* Documentation/user/music-glossary.tely (Top): remove 13pt.

* Documentation/user/macros.itexi: don't color glossary links.

diff --git a/ChangeLog b/ChangeLog
index 1b39e928d3a6171d8af70c797393e06958922d59..b2c10030f5f0c4c83a7a0d666ec0513ffe70d196 100644 (file)
--- a/ChangeLog
+++ b/ChangeLog
@@ -1,5 +1,7 @@
 2003-07-29  Han-Wen Nienhuys  <hanwen@cs.uu.nl>
 
+       * Documentation/user/music-glossary.tely (Top): remove 13pt.
+
        * Documentation/user/macros.itexi: don't color glossary links.
 
        * Documentation/user/invoking.itexi (Error messages): new section

diff --git a/Documentation/user/macros.itexi b/Documentation/user/macros.itexi
index 1bab2256ecb6809ed582e5c9492fe175fc517556..794cbbdc840cf62107fedb1acd331e025511103b 100644 (file)
--- a/Documentation/user/macros.itexi
+++ b/Documentation/user/macros.itexi
@@ -1,17 +1,5 @@
 @c -*-texinfo-*-
 
-@c Only reference in HTML.
-@macro htmlref {NAME}
-@ifhtml
-@ref{\NAME\}@c
-@end ifhtml
-@ifnothtml
-\NAME\@c
-@end ifnothtml
-@end macro
-
-
-
 
 @c Reference GLOSsary
 @macro rglos {NAME}

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 9e722386d1bd09e8cc73b88551ce0c86115589ac..e09b09f0afb50c6261f49776674163f573c3465b 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -170,7 +170,7 @@ by a @aref{whole tone}, a flat lowers it by a semitone and a double
 flat lowers it by a whole tone. A natural cancels the effect of a previous
 accidental.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Voice.TextScript \set #'font-style = #'large
 \addlyrics
@@ -280,7 +280,7 @@ S: ren mollskala,
 FI: luonnollinen molliasteikko,
 N: ?.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \notes\relative c'' {
 a1 b c d e f g a }
@@ -316,7 +316,7 @@ performed on the beat, after that mostly before the beat.  While the short
 a. is performed as a short note regardless of the duration of the main note
 the duration of the long a. is proportional to that of the main note.
 
-@lilypond[13pt]
+@lilypond
 \context Voice \notes\relative c'' {
 \key d \major
 \time 4/4
@@ -341,7 +341,7 @@ g8 fis16 g |
 
 An appoggiatura may have more notes preceding the main note.
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \key as \major
   \time 2/4
@@ -367,7 +367,7 @@ S: arpeggio,
 FI: arpeggio, murtosointu,
 N: ?.
 
-@lilypond[13pt]
+@lilypond
 \notes \context PianoStaff <
   \context Staff = SA \relative c'' {
     \time 4/4
@@ -529,7 +529,7 @@ N: ?.
 Line connecting a series of notes (shorter than a quarter note).
 The number of beams determine the note value of the connected notes.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Voice.TextScript \set #'font-style = #'large
 \notes\relative c'' {
@@ -554,7 +554,7 @@ Note value used for counting, most often half-, fourth-, and eighth notes.
 The base counting value and the number of them per measure is indicated at
 the start of the music.
 
-@lilypond[13pt]
+@lilypond
 \key g \major
 \time 4/4
 \notes\relative c'' { g4 c b a | g1 \bar "||"}
@@ -580,13 +580,13 @@ Symbol at the start of a system connecting staves.  Curly braces are used
 for connecting piano staves, angular brackets for connecting parts in an
 orchestral or choral score.
 
-@lilypond[13pt]
+@lilypond
 \notes\context GrandStaff <
   \relative c''\context Staff = SA  { \clef treble g4 e c2 }
   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \context StaffGroup <
 %  \property StaffGroup.minVerticalAlign = #12
   \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
@@ -634,7 +634,7 @@ N: ?.
 @aref{note value} twice as long as a whole note.  Mainly used
 in pre-1650 music.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \notes\relative c'' { g\breve }
 @end lilypond
@@ -664,7 +664,7 @@ N: ?.
 Clef symbol indicating the position of the central C.  Used on all note
 lines.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.Clef \override #'full-size-change = ##t
 \property Score.LyricText \set #'font-style = #'large
@@ -763,7 +763,7 @@ and five-tone @emph{ninth} major chords are most often used as dominants
 third above the lower notes to define their quality as major or minor.  Such
 chords are denoted open chords
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Voice.TextScript \set #'font-style = #'large
 \addlyrics
@@ -795,7 +795,7 @@ N: ?.
 
 A scale consisting of all 11 @aref{semitone}s.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
 @end lilypond
@@ -895,7 +895,7 @@ N: ?.
 
 Melody moving in the narrow steps of the scale.
 
-@lilypond[13pt]
+@lilypond
 \key g \major \time 4/4
 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
 @end lilypond
@@ -1016,7 +1016,7 @@ N: crescendo.
 Increasing volume.  Indicated by a rightwards opening horizontal wedge or the
 abbreviation ``cresc.''.
 
-@lilypond[13pt]
+@lilypond
 \key g \major \time 4/4
 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
 @end lilypond
@@ -1049,7 +1049,7 @@ styles.  Nowadays, they have survived only in special forms of musical
 notation such as via the editio vaticana dating back to the beginning
 of the 20th century
 
-@lilypond[13pt]
+@lilypond
 \score {
     \notes {
        \property Staff.Custos \set #'neutral-position = #4
@@ -1109,7 +1109,7 @@ N: ?.
 Abbreviated ``d.s.''.  Repetition, not from the beginning, but from
 another place frequently near the beginning marked by a sign:
 
-@lilypond[13pt]
+@lilypond
 \property Voice.TextScript \set #'font-style = #'large
 \property Voice.TextScript \set #'font-shape = #'italic
 \key g \major \time 4/4
@@ -1129,7 +1129,7 @@ N: decrescendo.
 Decreasing tone volume.  Indicated by a leftwards opening horizontal wedge
 or the abbreviation ``decresc.''.
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \key g \major \time 4/4
   d4 \> c b a | \! g1 \bar "|."
@@ -1167,7 +1167,7 @@ of a piano keybord are diatonic.
 The church modes are used in gregorial chant and pre baroque early music but
 also to some extent in newer jazz music.
 
-@lilypond[13pt,notime,linewidth=110mm]
+@lilypond[notime,linewidth=110mm]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1182,7 +1182,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1197,7 +1197,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1211,7 +1211,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1226,7 +1226,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1240,7 +1240,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1260,7 +1260,7 @@ compositional music are primarily the major and the minor scales.  In the
 harmonic minor scale type an augmented second (A) occurs between the 6th and
 7th tone.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1275,7 +1275,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1290,7 +1290,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1305,7 +1305,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1361,7 +1361,7 @@ N: ?.
 Melody moving in steps greater than those of the
 scale.  Opposite of @aref{conjunct movement}.
 
-@lilypond[13pt]
+@lilypond
 \key a \major
 \time 4/4
 \notes\relative c' {
@@ -1651,7 +1651,7 @@ N: ?.
 Two notes, intervals, or scales are enharmonic if they have different names
 but equal pitch.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
 \addlyrics
@@ -1722,7 +1722,7 @@ an octave higher (for example bass recorder) while 8@w{ }below the clef
 symbol indicates playing an octave lower (for example on double bass
 @aref{strings}).
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Staff.Clef \override #'full-size-change = ##t
 \property Score.LyricText \set #'font-style = #'large
@@ -1764,7 +1764,7 @@ N: ?.
 
 Prolonged note or rest of indefinite duration.
 
-@lilypond[13pt]
+@lilypond
 \time 4/4
 \notes\relative c'' {
   a4 b c2^\fermata \bar "|."
@@ -1815,7 +1815,7 @@ Ornament at the end of the stem of a note used for notes with values
 less than a quarter note.  The number of flags determines the
 @aref{note value}.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
@@ -1899,7 +1899,7 @@ first note of the scale), subdominant (S, the chord on the fourth note), and
 dominant (D, the chord on the fifth note).  Other are considered to be
 variants of the base chords.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -1938,7 +1938,7 @@ the notes must be played an octave higher while 8 below the clef symbol
 indicates playing or singing an octave lower (most tenor parts in choral
 scores are notated like that).
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Staff.Clef \set #'full-size-change = ##t
 \property Score.LyricText \set #'font-style = #'large
@@ -2058,7 +2058,7 @@ N: ?.
 Sequence of chords that terminate a musical phrase or
 section.  @aref{functional harmony}.
 
-@lilypond[13pt]
+@lilypond
 \notes\context PianoStaff <
   \context Staff = SA \relative c'' {
     \time 4/4
@@ -2096,7 +2096,7 @@ Tones sounding simultaneously.  Two note harmonies fall into the categories
 
 Consonances:
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
 \context Voice \notes\relative c'' {
@@ -2112,7 +2112,7 @@ Consonances:
 
 Dissonances:
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
 \context Voice  \notes\relative c'' {
@@ -2155,7 +2155,7 @@ identical (@aref{enharmonic}) and are called @emph{tritonus}
 because they consist of three @aref{whole tone}s.  The addition
 of such two forms an octave.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -2176,7 +2176,7 @@ of such two forms an octave.
 }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -2197,7 +2197,7 @@ of such two forms an octave.
 }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 \property Score.TextScript \set #'font-style = #'large
@@ -2231,7 +2231,7 @@ N: ?.
 
 The difference between an interval and an octave.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
 \context Staff \notes\relative c'' {
@@ -2325,7 +2325,7 @@ N: ?.
 
 A ledger line is an extension of the staff.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \notes\relative c'' { a,1 s c'' }
 @end lilypond
@@ -2345,7 +2345,7 @@ To be performed without any perceptible interruption between the notes (a)
 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
 @aref{staccato} (d).
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \addlyrics
 \context Staff \notes\relative c'' {
@@ -2420,7 +2420,7 @@ N: longa.
 Note value: double length of @aref{breve}.
 @aref{note value}.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \notes\relative c'' {
   \property Voice.NoteHead \set #'style = #'mensural
@@ -2544,14 +2544,14 @@ whether there are two, three or four units to the measure,
 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
 @emph{quadruple} (4/2, 4/4, 4/8) meter.  4/4 is also called common meter.
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \time 3/4
   \key f \major
   c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c' {
   \time 6/8
   \key f \major
@@ -2559,7 +2559,7 @@ one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
   c'8 c c c e16 d e c \bar "||"}
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \time 5/4
   \key g \major
@@ -2622,7 +2622,7 @@ N: ?.
 
 First C below the 440 Hz A.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Staff.Clef \set #'full-size-change = ##t
 \notes\relative c' {
@@ -2713,7 +2713,7 @@ N: ?.
 The briefest intelligible and self-contained fragment of a musical theme or
 subject.
 
-@lilypond[13pt]
+@lilypond
 \property Score.TimeSignature \override #'style = #'()
 \property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
@@ -2751,7 +2751,7 @@ S: flertaktspaus,
 FI: usean tahdin mittainen tauko,
 N: ?.
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   a1
   \property Score.skipBars=##t R1*3
@@ -2845,7 +2845,7 @@ higher note value.  The longest duration normally used is called @emph{brevis},
 but sometimes (mostly in pre baroque music) the double length note value
 @emph{longa} is used.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.TextScript \set #'font-style = #'large
 \property Score.automaticBars = ##f
 \notes\relative c'' {
@@ -2856,7 +2856,7 @@ but sometimes (mostly in pre baroque music) the double length note value
   g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.TextScript \set #'font-style = #'large
 \property Score.automaticBars = ##f
 \notes\relative c'' {
@@ -2868,7 +2868,7 @@ but sometimes (mostly in pre baroque music) the double length note value
 An augmentation dot after a note multiplies the duration by one and a
 half.  Another dot adds yet a fourth of the duration.
 
-@lilypond[13pt]
+@lilypond
 \property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
   \time 4/4
@@ -2881,7 +2881,7 @@ subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
 dotted notes are also frequently used.
 
-@lilypond[13pt]
+@lilypond
 \property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
   \time 4/4
@@ -2890,7 +2890,7 @@ dotted notes are also frequently used.
 }
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \time 3/4
   \times 3/2 {g4_"duplets" g} |
@@ -2933,7 +2933,7 @@ middle of the 19th century and onwards the trill is performed with the main
 note first while in the music from the preceding baroque and classic periods
 the upper note is played first.
 
-@lilypond[13pt]
+@lilypond
 <
   \context Staff = sa {
         \property Score.TextScript \set #'font-style = #'large
@@ -2952,7 +2952,7 @@ the upper note is played first.
 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
 @emph{prall} (inverted mordent).
 
-@lilypond[13pt]
+@lilypond
 <
   \context Staff = sa {
         \property Score.TextScript \set #'font-style = #'large
@@ -3226,7 +3226,7 @@ N: ?.
 @aref{major} and @aref{minor} @aref{key}
 with the same @aref{key signature}.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
 \notes\relative c' {
@@ -3236,7 +3236,7 @@ with the same @aref{key signature}.
 }
 @end lilypond
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
 \notes\relative c' {
@@ -3256,7 +3256,7 @@ S: repris,
 FI: toisto,
 N: ?.
 
-@lilypond[13pt]
+@lilypond
 \key g \major
 \time 4/4
 \notes\relative c'' {
@@ -3354,7 +3354,7 @@ Names and symbols used in harmonic analysis to denote tones of the scale as
 roots of chords.  The most important are degrees I = tonic (T), IV =
 sub@-do@-mi@-nant (S) and V = dominant (D).
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.LyricText \set #'font-style = #'large
 %\property Lyrics.minVerticalAlign = #8
@@ -3418,7 +3418,7 @@ tones on the piano keyboard -- including black and white keys -- is a
 semitone.  An octave may be divided into 12@w{ }semitones.
 @aref{interval}, @aref{chromatic scale}.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \notes\relative c'' { g1 gis s a bes s b! c }
 @end lilypond
@@ -3630,7 +3630,7 @@ N: ?.
 Playing the note(s) short.  Staccato is indicated by a dot above or below the
 notehead.
 
-@lilypond[13pt]
+@lilypond
 \key d \major
 \time 4/4
 \notes\relative c'' {
@@ -3670,7 +3670,7 @@ N: ?.
 Vertical line above or below a @aref{note head} shorter than a
 whole note.  @aref{beam}.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.autoBeaming = ##f
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
@@ -3807,7 +3807,7 @@ with a regularly recurrent accent on the first beat of each group.  Any
 deviation from this scheme is felt as a disturbance or contradiction between
 the underlaying (normal) pulse and the actual (abnormal) rhythm.
 
-@lilypond[13pt]
+@lilypond
 \time 4/4
 \notes\relative c' {
   \partial 4
@@ -3955,7 +3955,7 @@ A method of indicating an accompaniment part by the bass notes only, together
 with figures designating the chief @aref{interval}s and
 @aref{chord}s to be played above the bass notes.
 
-@lilypond[13pt]
+@lilypond
 \context GrandStaff <
   \context Staff = lh \notes\relative c'' {
     \time 4/4
@@ -3999,7 +3999,7 @@ A curved line, identical in appearance with the @aref{slur}, which
 connects two succesive notes of the same pitch, and which has the function of
 uniting them into a single sound equal to the combined durations.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \notes\relative c'' { g2 ~ g4. }
 @end lilypond
@@ -4060,7 +4060,7 @@ N: ?.
 Shifting a melody up or down in pitch, while keeping the same
 relative pitches.
 
-@lilypond[13pt]
+@lilypond
 \context Staff {
   \time 3/4
   \notes\relative c'' {
@@ -4070,7 +4070,7 @@ relative pitches.
 }
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \context Staff {
   \time 3/4
   \transpose c bes \relative c'' {
@@ -4110,7 +4110,7 @@ the same tone, produced by a rapid up-and-down movement movement of the bow
 a @aref{chord}, usually in the distance of a third
 (@aref{interval}).
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.automaticBars = ##f
 \property Score.TextScript \set #'font-style = #'large
 \notes\relative c' {
@@ -4241,7 +4241,7 @@ N: ?.
 Initial note(s) of a melody occurring before the first bar
 line.  @aref{measure}, @aref{meter}.
 
-@lilypond[13pt]
+@lilypond
 \key f \major
 \time 4/4
 \notes\relative c' {

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index a4c20ea4f9dac890dd02ebf90c487194e1a86e68..02659ce3f9f402e801601038ee50ab5aa7aae3ec 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -74,7 +74,7 @@ should then be able to create and print your first sheets of music.
 @section First steps
 
 We start off by showing how very simple music is entered in LilyPond:
-you get a note simply by typing its @htmlref{note name}, from @samp{a}
+you get a note simply by typing its note name, from @samp{a}
 through @samp{g}.  So if you enter
 
 @example