,10 @@ disappearing." } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t} -\relative c'' { +\relative { \time 2/4 - c8 c c c + c''8 c c c c \grace { \stemDown e'32[ c a f] } f8 f f } diff --git a/input/regression/ledger-line-shorten.ly b/input/regression/ledger-line-shorten.ly index 7c688f8457..8d5919a84e 100644 --- a/input/regression/ledger-line-shorten.ly +++ b/input/regression/ledger-line-shorten.ly @@ -2,16 +2,16 @@ texidoc = "Ledger lines are shortened when they are very close. This ensures that ledger lines stay separate." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c' { +\relative { \time 2/4 -c4 +c'4 b c4 b diff --git a/input/regression/ledger-lines-dynamics.ly b/input/regression/ledger-lines-dynamics.ly index a6e2d80c4c..e17ba848c6 100644 --- a/input/regression/ledger-lines-dynamics.ly +++ b/input/regression/ledger-lines-dynamics.ly @@ -1,10 +1,10 @@ -\version "2.17.2" +\version "2.19.21" \header { texidoc = "Dynamics and other outside staff objects avoid ledger lines. " } -\relative c' { - f16\pp[ c d e ] r2. | +\relative { + f'16\pp[ c d e ] r2. | } diff --git a/input/regression/ledger-lines-varying-staves.ly b/input/regression/ledger-lines-varying-staves.ly index 9a9f160119..2348e15060 100644 --- a/input/regression/ledger-lines-varying-staves.ly +++ b/input/regression/ledger-lines-varying-staves.ly @@ -1,13 +1,13 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Ledger lines should appear at every other location for a variety of staves using both @code{line-count} and @code{line-positions}." } -notes = \relative c' { +notes = \relative { \time 3/4 - c2. | d | e | f + c'2. | d | e | f g2. | a | b | c d2. | e | f | g a2. diff --git a/input/regression/lilypond-book/include/example.ly b/input/regression/lilypond-book/include/example.ly index ccc2582e0d..cae2c0fdb2 100644 --- a/input/regression/lilypond-book/include/example.ly +++ b/input/regression/lilypond-book/include/example.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \score { - \relative c'' { d c b c } + \relative { d'' c b c } } diff --git a/input/regression/lilypond-book/include2.ly b/input/regression/lilypond-book/include2.ly index 1624a24c56..2c71903bb3 100644 --- a/input/regression/lilypond-book/include2.ly +++ b/input/regression/lilypond-book/include2.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \score { - \relative c'' { \key c \minor d4 es g2 } + \relative { \key c \minor d''4 es g2 } } diff --git a/input/regression/lilypond-book/include3.ily b/input/regression/lilypond-book/include3.ily index 8aad8b1de1..43519082d9 100644 --- a/input/regression/lilypond-book/include3.ily +++ b/input/regression/lilypond-book/include3.ily @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { doctitlees = "If you see this 'translated' doctitle, language detection works!" @@ -9,7 +9,7 @@ texidoces = "If you see this 'translated' texidoc, language detection works!" doctitle = "Original doctitle (you should not see this!)" } -\relative c'' { - c1 +\relative { + c''1 } diff --git a/input/regression/lilypond-book/melody.ly b/input/regression/lilypond-book/melody.ly index e21f02cd44..5ab7d7bf1c 100644 --- a/input/regression/lilypond-book/melody.ly +++ b/input/regression/lilypond-book/melody.ly @@ -1,3 +1,3 @@ -\version "2.16.0" +\version "2.19.21" \include "include/myvar.ily" -melody = \relative c'' { \key c \minor c4 es g2 \myVar } +melody = \relative { \key c \minor c''4 es g2 \myVar } diff --git a/input/regression/line-style-zigzag-spacing.ly b/input/regression/line-style-zigzag-spacing.ly index ab35aa1d95..13603805b0 100644 --- a/input/regression/line-style-zigzag-spacing.ly +++ b/input/regression/line-style-zigzag-spacing.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Setting @code{'zigzag} style for spanners does not @@ -8,8 +8,8 @@ the second markup and default trillspanner. " } -\relative c' { - c1^"text" +\relative { + c'1^"text" \override TrillSpanner.style = #'zigzag c1\startTrillSpan c2^\stopTrillSpan c^"text" diff --git a/input/regression/lyric-combine-derived-voice.ly b/input/regression/lyric-combine-derived-voice.ly index 0c7e45de15..782a3f5ae4 100644 --- a/input/regression/lyric-combine-derived-voice.ly +++ b/input/regression/lyric-combine-derived-voice.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "For Voice-derived contexts like CueVoice, the lyrics should still start with the first note." @@ -6,8 +6,8 @@ still start with the first note." \score { \new Staff << - \new Voice \relative c'' { - g2 + \new Voice \relative { + g'2 << { \voiceOne r2 } \new CueVoice = "cue" { \voiceTwo g4 g } diff --git a/input/regression/lyric-combine-switch-voice-2.ly b/input/regression/lyric-combine-switch-voice-2.ly index d084e8f2bd..7462f7f84e 100644 --- a/input/regression/lyric-combine-switch-voice-2.ly +++ b/input/regression/lyric-combine-switch-voice-2.ly @@ -2,11 +2,11 @@ { texidoc = "switching voices in the middle of the lyrics is possible using @code{lyricsto}." } -\version "2.17.15" +\version "2.19.21" << - \relative c' \new Voice = "lahlah" { - c4 + \relative \new Voice = "lahlah" { + c'4 << \new Voice = "alternative" { \voiceOne diff --git a/input/regression/lyric-combine.ly b/input/regression/lyric-combine.ly index cedcb39d2d..fff2e9cbcd 100644 --- a/input/regression/lyric-combine.ly +++ b/input/regression/lyric-combine.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header{ @@ -26,7 +26,7 @@ m = \relative c'' { b } -noise = \repeat unfold 6 \relative c'' { g16 g g g } +noise = \repeat unfold 6 \relative { g'16 g g g } textI = \lyricmode { la2 __ la -- la __ la la la la la diff --git a/input/regression/lyric-extender-includegraces.ly b/input/regression/lyric-extender-includegraces.ly index 1100f625e9..1cb9fa8dce 100644 --- a/input/regression/lyric-extender-includegraces.ly +++ b/input/regression/lyric-extender-includegraces.ly @@ -1,4 +1,4 @@ -\version "2.17.28" +\version "2.19.21" \header { texidoc=" @@ -7,8 +7,8 @@ expected also for syllables starting under grace notes. " } -\relative c' { - c2 \grace { c16( d e f } g2) +\relative { + c'2 \grace { c16( d e f } g2) f1 } \addlyrics { diff --git a/input/regression/lyric-extender-no-heads.ly b/input/regression/lyric-extender-no-heads.ly index 36d4133c06..f2e62f4c1c 100644 --- a/input/regression/lyric-extender-no-heads.ly +++ b/input/regression/lyric-extender-no-heads.ly @@ -6,15 +6,15 @@ without a lyric attached." } -\version "2.19.2" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c'' { +\relative { \time 3/4 - d4~ 4 r4 + d''4~ 4 r4 \grace es8 d4 diff --git a/input/regression/lyric-extender-rest.ly b/input/regression/lyric-extender-rest.ly index 8f57a1753a..6afa49715f 100644 --- a/input/regression/lyric-extender-rest.ly +++ b/input/regression/lyric-extender-rest.ly @@ -10,11 +10,11 @@ is not terminated upon encountering a rest. " ragged-right = ##T } -\version "2.16.0" +\version "2.19.21" << - \new Voice = "one" \relative c'' { - c4\melisma + \new Voice = "one" \relative { + c''4\melisma c4 r c\melismaEnd c } \new Lyrics \lyricsto "one" { diff --git a/input/regression/lyric-extender-right-margin.ly b/input/regression/lyric-extender-right-margin.ly index 9b1a07bddc..72e1f0a4a2 100644 --- a/input/regression/lyric-extender-right-margin.ly +++ b/input/regression/lyric-extender-right-margin.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Extenders will not protrude into the right margin" } \score{ { - \relative c' { - c4 d e f ~ | \break + \relative { + c'4 d e f ~ | \break f4 e d c | } diff --git a/input/regression/lyric-hyphen-break.ly b/input/regression/lyric-hyphen-break.ly index 2a67e35c02..fd6121754b 100644 --- a/input/regression/lyric-hyphen-break.ly +++ b/input/regression/lyric-hyphen-break.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -20,8 +20,8 @@ they go past the first note. " << - \new Voice \relative c'' { - \time 1/4 c16[ c c c] + \new Voice \relative { + \time 1/4 c''16[ c c c] \time 1/4 c16[ c c c] \time 1/4 diff --git a/input/regression/lyric-hyphen-retain.ly b/input/regression/lyric-hyphen-retain.ly index 6a45c767d9..c19d42a2ad 100644 --- a/input/regression/lyric-hyphen-retain.ly +++ b/input/regression/lyric-hyphen-retain.ly @@ -14,16 +14,16 @@ effect of a setting is delayed is one syllable." } -\version "2.17.6" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c'' { +\relative { \time 2/4 - c32 c c c + c''32 c c c c32 c c c c32 c c c c32 c c c diff --git a/input/regression/lyric-melisma-alignment.ly b/input/regression/lyric-melisma-alignment.ly index 8e86687272..8be9d01914 100644 --- a/input/regression/lyric-melisma-alignment.ly +++ b/input/regression/lyric-melisma-alignment.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{lyricMelismaAlignment} sets the default alignment for melismata. It works with both automatic and manual melismata." } -\relative c' { - c4^"auto"( d e f) +\relative { + c'4^"auto"( d e f) \set melismaBusyProperties = #'() c4^"manual" d e f } diff --git a/input/regression/lyric-melisma-melisma.ly b/input/regression/lyric-melisma-melisma.ly index b75c2b0377..ab602a016d 100644 --- a/input/regression/lyric-melisma-melisma.ly +++ b/input/regression/lyric-melisma-melisma.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "A syllable aligned with a melisma delimited with @code{\\melisma} and @code{\\melismaEnd} should be left-aligned. " } -\relative c' { - c4 c c16\melisma d e f \melismaEnd g4 +\relative { + c'4 c c16\melisma d e f \melismaEnd g4 } \addlyrics { ha ha looong __ ho } diff --git a/input/regression/lyric-no-association-rhythm.ly b/input/regression/lyric-no-association-rhythm.ly index 84b07a52b9..16c9693d18 100644 --- a/input/regression/lyric-no-association-rhythm.ly +++ b/input/regression/lyric-no-association-rhythm.ly @@ -8,16 +8,16 @@ } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } \score { \context ChoirStaff << \context Staff = soprano << - \context Voice = sop \relative c' { e2 e4 } + \context Voice = sop \relative { e'2 e4 } >> \context Staff = alto << - \context Voice = alt \relative c' { e4 e4 e4 } + \context Voice = alt \relative { e'4 e4 e4 } \new Lyrics \lyricmode { do4 re4 me4 } diff --git a/input/regression/lyrics-includegraces.ly b/input/regression/lyrics-includegraces.ly index ec3dfe2fc3..529681f82f 100644 --- a/input/regression/lyrics-includegraces.ly +++ b/input/regression/lyrics-includegraces.ly @@ -1,4 +1,4 @@ -\version "2.17.28" +\version "2.19.21" \header { texidoc=" @@ -7,8 +7,8 @@ assigned to grace notes. " } -\relative c' { - f4 \appoggiatura a32 b4 +\relative { + f'4 \appoggiatura a32 b4 \grace { f16 a16 } b2 \afterGrace b2 { f16[ a16] } \appoggiatura a32 b4 diff --git a/input/regression/lyrics-no-notes.ly b/input/regression/lyrics-no-notes.ly index 1262e70c9c..d45f14493c 100644 --- a/input/regression/lyrics-no-notes.ly +++ b/input/regression/lyrics-no-notes.ly @@ -5,13 +5,13 @@ aligned correctly even if the paper column is very wide." \layout{ ragged-right = ##t } -\version "2.17.6" +\version "2.19.21" << \override Score.PaperColumn.keep-inside-line = ##f - \new Staff \relative c' { + \new Staff \relative { \key aes \major \context Voice = "1" { - f8 f + f'8 f \textLengthOff f^"xxxxxxxxxxxxxxxxxxxxxxxxxx" f diff --git a/input/regression/lyrics-pass-under-bar.ly b/input/regression/lyrics-pass-under-bar.ly index 90df8bffa9..2df8fd0390 100644 --- a/input/regression/lyrics-pass-under-bar.ly +++ b/input/regression/lyrics-pass-under-bar.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Long lyrics should be allowed to pass under @@ -6,5 +6,5 @@ the bar line. " } -\relative c''' { c2 c c c } +\relative { c'''2 c c c } \addlyrics { foo bar foooooooo bar } diff --git a/input/regression/lyrics-tenor-clef.ly b/input/regression/lyrics-tenor-clef.ly index acea89d45b..df19660b58 100644 --- a/input/regression/lyrics-tenor-clef.ly +++ b/input/regression/lyrics-tenor-clef.ly @@ -3,11 +3,11 @@ a clef transposition (8 below the clef)." } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' { \clef "G_8" c c c c } +\relative { \clef "G_8" c' c c c } \addlyrics { bla bla bla bla } diff --git a/input/regression/markup-note-dot.ly b/input/regression/markup-note-dot.ly index ea2fd05b9d..4d41fa93c5 100644 --- a/input/regression/markup-note-dot.ly +++ b/input/regression/markup-note-dot.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " A dotted whole note displayed via the @code{\\note} @@ -6,8 +6,8 @@ } -\relative c' { - c4^\markup { \note #"1." #1 } +\relative { + c'4^\markup { \note #"1." #1 } c4^\markup { \note #"2." #1 } c4^\markup { \note #"8." #1 } } diff --git a/input/regression/markup-note.ly b/input/regression/markup-note.ly index c600fab42f..11e993c134 100644 --- a/input/regression/markup-note.ly +++ b/input/regression/markup-note.ly @@ -3,7 +3,7 @@ texidoc = "The note markup function may be used to make metronome markings. It works for a variety of flag, dot and duration settings." } -\version "2.17.12" +\version "2.19.21" mrkp = \markup { @@ -50,9 +50,9 @@ mrkp = } \score { - \relative c'' + \relative { - c4^\markup { + c''4^\markup { \column { \mrkp \override #'(style . mensural) \mrkp diff --git a/input/regression/markup-score-multi-system.ly b/input/regression/markup-score-multi-system.ly index c0a9971bed..a40f040adc 100644 --- a/input/regression/markup-score-multi-system.ly +++ b/input/regression/markup-score-multi-system.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "\\markup \\score displays all systems. Spacing between @@ -10,8 +10,8 @@ \markup { \override #'(baseline-skip . 10) \score { - \new Staff \relative c' { - c4 d e f \break + \new Staff \relative { + c'4 d e f \break g1 } \layout { diff --git a/input/regression/measure-grouping.ly b/input/regression/measure-grouping.ly index 5fa0b8723b..270b5bc73d 100644 --- a/input/regression/measure-grouping.ly +++ b/input/regression/measure-grouping.ly @@ -7,7 +7,7 @@ brackets above beats when the beats of a time signature are grouped. " } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t @@ -19,9 +19,9 @@ brackets above beats when the beats of a time signature are grouped. " \consists "Measure_grouping_engraver" } -\relative c' { +\relative { \time 2/4 - c8 a'4 a8~ + c'8 a'4 a8~ \time #'(3 2) 5/8 a8 bes4 r8 bes8-> \time 2/4 diff --git a/input/regression/metronome-mark-loose-column.ly b/input/regression/metronome-mark-loose-column.ly index deca81dd52..0abd414625 100644 --- a/input/regression/metronome-mark-loose-column.ly +++ b/input/regression/metronome-mark-loose-column.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Metronome marks aligned on notes do not interfere with @@ -9,13 +9,13 @@ the second note in the lower staff." \score { << - \new Staff \relative c' { - c8 c c c + \new Staff \relative { + c'8 c c c \tempo 4 = 60 c2 } - \new Staff \relative c' { - c2 \clef bass c2 + \new Staff \relative { + c'2 \clef bass c2 } >> \layout { diff --git a/input/regression/midi-grace-after-rest.ly b/input/regression/midi-grace-after-rest.ly index 8a99cddcfc..9931356e4d 100644 --- a/input/regression/midi-grace-after-rest.ly +++ b/input/regression/midi-grace-after-rest.ly @@ -3,9 +3,9 @@ them. The A should be a full quarter note, but the C should be shortened to 1/4 - 9/40 * 1/8 = 71/320 (rounded down to 340/384 in MIDI)." } -\version "2.18.0" +\version "2.19.21" \score { - \relative c' { + \relative { a4 r \grace b8 c8... r64 \grace d8 e4 diff --git a/input/regression/midi-grace-after-tie.ly b/input/regression/midi-grace-after-tie.ly index 6aca01bc1e..ead10bf793 100644 --- a/input/regression/midi-grace-after-tie.ly +++ b/input/regression/midi-grace-after-tie.ly @@ -5,9 +5,9 @@ % https://code.google.com/p/lilypond/issues/detail?id=3091 } -\version "2.16.0" +\version "2.19.21" \score { - \relative c' { + \relative { % This first b~ tie should be honoured in the MIDI output: a2. b4~ % i.e. this b8 must not be sounded: diff --git a/input/regression/midi-grace.ly b/input/regression/midi-grace.ly index eb06b5e83b..8fdb7c330e 100644 --- a/input/regression/midi-grace.ly +++ b/input/regression/midi-grace.ly @@ -5,10 +5,10 @@ off will appear at tick 768 (2 * 384)." } -\version "2.16.0" +\version "2.19.21" \score { - \relative c' { - c4 + \relative { + c'4 \grace { b8 } d4 } diff --git a/input/regression/midi-key-signature.ly b/input/regression/midi-key-signature.ly index 89989f2529..73d1f92493 100644 --- a/input/regression/midi-key-signature.ly +++ b/input/regression/midi-key-signature.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "MIDI key signatures are output, using an approximate key signature if MIDI format cannot represent the true key signature" @@ -6,9 +6,9 @@ key signature if MIDI format cannot represent the true key signature" \include "arabic.ly" \score { - \relative do' { + \relative { \key fa \bayati - fa4 solsb lab sib + fa'4 solsb lab sib } \midi { } \layout { } diff --git a/input/regression/midi-microtone-off.ly b/input/regression/midi-microtone-off.ly index abcd7547fa..c7125f6c82 100644 --- a/input/regression/midi-microtone-off.ly +++ b/input/regression/midi-microtone-off.ly @@ -4,12 +4,12 @@ the next (possibly grace) note. " } -\version "2.16.0" +\version "2.19.21" \score { - \relative c' { + \relative { a geseh \acciaccatura a geseh } diff --git a/input/regression/midi-pedal.ly b/input/regression/midi-pedal.ly index a35fb5d9e9..e7bf33e1e7 100644 --- a/input/regression/midi-pedal.ly +++ b/input/regression/midi-pedal.ly @@ -5,12 +5,12 @@ } -\version "2.16.0" +\version "2.19.21" \score { - \relative c' { + \relative { { - { c16 e g c } + { c'16 e g c } { c,16\sustainOn e g c\sustainOff } { c,16\unaCorda e g c\treCorde } diff --git a/input/regression/midi-scales.ly b/input/regression/midi-scales.ly index 9c46fd1934..1215e44729 100644 --- a/input/regression/midi-scales.ly +++ b/input/regression/midi-scales.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" % candidate for regression. -gp \header { texidoc="Converting LilyPond input to MIDI and then again back with @@ -27,7 +27,7 @@ %} -scales = \relative c { +scales = \relative { % [INSTRUMENT_NAME] bright acoustic \key c \major % sharp-major diff --git a/input/regression/midi-tuplets.ly b/input/regression/midi-tuplets.ly index 49cda2ccc4..d564fb7c81 100644 --- a/input/regression/midi-tuplets.ly +++ b/input/regression/midi-tuplets.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = " @@ -17,7 +17,7 @@ Midi2ly tuplet test. \score { - \context Voice \relative c' { + \context Voice \relative { a1 a2 a2. a4 a4. a8 a8. a16 a16. a32 a32. a64 diff --git a/input/regression/midi/key-option-all-staves.ly b/input/regression/midi/key-option-all-staves.ly index 4a788566e7..51e343ff97 100644 --- a/input/regression/midi/key-option-all-staves.ly +++ b/input/regression/midi/key-option-all-staves.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Midi2ly --key works on all staves, this is G major (--key=1)" @@ -8,12 +8,12 @@ options="--key=1" \score { << \context Staff = "treble" << - \context Voice="one" \relative c'' { - fis + \context Voice="one" \relative { + fis'' } >> \context Staff = "bass" << - \context Voice="two" \relative c { + \context Voice="two" \relative { \clef bass fis } diff --git a/input/regression/midi/lyrics-addlyrics.ly b/input/regression/midi/lyrics-addlyrics.ly index 982f7da5fa..4f859b87e5 100644 --- a/input/regression/midi/lyrics-addlyrics.ly +++ b/input/regression/midi/lyrics-addlyrics.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 { @@ -26,10 +26,10 @@ options="" \score { << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come | out to play, diff --git a/input/regression/midi/partcombine.ly b/input/regression/midi/partcombine.ly index 66bf3a7b1a..f4ed0cb0c4 100644 --- a/input/regression/midi/partcombine.ly +++ b/input/regression/midi/partcombine.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \layout { \context { @@ -21,17 +21,17 @@ texidoc="Partcombined music is preserved" options="--skip" } -instrumentOne = \relative c' { - c4 d e f +instrumentOne = \relative { + c'4 d e f R1 d'4 c b a b4 g2 f4 e1 } -instrumentTwo = \relative g' { +instrumentTwo = \relative { R1 - g4 a b c + g'4 a b c d c b a g f( e) d e1 diff --git a/input/regression/midi/quantize-duration-2.ly b/input/regression/midi/quantize-duration-2.ly index adae24327a..79648523ad 100644 --- a/input/regression/midi/quantize-duration-2.ly +++ b/input/regression/midi/quantize-duration-2.ly @@ -1,5 +1,5 @@ % Lily was here -- automatically converted by out/bin/midi2ly from /home/janneke/testmidi.mid -\version "2.16.0" +\version "2.19.21" \layout { \context { @@ -43,7 +43,7 @@ trackA = << >> -trackBchannelB = \relative c { +trackBchannelB = \relative { e'''4*41/192 r4*7/192 d4*41/192 r4*7/192 fis,4*89/192 r4*7/192 gis4*89/192 r4*7/192 | % 2 diff --git a/input/regression/midi/rest-dynamic.ly b/input/regression/midi/rest-dynamic.ly index 80de858bbe..318129a1b1 100644 --- a/input/regression/midi/rest-dynamic.ly +++ b/input/regression/midi/rest-dynamic.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="LilyPond respects rests, also when there are dynamics" options="" } \score { - \new Staff \relative c' { - \time 2/4 e4 e r4 e\f | + \new Staff \relative { + \time 2/4 e'4 e r4 e\f | } \layout {} \midi {} diff --git a/input/regression/midi/staff-map-instrument.ly b/input/regression/midi/staff-map-instrument.ly index 6c4e8be5a8..ce24b42cf1 100644 --- a/input/regression/midi/staff-map-instrument.ly +++ b/input/regression/midi/staff-map-instrument.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Midi2ly remaps voices correctly to staves in MIDI-files that use instrument<->channel mapping when combined with voice<->track mapping. TODO: pianostaff" @@ -30,11 +30,11 @@ options="" } >> \context Staff = "bass" << - \context Voice="three" \relative c' { + \context Voice="three" \relative { \key c \minor \clef bass %7 - r8 c16 b c8 g as c16 b c8 d | + r8 c'16 b c8 g as c16 b c8 d | %8 g8 c16 b c8 d f,16 g as4 g16 f | <c,, c'>1 } diff --git a/input/regression/midi/staff-map-voice.ly b/input/regression/midi/staff-map-voice.ly index dc76603ffe..90d9c3ac68 100644 --- a/input/regression/midi/staff-map-voice.ly +++ b/input/regression/midi/staff-map-voice.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Midi2ly remaps voices correctly to staves in MIDI-files that use voice<->channel mapping when combined with staff<->track mapping. TODO: pianostaff" @@ -30,11 +30,11 @@ options="" } >> \context Staff = "bass" << - \context Voice="three" \relative c' { + \context Voice="three" \relative { \key c \minor \clef bass %7 - r8 c16 b c8 g as c16 b c8 d | + r8 c'16 b c8 g as c16 b c8 d | %8 g8 c16 b c8 d f,16 g as4 g16 f | <c,, c'>1 } diff --git a/input/regression/midi/voice-5.ly b/input/regression/midi/voice-5.ly index a91c26c8e1..f35f3c403f 100644 --- a/input/regression/midi/voice-5.ly +++ b/input/regression/midi/voice-5.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 { @@ -73,7 +73,7 @@ trackBchannelD = \relative c { } -trackBchannelE = \relative c { +trackBchannelE = \relative { s1 d1 | % 2 diff --git a/input/regression/modern-tab-clef-scaled.ly b/input/regression/modern-tab-clef-scaled.ly index ceafcc05db..f04f3ba7d5 100644 --- a/input/regression/modern-tab-clef-scaled.ly +++ b/input/regression/modern-tab-clef-scaled.ly @@ -1,10 +1,10 @@ -\version "2.17.6" +\version "2.19.21" \header{ texidoc = "The sans serif style tab clef is automatically adjusted to different string spacings." } -guitar = \relative c { +guitar = \relative { c4 d e f e4 d c2 } diff --git a/input/regression/modern-tab-clef.ly b/input/regression/modern-tab-clef.ly index 7c3110b396..1447656b65 100644 --- a/input/regression/modern-tab-clef.ly +++ b/input/regression/modern-tab-clef.ly @@ -1,16 +1,16 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc = "Sans serif style tab clefs are supported by @code{\\clef moderntab}. This alternative clef supports four- to seven-stringed instruments and is scaled automatically." } -bass = \relative c, { - c4 d e f +bass = \relative { + c,4 d e f e4 d c2 } -guitar = \relative c { +guitar = \relative { c4 d e f e4 d c2 } diff --git a/input/regression/monochords.ly b/input/regression/monochords.ly index 7dfd994863..73553ea4a8 100644 --- a/input/regression/monochords.ly +++ b/input/regression/monochords.ly @@ -1,13 +1,13 @@ -\version "2.19.14" +\version "2.19.21" \header { texidoc = " Whole notes in a monochord must be properly offset so that the heads just touch each other. On the other hand, a stem should touch both notes. " } -\relative c'' { +\relative { \time 4/1 - <a a>\longa \breve 1 2 4 8 8 \break + <a' a>\longa \breve 1 2 4 8 8 \break <c c>\longa \breve 1 2 4 8 8 } diff --git a/input/regression/mozart-hrn3-romanze.ily b/input/regression/mozart-hrn3-romanze.ily index 8d4d22f566..1fa4e962c8 100644 --- a/input/regression/mozart-hrn3-romanze.ily +++ b/input/regression/mozart-hrn3-romanze.ily @@ -1,11 +1,11 @@ -\version "2.19.2" +\version "2.19.21" \include "mozart-hrn3-defs.ily" -romanze = \relative c' { +romanze = \relative { \key f \major \time 2/2 - c'4.( _\markup { \dynamic "p" \italic { "" con molto espressione } } + c''4.( _\markup { \dynamic "p" \italic { "" con molto espressione } } f8) a,4 a bes8[( c d bes] g4) r8 g a r bes r c r d[( bes)] diff --git a/input/regression/mozart-hrn3-rondo.ily b/input/regression/mozart-hrn3-rondo.ily index 7ce852149b..d62ab572df 100644 --- a/input/regression/mozart-hrn3-rondo.ily +++ b/input/regression/mozart-hrn3-rondo.ily @@ -1,9 +1,9 @@ -\version "2.19.2" +\version "2.19.21" \include "mozart-hrn3-defs.ily" -rondotheme = \relative c' { - c'8[ c c] c[ c c] +rondotheme = \relative { + c''8[ c c] c[ c c] c4( cis8 d) r g, d'8[ d d] d[ d d] d4( dis8 e) r c | @@ -13,7 +13,7 @@ rondotheme = \relative c' { e4.( d8) r r | } -lipbreaker = \relative c' { +lipbreaker = \relative { r8 g'[-. g-.] c[( e) g,-.] c[( e) g,-.] c[( e) g,-.] c[ c, c] c[ c c] diff --git a/input/regression/music-function-end-spanners.ly b/input/regression/music-function-end-spanners.ly index 30028a284a..2400f461eb 100644 --- a/input/regression/music-function-end-spanners.ly +++ b/input/regression/music-function-end-spanners.ly @@ -6,12 +6,12 @@ end span events at the end of a note." } -\version "2.17.15" +\version "2.19.21" \paper{ ragged-right = ##T } -\relative c' -<< { c'4 c c c } +\relative +<< { c''4 c c c } \\ { \override TextSpanner.bound-details.left.text = "x" diff --git a/input/regression/music-function-post-event.ly b/input/regression/music-function-post-event.ly index 4442352662..c6421c38c2 100644 --- a/input/regression/music-function-post-event.ly +++ b/input/regression/music-function-post-event.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -15,8 +15,8 @@ dynScript = #(define-music-function (parser location text) (string?) (make-dynamic-script text)) -\relative c' { - c1-\dynScript "pp" +\relative { + c'1-\dynScript "pp" c^\dynScript "fp" c_\dynScript "spz" } diff --git a/input/regression/newaddlyrics-music-identifiers.ly b/input/regression/newaddlyrics-music-identifiers.ly index 1d206a5b39..b45541172e 100644 --- a/input/regression/newaddlyrics-music-identifiers.ly +++ b/input/regression/newaddlyrics-music-identifiers.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "addlyrics do not need braces around their arguments, in particular if the arguments are variables." } -m = \relative c' { c4 d } +m = \relative { c'4 d } l = \lyricmode { A B } % addlyrics takes music expressions as well as music identifiers. The following diff --git a/input/regression/newaddlyrics.ly b/input/regression/newaddlyrics.ly index 73c9ab1fe8..0da61c25cf 100644 --- a/input/regression/newaddlyrics.ly +++ b/input/regression/newaddlyrics.ly @@ -5,8 +5,8 @@ } \layout { ragged-right = ##t } << - \new Staff \relative c'' { - d2 d c4 bes a2 \break + \new Staff \relative { + d''2 d c4 bes a2 \break } \addlyrics { My first Li -- ly song, @@ -14,9 +14,9 @@ \addlyrics { Not much can go wrong! } - \new Staff \relative c' { + \new Staff \relative { \clef bass - d2 d c4 bes a2 \break + d'2 d c4 bes a2 \break } \addlyrics { MY FIRST LI -- LY SONG, @@ -26,4 +26,4 @@ } >> -\version "2.16.0" +\version "2.19.21" diff --git a/input/regression/note-head-chord.ly b/input/regression/note-head-chord.ly index 0cc5d22522..e345473567 100644 --- a/input/regression/note-head-chord.ly +++ b/input/regression/note-head-chord.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Note heads are flipped on the stem to prevent collisions. @@ -10,9 +10,9 @@ It also works for whole heads that have invisible stems. \layout { ragged-right= ##t } -\relative c'' +\relative \context Voice { - <g a c>4 + <g' a c>4 <c d g a> <c d e > <c c g> diff --git a/input/regression/note-head-harmonic-dotted.ly b/input/regression/note-head-harmonic-dotted.ly index 5dc8ca24d4..d68d0e2177 100644 --- a/input/regression/note-head-harmonic-dotted.ly +++ b/input/regression/note-head-harmonic-dotted.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @@ -7,8 +7,8 @@ Dots on harmonic note heads can be shown by setting the property " } -\relative c'' { - r4 <bes es\harmonic>2. +\relative { + r4 <bes' es\harmonic>2. \set harmonicDots = ##t r4 <bes es\harmonic>2. } diff --git a/input/regression/note-head-harmonic-whole.ly b/input/regression/note-head-harmonic-whole.ly index b3267998b4..7fd6b7eea1 100644 --- a/input/regression/note-head-harmonic-whole.ly +++ b/input/regression/note-head-harmonic-whole.ly @@ -6,14 +6,14 @@ } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' { - <e a\harmonic>1 +\relative { + <e' a\harmonic>1 <e'' a\harmonic>1 } diff --git a/input/regression/note-names-context.ly b/input/regression/note-names-context.ly index 52e4c4e914..06ba05f390 100644 --- a/input/regression/note-names-context.ly +++ b/input/regression/note-names-context.ly @@ -1,4 +1,4 @@ -\version "2.19.12" +\version "2.19.21" \header { @@ -12,7 +12,7 @@ system-system-spacing.basic-distance = #10 % increase this value for more space } -notes = \relative c { +notes = \relative { c'4 c c c } diff --git a/input/regression/note-names.ly b/input/regression/note-names.ly index dd8b9b02a1..72cbc0c8bb 100644 --- a/input/regression/note-names.ly +++ b/input/regression/note-names.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Various languages are supported for note names input. @@ -11,8 +11,8 @@ and doesn't break point-and-click abilities. %% Old syntax. \include "english.ly" -\relative c'' { - g4 bf d c +\relative { + g'4 bf d c %% Manual override of the pitchnames variable %% and the parser note names: diff --git a/input/regression/number-staff-lines.ly b/input/regression/number-staff-lines.ly index fdb44a041b..9470e3a9f1 100644 --- a/input/regression/number-staff-lines.ly +++ b/input/regression/number-staff-lines.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header{ texidoc=" The number of stafflines of a staff can be set. Ledger @@ -11,7 +11,7 @@ adjusted accordingly. " \new Staff \with { \override StaffSymbol.line-count = #3 } -\relative c { +\relative { c' c c c | g' g g g \bar ":|." } diff --git a/input/regression/offsets.ly b/input/regression/offsets.ly index 878664e4dd..c0d6a8dfed 100644 --- a/input/regression/offsets.ly +++ b/input/regression/offsets.ly @@ -1,4 +1,4 @@ -\version "2.17.29" +\version "2.19.21" \header { texidoc = "The @code{\\offset} command may be used to displace various properties @@ -13,11 +13,11 @@ default appearance. The command is demonstrated as a tweak and as an override." indent = 0 } -\relative c' { +\relative { %% ARPEGGIO %% % default - <c e g b>1\arpeggio + <c' e g b>1\arpeggio <c e g b>1-\offset positions #'(-1 . 1) \arpeggio \bar "||" diff --git a/input/regression/optional-args.ly b/input/regression/optional-args.ly index c92c6a143b..5086bf0dba 100644 --- a/input/regression/optional-args.ly +++ b/input/regression/optional-args.ly @@ -1,4 +1,4 @@ -\version "2.19.0" +\version "2.19.21" \header{ texidoc= "Test optional music function arguments. @@ -24,5 +24,5 @@ zap = (ly:pitch? #{ d' #}) (ly:pitch? #{ e' #}) ly:music?) #{ $a $dur $b $c ^\markup{!} $d #}) -\new Voice { \relative c' e' \relative c' { e' } \ablative c' e' \ablative { e' } +\new Voice { \relative c' e' \relative { e'' } \ablative c' e' \ablative { e' } \zap 8. c'' d'' {e''4..} \zap f''8 g'' \zap 4 a'' b'' c''' d'''2 } diff --git a/input/regression/ottava-broken.ly b/input/regression/ottava-broken.ly index 30f4c57016..7d01169544 100644 --- a/input/regression/ottava-broken.ly +++ b/input/regression/ottava-broken.ly @@ -10,12 +10,12 @@ the end of the line (regardless of prefatory matter). } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c''' { - a2 b +\relative { + a''2 b \ottava #1 a2 b \time 3/4 \break c''2. \break a diff --git a/input/regression/ottava.ly b/input/regression/ottava.ly index 54501c50c9..0cb98e915d 100644 --- a/input/regression/ottava.ly +++ b/input/regression/ottava.ly @@ -11,7 +11,7 @@ markup can be tuned with @code{Staff.ottavation}. } -\version "2.16.0" +\version "2.19.21" %% . There must be a minimum distance between the octavation line and the %% topmost staff line, taking into account the height of the closing @@ -35,8 +35,8 @@ markup can be tuned with @code{Staff.ottavation}. \layout { ragged-right = ##t} -\relative c''' { - a b c a +\relative { + a'' b c a \ottava #1 a b c a \ottava #0 diff --git a/input/regression/page-breaking-good-estimation.ly b/input/regression/page-breaking-good-estimation.ly index b2038ad65b..654abe062f 100644 --- a/input/regression/page-breaking-good-estimation.ly +++ b/input/regression/page-breaking-good-estimation.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The page breaking algorithm can handle clefs combined @@ -9,8 +9,8 @@ should fit on one page here." #(set-default-paper-size "a6") -Melody = \relative c' { - c2 c | c c | c c | \break +Melody = \relative { + c'2 c | c c | c c | \break c2 c | c c | c c } Words = \lyricmode{ diff --git a/input/regression/page-label-loose-column.ly b/input/regression/page-label-loose-column.ly index 5d765dbe29..a5925b51e0 100644 --- a/input/regression/page-label-loose-column.ly +++ b/input/regression/page-label-loose-column.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Page labels on loose columns are not ignored: this includes both mid-line @@ -11,8 +11,8 @@ break-aligned grobs)." \book { \markuplist \table-of-contents - \relative c' { - c2 \tocItem "Mid-line" c^"mid" + \relative { + c'2 \tocItem "Mid-line" c^"mid" c1 \bar "" \tocItem "Empty bar line" diff --git a/input/regression/page-spacing-nonstaff-lines-between.ly b/input/regression/page-spacing-nonstaff-lines-between.ly index 40e13626a9..99eafde43b 100644 --- a/input/regression/page-spacing-nonstaff-lines-between.ly +++ b/input/regression/page-spacing-nonstaff-lines-between.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Non-staff lines between two systems don't confuse the @@ -20,8 +20,8 @@ between the two closest staves of consecutive systems." My2 first Li4 -- ly song,2 My2 first Li4 -- ly song,2 } - \context Voice = "voice" \relative c'' { - d2 d c4 bes a2 \break + \context Voice = "voice" \relative { + d''2 d c4 bes a2 \break d'2 d c4 bes a2 } \new Lyrics \lyricmode { diff --git a/input/regression/page-spacing-nonstaff-lines-bottom.ly b/input/regression/page-spacing-nonstaff-lines-bottom.ly index 656f700241..7c09799add 100644 --- a/input/regression/page-spacing-nonstaff-lines-bottom.ly +++ b/input/regression/page-spacing-nonstaff-lines-bottom.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "A non-staff line (such as @code{Lyrics}) at the @@ -13,8 +13,8 @@ bottom of a system gets spaced appropriately." } } << - \new Staff \relative c'' { - d2 d c4 bes a2 \break + \new Staff \relative { + d''2 d c4 bes a2 \break } \addlyrics { My first Li -- ly song, diff --git a/input/regression/page-spacing-nonstaff-lines-top.ly b/input/regression/page-spacing-nonstaff-lines-top.ly index 9e9ce607f1..f1891e072b 100644 --- a/input/regression/page-spacing-nonstaff-lines-top.ly +++ b/input/regression/page-spacing-nonstaff-lines-top.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "A non-staff line (such as @code{Lyrics}) at the top @@ -20,8 +20,8 @@ of a system is spaced appropriately." \new Lyrics \lyricmode { Not2 much can4 go wrong! } - \context Voice = "voice" \relative c'' { - d2 d c4 bes a2 + \context Voice = "voice" \relative { + d''2 d c4 bes a2 } >> diff --git a/input/regression/page-spacing.ly b/input/regression/page-spacing.ly index 2e150e61b6..2227b0fb1e 100644 --- a/input/regression/page-spacing.ly +++ b/input/regression/page-spacing.ly @@ -13,15 +13,15 @@ By setting @code{annotate-spacing}, we can see the effect of each property. } -\version "2.19.12" +\version "2.19.21" #(set-global-staff-size 11) \book { \score { - \relative c'' \new PianoStaff << + \relative \new PianoStaff << \new Voice { - c1_"followed by default spacing"\break + c''1_"followed by default spacing"\break c\break \overrideProperty diff --git a/input/regression/page-top-space.ly b/input/regression/page-top-space.ly index 2e73a60a4b..af28db0e0c 100644 --- a/input/regression/page-top-space.ly +++ b/input/regression/page-top-space.ly @@ -4,15 +4,15 @@ first system can be forced to be uniform." } -\version "2.19.12" +\version "2.19.21" #(set-default-paper-size "a6") \book { \score { - \relative c' { - c1\break\pageBreak + \relative { + c'1\break\pageBreak c1\break\pageBreak c1 \break\pageBreak diff --git a/input/regression/page-turn-page-breaking-badturns.ly b/input/regression/page-turn-page-breaking-badturns.ly index 47168fa145..52838112c7 100644 --- a/input/regression/page-turn-page-breaking-badturns.ly +++ b/input/regression/page-turn-page-breaking-badturns.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "cannot fit the first page turn onto a single page. Consider setting first-page-number to an even number.")) @@ -17,7 +17,7 @@ should appear on 3 pages. } \score { - \relative c' { + \relative { a b c d a b c d \break c d e f c d e f \break d e f g d e f g diff --git a/input/regression/page-turn-page-breaking.ly b/input/regression/page-turn-page-breaking.ly index e54292fa0b..7416b36c0d 100644 --- a/input/regression/page-turn-page-breaking.ly +++ b/input/regression/page-turn-page-breaking.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc="The page-turn breaker will put a page turn after @@ -26,7 +26,7 @@ in which case the turn will go after the special barline. } \score { - \relative c' { + \relative { a b c d a b c d \break c d e f c d e f R1*4 \repeat unfold 13 {d4 e f g} \break diff --git a/input/regression/parenthesize-markup.ly b/input/regression/parenthesize-markup.ly index 162285e954..ba5268756e 100644 --- a/input/regression/parenthesize-markup.ly +++ b/input/regression/parenthesize-markup.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header{ @@ -12,7 +12,7 @@ The angularity of the parentheses can be adjusted. } \score { - \relative c'' {c^\markup { + \relative {c''^\markup { \parenthesize { \column { "A" "B" "C" } } diff --git a/input/regression/parenthesize.ly b/input/regression/parenthesize.ly index a39a61ca79..f7ea40b937 100644 --- a/input/regression/parenthesize.ly +++ b/input/regression/parenthesize.ly @@ -12,10 +12,10 @@ ragged-right = ##t } -\version "2.17.6" +\version "2.19.21" -\relative c' { - c2 -\parenthesize -. +\relative { + c'2 -\parenthesize -. \parenthesize \breathe diff --git a/input/regression/part-combine-a2.ly b/input/regression/part-combine-a2.ly index d6dae3ac7b..bb2b0207e7 100644 --- a/input/regression/part-combine-a2.ly +++ b/input/regression/part-combine-a2.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc ="The a2 string is printed only on notes (i.e. not on rests), and only after chords, solo or polyphony." } -vone = \relative a' { R1*2 g2 r2 g2 r2 a4 r4 g } -vtwo = \relative a' { R1*2 g2 r2 g2 r2 f4 r4 g } +vone = \relative { R1*2 g'2 r2 g2 r2 a4 r4 g } +vtwo = \relative { R1*2 g'2 r2 g2 r2 f4 r4 g } comment = \relative c' { s1*2 s2_"a2" s2 s2_"no a2" s2 s4 s4 s4_"a2" } diff --git a/input/regression/part-combine-chord-range.ly b/input/regression/part-combine-chord-range.ly index e28f6d4cdf..3683ba0f19 100644 --- a/input/regression/part-combine-chord-range.ly +++ b/input/regression/part-combine-chord-range.ly @@ -3,16 +3,16 @@ differences in steps between parts that may be combined into chords." } -\version "2.19.16" +\version "2.19.21" \layout { ragged-right = ##t } -vone = \relative e' { - d4 e f fisis | g geses b' bisis | b2 beses +vone = \relative { + d'4 e f fisis | g geses b' bisis | b2 beses } -vtwo = \relative e' { - e4 e e e | e eisis d deses | c2 cisis +vtwo = \relative { + e'4 e e e | e eisis d deses | c2 cisis } comm = { s1_"apart" s1_"chords" s1_"apart" } diff --git a/input/regression/part-combine-cross.ly b/input/regression/part-combine-cross.ly index 490abbcb8a..fb570d0a4c 100644 --- a/input/regression/part-combine-cross.ly +++ b/input/regression/part-combine-cross.ly @@ -4,10 +4,10 @@ " } -\version "2.16.0" +\version "2.19.21" -vone = \relative a' { g4 g f f e e d d } -vtwo = \relative a' { e4 e f f g g a a } +vone = \relative { g'4 g f f e e d d } +vtwo = \relative { e'4 e f f g g a a } \layout { ragged-right = ##t } \partcombine \vone \vtwo diff --git a/input/regression/part-combine-force-mmrest-position.ly b/input/regression/part-combine-force-mmrest-position.ly index 430fb27719..cbdbd0cd8a 100644 --- a/input/regression/part-combine-force-mmrest-position.ly +++ b/input/regression/part-combine-force-mmrest-position.ly @@ -7,7 +7,7 @@ \layout { ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" mI = \relative c'' { \partcombineApart @@ -15,9 +15,9 @@ mI = \relative c'' { R1 | c1 } -mII = \relative c' { +mII = \relative { R1 | - c2 c | + c'2 c | c1 } diff --git a/input/regression/part-combine-force-once.ly b/input/regression/part-combine-force-once.ly index 76a230b7e8..ab59c20888 100644 --- a/input/regression/part-combine-force-once.ly +++ b/input/regression/part-combine-force-once.ly @@ -8,18 +8,18 @@ \layout { ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" -mI = \relative c' { - e4 e \partcombineApartOnce c c | +mI = \relative { + e'4 e \partcombineApartOnce c c | \partcombineApart c \partcombineChordsOnce e e e | c \partcombineUnisonoOnce c c c | \partcombineAutomatic \partcombineSoloIOnce r2 c4 c | \partcombineSoloIIOnce R1 | d'2 \partcombineChordsOnce d4^"1 chord" d| } -mII = \relative c' { - c4 \partcombineApartOnce c c c | +mII = \relative { + c'4 \partcombineApartOnce c c c | c c \partcombineAutomaticOnce e e | c c c c | R1 | diff --git a/input/regression/part-combine-force.ly b/input/regression/part-combine-force.ly index 46894fa0e4..fda6838ce6 100644 --- a/input/regression/part-combine-force.ly +++ b/input/regression/part-combine-force.ly @@ -8,10 +8,10 @@ \layout { ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" -mI = \relative c' { - e4 e c2 | +mI = \relative { + e'4 e c2 | \partcombineApart c^"apart" e | e e | \partcombineChords e'^"chord" e | @@ -19,8 +19,8 @@ mI = \relative c' { \partcombineUnisono c^"unisono" c | \partcombineAutomatic c\! c^"V1 longer" | } -mII = \relative c' { - c4 c c2 | +mII = \relative { + c'4 c c2 | c c | \partcombineAutomatic e^"auto" e | a, c | diff --git a/input/regression/part-combine-global.ly b/input/regression/part-combine-global.ly index 9f99d89937..e52ea590a4 100644 --- a/input/regression/part-combine-global.ly +++ b/input/regression/part-combine-global.ly @@ -11,21 +11,21 @@ voices. " } -\version "2.19.2" +\version "2.19.21" vone = %%%%%%%%%%%%%% 0 1 2 3 -\relative c'' { +\relative { \time 2/4 - a8[ a] a8[ a] | + a'8[ a] a8[ a] | a8[ a] a8[ a] } vtwo = -\relative c' { +\relative { \time 2/4 - f8[ f]~ 8[ f] | + f'8[ f]~ 8[ f] | f8[ f] f8[ f] } diff --git a/input/regression/part-combine-markup.ly b/input/regression/part-combine-markup.ly index cba4674dcf..35fdba6108 100644 --- a/input/regression/part-combine-markup.ly +++ b/input/regression/part-combine-markup.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Part combine texts accept markup." @@ -9,6 +9,6 @@ \set Score.soloIIText = \markup { \huge \italic II } \set Score.aDueText = \markup { \normal-text \rounded-box { "a 2" } } \partcombine - \relative g' { g4 g r r a2 g } - \relative g' { r4 r a( b) a2 g } + \relative { g'4 g r r a2 g } + \relative { r4 r a'( b) a2 g } >> diff --git a/input/regression/part-combine-mmrest-after-solo.ly b/input/regression/part-combine-mmrest-after-solo.ly index ca80ade765..be4cfc4dda 100644 --- a/input/regression/part-combine-mmrest-after-solo.ly +++ b/input/regression/part-combine-mmrest-after-solo.ly @@ -1,10 +1,10 @@ \header { texidoc = " Multimeasure rests are printed after solos, both for solo1 and for solo2." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } \new Staff \partcombine \relative c''{ R1*2 | c4 r2. | c2 r | R1 } -\relative c' { c2 r | R1 | c4 r2. | R1*2 } +\relative { c'2 r | R1 | c4 r2. | R1*2 } diff --git a/input/regression/part-combine-silence.ly b/input/regression/part-combine-silence.ly index 796242b80f..9f85629689 100644 --- a/input/regression/part-combine-silence.ly +++ b/input/regression/part-combine-silence.ly @@ -1,4 +1,4 @@ -\version "2.19.16" +\version "2.19.21" \header { texidoc = "Rests must begin and end simultaneously to be merged into the shared voice." @@ -18,14 +18,14 @@ \score { \partcombine - \relative f' { r4 f2. | r8 f e2. } - \relative f' { r8 d f2. | r4 e2. } + \relative { r4 f'2. | r8 f e2. } + \relative { r8 d' f2. | r4 e2. } } % mmrest and rest of different durations beginning simultaneously \score { \partcombine - \relative f' { r4 f2. | R1 } - \relative f' { R1 | r4 d2. } + \relative { r4 f'2. | R1 } + \relative { R1 | r4 d'2. } } diff --git a/input/regression/part-combine-solo-global.ly b/input/regression/part-combine-solo-global.ly index 1b98aac6ba..73fe2f84f1 100644 --- a/input/regression/part-combine-solo-global.ly +++ b/input/regression/part-combine-solo-global.ly @@ -5,14 +5,14 @@ } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } \new Staff - \partcombine \relative c'' { - bes2( + \partcombine \relative { + bes'2( a4) } - \relative c' { - r2 cis4 + \relative { + r2 cis'4 } diff --git a/input/regression/part-combine-solo.ly b/input/regression/part-combine-solo.ly index e29e27b1ba..75803487a2 100644 --- a/input/regression/part-combine-solo.ly +++ b/input/regression/part-combine-solo.ly @@ -14,10 +14,10 @@ Solo 1/2 can not be used when a spanner is active, so there is no solo " } -vone = \relative a' { d4 r8 d8 d8 r8 d8 r8 d2 ~ 2 ~ 4 } -vtwo = \relative g' { g4. g8 r2 g4 r4 r2 g4 } +vone = \relative { d''4 r8 d8 d8 r8 d8 r8 d2 ~ 2 ~ 4 } +vtwo = \relative { g'4. g8 r2 g4 r4 r2 g4 } -\version "2.19.2" +\version "2.19.21" \paper { ragged-right = ##t } diff --git a/input/regression/part-combine-strings.ly b/input/regression/part-combine-strings.ly index 2ab2c0d7e4..7bcb19959c 100644 --- a/input/regression/part-combine-strings.ly +++ b/input/regression/part-combine-strings.ly @@ -1,10 +1,10 @@ -\version "2.19.19" +\version "2.19.21" \header { texidoc = "Test some transitions that might be found in string parts produced with \\partcombine." } -vone = \relative a' { a2 <a e> | r2 <a e> | r r | r2 a4 r4 | g2 r | <b g> } -vtwo = \relative a' { e2 <e a> | r2 r | <d g> r | r2 f4 r4 | g2 r | <g d> } +vone = \relative { a'2 <a e> | r2 <a e> | r r | r2 a4 r4 | g2 r | <b g> } +vtwo = \relative { e'2 <e a> | r2 r | <d g> r | r2 f4 r4 | g2 r | <g d> } combined = \partcombine \vone \vtwo % The part combiner does not yet support all of these labels. diff --git a/input/regression/part-combine-text-wait.ly b/input/regression/part-combine-text-wait.ly index bb868e430e..7e1ec339c7 100644 --- a/input/regression/part-combine-text-wait.ly +++ b/input/regression/part-combine-text-wait.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -15,8 +15,8 @@ mI = \relative c'' { g4 \partcombineSoloI r4 c2 | \partcombineSoloII R1*2 | } -mII = \relative c' { - c4 r2. | +mII = \relative { + c'4 r2. | r2 r4 c4 | R1 | } diff --git a/input/regression/part-combine-text.ly b/input/regression/part-combine-text.ly index cfa905f89b..8b65a749b9 100644 --- a/input/regression/part-combine-text.ly +++ b/input/regression/part-combine-text.ly @@ -9,12 +9,12 @@ texts accordingly. } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right= ##t } -vone = \relative a' { R1 a2 r4 r a a a a } -vtwo = \relative a' { R1 f4 f4 f4 f f f a a } +vone = \relative { R1 a'2 r4 r a a a a } +vtwo = \relative { R1 f'4 f4 f4 f f f a a } comm = { s1 s2 s4_\markup { \small "expect: solo 2" } s4 s2 s4_\markup { \small "expect: a2" } s4 } \new Staff << diff --git a/input/regression/part-combine-tuplet-end.ly b/input/regression/part-combine-tuplet-end.ly index 0c1c5ce195..ee748443da 100644 --- a/input/regression/part-combine-tuplet-end.ly +++ b/input/regression/part-combine-tuplet-end.ly @@ -5,7 +5,7 @@ even after a switch, a tuplet ends correctly." } -\version "2.17.11" +\version "2.19.21" \new Staff << \partcombine @@ -14,6 +14,6 @@ even after a switch, a tuplet ends correctly." \tuplet 3/2 { g8[ g g] } \tuplet 3/2 { g[ g g] } g1 } - \relative c'' { R1 g1 } + \relative { R1 g'1 } >> diff --git a/input/regression/part-combine.ly b/input/regression/part-combine.ly index 8e896cfbc4..1737eae57a 100644 --- a/input/regression/part-combine.ly +++ b/input/regression/part-combine.ly @@ -11,14 +11,14 @@ \layout { ragged-right = ##t } -\version "2.19.2" +\version "2.19.21" -vone = \relative a' { - g2 g g g4 g f' c c( c) c c c ~ c +vone = \relative { + g'2 g g g4 g f' c c( c) c c c ~ c c2. c4 c } -vtwo = \relative a' { - f2 f4 f f2 g4 g c, f f f f f~ f ~ f +vtwo = \relative { + f'2 f4 f f2 g4 g c, f f f f f~ f ~ f f4 f2. ~ 4 } diff --git a/input/regression/pdfmark-metadata.ly b/input/regression/pdfmark-metadata.ly index c4158ee29a..c88c576328 100644 --- a/input/regression/pdfmark-metadata.ly +++ b/input/regression/pdfmark-metadata.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The PDF backend uses several header fields to store metadata @@ -17,4 +17,4 @@ those without the prefix for PDF creation (not for visual display on the page). } \layout { ragged-right= ##t } -\relative c' { g4 } +\relative { g4 } diff --git a/input/regression/phrasing-slur-multiple.ly b/input/regression/phrasing-slur-multiple.ly index dbef390cb5..14d163b4cc 100644 --- a/input/regression/phrasing-slur-multiple.ly +++ b/input/regression/phrasing-slur-multiple.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "already have phrasing slur")) @@ -16,9 +16,9 @@ sp=#(define-event-function (parser location n e) (index? ly:event?) (set! (ly:music-property e 'spanner-id) (format "sp~a" n)) e) -\relative c'' { +\relative { % This will give warnings ("Already have phrasing slur" and "Cannot end phrasing slur") - c4\(\(\sp1\( d4\)\(\sp1\( e4\) f\) | + c''4\(\(\sp1\( d4\)\(\sp1\( e4\) f\) | % This will give two overlapping slurs and "unterminated phrasing slur" from above d\( d\sp2\( e\) f\sp2\) | diff --git a/input/regression/point-and-click-types.ly b/input/regression/point-and-click-types.ly index 73f143d1c3..aeae9f6a70 100644 --- a/input/regression/point-and-click-types.ly +++ b/input/regression/point-and-click-types.ly @@ -1,7 +1,7 @@ -\version "2.16.0" +\version "2.19.21" \pointAndClickTypes #'note-event -\relative c' { - c2\f( f) +\relative { + c'2\f( f) }
\ No newline at end of file diff --git a/input/regression/prefatory-separation.ly b/input/regression/prefatory-separation.ly index 7217d4a125..ec6b334436 100644 --- a/input/regression/prefatory-separation.ly +++ b/input/regression/prefatory-separation.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -11,15 +11,15 @@ } \new Staff << - \relative c''' { + \relative { \key f \major - es4 c c c \bar "||" \noBreak + es'''4 c c c \bar "||" \noBreak \key g \major <gis cis,>4 r2. \bar "|." } \\ - \relative c' { + \relative { R1 - r4 cis a a + r4 cis' a a } >> \layout { diff --git a/input/regression/property-nested-revert.ly b/input/regression/property-nested-revert.ly index b8d6558842..897c54c288 100644 --- a/input/regression/property-nested-revert.ly +++ b/input/regression/property-nested-revert.ly @@ -6,10 +6,10 @@ Scheme list syntax." } -\version "2.17.6" +\version "2.19.21" -\relative c' { - f2 \glissando c +\relative { + f'2 \glissando c \override Glissando.bound-details.right.Y = #4 f2 \glissando c | \override Glissando.bound-details.left.Y = #-6 diff --git a/input/regression/property-once.ly b/input/regression/property-once.ly index 5d5b8f4b57..6434bd9a6b 100644 --- a/input/regression/property-once.ly +++ b/input/regression/property-once.ly @@ -1,13 +1,13 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Once properties take effect during a single time step only." } \layout { ragged-right = ##t } -\relative c' { - c4 +\relative { + c'4 \once \override Stem.thickness = #5.0 c4 c4 diff --git a/input/regression/quote-cue-during.ly b/input/regression/quote-cue-during.ly index 9607f4a839..446c962956 100644 --- a/input/regression/quote-cue-during.ly +++ b/input/regression/quote-cue-during.ly @@ -11,17 +11,17 @@ last note." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -quoteMe = \relative c' { fis4 r16 a8.-> b4(-\ff~ b16 c8. b) } +quoteMe = \relative { fis'4 r16 a8.-> b4(-\ff~ b16 c8. b) } \addQuote quoteMe \quoteMe -original = \relative c'' { - c8 d +original = \relative { + c''8 d \cueDuring #"quoteMe" #1 { r2 } es8 gis8 \cueDuring #"quoteMe" #1 { r4 } diff --git a/input/regression/quote-cue-event-types.ly b/input/regression/quote-cue-event-types.ly index 1ae6fcfa5f..c9ee4b5ab9 100644 --- a/input/regression/quote-cue-event-types.ly +++ b/input/regression/quote-cue-event-types.ly @@ -11,9 +11,9 @@ quoted for cue notes than for normal quotes. } -\version "2.16.0" +\version "2.19.21" -quoteMe = \relative c' { fis8 r16-. a8.-> \acciaccatura c8 b4(-\ff~ b16 c8. b8) } +quoteMe = \relative { fis'8 r16-. a8.-> \acciaccatura c8 b4(-\ff~ b16 c8. b8) } \addQuote quoteMe \quoteMe << @@ -22,16 +22,16 @@ quoteMe = \relative c' { fis8 r16-. a8.-> \acciaccatura c8 b4(-\ff~ b16 c8. b8) } \new Staff \with { instrumentName = "quoteDuring" } { % \set Staff.quotedEventTypes = #'(StreamEvent) - \relative c' { c8 \quoteDuring "quoteMe" { s8 s4 s2 } } + \relative { c'8 \quoteDuring "quoteMe" { s8 s4 s2 } } } \new Staff \with { instrumentName = "cueDuring" } { - \relative c' { c8 \cueDuring "quoteMe" #UP { r8 r4 r2 } } + \relative { c'8 \cueDuring "quoteMe" #UP { r8 r4 r2 } } } >> << \new Staff \with { instrumentName = "Fallback" } { \unset Score.quotedCueEventTypes - \relative c' { c8 \cueDuring "quoteMe" #UP { r8 r4 r2 } } + \relative { c'8 \cueDuring "quoteMe" #UP { r8 r4 r2 } } } >> diff --git a/input/regression/quote-cyclic.ly b/input/regression/quote-cyclic.ly index afbf309bc0..56a19b0b8a 100644 --- a/input/regression/quote-cyclic.ly +++ b/input/regression/quote-cyclic.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Two quoted voices may refer to each other. In this example, there are notes with each full-bar rest." } -A = \relative c' { c4 d e f | \cueDuring #"qB" #1 { R1 } | } +A = \relative { c'4 d e f | \cueDuring #"qB" #1 { R1 } | } B = \new Voice \relative c' { \cueDuring #"qA" #1 { R1 } | f4 e d c | } \addQuote "qA" \A diff --git a/input/regression/quote-during-subvoice.ly b/input/regression/quote-during-subvoice.ly index 8ec1ce676a..ae8c0680ab 100644 --- a/input/regression/quote-during-subvoice.ly +++ b/input/regression/quote-during-subvoice.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{\\quoteDuring} and @code{\\cueDuring} shall properly quote @@ -9,8 +9,8 @@ which will be quoted. } % Simple case, normal sub-voice -quoteMe = \relative c' { - c4 c +quoteMe = \relative { + c'4 c \new Voice { c4 c } @@ -20,22 +20,22 @@ quoteMe = \relative c' { \addQuote "quoteMeA" \new Voice \quoteMe % Also works with voice directly inside relative -quoteMeI = \relative c' \new Voice { - c4 c4 +quoteMeI = \relative \new Voice { + c'4 c4 } \addQuote "quoteMeI" \quoteMeI % Quoting music with some parallel sections (identical rhythm) -quoteMeII = \relative c' { - c4 c +quoteMeII = \relative { + c'4 c << { d4 e4 } \\ { c4 b4 } >> c4 } \addQuote "quoteMeII" \quoteMeII % Quoting music with some parallel sections (different rhythm) -quoteMeIII = \relative c' { - c4 c +quoteMeIII = \relative { + c'4 c << { d4 e4 } \\ { c4. b8 } >> c4 } @@ -45,24 +45,24 @@ quoteMeIII = \relative c' { << - \new Staff \relative c'' { - c4 \cueDuring #"quoteMe" #DOWN { r4 } + \new Staff \relative { + c''4 \cueDuring #"quoteMe" #DOWN { r4 } c4 \cueDuring #"quoteMe" #DOWN { r4 } % <- no cue note due to sub-voice } - \new Staff \relative c'' { - c4 \cueDuring #"quoteMeA" #DOWN { r4 } + \new Staff \relative { + c''4 \cueDuring #"quoteMeA" #DOWN { r4 } c4 \cueDuring #"quoteMeA" #DOWN { r4 } % <- no cue note due to sub-voice } - \new Staff \relative c'' { - c4 \cueDuring #"quoteMeI" #DOWN { r4 } + \new Staff \relative { + c''4 \cueDuring #"quoteMeI" #DOWN { r4 } c4 } - \new Staff \relative c'' { - c4 \cueDuring #"quoteMeII" #DOWN { r4 } + \new Staff \relative { + c''4 \cueDuring #"quoteMeII" #DOWN { r4 } c4 \cueDuring #"quoteMeII" #DOWN { r4 } % <- quoted parallel notes } - \new Staff \relative c'' { - c4 \cueDuring #"quoteMeIII" #DOWN { r4 } + \new Staff \relative { + c''4 \cueDuring #"quoteMeIII" #DOWN { r4 } c4 \cueDuring #"quoteMeIII" #DOWN { r4 } % <- quoted parallel notes } >> diff --git a/input/regression/quote-during.ly b/input/regression/quote-during.ly index b84a83aa52..e270c37e68 100644 --- a/input/regression/quote-during.ly +++ b/input/regression/quote-during.ly @@ -8,16 +8,16 @@ quoted. In this example, a 16th rest is not quoted, since @code{rest-event} is not in @code{quotedEventTypes}." } -\version "2.17.6" +\version "2.19.21" \layout { ragged-right = ##t } -quoteMe = \relative c' { fis4 r16 a8.-> b4-\ff c } +quoteMe = \relative { fis'4 r16 a8.-> b4-\ff c } \addQuote quoteMe \quoteMe -original = \relative c'' { c8 d s2 es8 gis8 } +original = \relative { c''8 d s2 es8 gis8 } << \new Staff { diff --git a/input/regression/quote-kill-cues.ly b/input/regression/quote-kill-cues.ly index 4678fe8bda..299ef94c0d 100644 --- a/input/regression/quote-kill-cues.ly +++ b/input/regression/quote-kill-cues.ly @@ -1,15 +1,15 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{\\killCues} shall only remove real cue notes generated by @code{\\cueDuring}, but not other music quoted using @code{\\quoteDuring}." } -mus = \relative c' { c2 c c c c c c c } +mus = \relative { c'2 c c c c c c c } \addQuote #"M" \mus -quot = \relative c' { - d2 \quoteDuring #"M" { s1 } e2 \cueDuring #"M" #UP { s1 } f2 +quot = \relative { + d'2 \quoteDuring #"M" { s1 } e2 \cueDuring #"M" #UP { s1 } f2 } \score { << diff --git a/input/regression/quote-overrides.ly b/input/regression/quote-overrides.ly index 4a7c5d22d7..4f6bbe8e07 100644 --- a/input/regression/quote-overrides.ly +++ b/input/regression/quote-overrides.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "The @code{\\quoteDuring} command shall also quote correctly all @@ -11,10 +11,10 @@ @code{'(StreamEvent)}, everything should be quoted." } -mus = \relative c' { +mus = \relative { % Acciaccaturas contain a slur and \override Flag.stroke-style % Thus, we're checking \override here - c4 \acciaccatura d8 c4 + c'4 \acciaccatura d8 c4 % Checking \set and \unset \set fontSize = #6 f \unset fontSize f | diff --git a/input/regression/quote-tie.ly b/input/regression/quote-tie.ly index 27982b12e0..862dfa6204 100644 --- a/input/regression/quote-tie.ly +++ b/input/regression/quote-tie.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "Voices from different cues must not be tied together. In @@ -10,13 +10,13 @@ since only one @code{CueVoice} context is created " } -cueI = \relative c'' { - a1 ~ | 1 | a | +cueI = \relative { + a'1 ~ | 1 | a | } \addQuote "cueI" { \cueI } -cueII = \relative c' { - R1 | e | a | +cueII = \relative { + R1 | e' | a | } \addQuote "cueII" { \cueII } diff --git a/input/regression/quote.ly b/input/regression/quote.ly index aa63a632bd..e884adb3f3 100644 --- a/input/regression/quote.ly +++ b/input/regression/quote.ly @@ -7,16 +7,16 @@ things are quoted. In this example, a 16th rest is not quoted, since @code{rest-event} is not in @code{quotedEventTypes}." } -\version "2.17.6" +\version "2.19.21" \layout { ragged-right = ##t } -quoteMe = \relative c' { fis4 r16 a8.-> b4-\ff c } +quoteMe = \relative { fis'4 r16 a8.-> b4-\ff c } \addQuote quoteMe \quoteMe -original = \relative c'' { c8 d s2 es8 gis8 } +original = \relative { c''8 d s2 es8 gis8 } << \new Staff { diff --git a/input/regression/rehearsal-mark-align-staff-context.ly b/input/regression/rehearsal-mark-align-staff-context.ly index 6472c57a51..7a80eff5a7 100644 --- a/input/regression/rehearsal-mark-align-staff-context.ly +++ b/input/regression/rehearsal-mark-align-staff-context.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "RehearsalMarks still align correctly if Mark_engraver is moved to @@ -16,8 +16,8 @@ another context." } } -\relative c' { - c1 \mark "foo" +\relative { + c'1 \mark "foo" c1 \key cis \major \clef alto diff --git a/input/regression/rehearsal-mark-align.ly b/input/regression/rehearsal-mark-align.ly index a684113ab7..67ef656ecf 100644 --- a/input/regression/rehearsal-mark-align.ly +++ b/input/regression/rehearsal-mark-align.ly @@ -7,10 +7,10 @@ } -\version "2.17.6" +\version "2.19.21" -\relative c' { - c1 \mark "foo" +\relative { + c'1 \mark "foo" c1 \key cis \major \clef alto diff --git a/input/regression/rehearsal-mark-final-score.ly b/input/regression/rehearsal-mark-final-score.ly index ee0b3ed2d7..34f2df1bf9 100644 --- a/input/regression/rehearsal-mark-final-score.ly +++ b/input/regression/rehearsal-mark-final-score.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Rehearsal marks at the end of the last measure of a @@ -6,7 +6,7 @@ score are automatically made visible. " } -\relative c' { - c1 +\relative { + c'1 \mark "Final Mark" } diff --git a/input/regression/rehearsal-mark-letter.ly b/input/regression/rehearsal-mark-letter.ly index 979f43e478..6525668aca 100644 --- a/input/regression/rehearsal-mark-letter.ly +++ b/input/regression/rehearsal-mark-letter.ly @@ -8,11 +8,11 @@ after Z, double letters are used. The mark may be set with } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { - c1 \mark \default +\relative { + c''1 \mark \default c1 \mark #7 c1 \mark \default c1 \mark \default diff --git a/input/regression/relative-repeat.ly b/input/regression/relative-repeat.ly index 0fb40e07b4..5b2c084bdd 100644 --- a/input/regression/relative-repeat.ly +++ b/input/regression/relative-repeat.ly @@ -4,15 +4,15 @@ different result from writing the notes out in full. The first system has all the notes within the stave. In the second, the notes get progressively higher." } -\version "2.16.0" +\version "2.19.21" -\relative c' { - c'1^"Using unfold" +\relative { + c''1^"Using unfold" \repeat unfold 3 { f,2^"Repeated" bes2 } \alternative { { a2_"Alt1" c } { e_"Alt2" c } { b_"Alt3" d } } } -\relative c' { - c'1^"The same notes, written out" +\relative { + c''1^"The same notes, written out" f,2 bes2 a2 c f2 bes2 e c f2 bes2 b d } diff --git a/input/regression/remove-empty-staves-auto-knee.ly b/input/regression/remove-empty-staves-auto-knee.ly index 285bc85076..ccd863865b 100644 --- a/input/regression/remove-empty-staves-auto-knee.ly +++ b/input/regression/remove-empty-staves-auto-knee.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = " @@ -11,8 +11,8 @@ should be between the two staves. staffMusic = \new StaffGroup { << \new Staff = "rh" { - \relative c' { - c1 \break + \relative { + c'1 \break c1 \break c8[ c c c \change Staff = "lh" @@ -22,7 +22,7 @@ staffMusic = \new StaffGroup { } } \new Staff = "lh" { - \relative c { + \relative { \clef bass c1 R1 diff --git a/input/regression/repeat-sign.ly b/input/regression/repeat-sign.ly index dfe00bfc55..c684d1805a 100644 --- a/input/regression/repeat-sign.ly +++ b/input/regression/repeat-sign.ly @@ -1,11 +1,11 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "The two dots of a repeat sign should be symmetric to the staff centre and avoid staff lines even for exotic staves." } -mus = \context Voice { \relative f' { d e f g \bar ":|." } } +mus = \context Voice { \relative { d' e f g \bar ":|." } } \new Staff { << diff --git a/input/regression/repeat-tie.ly b/input/regression/repeat-tie.ly index ae6e4bc46a..29907912ad 100644 --- a/input/regression/repeat-tie.ly +++ b/input/regression/repeat-tie.ly @@ -5,12 +5,12 @@ note head." } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { - r4 c4\repeatTie r <c d f g> \repeatTie +\relative { + r4 c''4\repeatTie r <c d f g> \repeatTie } diff --git a/input/regression/repeat-tremolo-chord-rep.ly b/input/regression/repeat-tremolo-chord-rep.ly index be148bf4dd..aba8a4f9f3 100644 --- a/input/regression/repeat-tremolo-chord-rep.ly +++ b/input/regression/repeat-tremolo-chord-rep.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Tremolos work with chord repetitions." } -\relative c' { - <c e g>1 +\relative { + <c' e g>1 \repeat tremolo 4 q16 \repeat tremolo 4 { q16 } \repeat tremolo 4 { c16 q16 } diff --git a/input/regression/repeat-tremolo-dots.ly b/input/regression/repeat-tremolo-dots.ly index ccf16e612d..b2fe61da27 100644 --- a/input/regression/repeat-tremolo-dots.ly +++ b/input/regression/repeat-tremolo-dots.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Dots are added to tremolo notes if the durations involved require them." } \paper{ ragged-right = ##t } -\score { \relative c' { - c8 \repeat "tremolo" 14 { c32 a32 } | +\score { \relative { + c'8 \repeat "tremolo" 14 { c32 a32 } | } } diff --git a/input/regression/repeat-unfold-all.ly b/input/regression/repeat-unfold-all.ly index dc8a79c279..0d047b6304 100644 --- a/input/regression/repeat-unfold-all.ly +++ b/input/regression/repeat-unfold-all.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Volta repeats may be unfolded through the music function @code{\\unfoldRepeats}." } -nots = \relative c' { - c4 \repeat volta 2 c4 \alternative { d e } +nots = \relative { + c'4 \repeat volta 2 c4 \alternative { d e } } \layout {ragged-right = ##t} diff --git a/input/regression/repeat-volta-segno.ly b/input/regression/repeat-volta-segno.ly index a03a95f144..9a81cafc61 100644 --- a/input/regression/repeat-volta-segno.ly +++ b/input/regression/repeat-volta-segno.ly @@ -1,4 +1,4 @@ -\version "2.18.0" +\version "2.19.21" \header { texidoc=" @@ -8,8 +8,8 @@ " } -\relative c' { - c1 +\relative { + c'1 \inStaffSegno c2^"no repeat" c c c \repeat volta 2 { diff --git a/input/regression/rest-collision-beam-note.ly b/input/regression/rest-collision-beam-note.ly index 9980affc9d..1833ec0b45 100644 --- a/input/regression/rest-collision-beam-note.ly +++ b/input/regression/rest-collision-beam-note.ly @@ -6,12 +6,12 @@ collisions can be combined." } -\version "2.17.15" +\version "2.19.21" \layout { ragged-right=##t } -\new Staff \relative c' +\new Staff \relative << - { s8 f4 } \\ + { s8 f'4 } \\ { <f, a>8[ r <a d>] } >> diff --git a/input/regression/rest-collision-beam-quantized.ly b/input/regression/rest-collision-beam-quantized.ly index a73fb5bded..0d15d63ea0 100644 --- a/input/regression/rest-collision-beam-quantized.ly +++ b/input/regression/rest-collision-beam-quantized.ly @@ -6,9 +6,9 @@ ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" -fig = \relative c' { +fig = \relative { <a c e>8[ r <c e a> r <e a c> r <a c e>] r | diff --git a/input/regression/rest-collision-note-duration.ly b/input/regression/rest-collision-note-duration.ly index 701b55e785..9c3869427c 100644 --- a/input/regression/rest-collision-note-duration.ly +++ b/input/regression/rest-collision-note-duration.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Vertical rest positions in a multi-voice staff should obey the duration of @@ -6,7 +6,7 @@ notes; this is, they shouldn't return to a default position too early. " } -\relative c' { +\relative { << { g'1 g2 } \\ { \repeat unfold 2 {r8 d4 d8 r d4 d8} } >> } diff --git a/input/regression/rest-collision.ly b/input/regression/rest-collision.ly index 0383cccad2..3b7862520c 100644 --- a/input/regression/rest-collision.ly +++ b/input/regression/rest-collision.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc=" Rests should not collide with beams, stems and noteheads. Rests may @@ -12,16 +12,16 @@ cases. \layout { ragged-right = ##t } -scale = \relative c' { - c8 d e f g a b c c d e f g a b c +scale = \relative { + c'8 d e f g a b c c d e f g a b c } rests = { r r r r r r r r r r r r r r r r } different = << { - \relative c'' { - r8 a e4 a e + \relative { + r8 a' e4 a e } }\\ { diff --git a/input/regression/rest-note-collision.ly b/input/regression/rest-note-collision.ly index 3ba512e34b..33c81df9e4 100644 --- a/input/regression/rest-note-collision.ly +++ b/input/regression/rest-note-collision.ly @@ -7,12 +7,12 @@ } -\version "2.18.0" +\version "2.19.21" music = { << - \relative c'' { - f e d c b a g f e d c + \relative { + f'' e d c b a g f e d c } \\ { @@ -24,8 +24,8 @@ music = { r4 r r r r r r r r r r } \\ - \relative c'' { - f e d c b a g f e d c + \relative { + f'' e d c b a g f e d c } >> } diff --git a/input/regression/rest-pitch.ly b/input/regression/rest-pitch.ly index c5ce21c008..73529660d2 100644 --- a/input/regression/rest-pitch.ly +++ b/input/regression/rest-pitch.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Rests can have pitches -- these will be affected by @@ -9,9 +9,9 @@ beam/@/rest collision resolving will leave it alone." \layout { ragged-right= ##t } -\relative c'' +\relative { - a4\rest b4\rest c4\rest + a'4\rest b4\rest c4\rest <<d \\ d\rest^"rest pitch" >> <<d \\ r>> diff --git a/input/regression/rest-polyphonic-2.ly b/input/regression/rest-polyphonic-2.ly index 67bb07ab11..7531119a18 100644 --- a/input/regression/rest-polyphonic-2.ly +++ b/input/regression/rest-polyphonic-2.ly @@ -7,13 +7,13 @@ is suppressed if the rest has a pitch." } -\version "2.16.0" +\version "2.19.21" \new Staff << - \relative c''' { g8 g g r r2 } \\ - \relative c' { a4\rest c r2 } \\ - \relative c'' { c4 c f2\rest } \\ - \relative c'' { r2 g } + \relative { g''8 g g r r2 } \\ + \relative { a4\rest c r2 } \\ + \relative { c''4 c f2\rest } \\ + \relative { r2 g' } >> diff --git a/input/regression/rest-polyphonic.ly b/input/regression/rest-polyphonic.ly index 4dca1efc9a..aeae89b07b 100644 --- a/input/regression/rest-polyphonic.ly +++ b/input/regression/rest-polyphonic.ly @@ -9,10 +9,10 @@ The amount in @code{staff-position}s is set by @code{voiced-position}." \layout { ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" -\new Staff \relative c' { +\new Staff \relative { << { r8 g''4 g8 r g4 g8 } \\ { d,4 r \stemUp b r } >> \override Staff.Rest.voiced-position = 2 diff --git a/input/regression/scheme-engraver-instance.ly b/input/regression/scheme-engraver-instance.ly index 717549b838..35d9e8a4a0 100644 --- a/input/regression/scheme-engraver-instance.ly +++ b/input/regression/scheme-engraver-instance.ly @@ -8,7 +8,7 @@ } -\version "2.16.0" +\version "2.19.21" \layout { \context { @@ -31,6 +31,6 @@ } << - \relative c'' { c4 d e f } - \\ \relative c' { c4 d e f } + \relative { c''4 d e f } + \\ \relative { c'4 d e f } >> diff --git a/input/regression/scheme-engraver.ly b/input/regression/scheme-engraver.ly index 177e10a701..0f31685f91 100644 --- a/input/regression/scheme-engraver.ly +++ b/input/regression/scheme-engraver.ly @@ -5,7 +5,7 @@ } -\version "2.16.0" +\version "2.19.21" #(define (t->m t) "Return the current moment of translator object @var{t}." @@ -48,6 +48,6 @@ engraver_demo = } } -\relative c' { - c8[ r c] +\relative { + c'8[ r c] } diff --git a/input/regression/scheme-text-spanner.ly b/input/regression/scheme-text-spanner.ly index 2fc7949e29..d89a959149 100644 --- a/input/regression/scheme-text-spanner.ly +++ b/input/regression/scheme-text-spanner.ly @@ -1,4 +1,4 @@ -\version "2.19.12" +\version "2.19.21" \header { texidoc = "Use @code{define-event-class}, scheme engraver methods, @@ -185,7 +185,7 @@ schemeTextSpannerEnd = } } -\relative c' { +\relative { a4 b\schemeTextSpannerStart c d | \repeat unfold 20 { a4 b c d | } a4 b c\schemeTextSpannerEnd d | diff --git a/input/regression/score-text.ly b/input/regression/score-text.ly index 05b8ec1769..c482bd7a6a 100644 --- a/input/regression/score-text.ly +++ b/input/regression/score-text.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -17,7 +17,7 @@ } \score { << - \relative c { + \relative { \clef bass d2 d c4 bes a2 \break c2 c d4 f g2 diff --git a/input/regression/script-collision.ly b/input/regression/script-collision.ly index 32e7d211c5..bde9783afb 100644 --- a/input/regression/script-collision.ly +++ b/input/regression/script-collision.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -9,8 +9,8 @@ \layout { ragged-right = ##t} -\relative c'' { - c4 +\relative { + c''4 <c d c'>\marcato << { c4^^ }\\ { d4_^ } >> diff --git a/input/regression/script-shift-staccato.ly b/input/regression/script-shift-staccato.ly index fc29dd75ad..f5ac2d815a 100644 --- a/input/regression/script-shift-staccato.ly +++ b/input/regression/script-shift-staccato.ly @@ -12,12 +12,12 @@ centered on the note head, @code{1.0} means centered on the stem.) " } -\version "2.19.16" +\version "2.19.21" -\relative c'' +\relative { % default - a4^. c_. + a'4^. c_. a^.^- c_._- \override Script.toward-stem-shift-in-column = 1.0 diff --git a/input/regression/script-stack-order.ly b/input/regression/script-stack-order.ly index 25dff724b2..3b7cd25834 100644 --- a/input/regression/script-stack-order.ly +++ b/input/regression/script-stack-order.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Scripts can be stacked. The order is determined by a priority field, but when objects have the same priority, the input @@ -9,7 +9,7 @@ order determines the order. Objects specified first are closest to the note. \layout { ragged-right = ##t} -\relative c'' { - c4^"up 1"^"up 2"^"up 3"_"down 1"_"down 2"_"down 3" c c c +\relative { + c''4^"up 1"^"up 2"^"up 3"_"down 1"_"down 2"_"down 3" c c c c4^"1"^"2"\turn c\turn ^"1"^"2" c c } diff --git a/input/regression/script-tie-collision.ly b/input/regression/script-tie-collision.ly index d85942e1af..bac3cf6703 100644 --- a/input/regression/script-tie-collision.ly +++ b/input/regression/script-tie-collision.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "Scripts avoid ties. @@ -10,8 +10,8 @@ % This regtest tries to confuse it with various configurations % Of notes with and without ties, with multiple scripts, etc.. -\relative c''' { - r2. c4~-> | c-> r2. | +\relative { + r2. c'''4~-> | c-> r2. | r2. c4-> | c-> r2. | r2. c4~-> | c r2. | r2. c4~ | 4-> r2. | \break diff --git a/input/regression/semi-tie-cross-staff.ly b/input/regression/semi-tie-cross-staff.ly index 68d72f5852..d0fb9baae5 100644 --- a/input/regression/semi-tie-cross-staff.ly +++ b/input/regression/semi-tie-cross-staff.ly @@ -1,4 +1,4 @@ -\version "2.17.18" +\version "2.19.21" \header { texidoc = "Cross-staff @code{RepeatTie} and @code{LaissezVibrerTie} @@ -7,8 +7,8 @@ do not trigger programming errors for circular dependencies in direction. } << - \new Staff = "up" \relative c' { - f8 + \new Staff = "up" \relative { + f'8 \change Staff = "down" c\laissezVibrer eeses \change Staff = "up" diff --git a/input/regression/shape-other-curves.ly b/input/regression/shape-other-curves.ly index c76991235c..2009fe0b23 100644 --- a/input/regression/shape-other-curves.ly +++ b/input/regression/shape-other-curves.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "In addition to @code{Slur}, the music function @code{\\shape} works @@ -12,9 +12,9 @@ function." ragged-right = ##t } -\relative c'' { +\relative { % PhrasingSlur - d4\( d' b g g,8 f' e d c2\) + d''4\( d' b g g,8 f' e d c2\) \override PhrasingSlur.color = #blue \shape #'((0 . -2) (-1 . 3.5) (0.5 . 0.5) (0 . -2.5)) PhrasingSlur d4\( d' b g g,8 f' e d c2\) diff --git a/input/regression/shape-slurs.ly b/input/regression/shape-slurs.ly index 3427965c34..dd5ae87c0e 100644 --- a/input/regression/shape-slurs.ly +++ b/input/regression/shape-slurs.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "The control points of a broken or unbroken slur may be offset by @@ -11,8 +11,8 @@ } % unmodified -\relative c'' { - d4( d' b g +\relative { + d''4( d' b g g,8 f' e d c2) d4( d' b g \break diff --git a/input/regression/shorthands.ly b/input/regression/shorthands.ly index e1a7af5934..2487dfa54d 100644 --- a/input/regression/shorthands.ly +++ b/input/regression/shorthands.ly @@ -1,4 +1,4 @@ -\version "2.17.25" +\version "2.19.21" \header { @@ -19,8 +19,8 @@ replacing @code{(} and @code{)} with melismata commands which are ")" = \melismaEnd \new Staff << - \relative c' { - c8 \{ d e f \} % slurred + \relative { + c'8 \{ d e f \} % slurred g ( a b c ) % no slur, but with melisma c,1 \bar "|." } diff --git a/input/regression/skip-of-length.ly b/input/regression/skip-of-length.ly index 57e6d1a830..ea644ebb79 100644 --- a/input/regression/skip-of-length.ly +++ b/input/regression/skip-of-length.ly @@ -7,12 +7,12 @@ last as long as their arguments." ragged-right = ##T } -\version "2.17.15" +\version "2.19.21" -\relative c' +\relative << \new Staff { - c\breve f4 r2. + c'\breve f4 r2. c\breve f4 r2. s\breve^"skip" } diff --git a/input/regression/skiptypesetting-bar-check.ly b/input/regression/skiptypesetting-bar-check.ly index 2503b72e4a..ec467da75a 100644 --- a/input/regression/skiptypesetting-bar-check.ly +++ b/input/regression/skiptypesetting-bar-check.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (ly:translate-cpp-warning-scheme "barcheck failed at: %s") "3/4") @@ -8,8 +8,8 @@ texidoc = "skipTypesetting doesn't affect bar checks." } -\relative c' { - c4 +\relative { + c'4 \set Score.skipTypesetting = ##t c4 c4 | diff --git a/input/regression/slur-broken-trend.ly b/input/regression/slur-broken-trend.ly index 185cd24159..78e0d1d46f 100644 --- a/input/regression/slur-broken-trend.ly +++ b/input/regression/slur-broken-trend.ly @@ -1,5 +1,5 @@ -\version "2.19.2" +\version "2.19.21" \header{ texidoc=" @@ -35,14 +35,14 @@ in unbroken state. <bis f' b>) s2..\break \stemNeutral - \new Voice \relative c' { - c'8[( c c c] g2 ~ | \break + \new Voice \relative { + c''8[( c c c] g2 ~ | \break g1) | \break \slurDown c8[( c] g4 ~ 2 ~ | \break g2 ~ 2) } - \relative c'' { - a4( c b4 e, ~ | \break + \relative { + a'4( c b4 e, ~ | \break e1 ~ | 1) } diff --git a/input/regression/slur-cross-staff-beam.ly b/input/regression/slur-cross-staff-beam.ly index 834696a5be..342ddf5873 100644 --- a/input/regression/slur-cross-staff-beam.ly +++ b/input/regression/slur-cross-staff-beam.ly @@ -1,4 +1,4 @@ -\version "2.17.25" +\version "2.19.21" \header { texidoc = "Slurs that depend on a cross-staff beam are not calculated until @@ -8,7 +8,7 @@ after line-breaking, and after inside-going articulations have been placed." \paper { ragged-right=##t } \score { \new PianoStaff << - \context Staff = rh \relative c'' { c8([ d) \change Staff = lh c,] r + \context Staff = rh \relative { c''8([ d) \change Staff = lh c,] r \stemDown f'8 \change Staff = rh f_( \change Staff = lh f_\marcato f)} \context Staff = lh { s1 } >> diff --git a/input/regression/slur-dot-collision.ly b/input/regression/slur-dot-collision.ly index b3fc822159..0bcc63669d 100644 --- a/input/regression/slur-dot-collision.ly +++ b/input/regression/slur-dot-collision.ly @@ -1,8 +1,8 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Slurs avoid dots. " } -\relative c''' { e16. ( e,,32 ) }
\ No newline at end of file +\relative { e'''16. ( e,,32 ) }
\ No newline at end of file diff --git a/input/regression/slur-dots.ly b/input/regression/slur-dots.ly index 50f6c00ce9..a8a05792d4 100644 --- a/input/regression/slur-dots.ly +++ b/input/regression/slur-dots.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc="Slurs should not get confused by augmentation dots. With a lot of dots, the problems becomes more visible." @@ -9,8 +9,8 @@ of dots, the problems becomes more visible." ragged-right = ##t } -\relative c'' { - c4.............( c) +\relative { + c''4.............( c) } diff --git a/input/regression/slur-dynamics.ly b/input/regression/slur-dynamics.ly index a3739a48b3..54cbfafb35 100644 --- a/input/regression/slur-dynamics.ly +++ b/input/regression/slur-dynamics.ly @@ -4,12 +4,12 @@ texidoc = "Dynamics avoid collision with slur." } -\version "2.17.15" +\version "2.19.21" \layout { indent = 0\mm ragged-right = ##t } -\relative c' +\relative { b( b f'\p b,) diff --git a/input/regression/slur-grace.ly b/input/regression/slur-grace.ly index b08dcd1c0f..d998e25ad0 100644 --- a/input/regression/slur-grace.ly +++ b/input/regression/slur-grace.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Appoggiatura and acciaccaturas use a different slur than the default, so they produce a nested slur without warnings." } -\relative c'' { - c4( \acciaccatura e8 d4 e4 f) | +\relative { + c''4( \acciaccatura e8 d4 e4 f) | c4( \appoggiatura e8 d4 e4 f) | c4 \appoggiatura e8 d4 e4 f | } diff --git a/input/regression/slur-height-capping.ly b/input/regression/slur-height-capping.ly index 0d9a6a8611..00130a92e2 100644 --- a/input/regression/slur-height-capping.ly +++ b/input/regression/slur-height-capping.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Slur shaping is not adapted to accommodate objects @@ -8,7 +8,7 @@ the edges are not, however, ignored in the slur scoring. " } -\relative c { +\relative { \clef bass c8( d' a d c, d' a d) c,8( des' as des c, des' as des) | diff --git a/input/regression/slur-multiple-linebreak.ly b/input/regression/slur-multiple-linebreak.ly index 3f863ccda1..206f488244 100644 --- a/input/regression/slur-multiple-linebreak.ly +++ b/input/regression/slur-multiple-linebreak.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "already have slur")) @@ -10,16 +10,16 @@ \paper { ragged-right = ##t } -\relative c' { +\relative { \key fis \major - c1( + c'1( \break a2 b4 c) } -\relative c' { +\relative { \key fis \major - c1( + c'1( \break a2( b4 c) % ^ extra SlurEvent diff --git a/input/regression/slur-multiple.ly b/input/regression/slur-multiple.ly index 1b2bec4d01..9662494bb1 100644 --- a/input/regression/slur-multiple.ly +++ b/input/regression/slur-multiple.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "already have slur")) @@ -16,9 +16,9 @@ sp=#(define-event-function (parser location n e) (index? ly:event?) (set! (ly:music-property e 'spanner-id) (format "sp~a" n)) e) -\relative c'' { +\relative { % This will give warnings ("Already have slur" and "Cannot end slur") - c4((\sp1( d4)(\sp1( e4) f) | + c''4((\sp1( d4)(\sp1( e4) f) | % This will give two overlapping slurs and "unterminated slur" from above d( d\sp2( e) f\sp2) | diff --git a/input/regression/slur-rest.ly b/input/regression/slur-rest.ly index 37762861d6..b647899b9b 100644 --- a/input/regression/slur-rest.ly +++ b/input/regression/slur-rest.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc ="Slurs may be placed over rests. The slur will avoid @@ -11,9 +11,9 @@ colliding with the rests. \layout { ragged-right = ##t } { \stemDown c'4 ( r4 c'2) - \relative c'' { + \relative { %% Finish with F if played separately - c8-.( r c,-. r c4) r4| + c''8-.( r c,-. r c4) r4| } } diff --git a/input/regression/slur-script.ly b/input/regression/slur-script.ly index 8ba9e19b80..2047c50c6f 100644 --- a/input/regression/slur-script.ly +++ b/input/regression/slur-script.ly @@ -6,12 +6,12 @@ slur responds appropriately if a script is moved." } -\version "2.17.15" +\version "2.19.21" \layout { indent = 0\mm ragged-right = ##t } -\relative c' +\relative { b4-.( b-.) \once \override Script.padding = #1.5 diff --git a/input/regression/slur-shift-region.ly b/input/regression/slur-shift-region.ly index 8a43894cd5..59c42df103 100644 --- a/input/regression/slur-shift-region.ly +++ b/input/regression/slur-shift-region.ly @@ -1,10 +1,10 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "A slur's shift region is automatically made higher to accommodate extra encompass elements." } -\relative c' { - c'2( \tuplet 3/2 { g4 e c) } +\relative { + c''2( \tuplet 3/2 { g4 e c) } } diff --git a/input/regression/slur-tie-control-points.ly b/input/regression/slur-tie-control-points.ly index 5aa59a0f1d..b43f51343d 100644 --- a/input/regression/slur-tie-control-points.ly +++ b/input/regression/slur-tie-control-points.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Slurs and ties should never share extremal control points. @@ -6,6 +6,6 @@ } \paper { ragged-right = ##f } -\relative c'' { - c1~( c2 g) +\relative { + c''1~( c2 g) } diff --git a/input/regression/slur-tilt.ly b/input/regression/slur-tilt.ly index bf7d668a49..1849d20cf7 100644 --- a/input/regression/slur-tilt.ly +++ b/input/regression/slur-tilt.ly @@ -8,11 +8,11 @@ point into one note head, and point over another note head." \layout { ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" -\relative c'' { +\relative { \time 2/4 - g8( f) + g'8( f) a( f) b( f) c'( f,) diff --git a/input/regression/slur-vertical-skylines.ly b/input/regression/slur-vertical-skylines.ly index 2e808b8573..15280d259e 100644 --- a/input/regression/slur-vertical-skylines.ly +++ b/input/regression/slur-vertical-skylines.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Slurs do not force grobs with outside-staff-priority @@ -6,8 +6,8 @@ too high. " } -\relative c' { - f8^"rit"( c' f c' f) r8 r4 | +\relative { + f'8^"rit"( c' f c' f) r8 r4 | c2( c,2 | g1)~\startTrillSpan g1\stopTrillSpan diff --git a/input/regression/song-basic-nonenglish.ly b/input/regression/song-basic-nonenglish.ly index 3a53832b5f..31f2c9bd3a 100644 --- a/input/regression/song-basic-nonenglish.ly +++ b/input/regression/song-basic-nonenglish.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports non-english syllabels. @@ -8,7 +8,7 @@ non-english syllabels. \festivalsyl #"song-basic-nonenglish.xml" { \tempo 4 = 100 } { -\relative c' { c e g r } +\relative { c' e g r } \addlyrics { ov -- Äá -- ci } } #(ly:progress "song-basic-nonenglish") diff --git a/input/regression/song-basic.ly b/input/regression/song-basic.ly index ae0c40d122..35815bbff5 100644 --- a/input/regression/song-basic.ly +++ b/input/regression/song-basic.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports basic songs. @@ -9,7 +9,7 @@ basic songs. \festival #"song-basic.xml" { \tempo 4 = 100 } { \time 3/4 -\relative c' { c2 r2 e4 g2. } +\relative { c'2 r2 e4 g2. } \addlyrics { play the game } } #(ly:progress "song-basic") diff --git a/input/regression/song-breathe.ly b/input/regression/song-breathe.ly index 72dfb8eb7c..18d8dca87f 100644 --- a/input/regression/song-breathe.ly +++ b/input/regression/song-breathe.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports breath marks. @@ -9,7 +9,7 @@ breath marks. \festival #"song-breathe.xml" { \tempo 4 = 100 } { \time 3/4 -\relative c' { c2 e \breathe g } +\relative { c'2 e \breathe g } \addlyrics { play the game } } #(ly:progress "song-breathe") diff --git a/input/regression/song-melisma.ly b/input/regression/song-melisma.ly index 00949e9f36..cc9afcbaca 100644 --- a/input/regression/song-melisma.ly +++ b/input/regression/song-melisma.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports melismas. @@ -7,12 +7,12 @@ melismas. \include "festival.ly" \festival #"song-melisma.xml" { \tempo 4 = 100 } -\relative c'' +\relative { << \context Voice = "lala" { \time 3/4 - f4 g8 + f''4 g8 \melisma f e f \melismaEnd diff --git a/input/regression/song-repetition.ly b/input/regression/song-repetition.ly index 3a8a9f718b..5b0412880c 100644 --- a/input/regression/song-repetition.ly +++ b/input/regression/song-repetition.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports repeat signs. @@ -9,8 +9,8 @@ repeat signs. \score{ \festival #"song-repetition.xml" { \tempo 4 = 100 } << - \context Voice = melody \relative c' { - c2 e4 r4 | g2 e | c1 | + \context Voice = melody \relative { + c'2 e4 r4 | g2 e | c1 | \context Voice = verse \repeat volta 2 {c4 d e f | g1 | } a2 b | c1} \context Lyrics = mainlyrics \lyricsto melody { diff --git a/input/regression/song-skip-noword.ly b/input/regression/song-skip-noword.ly index 9fcbbbf03f..0fb6da3f0b 100644 --- a/input/regression/song-skip-noword.ly +++ b/input/regression/song-skip-noword.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Festival song synthesis output supports lyrics which are not complete words. @@ -8,7 +8,7 @@ lyrics which are not complete words. #(*skip-word* #f) \festival #"song-skip-noword.xml" { \tempo 4 = 100 } -\relative c' { c4 c g' } +\relative { c'4 c g' } \addlyrics { twin -- \skip 4 kle diff --git a/input/regression/song-skip.ly b/input/regression/song-skip.ly index 351113393c..a2c6d7024d 100644 --- a/input/regression/song-skip.ly +++ b/input/regression/song-skip.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports skips. @@ -7,7 +7,7 @@ skips. \include "festival.ly" \festival #"song-skip.xml" { \tempo 4 = 100 } -\relative c' { c c g' } +\relative { c' c g' } \addlyrics { twin -- \skip 4 kle diff --git a/input/regression/song-splitpart.ly b/input/regression/song-splitpart.ly index ee4ef160a5..6524f4bc26 100644 --- a/input/regression/song-splitpart.ly +++ b/input/regression/song-splitpart.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports divided voices. @@ -10,8 +10,8 @@ divided voices. \festival #"song-splitpart.xml" { \tempo 4 = 100 } << \context Voice = "melody" { - \relative c' { - c4 + \relative { + c'4 << { \voiceOne c8 e } \context Voice = splitpart { \voiceTwo c4 } diff --git a/input/regression/song-stanzas.ly b/input/regression/song-stanzas.ly index 761e62b8fb..3c4391d641 100644 --- a/input/regression/song-stanzas.ly +++ b/input/regression/song-stanzas.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports multiple stanzas. @@ -9,7 +9,7 @@ multiple stanzas. \festival #"song-stanzas.xml" { \tempo 4 = 100 } { \time 3/4 -\relative c' { c2 e4 g2. } +\relative { c'2 e4 g2. } \addlyrics { play the game } \addlyrics { speel het spel } \addlyrics { joue le jeu } diff --git a/input/regression/song-tempo.ly b/input/regression/song-tempo.ly index 0205ab438d..3788389d9e 100644 --- a/input/regression/song-tempo.ly +++ b/input/regression/song-tempo.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports changing tempo in the middle of a piece. @@ -9,7 +9,7 @@ changing tempo in the middle of a piece. \festival #"song-tempo.xml" { \tempo 4=90 } { \time 3/4 -\relative c' { c4 e g \tempo 4=60 c, e g } +\relative { c'4 e g \tempo 4=60 c, e g } \addlyrics { do re mi do re mi } } #(ly:progress "song-tempo") diff --git a/input/regression/spacing-accidental-staffs.ly b/input/regression/spacing-accidental-staffs.ly index cf80c66dc0..f049260fe1 100644 --- a/input/regression/spacing-accidental-staffs.ly +++ b/input/regression/spacing-accidental-staffs.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Accidentals in different staves do not affect the @@ -7,11 +7,11 @@ spacing of the eighth notes here." \layout { ragged-right = ##t} -\relative c'' << +\relative << \new Staff { \time 4/4 - c8[ c8 cis8 cis8] + c''8[ c8 cis8 cis8] cis8[ cis8 cis8 cis] } { diff --git a/input/regression/spacing-accidental-tie.ly b/input/regression/spacing-accidental-tie.ly index b5fe6dc0c8..f60a68f89d 100644 --- a/input/regression/spacing-accidental-tie.ly +++ b/input/regression/spacing-accidental-tie.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Horizontal spacing works as expected on tied notes with @@ -8,9 +8,9 @@ but accidentals that are printed don't collide with anything." \paper { ragged-right = ##t } -\relative c' +\relative { \time 1/4 - cis16 cis cis cis~ + cis'16 cis cis cis~ cis cis cis cis c c c c \break diff --git a/input/regression/spacing-accidental.ly b/input/regression/spacing-accidental.ly index 632099154d..8089d81d88 100644 --- a/input/regression/spacing-accidental.ly +++ b/input/regression/spacing-accidental.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Accidentals sticking out to the left @@ -8,9 +8,9 @@ of a note will take a little more space, but only if the spacing is tight." \layout { ragged-right = ##t} -\relative c'' { +\relative { \time 8/4 - c2 c2 cis2 cis2 | + c''2 c2 cis2 cis2 | c8 c8 cis8 cis8 cis c c c] } diff --git a/input/regression/spacing-correction-accidentals.ly b/input/regression/spacing-correction-accidentals.ly index cada938d57..1c94c87408 100644 --- a/input/regression/spacing-correction-accidentals.ly +++ b/input/regression/spacing-correction-accidentals.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "If right hand stems have accidentals, optical spacing @@ -6,8 +6,8 @@ correction is still applied, but only if the stem directions are different." } -\relative c' { +\relative { \time 2/4 - c8 cis'' + c'8 cis'' cis8 cis,, } diff --git a/input/regression/spacing-end-of-line.ly b/input/regression/spacing-end-of-line.ly index a4027f9af2..94adb0faf9 100644 --- a/input/regression/spacing-end-of-line.ly +++ b/input/regression/spacing-end-of-line.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc ="Broken engraving of a bar at the end of a line does not upset @@ -11,8 +11,8 @@ ragged-right = ##t } -\relative c' { - c2.. r8 +\relative { + c'2.. r8 c2.. r8 \time 3/4 \break e2 e4 | e2 e4 \time 4/4 \break diff --git a/input/regression/spacing-ended-voice.ly b/input/regression/spacing-ended-voice.ly index 19213cf8dd..f752b1d80e 100644 --- a/input/regression/spacing-ended-voice.ly +++ b/input/regression/spacing-ended-voice.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " A voicelet (a very short voice to get polyphonic chords correct) should not confuse the spacing engine." @@ -7,8 +7,8 @@ should not confuse the spacing engine." \layout { ragged-right = ##t } -{ \context Staff \relative c' { - c4 +{ \context Staff \relative { + c'4 << { r4 dis'4 } \\ { r4 fis,4 } \\ diff --git a/input/regression/spacing-folded-clef.ly b/input/regression/spacing-folded-clef.ly index 665bae99e4..be6055edd9 100644 --- a/input/regression/spacing-folded-clef.ly +++ b/input/regression/spacing-folded-clef.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "A clef can be folded below notes in a different staff, if this does not disrupt the flow of the notes." @@ -6,8 +6,8 @@ this does not disrupt the flow of the notes." \layout { ragged-right = ##t} -\relative c'' << - \new Staff { c4 c16[ c c c] c4 c4 } +\relative << + \new Staff { c''4 c16[ c c c] c4 c4 } \new Staff { \clef bass c,2 \clef treble c'2 } >> diff --git a/input/regression/spacing-folded-clef2.ly b/input/regression/spacing-folded-clef2.ly index 6f5777b93d..9a68dc8e99 100644 --- a/input/regression/spacing-folded-clef2.ly +++ b/input/regression/spacing-folded-clef2.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "A clef can be folded below notes in a different staff, if @@ -19,8 +19,8 @@ can show where columns are in the score." } } -\relative c'' << - \new Staff { c4 c4 c4 c \bar "|." } +\relative << + \new Staff { c''4 c4 c4 c \bar "|." } \new Staff { \clef bass c,2 \clef treble c'2 } >> diff --git a/input/regression/spacing-folded-clef3.ly b/input/regression/spacing-folded-clef3.ly index 74e4fc392a..ccac4283df 100644 --- a/input/regression/spacing-folded-clef3.ly +++ b/input/regression/spacing-folded-clef3.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Voices that go back and forth between staves do not confuse the spacing engine." @@ -7,9 +7,9 @@ \paper { ragged-right = ##t } \new PianoStaff << - \new Staff = "rh" \relative c'' { + \new Staff = "rh" \relative { \time 6/8 - bes16 c d + bes'16 c d \change Staff = lh \stemUp bes a g \change Staff = rh @@ -25,9 +25,9 @@ >> \new PianoStaff << - \new Staff = "rh" \relative c'' { + \new Staff = "rh" \relative { \time 6/8 - bes16 c d + bes'16 c d \change Staff = lh \stemUp bes a g \change Staff = rh diff --git a/input/regression/spacing-grace-duration.ly b/input/regression/spacing-grace-duration.ly index 70f4f9b522..a4b7e4767f 100644 --- a/input/regression/spacing-grace-duration.ly +++ b/input/regression/spacing-grace-duration.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Spacing uses the duration of the notes, but disregards @@ -11,10 +11,10 @@ \layout { ragged-right = ##t} -\relative c'' +\relative \context Voice { - c8[ c8] + c''8[ c8] \grace { b16 } c8[ c8] c8[ c8] diff --git a/input/regression/spacing-grace.ly b/input/regression/spacing-grace.ly index 3d64bb03e8..99fda4aad7 100644 --- a/input/regression/spacing-grace.ly +++ b/input/regression/spacing-grace.ly @@ -5,13 +5,13 @@ run are spaced accordingly. " } -\version "2.17.28" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' +\relative { - c4 + c''4 \grace { c16 } c \grace { c16 } diff --git a/input/regression/spacing-horizontal-skyline-grace.ly b/input/regression/spacing-horizontal-skyline-grace.ly index b99c173eef..e2a375ded4 100644 --- a/input/regression/spacing-horizontal-skyline-grace.ly +++ b/input/regression/spacing-horizontal-skyline-grace.ly @@ -6,7 +6,7 @@ and the barline do not collide." } -\version "2.17.6" +\version "2.19.21" \paper { @@ -20,7 +20,7 @@ and the barline do not collide." \time 6/8 \clef bass s2. | - \relative c << + \relative << { <des ges b des>4\arpeggio } diff --git a/input/regression/spacing-loose-polyphony.ly b/input/regression/spacing-loose-polyphony.ly index 43fdb6e8d4..ce56c5f8be 100644 --- a/input/regression/spacing-loose-polyphony.ly +++ b/input/regression/spacing-loose-polyphony.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Loose columns (here, the treble clef) are spaced @@ -10,8 +10,8 @@ correctly in polyphonic music. \new Staff \relative c' { \tuplet 3/2 { g'4 a2 } } - \new Staff \relative c' { - \clef bass fis,,8 cis' + \new Staff \relative { + \clef bass fis,8 cis' \clef treble g'' fis, } >> diff --git a/input/regression/spacing-non-adjacent-columns1.ly b/input/regression/spacing-non-adjacent-columns1.ly index 0780f39775..557f268ff2 100644 --- a/input/regression/spacing-non-adjacent-columns1.ly +++ b/input/regression/spacing-non-adjacent-columns1.ly @@ -1,15 +1,15 @@ -\version "2.16.0" +\version "2.19.21" \paper {ragged-right = ##t} \header { texidoc = "The spacing engine avoids collisions between non-adjacent columns." } -foo = \relative c'' { - g'32[ c,] +foo = \relative { + g''32[ c,] } -bar = \relative c { +bar = \relative { c16 <feses ases ceses eses ases ceses eses geses beses deses>4 } diff --git a/input/regression/spacing-non-adjacent-columns2.ly b/input/regression/spacing-non-adjacent-columns2.ly index 977647a985..84abc21629 100644 --- a/input/regression/spacing-non-adjacent-columns2.ly +++ b/input/regression/spacing-non-adjacent-columns2.ly @@ -1,15 +1,15 @@ -\version "2.16.0" +\version "2.19.21" \paper {ragged-right = ##t} \header { texidoc = "The spacing engine avoids collisions between non-adjacent columns." } -foo = \relative c'' { - g'32[ c,] +foo = \relative { + g''32[ c,] } -bar = \relative c { +bar = \relative { s16 <feses ases ceses eses ases ceses eses geses beses deses>4 } diff --git a/input/regression/spacing-rest.ly b/input/regression/spacing-rest.ly index 89dfc2770e..d0c4a257f2 100644 --- a/input/regression/spacing-rest.ly +++ b/input/regression/spacing-rest.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Rests get a little less space, since they are narrower. However, the quarter rest in feta font is relatively wide, causing this @@ -10,9 +10,9 @@ effect to be very small. \layout { ragged-right = ##t } -\relative c'' \context Staff { +\relative \context Staff { \time 12/4 - r4 c4 c4 c4 r4 r4 c4 + r4 c''4 c4 c4 r4 r4 c4 } diff --git a/input/regression/spacing-section.ly b/input/regression/spacing-section.ly index 1ae03f66e9..a1bf1f3bd3 100644 --- a/input/regression/spacing-section.ly +++ b/input/regression/spacing-section.ly @@ -11,10 +11,10 @@ the 4/16, and a 16th in the second section takes as much space as a { ragged-right = ##t } -\version "2.16.0" -\relative c' { +\version "2.19.21" +\relative { \time 2/4 - c4 c8 c + c'4 c8 c c8 c c4 c16[ c c8] c4 \newSpacingSection diff --git a/input/regression/spacing-short-notes.ly b/input/regression/spacing-short-notes.ly index c556abafd3..4e0accf86c 100644 --- a/input/regression/spacing-short-notes.ly +++ b/input/regression/spacing-short-notes.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Notes that are shorter than the common shortest note get a @@ -12,10 +12,10 @@ eighth note. " \layout { ragged-right = ##t} -\relative c'' +\relative { \time 2/4 - c16 c c c c4 c4 + c''16 c c c c4 c4 c8 c8 c8 c8 c8 c8 c4 c8 c8 c4 diff --git a/input/regression/spacing-stick-out.ly b/input/regression/spacing-stick-out.ly index cd78aa7bfd..ae2a46e539 100644 --- a/input/regression/spacing-stick-out.ly +++ b/input/regression/spacing-stick-out.ly @@ -7,11 +7,11 @@ } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c' { - c1 c1^"This is a really long text" c +\relative { + c'1 c1^"This is a really long text" c } diff --git a/input/regression/spacing-to-grace.ly b/input/regression/spacing-to-grace.ly index 49c8c930fb..99202cfe73 100644 --- a/input/regression/spacing-to-grace.ly +++ b/input/regression/spacing-to-grace.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc ="Space from a normal note (or barline) to a grace note is @@ -12,8 +12,8 @@ \context Voice { \time 2/4 - \relative c'' { - e8 e \grace d8 e e \grace f8 e es, d' d + \relative { + e''8 e \grace d8 e e \grace f8 e es, d' d e8 e e e \grace { \stemDown f8 \stemNeutral } e es, d' } diff --git a/input/regression/span-bar-allow-span-bar.ly b/input/regression/span-bar-allow-span-bar.ly index d1525438dc..7a93ffd8e2 100644 --- a/input/regression/span-bar-allow-span-bar.ly +++ b/input/regression/span-bar-allow-span-bar.ly @@ -1,5 +1,5 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "The @code{SpanBarStub} grob takes care of horizontal spacing @@ -16,8 +16,8 @@ span bar were not there. \new GrandStaff << \new Staff \new Voice = "upper" - \relative c'' { - c2 c c c + \relative { + c''2 c c c \once \override Staff.BarLine.allow-span-bar = ##f c2 c c c c2 c c c @@ -31,8 +31,8 @@ span bar were not there. \new Staff \new Voice = "middle" - \relative c'' { - c2 c c c + \relative { + c''2 c c c c2 c c c c2 c c c \once \override Staff.BarLine.allow-span-bar = ##f @@ -45,8 +45,8 @@ span bar were not there. \new Staff \new Voice = "lower" - \relative c'' { - c2 c c c + \relative { + c''2 c c c c2 c c c c2 c c c c2 c c c diff --git a/input/regression/span-bar-partial.ly b/input/regression/span-bar-partial.ly index adf890e5fc..9113a0acd1 100644 --- a/input/regression/span-bar-partial.ly +++ b/input/regression/span-bar-partial.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Span bars can be turned on/@/off on a staff-by-staff basis." } @@ -10,9 +10,9 @@ ragged-right =##t } -\relative c' \new StaffGroup << +\relative \new StaffGroup << \new Staff { - c1 + c'1 \once \override Staff.BarLine.allow-span-bar = ##f c1 c1 c1 \bar "|." diff --git a/input/regression/span-bar-spacing.ly b/input/regression/span-bar-spacing.ly index f58812751d..a4a109abcf 100644 --- a/input/regression/span-bar-spacing.ly +++ b/input/regression/span-bar-spacing.ly @@ -8,12 +8,12 @@ edge of a bar line. This spacing should also take place when " } -\version "2.16.0" +\version "2.19.21" -upper = \relative c' { +upper = \relative { \key f \minor \time 12/8 r4. r8 r r r r r r r r - e8 e e e e e e e e e e e + e'8 e e e e e e e e e e e e, e'! e! e! e! e! e! e! e! e! e! e! } diff --git a/input/regression/span-bar.ly b/input/regression/span-bar.ly index 4984602916..d102aaf246 100644 --- a/input/regression/span-bar.ly +++ b/input/regression/span-bar.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.21" \header { texidoc = "Span bars are drawn only between staff bar lines. By setting bar lines to transparent, they are shown only between systems. @@ -16,7 +16,7 @@ between systems. ragged-right =##t } -\relative c' \new StaffGroup << +\relative \new StaffGroup << \new Staff { a1 \once \hide Score.BarLine diff --git a/input/regression/staccato-pos.ly b/input/regression/staccato-pos.ly index df275a688a..72ee58c48b 100644 --- a/input/regression/staccato-pos.ly +++ b/input/regression/staccato-pos.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header{ @@ -24,8 +24,8 @@ e-. g-. b-. d-. } \context Voice { - \relative c' { - e'4-. f-. g-. d-. c-. b-. + \relative { + e''4-. f-. g-. d-. c-. b-. \stemDown e,-. d-. c-. b-. a-. g-. } diff --git a/input/regression/staff-halfway.ly b/input/regression/staff-halfway.ly index 68e5e72beb..41bbe84170 100644 --- a/input/regression/staff-halfway.ly +++ b/input/regression/staff-halfway.ly @@ -2,14 +2,14 @@ texidoc = "Staves can be started and stopped at command. " } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { - b b \stopStaff b b \startStaff +\relative { + b' b \stopStaff b b \startStaff \clef bass c,, c } diff --git a/input/regression/staff-online-symbol-absence.ly b/input/regression/staff-online-symbol-absence.ly index cb2c168f27..698183fe22 100644 --- a/input/regression/staff-online-symbol-absence.ly +++ b/input/regression/staff-online-symbol-absence.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "Symbols that need on-staffline info (like dots and ties) @@ -9,8 +9,8 @@ \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { +\relative { \time 5/8 - f4 ~ 4 + f'4 ~ 4 f4 f4. } diff --git a/input/regression/staff-tweak.ly b/input/regression/staff-tweak.ly index 36e75dba38..b614b827be 100644 --- a/input/regression/staff-tweak.ly +++ b/input/regression/staff-tweak.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "The staff is a grob (graphical object) which may be adjusted as well, for example, to have 6 thick lines and a slightly large @code{staff-space}. @@ -11,7 +11,7 @@ However, beams remain correctly quantized." } -mus = \relative c' { c4 g' d'8 d d d } +mus = \relative { c'4 g' d'8 d d d } << diff --git a/input/regression/stanza-number.ly b/input/regression/stanza-number.ly index eaf7b7c936..2e315d8317 100644 --- a/input/regression/stanza-number.ly +++ b/input/regression/stanza-number.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Stanza numbers are put left of their lyric. They are aligned in a column." } -\relative c'' { r4 r4 c4 c4 } +\relative { r4 r4 c''4 c4 } \addlyrics { \skip 2 \set stanza = "1." diff --git a/input/regression/stem-direction.ly b/input/regression/stem-direction.ly index 39b6716360..3623788e49 100644 --- a/input/regression/stem-direction.ly +++ b/input/regression/stem-direction.ly @@ -1,5 +1,5 @@ -\version "2.19.2" +\version "2.19.21" \header{ texidoc=" @@ -12,8 +12,8 @@ notes, and up for low notes. \layout { ragged-right = ##t } -\context Voice \relative c { - b''4 ~ 8(b8) e4 e, +\context Voice \relative { + b'4 ~ 8(b8) e4 e, } diff --git a/input/regression/stem-tremolo-position.ly b/input/regression/stem-tremolo-position.ly index 538b5133b9..7881c1318b 100644 --- a/input/regression/stem-tremolo-position.ly +++ b/input/regression/stem-tremolo-position.ly @@ -5,12 +5,12 @@ tilted extra on stem-down notes with a flag." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##T } -\relative c' { - c16:32 e: f: a: c,4:8 c4:32 c8:16 \noBeam c16:32 \noBeam c16:64 | +\relative { + c'16:32 e: f: a: c,4:8 c4:32 c8:16 \noBeam c16:32 \noBeam c16:64 | c''16:32 e: f: a: c,4:8 c4:32 c8:16 \noBeam c16:32 \noBeam c16:64 | } diff --git a/input/regression/stem-tremolo-staff-space.ly b/input/regression/stem-tremolo-staff-space.ly index c89ded2dbd..84db1ff042 100644 --- a/input/regression/stem-tremolo-staff-space.ly +++ b/input/regression/stem-tremolo-staff-space.ly @@ -4,14 +4,14 @@ } -\version "2.17.6" +\version "2.19.21" \layout { ragged-right = ##t } -fragment = \relative c' { - c4:64 c:64 c8:64 c:64 c:64 c:64 c:64 +fragment = \relative { + c'4:64 c:64 c8:64 c:64 c:64 c:64 c:64 } diff --git a/input/regression/stencil-hacking.ly b/input/regression/stencil-hacking.ly index 41192b986a..40d450fcd6 100644 --- a/input/regression/stencil-hacking.ly +++ b/input/regression/stencil-hacking.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc=" You can write stencil callbacks in Scheme, thus providing custom glyphs for notation elements. A simple example is @@ -46,8 +46,8 @@ GROB. It does not affect the dimensions of the stencil. \layout { ragged-right = ##t } -\relative c' { - c4 e +\relative { + c'4 e \override NoteHead.stencil = diff --git a/input/regression/string-number-styles.ly b/input/regression/string-number-styles.ly index dcf3eafc48..11a7c07cd9 100644 --- a/input/regression/string-number-styles.ly +++ b/input/regression/string-number-styles.ly @@ -4,13 +4,13 @@ string number indications. Predefined options are arabic (used by default) and roman numerals." } -\version "2.19.16" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { - c2\2 +\relative { + c''2\2 \romanStringNumbers a\3 \override StringNumber.number-type = #'roman-lower diff --git a/input/regression/string-number.ly b/input/regression/string-number.ly index 76243ba684..f856faf8d2 100644 --- a/input/regression/string-number.ly +++ b/input/regression/string-number.ly @@ -4,13 +4,13 @@ positioning mechanism as finger instructions." } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' { - <c\1 e\2 g\3> +\relative { + <c'\1 e\2 g\3> c4 \set fingeringOrientations = #'(down left up) \set stringNumberOrientations = #'(down right up) diff --git a/input/regression/system-separator.ly b/input/regression/system-separator.ly index 52b4f398ba..9b6e7456ad 100644 --- a/input/regression/system-separator.ly +++ b/input/regression/system-separator.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "System separators may be defined as markups in the @@ -10,8 +10,8 @@ centered between the boundary staves of each system." system-separator-markup = \slashSeparator } -foobar = \relative c' { - c1 c \break +foobar = \relative { + c'1 c \break c1 c \break c1 c } diff --git a/input/regression/tablature-chord-repetition-finger.ly b/input/regression/tablature-chord-repetition-finger.ly index be67208185..9bc3663731 100644 --- a/input/regression/tablature-chord-repetition-finger.ly +++ b/input/regression/tablature-chord-repetition-finger.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "In a TabStaff, the chord repetition function needs @@ -7,7 +7,7 @@ to retain string and fingering information. Using on the main staff." } -Guitar = \relative c' { +Guitar = \relative { r8 < gis-6 cis-6 b-0 > ~ q4 q8 ~ 8 q4 } diff --git a/input/regression/tablature-chord-repetition.ly b/input/regression/tablature-chord-repetition.ly index 0d08b705c5..c46d6ea815 100644 --- a/input/regression/tablature-chord-repetition.ly +++ b/input/regression/tablature-chord-repetition.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "In a TabStaff, the chord repetition function needs @@ -10,7 +10,7 @@ music in the tabstaff, not affecting other contexts." \tabChordRepetition -Guitar = \relative c' { +Guitar = \relative { r8 < gis\4 cis\3 b\2 > ~ q4 q8 ~ 8 q4 } diff --git a/input/regression/tablature-default-strings.ly b/input/regression/tablature-default-strings.ly index 605b1af353..c8b4815979 100644 --- a/input/regression/tablature-default-strings.ly +++ b/input/regression/tablature-default-strings.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @@ -7,7 +7,7 @@ for fret calculations if no strings are defined explicitly. " } -mymusic = \relative c { +mymusic = \relative { <c c'>4 \set defaultStrings = #'(5 3) <c c'>4 diff --git a/input/regression/tablature-dot-placement.ly b/input/regression/tablature-dot-placement.ly index a7d3afc09f..b86c0573a7 100644 --- a/input/regression/tablature-dot-placement.ly +++ b/input/regression/tablature-dot-placement.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -9,8 +9,8 @@ respect two-digit fret numbers. } -myMusic = \relative c' { - <f\3 a c>4. +myMusic = \relative { + <f'\3 a c>4. <f\3 g d'>4. <f\3 a d>4 } diff --git a/input/regression/tablature-glissando.ly b/input/regression/tablature-glissando.ly index 1d96ac09f7..07905c0c49 100644 --- a/input/regression/tablature-glissando.ly +++ b/input/regression/tablature-glissando.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc = "Glissando lines in tablature have the right slope." } \paper { ragged-right = ##f } % strech the staff to make glissando lines visible -glissandotest = \relative c { +glissandotest = \relative { c4\5 \glissando d\5 \glissando e\5 f\5 | c4\5 \glissando d\5 \glissando c2\5 | c4\5 \glissando c'\4 c\4 \glissando c,\5 diff --git a/input/regression/tablature-grace-notes.ly b/input/regression/tablature-grace-notes.ly index a09ba83998..2663d7fee3 100644 --- a/input/regression/tablature-grace-notes.ly +++ b/input/regression/tablature-grace-notes.ly @@ -1,9 +1,9 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc = "Fret numbers belonging to grace notes are smaller." } -gracenotes = \relative c { +gracenotes = \relative { c4 d e f \grace e8 c4 d e f \grace \parenthesize e8 c4 d e f diff --git a/input/regression/tablature-harmonic-tie.ly b/input/regression/tablature-harmonic-tie.ly index 5160684568..e430fd3b4b 100644 --- a/input/regression/tablature-harmonic-tie.ly +++ b/input/regression/tablature-harmonic-tie.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @@ -7,8 +7,8 @@ nor the harmonic brackets for the second note appear in the tablature. " } -music = \relative c' { - s2. <d\4\harmonic>4 ~ | +music = \relative { + s2. <d'\4\harmonic>4 ~ | <d\4\harmonic>1 | } diff --git a/input/regression/tablature-harmonic.ly b/input/regression/tablature-harmonic.ly index 139ca26c48..72a32c157e 100644 --- a/input/regression/tablature-harmonic.ly +++ b/input/regression/tablature-harmonic.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Harmonics get angled brackets in tablature. @@ -9,8 +9,8 @@ } \new TabVoice -\relative c' { - <c\2 g'\1\harmonic>4 +\relative { + <c'\2 g'\1\harmonic>4 <c g'\1\harmonic>4 <c\2 g'\harmonic>4 <c g'\harmonic>4 diff --git a/input/regression/tablature-letter.ly b/input/regression/tablature-letter.ly index b1e85522a0..9af4d79abb 100644 --- a/input/regression/tablature-letter.ly +++ b/input/regression/tablature-letter.ly @@ -1,4 +1,4 @@ -\version "2.17.27" +\version "2.19.21" \header { texidoc = " @@ -13,9 +13,9 @@ if the length is too short. " } -notes = \relative c' { +notes = \relative { \time 3/4 - <f d>4. <bes>8 <g e>4 + <f' d>4. <bes>8 <g e>4 \set fretLabels = \markuplist {"a" "b" \italic \smaller "c"} <f d>4. <bes>8 <g e>4 \set fretLabels = \markuplist {\with-color #red "a" diff --git a/input/regression/tablature-negative-fret.ly b/input/regression/tablature-negative-fret.ly index 92a35fc09f..28d08f427d 100644 --- a/input/regression/tablature-negative-fret.ly +++ b/input/regression/tablature-negative-fret.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "Requested string for pitch requires negative fret: string ~a pitch ~a") 1 "#<Pitch c' >") #(ly:expect-warning (_ "Ignoring string request and recalculating.")) @@ -20,8 +20,8 @@ all three cases demonstrated. } -myMusic = \relative c' { - <c\1>1 ^\markup { recalculate } +myMusic = \relative { + <c'\1>1 ^\markup { recalculate } \set TabStaff.handleNegativeFrets = #'include <c\1>1 ^ \markup { include } \set TabStaff.handleNegativeFrets = #'ignore diff --git a/input/regression/tablature-slide.ly b/input/regression/tablature-slide.ly index 54b7c62daf..2352c78288 100644 --- a/input/regression/tablature-slide.ly +++ b/input/regression/tablature-slide.ly @@ -4,13 +4,13 @@ texidoc = "Tab supports slides." } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##T } -\relative c' \new TabVoice +\relative \new TabVoice { - <c g'\harmonic> d\2\glissando e\2 + <c' g'\harmonic> d\2\glissando e\2 } diff --git a/input/regression/tablature-string-tunings.ly b/input/regression/tablature-string-tunings.ly index c38ae9e633..9f50d45a13 100644 --- a/input/regression/tablature-string-tunings.ly +++ b/input/regression/tablature-string-tunings.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -11,7 +11,7 @@ \new TabStaff { \set TabStaff.stringTunings = \stringTuning <gis'' dis'' ais' f'> - \relative c'' { c4 d e f } + \relative { c''4 d e f } } diff --git a/input/regression/tablature-tie-behaviour.ly b/input/regression/tablature-tie-behaviour.ly index 06b97dbd1b..381cb249ce 100644 --- a/input/regression/tablature-tie-behaviour.ly +++ b/input/regression/tablature-tie-behaviour.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header{ texidoc = "In tablature, notes that are tied to are invisible except after a line break or within a second volta; @@ -8,14 +8,14 @@ invisible completely, even after line breaks." } -firstpart = \relative c { +firstpart = \relative { f2 ~ 4 e g8 g ~ g g ~ g g~ g g ~ 1 } -secondpart = \relative c' { - c1 ~ \break c2 ~ 2 +secondpart = \relative { + c'1 ~ \break c2 ~ 2 } thirdpart = \relative c' { diff --git a/input/regression/tag-filter.ly b/input/regression/tag-filter.ly index f5131fe0af..0c4be0b3e6 100644 --- a/input/regression/tag-filter.ly +++ b/input/regression/tag-filter.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The @code{\\tag} command marks music expressions with a @@ -14,9 +14,9 @@ notes and fingerings, but the score has not." \layout { ragged-right= ##t } common = -\relative c'' { +\relative { - c1 + c''1 \relative c' << \tag #'part << R1 \\ diff --git a/input/regression/test-output-distance.ly b/input/regression/test-output-distance.ly index ef10b57f9c..2a5aa6031e 100644 --- a/input/regression/test-output-distance.ly +++ b/input/regression/test-output-distance.ly @@ -5,7 +5,7 @@ it should always show up in the output-distance testing. " } -\version "2.16.0" +\version "2.19.21" #(define time (gettimeofday)) @@ -18,7 +18,7 @@ it should always show up in the output-distance testing. " ragged-right = ##f } -\new PianoStaff << \new Staff \relative c' { c4 d f8_\f[ g-.] r4 } +\new PianoStaff << \new Staff \relative { c'4 d f8_\f[ g-.] r4 } \new Staff { \clef "bass" R1 } >> diff --git a/input/regression/text-spanner-full-rest.ly b/input/regression/text-spanner-full-rest.ly index 92e44cc121..b54af7d58c 100644 --- a/input/regression/text-spanner-full-rest.ly +++ b/input/regression/text-spanner-full-rest.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Text spanners ending on, or broken across, full-measure @@ -7,7 +7,7 @@ rests extend to the rests, or over the rests, as appropriate." \layout { ragged-right = ##t } -\relative c'' { - a1\startTextSpan b1 R1 \break +\relative { + a'1\startTextSpan b1 R1 \break \tempo "tempo" R1 a1 b1 R1\stopTextSpan } diff --git a/input/regression/text-spanner-override-order.ly b/input/regression/text-spanner-override-order.ly index cf1d6f1904..e68f7ddc30 100644 --- a/input/regression/text-spanner-override-order.ly +++ b/input/regression/text-spanner-override-order.ly @@ -5,10 +5,10 @@ } -\version "2.17.6" +\version "2.19.21" -sample = \relative c'' { - c2\startTextSpan c2 \break +sample = \relative { + c''2\startTextSpan c2 \break c2 c2 \stopTextSpan } diff --git a/input/regression/tie-arpeggio-collision.ly b/input/regression/tie-arpeggio-collision.ly index 7f433605de..3ac83f4327 100644 --- a/input/regression/tie-arpeggio-collision.ly +++ b/input/regression/tie-arpeggio-collision.ly @@ -8,12 +8,12 @@ unarpegiated case." } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\new Staff \relative c'' { - <e c a f>2~ <e c a f> | +\new Staff \relative { + <e'' c a f>2~ <e c a f> | \set tieWaitForNote = ##t e8~ c~ a~ f~ <e' c a f>2 | f,8~ a~ c~ e~ <f, a c e>2 | diff --git a/input/regression/tie-arpeggio.ly b/input/regression/tie-arpeggio.ly index f37269d544..eabcaa78cb 100644 --- a/input/regression/tie-arpeggio.ly +++ b/input/regression/tie-arpeggio.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "unterminated tie")) #(ly:expect-warning (_ "unterminated tie")) @@ -14,8 +14,8 @@ } \paper { ragged-right = ##t } -\relative c' { - c~ e~ g~ <c, e g> +\relative { + c'~ e~ g~ <c, e g> \set tieWaitForNote = ##t c~ e~ g~ <c, e g> diff --git a/input/regression/tie-broken.ly b/input/regression/tie-broken.ly index b444e23650..970ce05e98 100644 --- a/input/regression/tie-broken.ly +++ b/input/regression/tie-broken.ly @@ -3,11 +3,11 @@ texidoc = "Ties behave properly at line breaks." } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' +\relative { r2... <b e a>16 ~ \break diff --git a/input/regression/tie-chord-broken-extremal.ly b/input/regression/tie-chord-broken-extremal.ly index 64844ae5a4..78fc013e49 100644 --- a/input/regression/tie-chord-broken-extremal.ly +++ b/input/regression/tie-chord-broken-extremal.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = " @@ -8,8 +8,8 @@ are tried for the extremal ties in a chord. " } -\relative c'' { - \time 4/4 <bis bis>1 ~ \break +\relative { + \time 4/4 <bis' bis>1 ~ \break \override Tie.details.multi-tie-region-size = #1 \time 3/4 <bis bis>2.~ \break diff --git a/input/regression/tie-chord-debug.ly b/input/regression/tie-chord-debug.ly index db69ea9485..097fb7fe45 100644 --- a/input/regression/tie-chord-debug.ly +++ b/input/regression/tie-chord-debug.ly @@ -5,7 +5,7 @@ decisions made." } -\version "2.16.0" +\version "2.19.21" \paper { @@ -13,7 +13,7 @@ decisions made." debug-tie-scoring = ##t } -\relative g' { - <a b e f> ~ +\relative { + <a' b e f> ~ <a b e f> } diff --git a/input/regression/tie-chord-partial.ly b/input/regression/tie-chord-partial.ly index e131b25479..5db1f7386d 100644 --- a/input/regression/tie-chord-partial.ly +++ b/input/regression/tie-chord-partial.ly @@ -2,14 +2,14 @@ { texidoc = "Individual chord notes can also be tied" } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' { - <c~ e g> <c e g~> <c e g> +\relative { + <c'~ e g> <c e g~> <c e g> } diff --git a/input/regression/tie-chord.ly b/input/regression/tie-chord.ly index af3ec740a9..1b9819e7ae 100644 --- a/input/regression/tie-chord.ly +++ b/input/regression/tie-chord.ly @@ -11,7 +11,7 @@ each system." } -\version "2.16.0" +\version "2.19.21" \paper { indent = #0.0 @@ -61,8 +61,8 @@ translate x y z to x~x y~y z~z baseChords = \applyMusic #(lambda (mus) (ly:music-property mus 'element)) -\relative c'' { - <c e> +\relative { + <c'' e> <b c e> <a c e> <a b e> diff --git a/input/regression/tie-direction-broken.ly b/input/regression/tie-direction-broken.ly index d1260ecc1e..c29db4b584 100644 --- a/input/regression/tie-direction-broken.ly +++ b/input/regression/tie-direction-broken.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -13,8 +13,8 @@ ragged-right = ##t } -\relative c'' { - bes1~ \break +\relative { + bes'1~ \break bes2. \stemUp bes4 ~ \break bes1 diff --git a/input/regression/tie-direction-manual.ly b/input/regression/tie-direction-manual.ly index ba29a6ead5..7cc75acf4b 100644 --- a/input/regression/tie-direction-manual.ly +++ b/input/regression/tie-direction-manual.ly @@ -4,13 +4,13 @@ This makes correction in complex chords easier." } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right= ##t } -\relative c' { - <f^~ d'>( <e f c'>) +\relative { + <f'^~ d'>( <e f c'>) } diff --git a/input/regression/tie-dot.ly b/input/regression/tie-dot.ly index 57e098e72a..14a9117c14 100644 --- a/input/regression/tie-dot.ly +++ b/input/regression/tie-dot.ly @@ -3,13 +3,13 @@ texidoc = "Ties avoid collisions with dots." } -\version "2.19.2" +\version "2.19.21" \paper { ragged-right = ##T } -\relative c'' { +\relative { \time 12/8 - d4*3/2~ d8[ e] r8 + d''4*3/2~ d8[ e] r8 d4.~ 8 e f } diff --git a/input/regression/tie-grace.ly b/input/regression/tie-grace.ly index da27120371..21689ab9ea 100644 --- a/input/regression/tie-grace.ly +++ b/input/regression/tie-grace.ly @@ -1,13 +1,13 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "Tying a grace to a following grace or main note works." } \layout { ragged-right= ##t } -\context Voice \relative c'' { - c4 \grace { c8 ~ 16 ~ } c4 +\context Voice \relative { + c''4 \grace { c8 ~ 16 ~ } c4 } diff --git a/input/regression/tie-manual.ly b/input/regression/tie-manual.ly index b9a535b8fe..d04d4cf430 100644 --- a/input/regression/tie-manual.ly +++ b/input/regression/tie-manual.ly @@ -11,16 +11,16 @@ You can leave a Tie alone by introducing a non-pair value } -\version "2.17.6" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c'' { +\relative { - <b d f g>~ + <b' d f g>~ \once \override TieColumn.tie-configuration = diff --git a/input/regression/tie-single-chord.ly b/input/regression/tie-single-chord.ly index 7997e39ec4..4bc7507a8b 100644 --- a/input/regression/tie-single-chord.ly +++ b/input/regression/tie-single-chord.ly @@ -5,13 +5,13 @@ } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' { - <f d'>~ <e f c'> +\relative { + <f' d'>~ <e f c'> } diff --git a/input/regression/tie-single.ly b/input/regression/tie-single.ly index 59799a215c..2526c98231 100644 --- a/input/regression/tie-single.ly +++ b/input/regression/tie-single.ly @@ -22,11 +22,11 @@ that otherwise don't fit in a space ragged-right = ##t } -\version "2.19.2" +\version "2.19.21" frag = -\relative c'' { - c16 c2...~ 16 ~ 2... | +\relative { + c''16 c2...~ 16 ~ 2... | c4~8 c8~16 c16~32 c16.~[ c64]~ 64[ c8..] | } diff --git a/input/regression/tie-unterminated.ly b/input/regression/tie-unterminated.ly index 77049bdf2a..1f5dd010af 100644 --- a/input/regression/tie-unterminated.ly +++ b/input/regression/tie-unterminated.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "unterminated tie")) @@ -7,8 +7,8 @@ be created, lilypond prints out a warning unless @code{tieWaitForNote} is set." } -\relative c' { - c1~ 1 | +\relative { + c'1~ 1 | c1~ <e c> | c1~ d | <c e>1~ c | diff --git a/input/regression/tie-whole.ly b/input/regression/tie-whole.ly index 5b62f19c22..85a3245518 100644 --- a/input/regression/tie-whole.ly +++ b/input/regression/tie-whole.ly @@ -5,12 +5,12 @@ } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' +\relative { - <f d a>1~ + <f' d a>1~ <f d a>1~ <f d a>1~ } diff --git a/input/regression/trill-spanner-auto-stop.ly b/input/regression/trill-spanner-auto-stop.ly index 22bee2755c..1a8c79edec 100644 --- a/input/regression/trill-spanner-auto-stop.ly +++ b/input/regression/trill-spanner-auto-stop.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Consecutive trill spans work without explicit @code{\\stopTrillSpan} commands, since successive trill spanners @@ -8,8 +8,8 @@ will automatically become the right bound of the previous trill. \paper { ragged-right = ##f } -\relative c'' { - c1\startTrillSpan +\relative { + c''1\startTrillSpan c1\startTrillSpan c2\stopTrillSpan r } diff --git a/input/regression/trill-spanner-chained.ly b/input/regression/trill-spanner-chained.ly index 502e32bd39..bf51f1a357 100644 --- a/input/regression/trill-spanner-chained.ly +++ b/input/regression/trill-spanner-chained.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Chained trills end at the next trill or barline. Collisions can be prevented by overriding @code{bound-details}. @@ -7,8 +7,8 @@ Collisions can be prevented by overriding @code{bound-details}. \paper { ragged-right = ##f } -\relative c'' { - g8 f\startTrillSpan ~ +\relative { + g'8 f\startTrillSpan ~ f8 g\stopTrillSpan \startTrillSpan ~ g8 r\stopTrillSpan r4 \once \override TrillSpanner.to-barline = ##t diff --git a/input/regression/trill-spanner-grace.ly b/input/regression/trill-spanner-grace.ly index 6cb82618f8..18d7f0d4c6 100644 --- a/input/regression/trill-spanner-grace.ly +++ b/input/regression/trill-spanner-grace.ly @@ -2,11 +2,11 @@ texidoc = "Trill spanner can end on a grace note" } -\version "2.17.28" +\version "2.19.21" \layout { ragged-right = ##T } -\relative c' \new Voice { - << { c1 \startTrillSpan } +\relative \new Voice { + << { c'1 \startTrillSpan } { s2. \grace { d16\stopTrillSpan e } } >> c4 } diff --git a/input/regression/trill-spanner-scaled.ly b/input/regression/trill-spanner-scaled.ly index 19d7b9eb53..0e5a1deef8 100644 --- a/input/regression/trill-spanner-scaled.ly +++ b/input/regression/trill-spanner-scaled.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = " @@ -13,10 +13,10 @@ even if scaled to a smaller size. fontSize = #-6 \override StaffSymbol.staff-space = #(magstep -6) } - \relative c' { - c1\startTrillSpan | c\stopTrillSpan | + \relative { + c'1\startTrillSpan | c\stopTrillSpan | } - \new Staff \relative c' { - c1\startTrillSpan | c\stopTrillSpan | + \new Staff \relative { + c'1\startTrillSpan | c\stopTrillSpan | } >> diff --git a/input/regression/trill-spanner.ly b/input/regression/trill-spanner.ly index c56ab05480..8380bb6612 100644 --- a/input/regression/trill-spanner.ly +++ b/input/regression/trill-spanner.ly @@ -5,10 +5,10 @@ the wavy line should appear to come from the crook of the r" } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { - c1\startTrillSpan +\relative { + c''1\startTrillSpan c\stopTrillSpan } diff --git a/input/regression/typography-demo.ly b/input/regression/typography-demo.ly index 8f51e21475..c4cdb0b842 100644 --- a/input/regression/typography-demo.ly +++ b/input/regression/typography-demo.ly @@ -8,7 +8,7 @@ heavily mutilated Edition Peters Morgenlied by Schubert" } -\version "2.19.12" +\version "2.19.21" #(ly:expect-warning (_ "(De)crescendo with unspecified starting volume in MIDI.")) ignoreMelisma = \set ignoreMelismata = ##t @@ -44,7 +44,7 @@ melody = \relative c'' \repeat volta 2 \context Voice = "singer" { { \stemDown f8.[ g16] } >> \stemNeutral a8 | fis4 g8 c16[ b a g] f[ e] | d4 f8 - \transpose a' e' \relative c'' { a16[ g fis! g] f![ d] } | + \transpose a' e' \relative { a'16[ g fis! g] f![ d] } | g4. r8 gis gis | a4 a16.[ b32] c8[( a]) fis8 | g4.~ 8-\fermata diff --git a/input/regression/utf-8.ly b/input/regression/utf-8.ly index cf5d79ddb4..bfcc8cb309 100644 --- a/input/regression/utf-8.ly +++ b/input/regression/utf-8.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" %% Edit this file using a Unicode aware editor, such as GVIM, GEDIT, Emacs @@ -54,8 +54,8 @@ portuguese = \lyricmode { ragged-right = ##T } -\relative c' { - c2 d e f g f e +\relative { + c'2 d e f g f e } \addlyrics { \bulgarian } \addlyrics { \hebrew } diff --git a/input/regression/volta-markup-text.ly b/input/regression/volta-markup-text.ly index cd29427b5c..b8adcb0c83 100644 --- a/input/regression/volta-markup-text.ly +++ b/input/regression/volta-markup-text.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Volte using @code{repeatCommands} can have markup @@ -7,8 +7,8 @@ text." voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } -\relative c'' { - c1 +\relative { + c''1 \set Score.repeatCommands = #(list (list 'volta voltaAdLib) 'start-repeat) c4 b d e \set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat) diff --git a/input/regression/warn-expected-warning-missing.ly b/input/regression/warn-expected-warning-missing.ly index bdb6dc2425..ddf5d8dcc1 100644 --- a/input/regression/warn-expected-warning-missing.ly +++ b/input/regression/warn-expected-warning-missing.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "this is a warning that won't be triggered")) @@ -9,4 +9,4 @@ warning about this fact. This will be used to detect missing warnings in our regtests." } -\relative c' { c4 } +\relative { c'4 } diff --git a/input/regression/woodwind-diagrams-empty.ly b/input/regression/woodwind-diagrams-empty.ly index 4bf1dba344..35b9009a0e 100644 --- a/input/regression/woodwind-diagrams-empty.ly +++ b/input/regression/woodwind-diagrams-empty.ly @@ -1,68 +1,68 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc="Empty woodwind diagrams for all instruments in woodwind-diagrams.scm." } -\relative c' { - c1^\markup { +\relative { + c'1^\markup { \woodwind-diagram #'piccolo #'() } } -\relative c' { - c1^\markup { +\relative { + c'1^\markup { \woodwind-diagram #'flute #'() } } -\relative c' { - c1^\markup { +\relative { + c'1^\markup { \woodwind-diagram #'oboe #'() } } -\relative c' { - c1^\markup { +\relative { + c'1^\markup { \woodwind-diagram #'clarinet #'() } } -\relative c' { - c1^\markup { +\relative { + c'1^\markup { \woodwind-diagram #'bass-clarinet #'() } } -\relative c' { - c1^\markup { +\relative { + c'1^\markup { \woodwind-diagram #'saxophone #'() } } -\relative c' { - c1^\markup { +\relative { + c'1^\markup { \woodwind-diagram #'bassoon #'() } } -\relative c' { - c1^\markup { +\relative { + c'1^\markup { \woodwind-diagram #'contrabassoon #'() diff --git a/input/regression/zero-staff-space.ly b/input/regression/zero-staff-space.ly index 6e3eb0a428..d6820208e1 100644 --- a/input/regression/zero-staff-space.ly +++ b/input/regression/zero-staff-space.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc=" @@ -9,7 +9,7 @@ Setting staff-space to 0 does not cause a segmentation fault. \new Staff \with { \override StaffSymbol.staff-space = #0 } { - \relative c' { - c1 \bar ":|." + \relative { + c'1 \bar ":|." } } diff --git a/ly/Welcome-to-LilyPond-MacOS.ly b/ly/Welcome-to-LilyPond-MacOS.ly index 8fa7409ea8..07d41477a1 100644 --- a/ly/Welcome-to-LilyPond-MacOS.ly +++ b/ly/Welcome-to-LilyPond-MacOS.ly @@ -23,12 +23,12 @@ That's it. For more information, visit http://lilypond.org . %} -\version "2.19.20" % necessary for upgrading to future LilyPond versions. +\version "2.19.21" % necessary for upgrading to future LilyPond versions. \header{ title = "A scale in LilyPond" } -\relative c' { - c d e f g a b c +\relative { + c' d e f g a b c } diff --git a/ly/Welcome_to_LilyPond.ly b/ly/Welcome_to_LilyPond.ly index bffb070968..269a8a9f13 100644 --- a/ly/Welcome_to_LilyPond.ly +++ b/ly/Welcome_to_LilyPond.ly @@ -32,7 +32,7 @@ Good luck with LilyPond! Happy engraving. %} -\version "2.19.20" % necessary for upgrading to future LilyPond versions. +\version "2.19.21" % necessary for upgrading to future LilyPond versions. \header{ title = "A scale in LilyPond" @@ -40,6 +40,6 @@ Good luck with LilyPond! Happy engraving. http://lilypond.org/introduction.html" } -\relative c' { - c d e f g a b c +\relative { + c' d e f g a b c } |