Web-nl Update

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Web-nl Update

Jan Nieuwenhuizen-2
Hi,

Below are updates for the Dutch website update against latest master,
please include.

Greetings,
Jan


From 71dc2c45a789386af144ebe80fabc48a2cdc5aea Mon Sep 17 00:00:00 2001
From: Jan Nieuwenhuizen <[hidden email]>
Date: Thu, 20 Dec 2012 15:41:15 +0100
Subject: [PATCH] Web-nl: update.

---
 Documentation/nl/included/generating-output.itexi |    3 +-
 Documentation/nl/learning.tely                    |    2 +-
 Documentation/nl/learning/common-notation.itely   |    9 +-
 Documentation/nl/learning/fundamental.itely       |  122 +++---
 Documentation/nl/learning/preface.itely           |    2 +-
 Documentation/nl/learning/templates.itely         |   87 +++-
 Documentation/nl/learning/tutorial.itely          |    2 +-
 Documentation/nl/learning/tweaks.itely            |  459 ++++++++++++++-------
 Documentation/nl/macros.itexi                     |    2 +-
 Documentation/nl/search-box.ihtml                 |   10 +-
 Documentation/nl/web.texi                         |   40 +-
 Documentation/nl/web/download.itexi               |   15 +-
 Documentation/nl/web/introduction.itexi           |  159 +++++--
 Documentation/nl/web/manuals.itexi                |    4 +
 14 files changed, 626 insertions(+), 290 deletions(-)

diff --git a/Documentation/nl/included/generating-output.itexi b/Documentation/nl/included/generating-output.itexi
index f2f5c13..8a1782d 100644
--- a/Documentation/nl/included/generating-output.itexi
+++ b/Documentation/nl/included/generating-output.itexi
@@ -1,6 +1,6 @@
 @c -*- coding: utf-8; mode: texinfo; fill-column: 60 -*-
 @ignore
-    Translation of GIT committish: 6908517be0826a3386264cd6d26d742b18e3a227
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -243,6 +243,7 @@ Berekenen van 1 pagina-afbreek brokken...[1: 1 pagina's]
 Tekenen van systemen...
 Opmaakuitvoer naar `test.ps'...
 Converteren naar `./test.pdf'...
+Success: compilation successfully completed
 @end example
 
 @subsubheading Stap 3. Bekijk de uitvoer
diff --git a/Documentation/nl/learning.tely b/Documentation/nl/learning.tely
index d2ce06a..25f36cf 100644
--- a/Documentation/nl/learning.tely
+++ b/Documentation/nl/learning.tely
@@ -1,6 +1,6 @@
 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
-    Translation of GIT committish: f0968c08c70e954c1d928feadf94006504ac4de1
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
diff --git a/Documentation/nl/learning/common-notation.itely b/Documentation/nl/learning/common-notation.itely
index b5de751..29ffae1 100644
--- a/Documentation/nl/learning/common-notation.itely
+++ b/Documentation/nl/learning/common-notation.itely
@@ -1,7 +1,7 @@
 @c -*- coding: utf-8; mode: texinfo; fill-column: 60 -*-
 
 @ignore
-    Translation of GIT committish: 6908517be0826a3386264cd6d26d742b18e3a227
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -220,7 +220,7 @@ aes4 c b c
 Als het bovenstaand voorbeeld verwarrend is, ga dan eens na:
 als je piano aan het spelen was, welke toets zou je
 aanslaan?  Als je een zwarte aan zou slaan, dan @emph{moet}
-je @code{-is} of @code{-es} aan de notenaam toevoegen!
+je @w{@code{-is}} of @w{@code{-es}} aan de notenaam toevoegen!
 
 Het expliciet toevoegen van alle verplaatsingen vergt
 misschien een klein beetje extra inspanning tijdens het
@@ -928,7 +928,8 @@ worden geplaatst buiten de hoekige haken.
 
 @lilypond[verbatim,quote,relative=2]
 r4 <c e g>~ <c f a>2 |
-<c e g>8[ <c f a> <c e g> <c f a>] <c e g>\>[ <c f a> <c f a> <c e g>]\! |
+<c e g>8[ <c f a> <c e g> <c f a>]
+  <c e g>\>[ <c f a> <c f a> <c e g>]\! |
 r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
 @end lilypond
 
@@ -1428,7 +1429,7 @@ staat gewoonlijk direct onder het versienummer.
 
 Als het bestand wordt verwerkt, worden titel en componist en
 opus boven de muziek geprint.  Meer informatie over titels
-staat in @ruser{Creating titles}.
+staat in @ruser{Creating titles headers and footers}.
 
 
 @node Absolute notenamen
diff --git a/Documentation/nl/learning/fundamental.itely b/Documentation/nl/learning/fundamental.itely
index aa0b74b..099fee6 100644
--- a/Documentation/nl/learning/fundamental.itely
+++ b/Documentation/nl/learning/fundamental.itely
@@ -1,7 +1,7 @@
 @c -*- coding: utf-8; mode: texinfo; fill-column: 60 -*-
 
 @ignore
-    Translation of GIT committish: 66dd932f6519b7913400a838c5efbc5407e06cd8
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -603,10 +603,10 @@ In fact, a Voice layer or context is the only one which can contain
 music.  If a Voice context is not explicitly declared one is created
 automatically, as we saw at the beginning of this chapter.  Some
 instruments such as an Oboe can play only one note at a time.  Music
-written for such instruments is monophonic and requires just a single
-voice.  Instruments which can play more than one note at a time like
-the piano will often require multiple voices to encode the different
-concurrent notes and rhythms they are capable of playing.
+written for such instruments requires just a single voice.  Instruments
+which can play more than one note at a time like the piano will often
+require multiple voices to encode the different concurrent notes and
+rhythms they are capable of playing.
 
 A single voice can contain many notes in a chord, of course,
 so when exactly are multiple voices needed?  Look first at
@@ -641,7 +641,7 @@ The fragments must also be separated with double backward slashes,
 @code{\\}, to place them in separate voices.  Without these, the
 notes would be entered into a single voice, which would usually
 cause errors.  This technique is particularly suited to pieces of
-music which are largely monophonic with occasional short sections
+music which are largely homophonic with occasional short sections
 of polyphony.
 
 Here's how we split the chords above into two voices and add both
@@ -697,8 +697,11 @@ used to encode three or more voices by adding more back-slash
 separators.
 
 The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.
-In each of these contexts, the vertical direction of slurs,
-stems, ties, dynamics etc., is set appropriately.
+The first contexts set the @emph{outer} voices, the highest
+voice in context @code{"1"} and the lowest voice in context
+@code{"2"}.  The inner voices go in contexts @code{"3"} and
+@code{"4"}.  In each of these contexts, the vertical direction
+of slurs, stems, ties, dynamics etc., is set appropriately.
 
 @lilypond[quote,verbatim]
 \new Staff \relative c' {
@@ -822,16 +825,19 @@ later sections.
   <<  % Voice one
     { c2 aes4. bes8 }
   \\  % Voice two
-    { aes2 f4 fes }
-  \\  % No voice three
-  \\  % Voice four
     {
       % Ignore these for now - they are explained in Ch 4
-      \once \override NoteColumn.force-hshift = #0
-      <ees c>2
+      \once \override NoteColumn.ignore-collision = ##t
+      <ees, c>2
       \once \override NoteColumn.force-hshift = #0.5
       des2
     }
+  \\  % No voice three
+  \\  % Voice four
+    {
+      \override NoteColumn.force-hshift = #0
+      aes'2 f4 fes
+    }
   >> |
   <c ees aes c>1 |
 }
@@ -870,16 +876,17 @@ not understand.
     }
   \\  % Voice two
     { \voiceTwoStyle
-      aes2 f4 fes
+      % Ignore these for now - they are explained in Ch 4
+      \once \override NoteColumn.ignore-collision = ##t
+      <ees, c>2
+      \once \override NoteColumn.force-hshift = #0.5
+      des2
     }
   \\  % No Voice three (we want stems down)
   \\  % Voice four
     { \voiceThreeStyle
-      % Ignore these for now - they are explained in Ch 4
-      \once \override NoteColumn.force-hshift = #0
-      <ees c>2
-      \once \override NoteColumn.force-hshift = #0.5
-      des2
+      \override NoteColumn.force-hshift = #0
+      aes'2 f4 fes
     }
   >> |
   <c ees aes c>1 |
@@ -896,7 +903,7 @@ enter the music of the first bar in three voices:
 \new Staff \relative c'' {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des }
+    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -921,30 +928,30 @@ adding another pair of @code{\\}.
   <<  % Voice one
     { c2 aes4. bes8 }
   \\  % Voice two
-    { aes2 f4 fes }
+    { <ees, c>2 des }
   \\  % Omit Voice three
   \\  % Voice four
-    { <ees c>2 des }
+    { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
 @end lilypond
 
 @noindent
-We see that this fixes the stem direction, but exposes a problem
-sometimes encountered with multiple voices -- the stems of the notes
-in one voice can collide with the note heads in other voices.  In
-laying out the notes, LilyPond allows the notes or chords from two
-voices to occupy the same vertical note column provided the stems are
-in opposite directions, but the notes from the third and fourth voices
-are displaced, if necessary, to avoid the note heads colliding.  This
-usually works well, but in this example the notes of the lowest voice
-are clearly not well placed by default.  LilyPond provides several ways
-to adjust the horizontal placing of notes.  We are not quite ready yet
-to see how to correct this, so we shall leave this problem until a
+We see that this fixes the stem direction, but the horizontal
+placement of notes is not what we want.  LilyPond shifts the
+inner notes when they or their stems would collide with outer
+voices, but this is not appropriate for piano music.  In other
+situations, the shifts LilyPond applies might fail to clear
+the collisions.  LilyPond provides several ways to adjust the
+horizontal placing of notes.  We are not quite ready yet to see
+how to correct this, so we shall leave this problem until a
 later section --- see the @code{force-hshift} property in
 @ref{Fixing overlapping notation}.
 
+@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
+created @q{across} voices.}
+
 
 @seealso
 Notation Reference: @ruser{Multiple voices}.
@@ -968,7 +975,7 @@ Notation Reference: @ruser{Multiple voices}.
 
 Voice contexts can also be created manually
 inside a @code{<< >>} block to create polyphonic music, using
-@code{\voiceOne} ... @code{\voiceFour} to indicate the required
+@code{\voiceOne} @dots{} @code{\voiceFour} to indicate the required
 directions of stems, slurs, etc.  In longer scores this method
 is clearer, as it permits the voices to be separated and to be
 given more descriptive names.
@@ -1045,22 +1052,21 @@ markup, ties, slurs, and dynamics:
 }
 @end lilypond
 
-Now let's look at three different ways to notate the same passage
-of polyphonic music, each of which is advantageous in different
+Now let's look at three different ways to notate the same passage of
+polyphonic music, each of which is advantageous in different
 circumstances, using the example from the previous section.
 
-An expression that appears directly inside a @code{<< >>} belongs
-to the main voice (but, note, @strong{not} in a @code{<< \\ >>}
-construct).  This is useful when extra voices appear while the
-main voice is playing.  Here is a more correct rendition of our
-example.  The red diamond-shaped notes
-demonstrate that the main melody is now in a single voice context,
+An expression that appears directly inside a @code{<< >>} belongs to the
+main voice (but, note, @strong{not} in a @code{<< \\ >>} construct).
+This is useful when extra voices appear while the main voice is playing.
+Here is a more correct rendition of our example.  The red diamond-shaped
+notes demonstrate that the main melody is now in a single voice context,
 permitting a phrasing slur to be drawn over them.
 
 @lilypond[quote,ragged-right,verbatim]
 \new Staff \relative c' {
   \voiceOneStyle
-  % The following notes are monophonic
+  % This section is homophonic
   c16^( d e f
   % Start simultaneous section of three voices
   <<
@@ -1787,11 +1793,11 @@ So this turns off extra naturals in one staff:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff \relative c'' {
-    ais2 aes
+    aeses2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
-    ais2 aes
+    aeses2 aes
   }
 >>
 @end lilypond
@@ -1802,11 +1808,11 @@ and this turns them off in all staves:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff \relative c'' {
-    ais2 aes
+    aeses2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
-    ais2 aes
+    aeses2 aes
   }
 >>
 @end lilypond
@@ -1877,12 +1883,12 @@ like this:
 <<
   \new Staff {
     \relative c'' {
-      gis4 ges aes ais
+      gisis4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
     \relative c'' {
-      gis4 ges aes ais
+      gisis4 gis aeses aes
     }
   }
 >>
@@ -1920,7 +1926,7 @@ throughout the @code{\score} or @code{\book} block in which the
 \score {
   \new Staff {
     \relative c'' {
-      cis4 e d ces
+      cisis4 e d cis
     }
   }
   \layout {
@@ -1940,12 +1946,12 @@ within the score:
   <<
     \new Staff {
       \relative c'' {
-        gis4 ges aes ais
+        gisis4 gis aeses aes
       }
     }
     \new Staff {
       \relative c'' {
-        gis4 ges aes ais
+        gisis4 gis aeses aes
       }
     }
   >>
@@ -2344,7 +2350,7 @@ celloMusic = \relative c {
 
 @seealso
 The starting templates can be found in the @q{Templates} appendix,
-see @ref{Single staff}.
+see @ref{Single staff templates}.
 
 
 @node Four-part SATB vocal score
@@ -2456,8 +2462,8 @@ lower = \relative c, {
 @end lilypond
 
 None of the templates provides this layout exactly.  The nearest is
-@q{SATB vocal score and automatic piano reduction} -- see
-@ref{Vocal ensembles} -- but we need to change the layout and add a piano
+@ref{SATB vocal score and automatic piano reduction} -- but we need
+to change the layout and add a piano
 accompaniment which is not derived automatically from the vocal parts.
 The variables holding the music and words for the vocal parts are
 fine, but we shall need to add variables for the piano reduction.
@@ -2936,7 +2942,7 @@ ManualOneVoiceTwoMusic = \relative c' {
 }
 ManualTwoMusic = \relative c' {
   c16 b c8~ c16 b c g a8 g~ g16 g aes ees |
-  f16 ees f d g aes g f ees d e8~ ees16 f ees d |
+  f16 ees f d g aes g f ees d ees8~ ees16 f ees d |
 }
 PedalOrganMusic = \relative c {
   r8 c16 d ees d ees8~ ees16 a, b g c b c8 |
@@ -3086,7 +3092,7 @@ padText =
      (parser location padding)
      (number?)
    #{
-     \once \override TextScript.padding = $padding
+     \once \override TextScript.padding = #padding
    #})
 
 \relative c''' {
@@ -3232,3 +3238,5 @@ leading to
 >>
 @end lilypond
 
+
+
diff --git a/Documentation/nl/learning/preface.itely b/Documentation/nl/learning/preface.itely
index 93c5c03..74631e1 100644
--- a/Documentation/nl/learning/preface.itely
+++ b/Documentation/nl/learning/preface.itely
@@ -1,7 +1,7 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 
 @ignore
-    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
diff --git a/Documentation/nl/learning/templates.itely b/Documentation/nl/learning/templates.itely
index 0b6bc00..7f7d1c9 100644
--- a/Documentation/nl/learning/templates.itely
+++ b/Documentation/nl/learning/templates.itely
@@ -1,7 +1,7 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 
 @ignore
-    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -17,38 +17,47 @@ This section of the manual contains templates with the LilyPond score
 already set up for you.  Just add notes, run LilyPond, and enjoy
 beautiful printed scores!
 
-@c bad node name for ancient notation to avoid conflict
 @menu
-* Single staff::
+* Single staff templates::
 * Piano templates::
-* String quartet::
-* Vocal ensembles::
+* String quartet templates::
+* Vocal ensembles templates::
 * Orchestral templates::
 * Ancient notation templates::
 * Other templates::
 @end menu
 
 
-@node Single staff
-@appendixsec Single staff
+@node Single staff templates
+@appendixsec Single staff templates
+
+@menu
+* Notes only::
+* Notes and lyrics::
+* Notes and chords::
+* Notes lyrics and chords::
+@end menu
 
+@node Notes only
 @appendixsubsec Notes only
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc,addversion]
 {single-staff-template-with-only-notes.ly}
 
-
+@node Notes and lyrics
 @appendixsubsec Notes and lyrics
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc,addversion]
 {single-staff-template-with-notes-and-lyrics.ly}
 
+@node Notes and chords
 @appendixsubsec Notes and chords
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {single-staff-template-with-notes-and-chords.ly}
 
-@appendixsubsec Notes, lyrics, and chords.
+@node Notes lyrics and chords
+@appendixsubsec Notes, lyrics, and chords
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {single-staff-template-with-notes,-lyrics,-and-chords.ly}
@@ -57,69 +66,102 @@ beautiful printed scores!
 @node Piano templates
 @appendixsec Piano templates
 
+@menu
+* Solo piano::
+* Piano and melody with lyrics::
+* Piano centered lyrics::
+@end menu
+
+@node Solo piano
 @appendixsubsec Solo piano
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {piano-template-simple.ly}
 
+@node Piano and melody with lyrics
 @appendixsubsec Piano and melody with lyrics
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {piano-template-with-melody-and-lyrics.ly}
 
+@node Piano centered lyrics
 @appendixsubsec Piano centered lyrics
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {piano-template-with-centered-lyrics.ly}
 
 
-@node String quartet
-@appendixsec String quartet
+@node String quartet templates
+@appendixsec String quartet templates
 
+@menu
+* String quartet::
+* String quartet parts::
+@end menu
+
+@node String quartet
 @appendixsubsec String quartet
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {string-quartet-template-simple.ly}
 
+@node String quartet parts
 @appendixsubsec String quartet parts
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {string-quartet-template-with-separate-parts.ly}
 
 
-@node Vocal ensembles
-@appendixsec Vocal ensembles
+@node Vocal ensembles templates
+@appendixsec Vocal ensembles templates
 
+@menu
+* SATB vocal score::
+* SATB vocal score and automatic piano reduction::
+* SATB with aligned contexts::
+* SATB on four staves::
+* Solo verse and two-part refrain::
+* Hymn tunes::
+* Psalms::
+@end menu
+
+@node SATB vocal score
 @appendixsubsec SATB vocal score
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {vocal-ensemble-template.ly}
 
+@node SATB vocal score and automatic piano reduction
 @appendixsubsec SATB vocal score and automatic piano reduction
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {vocal-ensemble-template-with-automatic-piano-reduction.ly}
 
+@node SATB with aligned contexts
 @appendixsubsec SATB with aligned contexts
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly}
 
+@node SATB on four staves
 @appendixsubsec SATB on four staves
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {satb-choir-template---four-staves.ly}
 
+@node Solo verse and two-part refrain
 @appendixsubsec Solo verse and two-part refrain
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {vocal-ensemble-template-with-verse-and-refrain.ly}
 
+@node Hymn tunes
 @appendixsubsec Hymn tunes
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {hymn-template.ly}
 
+@node Psalms
 @appendixsubsec Psalms
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
@@ -129,21 +171,33 @@ beautiful printed scores!
 @node Orchestral templates
 @appendixsec Orchestral templates
 
+@menu
+* Orchestra choir and piano::
+@end menu
+
+@node Orchestra choir and piano
 @appendixsubsec Orchestra, choir and piano
+
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
 {orchestra,-choir-and-piano-template.ly}
 
 
-@c bad node name to avoid node name conflict
 @node Ancient notation templates
 @appendixsec Ancient notation templates
 
+@menu
+* Transcription of mensural music::
+* Gregorian transcription template::
+@end menu
+
+@node Transcription of mensural music
 @appendixsubsec Transcription of mensural music
 
 @c Line-width below is because of Issue 766.  If that's fixed, it can be removed.
 @lilypondfile[verbatim,quote,ragged-right,texidoc,line-width=140]
 {ancient-notation-template----modern-transcription-of-mensural-music.ly}
 
+@node Gregorian transcription template
 @appendixsubsec Gregorian transcription template
 
 @lilypondfile[verbatim,quote,ragged-right,texidoc]
@@ -153,6 +207,11 @@ beautiful printed scores!
 @node Other templates
 @appendixsec Other templates
 
+@menu
+* Jazz combo::
+@end menu
+
+@node Jazz combo
 @appendixsubsec Jazz combo
 
 @c Line-width below is because of Issue 766.  If that's fixed, it can be removed.
diff --git a/Documentation/nl/learning/tutorial.itely b/Documentation/nl/learning/tutorial.itely
index ad91911..d428ec3 100644
--- a/Documentation/nl/learning/tutorial.itely
+++ b/Documentation/nl/learning/tutorial.itely
@@ -1,6 +1,6 @@
 @c -*- coding: utf-8; mode: texinfo; fill-column: 60 -*-
 @ignore
-    Translation of GIT committish: 6908517be0826a3386264cd6d26d742b18e3a227
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
diff --git a/Documentation/nl/learning/tweaks.itely b/Documentation/nl/learning/tweaks.itely
index 6cc699a..d66b92a 100644
--- a/Documentation/nl/learning/tweaks.itely
+++ b/Documentation/nl/learning/tweaks.itely
@@ -1,7 +1,7 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 
 @ignore
-    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -172,7 +172,16 @@ the types of objects and properties from their names.
 
 @cindex tweaking methods
 
-@strong{\override command}
+@menu
+* The \override command::
+* The \revert command::
+* The \once prefix::
+* The \overrideProperty command::
+* The \tweak command::
+@end menu
+
+@node The \override command
+@unnumberedsubsubsec The @code{\override} command
 
 @cindex override command
 @cindex override syntax
@@ -197,8 +206,7 @@ how this is done.
 The general syntax of this command is:
 
 @example
-\override @var{Context}.@var{LayoutObject} #'@var{layout-property} =
-#@var{value}
+\override @var{Context}.@var{LayoutObject}.@var{layout-property} = #@var{value}
 @end example
 
 @noindent
@@ -206,25 +214,31 @@ This will set the property with the name @var{layout-property} of the
 layout object with the name @var{LayoutObject}, which is a member of
 the @var{Context} context, to the value @var{value}.
 
-The @var{Context} can be omitted (and usually is) when the
+The @var{Context} may be omitted (and usually is) when the
 required context is unambiguously implied and is one of lowest
 level contexts, i.e., @code{Voice}, @code{ChordNames} or
 @code{Lyrics}, and we shall omit it in many of the following
 examples.  We shall see later when it must be specified.
 
 Later sections deal comprehensively with properties and their
-values, see @ref{Types of properties}.  But in this section we shall
+values, see @ref{Types of properties}.  But in this section we shall
 use just a few simple properties and values which are easily
 understood in order to illustrate the format and use of these
 commands.
 
-For now, don't worry about the @code{#'}, which must precede the
-layout property, and the@tie{}@code{#}, which must precede the value.
-These must always be present in exactly this form.  This is the
-most common command used in tweaking, and most of the rest of
-this chapter will be directed to presenting examples of how it is
-used.  Here is a simple example to change the color of the
-note head:
+LilyPond's primary expressions are musical items like notes,
+durations, and markups.  More basic expressions like numbers,
+strings, and lists are processed in @q{Scheme mode}, which is
+invoked by prefixing the value with @samp{#}.  Although the
+values may sometimes have a valid representation in LilyPond's
+musical mode, this manual will always use @samp{#} for their
+entry for the sake of consistency.  For more information about
+Scheme mode, see @rextend{LilyPond Scheme syntax}.
+
+@code{\override} is the most common command used in tweaking, and
+most of the rest of this chapter will be directed to presenting
+examples of how it is used.  Here is a simple example to change the
+color of the note head:
 
 @cindex color property, example
 @cindex NoteHead, example of overriding
@@ -237,7 +251,9 @@ e4 f |
 g4 a b c |
 @end lilypond
 
-@strong{\revert command}
+
+@node The \revert command
+@unnumberedsubsubsec The @code{\revert} command
 
 @cindex revert command
 
@@ -252,7 +268,7 @@ value; note, not its previous value if several @code{\override}
 commands have been issued.
 
 @example
-\revert @var{Context}.@var{LayoutObject} #'@var{layout-property}
+\revert @var{Context}.@var{LayoutObject}.@var{layout-property}
 @end example
 
 Again, just like @var{Context} in the @code{\override} command,
@@ -273,7 +289,9 @@ g4 a
 b4 c |
 @end lilypond
 
-@strong{\once prefix}
+
+@node The \once prefix
+@unnumberedsubsubsec The @code{\once} prefix
 
 @funindex \once
 @funindex once
@@ -299,7 +317,9 @@ g4 a
 b c |
 @end lilypond
 
-@strong{\overrideProperty command}
+
+@node The \overrideProperty command
+@unnumberedsubsubsec The @code{\overrideProperty} command
 
 @cindex overrideProperty command
 
@@ -312,7 +332,9 @@ We mention it here for completeness, but for details see
 @rextend{Difficult tweaks}.
 @c Maybe explain in a later iteration  -td
 
-@strong{\tweak command}
+
+@node The \tweak command
+@unnumberedsubsubsec The @code{\tweak} command
 
 @cindex tweak command
 
@@ -371,7 +393,7 @@ also that an equals sign should not be present.  So the simple form
 of the @code{\tweak} command is
 
 @example
-\tweak #'@var{layout-property} #@var{value}
+\tweak @var{layout-property} #@var{value}
 @end example
 
 A @code{\tweak} command can also be used to modify just one in
@@ -404,12 +426,13 @@ the original event:
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 <\tweak Accidental.color #red   cis4
  \tweak Accidental.color #green es
-                                  g>
+ g>
 @end lilypond
 
 This long form of the @code{\tweak} command can be described as
+
 @example
-\tweak @var{layout-object} #'@var{layout-property} @var{value}
+\tweak @var{layout-object}.@var{layout-property} @var{value}
 @end example
 
 @cindex tuplets, nested
@@ -455,8 +478,6 @@ appearance may be modified in the usual way with
 @cindex transparent property, example
 @cindex TupletNumber, example of overriding
 
-@c NOTE Tuplet brackets collide if notes are high on staff
-@c See issue 509
 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
 \times 2/3 { c8[ c c] }
 \once \override TupletNumber.text = #tuplet-number::calc-fraction-text
@@ -599,8 +620,7 @@ at first, so we can be sure the command is working.  We get:
 \override Slur.thickness = #5.0
 @end example
 
-Don't forget the @code{#'} preceding the
-property name and a@tie{}@code{#} preceding the new value!
+Don't forget the@tie{}@code{#} preceding the new value!
 
 The final question is, @q{Where should this command be
 placed?}  While you are unsure and learning, the best
@@ -637,7 +657,7 @@ essentials required to make up your own -- but you will
 still need some practice.  This is provided in the examples
 which follow.
 
-@subheading Finding the context
+@subsubsubheading Finding the context
 
 @cindex context, finding
 @cindex context, identifying correct
@@ -658,7 +678,7 @@ lowest level contexts which is implied unambiguously by
 the fact that we are entering notes, we can omit it in this
 location.
 
-@subheading Overriding once only
+@subsubsubheading Overriding once only
 
 @cindex overriding once only
 @cindex once override
@@ -703,7 +723,7 @@ Now only the first slur is made heavier.
 The @code{\once} command can also be used before the @code{\set}
 command.
 
-@subheading Reverting
+@subsubsubheading Reverting
 
 @cindex revert
 @cindex default properties, reverting to
@@ -831,17 +851,12 @@ to change the lyrics to italics.  The object is @code{LyricText},
 the property is @code{font-shape} and the value is
 @code{italic}.  As before, we'll omit the context.
 
-As an aside, although it is an important one, note that because the
-values of @code{font-shape} are symbols they must be introduced with a
-single apostrophe, @code{'}.  That is why apostrophes are needed
-before @code{thickness} in the earlier example and @code{font-shape}.
-These are both symbols too.  Symbols are then read internally by
-LilyPond.  Some of them are the names of properties, like
-@code{thickness} or @code{font-shape}, others are used as values that
-can be given to properties, like @code{italic}.  Note the distinction
-from arbitrary text strings, which would appear as @code{"a text
-string"}; for more details about symbols and strings, see
-@rextend{Scheme tutorial}.
+As an aside, although it is an important one, note that some
+properties take values that are symbols, like @code{italic}, and
+must be preceded by an apostrophe, @code{'}.  Symbols are then
+read internally by LilyPond.  Note the distinction from arbitrary
+text strings, which would appear as @code{"a text string"}; for
+more details about symbols and strings, see @rextend{Scheme tutorial}.
 
 So we see that the @code{\override} command needed to print the lyrics
 in italics is:
@@ -878,33 +893,9 @@ like so:
 @noindent
 and the lyrics are all printed in italics.
 
-@subheading Specifying the context in lyric mode
-
-@cindex context, specifying in lyric mode
-@cindex lyric mode, specifying context
-
-In the case of lyrics, if you try specifying the context in the
-format given earlier the command will fail.  A syllable
-entered in lyricmode is terminated by either a space,
-a newline or a digit.  All other characters are included
-as part of the syllable.  For this reason a space or newline
-must appear before the terminating @code{@}} to prevent it being
-included as part of the final syllable.  Similarly,
-spaces must be inserted before and after the
-period or dot, @q{.}, separating the context name from the
-object name, as otherwise the two names are run together and
-the interpreter cannot recognize them.  So the command should be:
-
-@example
-\override Lyrics.LyricText.font-shape = #'italic
-@end example
-
 @warning{In lyrics always leave whitespace between the final
 syllable and the terminating brace.}
 
-@warning{In overrides in lyrics always place spaces around
-the dot between the context name and the object name.}
-
 
 @seealso
 Extending: @rextend{Scheme tutorial}.
@@ -923,7 +914,10 @@ property name in the IR.  Here is a list of the types you may
 need, together with the rules for that type, and some examples.
 You must always add a hash symbol, @code{#}, of course,
 to the front of these values when they are entered in the
-@code{\override} command.
+@code{\override} command, even if the value itself already
+starts with@tie{}@code{#}.  We only give examples for constants
+here: if you want to compute a value using Scheme, see
+@rextend{Calculations in Scheme}.
 
 @multitable @columnfractions .2 .45 .35
 @headitem Property type
@@ -933,32 +927,33 @@ to the front of these values when they are entered in the
   @tab Either True or False, represented by #t or #f
   @tab @code{#t}, @code{#f}
 @item Dimension (in staff space)
-  @tab A positive decimal number (in units of staff space)
+  @tab A decimal number (in units of staff space)
   @tab @code{2.5}, @code{0.34}
 @item Direction
-  @tab A valid direction constant or its numerical equivalent (decimal
-values between -1 and 1 are allowed)
+  @tab A valid direction constant or its numerical equivalent
+  (@code{0} or @code{CENTER} indicate a neutral direction)
   @tab @code{LEFT}, @code{CENTER}, @code{UP},
        @code{1}, @w{@code{-1}}
 @item Integer
-  @tab A positive whole number
-  @tab @code{3}, @code{1}
+  @tab A whole number
+  @tab @code{3}, @code{-1}
 @item List
-  @tab A set of values separated by spaces, enclosed in parentheses
-and preceded by an apostrophe
-  @tab @code{'(left-edge staff-bar)}, @code{'(1)},
+  @tab A sequence of constants or symbols separated by spaces, enclosed
+  in parentheses
+and preceded by an apostrophe (quote mark)
+  @tab @code{'(left-edge staff-bar)}, @code{'(1)}, @code{'()},
        @code{'(1.0 0.25 0.5)}
 @item Markup
   @tab Any valid markup
-  @tab @code{\markup @{ \italic "cresc." @}}
+  @tab @code{\markup @{ \italic "cresc." @}}, @code{"bagpipe"}
 @item Moment
   @tab A fraction of a whole note constructed with the
 make-moment function
-  @tab @code{(ly:make-moment 1 4)},
-       @code{(ly:make-moment 3 8)}
+  @tab @code{(ly:make-moment 1/4)},
+       @code{(ly:make-moment 3/8)}
 @item Number
-  @tab Any positive or negative decimal value
-  @tab @code{3.5}, @w{@code{-2.45}}
+  @tab Any positive or negative, possibly decimal, value
+  @tab @code{3}, @w{@code{-2.45}}
 @item Pair (of numbers)
   @tab Two numbers separated by a @q{space . space} and enclosed
 in brackets preceded by an apostrophe
@@ -972,9 +967,9 @@ preceded by an apostrophe
   @tab @code{bend::print}, @code{ly:text-interface::print},
        @code{#f}
 @item Vector
-  @tab A list of three items enclosed in parentheses and preceded
-by apostrophe-hash, @code{'#}.
-  @tab @code{'#(#t #t #f)}
+  @tab Constants
+  enclosed in @code{#(}@dots{}@code{)}.
+  @tab @code{#(#t #t #f)}
 @end multitable
 
 
@@ -1028,7 +1023,15 @@ All of these can affect the visibility of bar lines (and, of course,
 by extension, many other layout objects too.)  Let's consider each of
 these in turn.
 
-@subheading stencil
+@menu
+* The stencil property::
+* The break-visibility property::
+* The transparent property::
+* The color property::
+@end menu
+
+@node The stencil property
+@unnumberedsubsubsec The @code{stencil} property
 
 @cindex stencil property
 
@@ -1076,7 +1079,20 @@ it by adding the correct context:
 }
 @end lilypond
 
-Now the bar lines have vanished.
+Now the bar lines have vanished.  Setting the @code{stencil}
+property to @code{#f} is such a frequent operation that there is a
+shorthand for it called @code{\omit}:
+@funindex \omit
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+{
+  \time 12/16
+  \omit Staff.BarLine
+  c4 b8 c d16 c d8 |
+  g,8 a16 b8 c d4 e16 |
+  e8
+}
+@end lilypond
 
 Note, though, that setting the @code{stencil} property to @code{#f}
 will cause errors when the dimensions of the object are required for
@@ -1094,7 +1110,8 @@ with zero size:
 }
 @end lilypond
 
-@subheading break-visibility
+@node The break-visibility property
+@unnumberedsubsubsec The @code{break-visibility} property
 
 @cindex break-visibility property
 
@@ -1103,10 +1120,11 @@ We see from the @code{BarLine} properties in the IR that the
 These control respectively whether bar lines are printed at the end of
 a line, in the middle of lines, and at the beginning of lines.  For
 our example we want all bar lines to be suppressed, so the value we
-need is @code{'#(#f #f #f)}.  Let's try that, remembering to include
+need is @code{#(#f #f #f)} (also available
+under the name @code{all-invisible}).  Let's try that, remembering to include
 the @code{Staff} context.  Note also that in writing this value we
-have @code{#'#} before the opening bracket.  The @code{'#} is required
-as part of the value to introduce a vector, and the first@tie{}@code{#} is
+have @code{##} before the opening parenthesis.  One @code{#} is required
+as part of vector constant syntax, and the first@tie{}@code{#} is
 required, as always, to precede the value itself in the
 @code{\override} command.
 
@@ -1116,7 +1134,7 @@ required, as always, to precede the value itself in the
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 {
   \time 12/16
-  \override Staff.BarLine.break-visibility = #'#(#f #f #f)
+  \override Staff.BarLine.break-visibility = ##(#f #f #f)
   c4 b8 c d16 c d8 |
   g,8 a16 b8 c d4 e16 |
   e8
@@ -1125,7 +1143,8 @@ required, as always, to precede the value itself in the
 
 And we see this too removes all the bar lines.
 
-@subheading transparent
+@node The transparent property
+@unnumberedsubsubsec The @code{transparent} property
 
 @cindex transparent property
 @cindex transparency
@@ -1156,7 +1175,24 @@ transparent is:
 @end lilypond
 
 @noindent
-The time signature is gone, but this command leaves a gap where
+Again, setting the @code{transparent} property is a rather
+frequent operation, so we have a shorthand for it called
+@code{\hide}:
+@funindex \hide
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+{
+  \time 12/16
+  \hide Staff.TimeSignature
+  c4 b8 c d16 c d8 |
+  g,8 a16 b8 c d4 e16 |
+  e8
+}
+@end lilypond
+
+@noindent
+In either case, the time signature is gone, but this command
+leaves a gap where
 the time signature should be.  Maybe this is what is wanted for
 an exercise for the student to fill it in, but in other
 circumstances a gap might be undesirable.  To remove it, the
@@ -1169,7 +1205,7 @@ instead:
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 {
   \time 12/16
-  \override Staff.TimeSignature.stencil = ##f
+  \omit Staff.TimeSignature
   c4 b8 c d16 c d8 |
   g,8 a16 b8 c d4 e16 |
   e8
@@ -1178,10 +1214,13 @@ instead:
 
 @noindent
 and the difference is obvious: setting the stencil to @code{#f}
+(possibly via @code{\omit})
 removes the object entirely; making the object @code{transparent}
+(which can be done using @code{\hide})
 leaves it where it is, but makes it invisible.
 
-@subheading color
+@node The color property
+@unnumberedsubsubsec The @code{color} property
 
 @cindex color property
 
@@ -1220,11 +1259,11 @@ we write:
 @noindent
 and again, we see the bar lines are not visible.  Note that
 @emph{white} is not preceded by an apostrophe -- it is not
-a symbol, but a @emph{function}.  When called, it provides
+a symbol, but a @emph{variable}.  When evaluated, it provides
 the list of internal values required to set the color to
-white.  The other colors in the normal list are functions
+white.  The other colors in the normal list are variables
 too.  To convince yourself this is working you might like
-to change the color to one of the other functions in the
+to change the color to one of the other variables in the
 list.
 
 @cindex color, X11
@@ -1234,9 +1273,9 @@ list.
 
 The second way of changing the color is to use the list of
 X11 color names in the second list in @ruser{List of colors}.
-However, these must be preceded by another function, which
-converts X11 color names into the list of internal values,
-@code{x11-color}, like this:
+However, these are mapped to the actual values by the function
+@code{x11-color} which
+converts X11 color symbols into the list of internal values like this:
 
 @cindex BarLine, example of overriding
 @cindex color property, example
@@ -1254,14 +1293,15 @@ converts X11 color names into the list of internal values,
 @noindent
 Note that in this case the function @code{x11-color} takes
 a symbol as an argument, so the symbol must be preceded by
-an apostrophe and the two enclosed in brackets.
+an apostrophe to keep it from being evaluated as a variable, and
+the whole function call has to be enclosed in parentheses.
 
 @cindex rgb colors
 @cindex color, rgb
 
 @funindex rgb-color
 
-There is yet a third function, one which converts RGB values into
+There is another function, one which converts RGB values into
 internal colors -- the @code{rgb-color} function.  This takes
 three arguments giving the intensities of the red, green and
 blue colors.  These take values in the range 0 to 1.  So to
@@ -1360,7 +1400,7 @@ we simply set the stencil of each to @code{#f}, as follows:
 
 @cindex alignAboveContext property, example
 @cindex @code{\with}, example
-@cindex stencil property, example
+@funindex \omit
 @cindex Clef, example of overriding
 @cindex TimeSignature, example of overriding
 
@@ -1375,8 +1415,8 @@ we simply set the stencil of each to @code{#f}, as follows:
         alignAboveContext = #"main"
       }
       {
-        \override Staff.Clef.stencil = ##f
-        \override Staff.TimeSignature.stencil = ##f
+        \omit Staff.Clef
+        \omit Staff.TimeSignature
         { f8 f c }
       }
     >>
@@ -1392,7 +1432,9 @@ to the ossia staff.
 
 But what is the difference between modifying the staff context by
 using @code{\with} and modifying the stencils of the clef and the
-time signature with \override?  The main difference is that
+time signature with @code{\override}, or in this case
+@code{\omit}?
+The main difference is that
 changes made in a @code{\with} clause are made at the time the
 context is created, and remain in force as the @strong{default}
 values for the duration of that context, whereas
@@ -1446,6 +1488,31 @@ So we could replace the example above with
 }
 @end lilypond
 
+It turns out that we can also employ the shorthands @code{\hide}
+and @code{\omit} for setting the @code{transparent} property and
+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 |
+    e4 r8
+    <<
+      { f8 c c }
+      \new Staff \with {
+        alignAboveContext = #"main"
+        % Don't print clefs in this staff
+        \omit Clef
+        % Don't print time signatures in this staff
+        \omit TimeSignature
+      }
+      { f8 f c }
+    >>
+    r4 |
+  }
+}
+@end lilypond
+
 Finally we come to changing the size of layout objects.
 
 Some layout objects are created as glyphs selected from a typeface
@@ -1498,8 +1565,8 @@ Let's try it in our ossia example:
       { f8 c c }
       \new Staff \with {
         alignAboveContext = #"main"
-        \override Clef.stencil = ##f
-        \override TimeSignature.stencil = ##f
+        \omit Clef
+        \omit TimeSignature
         % Reduce all font sizes by ~24%
         fontSize = #-2
       }
@@ -1564,8 +1631,8 @@ objects in proportion.  It is used like this:
       { f8 c c }
       \new Staff \with {
         alignAboveContext = #"main"
-        \override Clef.stencil = ##f
-        \override TimeSignature.stencil = ##f
+        \omit Clef
+        \omit TimeSignature
         fontSize = #-2
         % Reduce stem length and line spacing to match
         \override StaffSymbol.staff-space = #(magstep -2)
@@ -1708,6 +1775,14 @@ either up or down; others like stems and flags also move to
 right or left when they point up or down.  This is controlled
 automatically when @code{direction} is set.
 
+@menu
+* The direction property::
+* Fingering::
+@end menu
+
+@node The direction property
+@unnumberedsubsubsec The @code{direction} property
+
 @cindex down
 @cindex up
 @cindex center
@@ -1786,13 +1861,14 @@ the commonest.  The meaning of each is stated where it is not obvious.
   @tab Tuplets are below/above notes
 @end multitable
 
-Note that these predefined commands may @strong{not} be
+The neutral/normal variants of these commands are implemented
+using @code{\revert} and may @strong{not} be
 preceded by @code{\once}.  If you wish to limit the
-effect to a single note you must either use the equivalent
-@code{\once \override} command or use the predefined command
-followed after the affected note by the corresponding
-@code{\xxxNeutral} command.
+effect of the other commands (which are implemented using
+@code{\override}) to a single timestep, you can precede them with
+@code{\once} like you would do with explicit overrides.
 
+@node Fingering
 @unnumberedsubsubsec Fingering
 
 @cindex fingering, placement
@@ -1942,6 +2018,20 @@ try @w{@code{-7}}:
 @subsection Outside-staff objects
 
 Outside-staff objects are automatically placed to avoid collisions.
+There are several ways to override the automatic placement if the
+positioning is not optimum.
+
+@menu
+* The outside-staff-priority property::
+* The \textLengthOn command::
+* Dynamics placement::
+* Grob sizing::
+@end menu
+
+
+@node The outside-staff-priority property
+@unnumberedsubsubsec The @code{outside-staff-priority} property
+
 Objects with the lower value of the @code{outside-staff-priority}
 property are placed nearer to the staff, and other outside-staff
 objects are then raised as far as necessary to avoid collisions.
@@ -2151,7 +2241,8 @@ clearly will need to space the notes out horizontally to make more
 room for the text.  This is done using the @code{textLengthOn}
 command.
 
-@subheading \textLengthOn
+@node The \textLengthOn command
+@unnumberedsubsubsec The @code{\textLengthOn} command
 
 @cindex notes, spreading out with text
 
@@ -2209,8 +2300,8 @@ c,,2^"Long Text   "  % Spaces at end are honored
 c''2 |
 @end lilypond
 
-
-@subheading Dynamics
+@node Dynamics placement
+@unnumberedsubsubsec Dynamics placement
 
 @cindex tweaking dynamics placement
 @cindex dynamics, tweaking placement
@@ -2251,7 +2342,8 @@ were able to do this for markup text by using the @code{\textLengthOn}
 command, but there is no equivalent command for dynamic marks.  So we
 shall have to work out how to do this using @code{\override} commands.
 
-@subheading Grob sizing
+@node Grob sizing
+@unnumberedsubsubsec Grob sizing
 
 @cindex grob sizing
 @cindex sizing grobs
@@ -2569,7 +2661,19 @@ should be used to move them.
 Let's now see how the properties in the previous section can
 help to resolve overlapping notation.
 
-@subheading padding property
+@menu
+* The padding property::
+* The right-padding property::
+* The staff-padding property::
+* The self-alignment-X property::
+* The staff-position property::
+* The extra-offset property::
+* The positions property::
+* The force-hshift property::
+@end menu
+
+@node The padding property
+@unnumberedsubsubsec The @code{padding} property
 
 @cindex padding
 @cindex fixing overlapping notation
@@ -2614,7 +2718,8 @@ their @code{outside-staff-priority}, then that object and all
 objects outside it are moved.
 
 
-@subheading right-padding
+@node The right-padding property
+@unnumberedsubsubsec The @code{right-padding} property
 
 @cindex right-padding property
 
@@ -2657,7 +2762,8 @@ note head by overriding @code{right-padding}.
 
 @noindent
 
-@subheading staff-padding property
+@node The staff-padding property
+@unnumberedsubsubsec The @code{staff-padding} property
 
 @cindex aligning objects on a baseline
 @cindex objects, aligning on a baseline
@@ -2686,7 +2792,8 @@ a4\f b\mf c\mp b\p
 @end lilypond
 
 
-@subheading self-alignment-X property
+@node The self-alignment-X property
+@unnumberedsubsubsec The @code{self-alignment-X} property
 
 The following example shows how this can resolve the collision
 of a string fingering object with a note's stem by aligning the
@@ -2702,7 +2809,8 @@ right edge with the reference point of the parent note:
 <a\2>
 @end lilypond
 
-@subheading staff-position property
+@node The staff-position property
+@unnumberedsubsubsec The @code{staff-position} property
 
 @cindex object collision within a staff
 
@@ -2739,7 +2847,8 @@ move it, say, four half-staff spaces down to @w{@code{-8}}.
 This is better than using, for example, @code{extra-offset},
 because the ledger line above the rest is inserted automatically.
 
-@subheading extra-offset property
+@node The extra-offset property
+@unnumberedsubsubsec The @code{extra-offset} property
 
 @cindex positioning objects
 @cindex positioning grobs
@@ -2763,7 +2872,8 @@ f4-5
 @end lilypond
 
 
-@subheading positions property
+@node The positions property
+@unnumberedsubsubsec The @code{positions} property
 
 @cindex controlling tuplets, slurs, phrasing slurs, and beams manually
 @cindex manually controlling tuplets, slurs, phrasing slurs, and beams
@@ -2772,40 +2882,39 @@ f4-5
 @cindex phrasing slurs, controlling manually
 @cindex beams, controlling manually
 
-The @code{positions} property allows the position and slope of
-tuplets, slurs, phrasing slurs and beams to be controlled manually.
-Here's an example which has an ugly phrasing slur due to its trying to
-avoid the slur on the acciaccatura.
+The @code{positions} property allows the vertical position and hence
+the slope of tuplets, slurs, phrasing slurs and beams to be controlled
+manually.
 
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4 \acciaccatura e8\( d8 c~ c d c d\)
-@end lilypond
-
-@noindent
-We could simply move the phrasing slur above the notes, and this
-would be the preferred solution:
+Here's an example in which the phrasing slur and slur collide:
 
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4
-\phrasingSlurUp
-\acciaccatura e8\( d8 c~ c d c d\)
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+a8 \( ( a'16 ) a \)
 @end lilypond
 
-@noindent
-But if there were some reason why this could not be done the
-other alternative would be to move the left end of the phrasing
-slur down a little using the @code{positions} property.  This
-also resolves the rather nasty shape.
-
 @cindex PhrasingSlur, example of overriding
 @cindex positions property, example
 
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4
-\once \override PhrasingSlur.positions = #'(-4 . -3)
-\acciaccatura e8\( d8 c~ c d c d\)
+@noindent
+One possibility would be to move the two ends of the phrasing slur
+higher.  We can try setting the left end to 2.5 staff-spaces above the
+centre line and the right end to 4.5 above, and LilyPond will
+select the phrasing slur from the candidates it has found with its
+end points closest to these:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
+a8 \( ( a'16 ) a \)
 @end lilypond
 
+This is an improvement, but why not lower the right end of the slur
+a little?  If you try it you'll find it can't be done in this way.
+That's because there are no candidate slurs lower than the one
+already selected, and in this case the @code{positions} property has
+no effect.  However, ties, slurs and phrasing slurs @emph{can} be
+positioned and shaped very precisely when necessary.  To learn how to
+do this, see @ruser{Modifying ties and slurs}.
+
 Here's a further example.  We see that the beams
 collide with the ties:
 
@@ -2857,7 +2966,8 @@ Note that the override continues to apply in the first voice of
 the second measure of eighth notes, but not to any of the beams in the
 second voice.
 
-@subheading force-hshift property
+@node The force-hshift property
+@unnumberedsubsubsec The @code{force-hshift property}
 
 We can now see how to apply the final corrections to the Chopin
 example introduced at the end of @ref{I'm hearing Voices}, which
@@ -3454,6 +3564,11 @@ lhMusic = \relative c' {
 @node Other uses for tweaks
 @subsection Other uses for tweaks
 
+@menu
+* Tying notes across voices::
+* Simulating a fermata in MIDI::
+@end menu
+
 @cindex transparent property, use of
 @cindex objects, making invisible
 @cindex removing objects
@@ -3462,9 +3577,11 @@ lhMusic = \relative c' {
 @cindex objects, hiding
 @cindex invisible objects
 @cindex objects, invisible
-@cindex tying notes across voices
 
-@subheading Tying notes across voices
+@node Tying notes across voices
+@unnumberedsubsubsec Tying notes across voices
+
+@cindex tying notes across voices
 
 The following example demonstrates how to connect notes in
 different voices using ties.  Normally, only two notes in the
@@ -3511,7 +3628,37 @@ too much, we can lengthen the stem by setting the
 >>
 @end lilypond
 
-@subheading Simulating a fermata in MIDI
+@funindex \single
+@cindex tweak, generated from override
+Now for @emph{overriding} the transparency of a graphical object,
+we could have used the shorthand @code{\hide} as explained above.
+Tweaking is a different operation, affecting only properties
+generated from a single music expression.  It turns out that we
+can convert overrides into tweaks using @code{\single}, making it
+possible to rewrite the above example as
+
+@lilypond[quote,fragment,relative=2,verbatim]
+<<
+  {
+    \single \hide Stem
+    \single \hide Flag
+    \tweak Stem.length #8
+    b8~ b\noBeam
+  }
+\\
+  { b8[ g] }
+>>
+@end lilypond
+
+In this particular case, the difference to @code{\once \hide} is
+not apparent.  It is important when there are several objects at
+the same point in musical time (like noteheads in a chord).  In
+that case, @code{\once} will affect all of those objects while
+@code{\single} will only affect a single one, the one generated by
+the immediately following music expression.
+
+@node Simulating a fermata in MIDI
+@unnumberedsubsubsec Simulating a fermata in MIDI
 
 @cindex stencil property, use of
 @cindex fermata, implementing in MIDI
@@ -3541,7 +3688,7 @@ We show here the effect of the two methods:
     % Visible tempo marking
     \tempo 4=120
     a4 a a
-    \once \override Score.MetronomeMark.transparent = ##t
+    \once \hide Score.MetronomeMark
     % Invisible tempo marking to lengthen fermata in MIDI
     \tempo 4=80
     a4\fermata |
@@ -3563,7 +3710,7 @@ We show here the effect of the two methods:
     % Visible tempo marking
     \tempo 4=120
     a4 a a
-    \once \override Score.MetronomeMark.stencil = ##f
+    \once \omit Score.MetronomeMark
     % Invisible tempo marking to lengthen fermata in MIDI
     \tempo 4=80
     a4\fermata |
@@ -4007,7 +4154,7 @@ distributed with GNU/Linux, or installed under fink or cygwin) or
 compiled it from source, and (b) on which operating system it is
 being used:
 
-@strong{Downloaded from lilypond.org}
+@subsubsubheading Downloaded from lilypond.org
 
 @itemize @bullet
 @item GNU/Linux
@@ -4037,7 +4184,7 @@ Using Windows Explorer, navigate to
 
 @end itemize
 
-@strong{Installed from a package manager or compiled from source}
+@subsubsubheading Installed from a package manager or compiled from source
 
 Navigate to
 @file{@var{PREFIX}/share/lilypond/@var{X.Y.Z}/}, where
diff --git a/Documentation/nl/macros.itexi b/Documentation/nl/macros.itexi
index da7ef9c..2f82070 100644
--- a/Documentation/nl/macros.itexi
+++ b/Documentation/nl/macros.itexi
@@ -1,6 +1,6 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
-    Translation of GIT committish: 6908517be0826a3386264cd6d26d742b18e3a227
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
diff --git a/Documentation/nl/search-box.ihtml b/Documentation/nl/search-box.ihtml
index d18b89d..33e6c10 100644
--- a/Documentation/nl/search-box.ihtml
+++ b/Documentation/nl/search-box.ihtml
@@ -1,10 +1,18 @@
 <!--
-    Translation of GIT committish: 6908517be0826a3386264cd6d26d742b18e3a227
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  See TRANSLATION for details.
 -->
 
+<!--
+we depend on an external entity here, which we cannot control.  Suppose
+we go from 2.15.x to 2.17.x and put the documentation under "v2.17".
+For some time, Google won't have the new location in its index, so the
+search would get nothing.  It would be better to keep "v2.15" in the
+search for a while and have a redirection from "v2.15" to "v2.17".
++-->
+
 <form action="http://google.com/search"
       method="get"
       name="search"
diff --git a/Documentation/nl/web.texi b/Documentation/nl/web.texi
index b6f2537..b682396 100644
--- a/Documentation/nl/web.texi
+++ b/Documentation/nl/web.texi
@@ -1,6 +1,6 @@
 \input texinfo @c -*- coding: utf-8; mode: texinfo; documentlanguage: nl -*-
 @ignore
-    Translation of GIT committish: 6908517be0826a3386264cd6d26d742b18e3a227
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -150,6 +150,44 @@ Lees meer in onze @ref{Inleiding}!
 @end ifclear
 @ifset web_version
   @c make the box:
+@divId{wildCardBox}
+@subheading Twitter nieuws
+@divId{wildCardText}
+
+@divEnd
+@divEnd
+@end ifset
+
+@html
+
+<script language="JavaScript" type="text/javascript">
+  function loadXMLDoc(dname)
+    {
+      if (window.XMLHttpRequest)
+        {
+          xhttp=new XMLHttpRequest();
+        }
+      else
+        {
+          xhttp=new ActiveXObject("Microsoft.XMLHTTP");
+        }
+      xhttp.open("GET",dname,false);
+      xhttp.send();
+      return xhttp.responseXML;
+    }
+
+  var xmlDoc = loadXMLDoc("tweets.xml");
+  var tweets = xmlDoc.getElementsByTagName("tweet");
+  var index = Math.floor(Math.random() * tweets.length);
+  var tweet = tweets[index];
+  var text = tweet.childNodes[0];
+  document.getElementById("wildCardText").innerHTML = text.nodeValue;
+</script>
+
+@end html
+
+@ifset web_version
+  @c make the box:
 @divId{latestVersion}
 @subheading Snelle verwijzingen
 
diff --git a/Documentation/nl/web/download.itexi b/Documentation/nl/web/download.itexi
index a92aa33..6306c5d 100644
--- a/Documentation/nl/web/download.itexi
+++ b/Documentation/nl/web/download.itexi
@@ -1,6 +1,6 @@
 @c -*- coding: utf-8; mode: texinfo; fill-column: 60 -*-
 @ignore
-    Translation of GIT committish: 6908517be0826a3386264cd6d26d742b18e3a227
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -52,7 +52,7 @@ eerst de informatie over onze @ref{Tekstinvoer}.}
 @c ref is duplicated to avoid underlining ref as image.
 @ref{Unix, @sourceimage{logo-linux,,,}
 @sourceimage{logo-freebsd,,,}}
-@ref{Unix, Unix (Linux en FreeBSD)}
+@ref{Unix, Unix (GNU/Linux en FreeBSD)}
 
 @item
 @ref{MacOS X, @sourceimage{logo-macosx,,,}}
@@ -245,17 +245,17 @@ distributie voor het upgraden naar deze versies.
 @item
 @sourceimage{logo-fedora,,,}
 @uref{http://koji.fedoraproject.org/koji/packageinfo?packageID=2447,
-Fedora: LilyPond 2.14.1}
+Fedora: LilyPond 2.14.2}
 
 @item
 @sourceimage{logo-ubuntu,,,}
 @uref{http://packages.ubuntu.com/search?keywords=lilypond,
-Ubuntu: LilyPond 2.12.3}
+Ubuntu: LilyPond 2.14.2}
 
 @item
 @sourceimage{logo-slackware,,,}
 @uref{http://www.johannes-schoepfer.de/lilypond/,
-Slackware: LilyPond 2.14.1}
+Slackware: LilyPond 2.14.2}
 
 @item
 @sourceimage{logo-debian,,,}
@@ -307,7 +307,6 @@ acknowledged.
 Voor MacOS 10.4 of nieuwer, met Intel-processors (als je
 twijfelt, gebruik deze).
 
-MacOS X 10.7 Lion wordt nog niet ondersteund.
 
 @item
 @sourceimage{logo-macosx,,,}
@@ -315,7 +314,6 @@ MacOS X 10.7 Lion wordt nog niet ondersteund.
 Voor MacOS 10.4 of nieuwer, met G3- en G4-processors (oudere
 Apple computers).
 
-MacOS X 10.7 Lion wordt nog niet ondersteund.
 
 @end itemize
 
@@ -365,6 +363,7 @@ Maak een bestand genaamd @command{lilypond} met als inhoud
 
 @divClass{h-scroll-auto}
 @example
+#! /bin/bash
 exec @var{MAP}/LilyPond.app/Contents/Resources/bin/lilypond "$@@"
 @end example
 @divEnd
@@ -455,7 +454,7 @@ acknowledged.
 @item
 @sourceimage{logo-windows,,,}
 @downloadStableWindows
-Voor Windows 2000, XP, Vista, en Windows 7.
+Voor Windows 2000, XP, Vista, Windows 7 en 8.
 
 @end itemize
 
diff --git a/Documentation/nl/web/introduction.itexi b/Documentation/nl/web/introduction.itexi
index 88294d1..6d0ecef 100644
--- a/Documentation/nl/web/introduction.itexi
+++ b/Documentation/nl/web/introduction.itexi
@@ -1,7 +1,7 @@
 @c -*- coding: utf-8; mode: texinfo; documentlanguage: nl; fill-column: 60 -*-
 @c This file is part of web.texi
 @ignore
-    Translation of GIT committish: 6908517be0826a3386264cd6d26d742b18e3a227
+    Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -470,7 +470,7 @@ kunnen we samen onze doelen bereiken met een fractie van de
 individuele inzet.
 
 @item
-Geef-cultuur: de Vrije Software (of @qq{Open Source})
+@qq{Geef-cultuur}: de Vrije Software
 beweging heeft veel geweldige software projecten opgeleverd,
 zoals @uref{http://kernel.org/, GNU/Linux},
 @uref{http://www.getfirefox.com/, Mozilla Firefox}, en
@@ -479,7 +479,7 @@ ze van deze projecten geprofiteerd hebben, willen sommige
 ontwikkelaars iets @qq{terug doen} voor de community.
 
 @item
-Werkervaring: bijdragen aan open-source projecten is een
+Werkervaring: bijdragen aan vrije software projecten is een
 mooie manier om te oefenen met programmeren, het schrijven
 van documentatie, het vertalen van documentatie, of
 ontwerpen.  Deze ervaring heeft sommige ontwikkelaars zelfs
@@ -538,14 +538,40 @@ uitvoeringen.  Enkele hoogtepunten:
 @divClass{keep-bullets}
 @itemize
 
+Mussorgskys @emph{Schilderijententoonstelling}, geherorchestreerd en
+onder leiding van @uref{http://www.aurelienbello.com/,Aurélien Bello} met
+de @uref{http://www.junge-philharmonie-brandenburg.de/,
+Junge Philharmonie Brandenburg}
+op 10 okt 2011 en opnieuw op 15-16 apr 2012.
+
 @item
-@emph{Affaire étrangère}, een opera van
-@uref{http://valentin.villenave.net/,Valentin Villenave}
-op een frans libretto van
-@uref{http://nl.wikipedia.org/wiki/Lewis_Trondheim, Lewis
-Trondheim}, premiëre op 1 februari, 2009 in
-@uref{http://www.orchestre-montpellier.com/, L'Opéra National de
-Montpellier}, Frankrijk.
+@uref{http://www.kierenmacmillan.info/, Kieren MacMillan}, componist en
+dirigent.  Onder zijn vele recente werken onder andere; @emph{Gaat uw weg},
+uitgevoerd door de @uref{http://www.saltlakechoralartists.org/,
+Salt Lake Choral Artists} in maart 2012; De
+@emph{Juist buiten bereik suite} uitgevoerd
+door het
+@uref{http://www.herald-dispatch.com/news/marshall/x1883873762/Music-duo-Chrysalis-to-perform-at-Marshall-University-on-Jan-19,
+Chrysalis Duo} ; @emph{thrafsmata} uitgevoerd in juli 2011 door het
+@uref{http://www.pnme.org/CurrentSeason/PreviousSeasons.html, Pittsburgh
+New Music Ensemble}.
+
+
+@item
+@emph{Anonieme student compliment of klacht}, door
+@uref{http://www.mikesolomon.org, Mike Solomon}, winnaar gekozen uit
+172 inzendingen uit 22 landen van de
+@uref{http://leftcoastensemble.org/contest, 2011 Linker Kust Compositie Wedstrijd}.
+Andere werken onder andere, Norman (1 jaar) voor solo klarinet, uitgevoerd op het
+@uref{http://emu.music.ufl.edu/fems_concerts.html, Universiteit van Florida}
+Electroacoustisch Muziek Festival (FEMF), oktober 2010.
+
+@item
+Een moderne editie van het @emph{Serenata Erminia} door Alessandro Scarlatti,
+bewerkt door Thomas Griffin, Musicoloog (Rome, Italië).  Uitgevoerd op 22
+oktober 2010 in het Galleria of the Palazzo Zevallos Stigliano, Napels,
+Italië.  @uref{http://www.ascarlatti2010.net, Alessandro Scarlatti 2010},
+ter gelegenheid van de 350ste verjaardag van de componist.
 
 @item
 @uref{http://www.mercurybaroque.org/02/02109.aspx, Mercury
@@ -560,6 +586,15 @@ Frederick Renz met zijn ensemble
 @uref{http://www.earlymusicny.org/, Early Music New York}
 (gravure door Nicolas Sceaux).
 
+@item
+@emph{Affaire étrangère}, een opera van
+@uref{http://valentin.villenave.net/,Valentin Villenave}
+op een frans libretto van
+@uref{http://nl.wikipedia.org/wiki/Lewis_Trondheim, Lewis
+Trondheim}, premiëre op 1 februari, 2009 in
+@uref{http://www.orchestre-montpellier.com/, L'Opéra National de
+Montpellier}, Frankrijk.
+
 @end itemize
 @divEnd
 
@@ -988,7 +1023,7 @@ commando's worden ingevoerd met een backslash.
 @imageFloat{text-input-1-output,png,center}
 
 Verplaatsingen worden gevormd met verschillende benamingen:
-voeg @code{-is} toe voor een kruis en @code{-es} voor een
+voeg @w{@code{-is}} toe voor een kruis en @w{@code{-es}} voor een
 mol.  LilyPond bepaalt zelf waar de toevallige tekens
 geplaatst worden.
 
@@ -1049,6 +1084,31 @@ Verdere informatie is beschikbaar in
 
 @subsubheading Omgevingen voor eenvoudiger bewerken
 
+@ignore
+GNU policy forbids us from linking to non-Free software, so don't
+add such links.
+
+In particular, don't link to:
+- the LilyPond bundle for TextMate (a commercial editor for MacOS).
+
+@end ignore
+
+@divClass{column-center-top}
+@subheading Tunefl
+
+@sourceimage{logo-linux,,,}
+@sourceimage{logo-freebsd,,,}
+@sourceimage{logo-macosx,,,}
+@sourceimage{logo-windows,,,}
+
+@uref{http://www.tunefl.com}
+
+Met tunefl kun je partituren direct online zetten,
+zonder LilyPond op je computer te installeren.  Het is
+mogelijk om alle functies van het programma te proberen
+in een eenvoudige web interface.
+@divEnd
+
 @imageClickable{lilykde-screenshot-small,png,
   (klik om te vergroten),lilykde-screenshot,png,right}
 
@@ -1113,12 +1173,10 @@ point-and-click ondersteuning.
 
 @uref{http://www.frescobaldi.org}
 
-Frescobaldi is een muziek- en teksteditor speciaal voor
-LilyPond met een ingebouwde PDF-viewer, een krachtige
-partituur wizard en vele bewerkingsfuncties.  Het is
-gebaseerd op de KDE4 bibliotheken en draait momenteel op
-alle soorten Linux en andere UNIX-achtige operating
-systemen.
+Frescobaldi is een LilyPond bladmuziek-editor.  Krachtig,
+lichtgewicht en gemakkelijk te gebruiken en met ingebouwde
+PDF viewer.  Het draait op alle belangrijke platformen
+(GNU/Linux, Mac OS X en Windows).
 
 @divEnd
 
@@ -1156,6 +1214,14 @@ gehighlight in het tekstvenster.
 @sourceimage{logo-macosx,,,}
 @sourceimage{logo-windows,,,}
 
+@uref{http://elysium.thsoft.hu}
+
+Elysium is een LilyPond-omgeving (IDE) voor Eclipse met een
+geïntegreerd beeld voor broncode en partituur naast elkaar.
+Het heeft snelle visuele en auditieve terugkoppeling zonder
+te hoeven schakelen, en heeft veel wizard-gebaseerde
+sjablonen.
+
 @uref{http://www.gnu.org/software/emacs/}
 
 Emacs is een teksteditor met taalgevoelige functies voor
@@ -1194,17 +1260,6 @@ van de uitbreidingen die beschikbaar zijn op:
 @uref{http://users.dimi.uniud.it/~nicola.vitacolonna/home/content/lilypond-scripts}
 @end example
 
-@sourceimage{logo-macosx,,,}
-Er is een LilyPond bundel voor TextMate, een commerciële editor for MacOS.
-Die kan je installeren met:
-
-@example
-mkdir -p /Library/Application\ Support/TextMate/Bundles
-cd /Library/Application\ Support/TextMate/Bundles
-git clone http://github.com/textmate/lilypond.tmbundle.git
-
-@end example
-
 @divEnd
 
 
@@ -1214,20 +1269,22 @@ git clone http://github.com/textmate/lilypond.tmbundle.git
 @subsubheading Score, tab en MIDI-editors:
 
 @itemize
+
 @item
-@uref{http://www.rosegardenmusic.com,Rosegarden}, een audio en
-MIDI-sequencer, die tevens een partituur-editor voor het editen
-van enkelvoudige notenbalken heeft.
+@uref{http://canorus.org,Canorus}, een partituur-editor, kan
+ook exporteren naar LilyPond, maar is nog beta-software.
+Testers zijn welkom.
+
 
 @item
-@uref{http://vsr.informatik.tu-chemnitz.de/staff/jan/nted/nted.xhtml,NtEd},
-een partituur editor gebaseerd op de @uref{http://cairographics.org, Cairo}
-bibliotheek en heeft experimentele LilyPond export.
+@uref{http://enc2ly.sourceforge.net/en/,Enc2ly} is een GNU/Linux programma
+dat een @uref{http://www.gvox.com/,Encore} muziek partituur omzet naar LilyPond.
 
 @item
-@uref{http://www.tuxguitar.com.ar/,TuxGuitar}, een
-multi-track tablatuur-editor en -speler, heeft een
-partituur-beeld en tab-beeld en kan exporteren naar LilyPond.
+@uref{https://github.com/hanwen/go-enc2ly,go-enc2ly} is een Go gereedschap dat
+@uref{http://www.gvox.com/,Encore}-bestanden omzet naar LilyPond.  Het is gemaakt, gebruik makend van
+Felipe Castro's onderzoek en reverse engineering door middel van het veranderen van bestaande .enc-bestanden
+en die in te laden met de 4.55 demoversie.
 
 @item
 @uref{http://musescore.org,MuseScore}, een partituur-editor,
@@ -1235,13 +1292,9 @@ heeft onvolledige LilyPond-export maar wordt actief
 ontwikkeld.
 
 @item
-@uref{http://canorus.org,Canorus}, een partituur-editor, kan
-ook exporteren naar LilyPond, maar is nog beta-software.
-Testers zijn welkom.
-
-@item
-@uref{http://www.volny.cz/smilauer/rumor/rumor.html,Rumor},
-een realtime monofonische MIDI naar LilyPond-vertaler.
+@uref{http://vsr.informatik.tu-chemnitz.de/staff/jan/nted/nted.xhtml,NtEd},
+een partituur editor gebaseerd op de @uref{http://cairographics.org, Cairo}
+bibliotheek en heeft experimentele LilyPond export.
 
 @item
 @uref{http://www.holmessoft.co.uk/homepage/software/NWC2LY/index.htm,
@@ -1249,6 +1302,24 @@ NW2LY} een a C#-programma dat een
 @uref{http://www.noteworthysoftware.com/, NoteWorthy}-lied naar
 LilyPond converteert.
 
+@uref{https://github.com/ciconia/ripple/blob/master/README.markdown,Ripple} is
+een programma dat helpt bij het maken van partituren en partijen, en heeft een modus voor het samenvoegen van
+verschillende muzikale werken in een enkele partituur of partij.
+
+@item
+@uref{http://www.rosegardenmusic.com,Rosegarden}, een audio en
+MIDI-sequencer, die tevens een partituur-editor voor het editen
+van enkelvoudige notenbalken heeft.
+
+@item
+@uref{http://www.volny.cz/smilauer/rumor/rumor.html,Rumor},
+een realtime monofonische MIDI naar LilyPond-vertaler.
+
+@item
+@uref{http://www.tuxguitar.com.ar/,TuxGuitar}, een
+multi-track tablatuur-editor en -speler, heeft een
+partituur-beeld en tab-beeld en kan exporteren naar LilyPond.
+
 @end itemize
 
 @subsubheading Gereedschappen voor de commandoregel
diff --git a/Documentation/nl/web/manuals.itexi b/Documentation/nl/web/manuals.itexi
index ed48406..79bfb85 100644
--- a/Documentation/nl/web/manuals.itexi
+++ b/Documentation/nl/web/manuals.itexi
@@ -129,6 +129,10 @@ tweaks-handleiding.
 @itemize
 
 @item
+@ref{Alles}:
+vorige stabiele versies en huidige als gecomprimeerd archief.
+
+@item
 @ref{Vertaald}:
 status van de vertaling voor niet-Engelstaligen.
 
--
1.7.10.4



--
Jan Nieuwenhuizen <[hidden email]> | GNU LilyPond http://lilypond.org
Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl 
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Re: Web-nl Update

Francisco Vila
2012/12/20 Jan Nieuwenhuizen <[hidden email]>:
> Hi,
>
> Below are updates for the Dutch website update against latest master,
> please include.

Thanks Jan,
applied.
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com


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