Run scripts/auxiliar/update-with-convert-ly.sh

[lilypond.git] / Documentation / learning / common-notation.itely

diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely
index e9dbf4de2dc752ca83f3576ea5fcb8b4381ccffb..044cfcf6dfb759bcf20d9472e060c87308378ffa 100644 (file)
--- a/Documentation/learning/common-notation.itely
+++ b/Documentation/learning/common-notation.itely
@@ -4,10 +4,11 @@
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
     When revising a translation, copy the HEAD committish of the
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
     When revising a translation, copy the HEAD committish of the

-    version that you are working on.  See TRANSLATION for details.
+    version that you are working on.  For details, see the Contributors'
+    Guide, node Updating translation committishes..

 @end ignore
 
 @end ignore
 

-@c \version "2.12.0"
+@c \version "2.16.0"

 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)


@@ -50,6 +51,7 @@ This section introduces common notation that is used for one voice
 on one staff.
 
 @menu
 on one staff.
 
 @menu

+* Bar checks::

 * Accidentals and key signatures::
 * Ties and slurs::
 * Articulation and dynamics::
 * Accidentals and key signatures::
 * Ties and slurs::
 * Articulation and dynamics::


@@ -59,6 +61,26 @@ on one staff.
 @end menu
 
 
 @end menu
 
 

+@node Bar checks
+@subsection Bar checks
+
+Though not strictly necessary, @emph{bar checks} should be
+used in the input code to show where bar lines are expected
+to fall.  They are entered using the bar symbol, @code{|}.
+With bar checks, the program can verify that you've entered
+durations that make each measure add up to the correct
+length.  Bar checks also make your input code easier to
+read, since they help to keep things organized.
+
+@lilypond[verbatim,quote,relative=2]
+g1 | e1 | c2. c'4 | g4 c g e | c4 r r2 |
+@end lilypond
+
+@seealso
+Notation Reference:
+@ruser{Bar and bar number checks}.
+
+

 @node Accidentals and key signatures
 @subsection Accidentals and key signatures
 
 @node Accidentals and key signatures
 @subsection Accidentals and key signatures
 


@@ -94,7 +116,7 @@ like German and Dutch.  To use other names for
 @notation{accidentals}, see @ruser{Note names in other languages}.
 
 @lilypond[verbatim,quote,relative=2]
 @notation{accidentals}, see @ruser{Note names in other languages}.
 
 @lilypond[verbatim,quote,relative=2]

-cis1 ees fisis, aeses
+cis4 ees fisis, aeses

 @end lilypond
 
 @cindex key signature, setting
 @end lilypond
 
 @cindex key signature, setting


@@ -122,9 +144,9 @@ followed by a pitch and @code{\major} or @code{\minor}.
 
 @lilypond[verbatim,quote,relative=2]
 \key d \major
 
 @lilypond[verbatim,quote,relative=2]
 \key d \major

-a1
+a1 |

 \key c \minor
 \key c \minor

-a
+a1 |

 @end lilypond
 
 @smallspace
 @end lilypond
 
 @smallspace


@@ -133,7 +155,7 @@ a
 
 Music Glossary: @rglos{accidental}, @rglos{key signature},
 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
 
 Music Glossary: @rglos{accidental}, @rglos{key signature},
 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},

-@rglos{transposition}.
+@rglos{transposition}, @rglos{Pitch names}.

 
 To determine whether to print an @notation{accidental}, LilyPond
 examines the pitches and the @notation{key signature}.  The key
 
 To determine whether to print an @notation{accidental}, LilyPond
 examines the pitches and the @notation{key signature}.  The key


@@ -141,7 +163,7 @@ signature only affects the @emph{printed} accidentals, not the
 note's @notation{pitch}!  This is a feature that often causes
 confusion to newcomers, so let us explain it in more detail.
 
 note's @notation{pitch}!  This is a feature that often causes
 confusion to newcomers, so let us explain it in more detail.
 

-LilyPond makes a sharp distinction between musical content and
+LilyPond makes a clear distinction between musical content and

 layout.  The alteration (@notation{flat}, @notation{natural sign} or
 @notation{sharp}) of a note is part of the pitch, and is therefore
 musical content.  Whether an accidental (a @emph{printed} flat,
 layout.  The alteration (@notation{flat}, @notation{natural sign} or
 @notation{sharp}) of a note is part of the pitch, and is therefore
 musical content.  Whether an accidental (a @emph{printed} flat,


@@ -156,7 +178,7 @@ In this example:
 
 @lilypond[verbatim,quote,relative=2]
 \key d \major
 
 @lilypond[verbatim,quote,relative=2]
 \key d \major

-d cis fis
+cis4 d e fis

 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent


@@ -170,12 +192,12 @@ note with pitch B-natural.}  In the key of A-flat major, it
 
 @lilypond[verbatim,quote,relative=2]
 \key aes \major
 
 @lilypond[verbatim,quote,relative=2]
 \key aes \major

-b
+aes4 c b c

 @end lilypond
 
 If the above seems confusing, consider this: if you were playing a
 piano, which key would you hit?  If you would press a black key,
 @end lilypond
 
 If the above seems confusing, consider this: if you were playing a
 piano, which key would you hit?  If you would press a black key,

-then you @emph{must} add @code{-is} or @code{-es} to the note
+then you @emph{must} add @w{@code{-is}} or @w{@code{-es}} to the note

 name!
 
 Adding all alterations explicitly might require a little more
 name!
 
 Adding all alterations explicitly might require a little more


@@ -187,12 +209,12 @@ accidentals can be printed according to different rules, see
 
 
 @seealso
 
 
 @seealso

-Notation Reference: @ruser{Note names in other languages},
-@ruser{Accidentals}, @ruser{Automatic accidentals},
+Notation Reference:
+@ruser{Note names in other languages},
+@ruser{Accidentals},
+@ruser{Automatic accidentals},

 @ruser{Key signature}.
 
 @ruser{Key signature}.
 

-Music Glossary: @rglos{Pitch names}.
-

 
 @node Ties and slurs
 @subsection Ties and slurs
 
 @node Ties and slurs
 @subsection Ties and slurs


@@ -215,8 +237,7 @@ A @notation{tie} is created by appending a tilde @code{~} to the
 first note being tied.
 
 @lilypond[verbatim,quote,relative=2]
 first note being tied.
 
 @lilypond[verbatim,quote,relative=2]

-g4~ g c2~
-c4 ~ c8 a8 ~ a2
+g4~ g c2~ | c4~ c8 a~ a2 |

 @end lilypond
 
 @subheading Slurs
 @end lilypond
 
 @subheading Slurs


@@ -242,7 +263,7 @@ and phrasing slurs at the same time, but you cannot have
 simultaneous slurs or simultaneous phrasing slurs.
 
 @lilypond[verbatim,quote,relative=2]
 simultaneous slurs or simultaneous phrasing slurs.
 
 @lilypond[verbatim,quote,relative=2]

-a8(\( ais b c) cis2 b'2 a4 cis,\)
+g4\( g8( a) b( c) b4\)

 @end lilypond
 
 @smallspace
 @end lilypond
 
 @smallspace


@@ -259,12 +280,14 @@ indicate the @notation{articulation} of notes, and can be used on
 larger groups of notes.  Slurs and ties can be nested.
 
 @lilypond[verbatim,quote,relative=2]
 larger groups of notes.  Slurs and ties can be nested.
 
 @lilypond[verbatim,quote,relative=2]

-c2~( c8 fis fis4 ~ fis2 g2)
+c4~( c8 d~ d4 e)

 @end lilypond
 
 
 @seealso
 @end lilypond
 
 
 @seealso

-Notation Reference: @ruser{Ties}, @ruser{Slurs},
+Notation Reference:
+@ruser{Ties},
+@ruser{Slurs},

 @ruser{Phrasing slurs}.
 
 
 @ruser{Phrasing slurs}.
 
 


@@ -284,7 +307,8 @@ Common @notation{articulations} can be added to a note using a
 dash @code{-} and a single character:
 
 @lilypond[verbatim,quote,relative=2]
 dash @code{-} and a single character:
 
 @lilypond[verbatim,quote,relative=2]

-c-. c-- c-> c-^ c-+ c-_
+c4-^ c-+ c-- c-|
+c4-> c-. c2-_

 @end lilypond
 
 @subheading Fingerings
 @end lilypond
 
 @subheading Fingerings


@@ -300,7 +324,7 @@ Similarly, @notation{fingering} indications can be added to a note
 using a dash (@code{-}) and the digit to be printed:
 
 @lilypond[verbatim,quote,relative=2]
 using a dash (@code{-}) and the digit to be printed:
 
 @lilypond[verbatim,quote,relative=2]

-c-3 e-5 b-2 a-1
+c4-3 e-5 b-2 a-1

 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but


@@ -310,7 +334,7 @@ articulations on the same note.  However, in most cases it is best
 to let LilyPond determine the articulation directions.
 
 @lilypond[verbatim,quote,relative=2]
 to let LilyPond determine the articulation directions.
 
 @lilypond[verbatim,quote,relative=2]

-c_-^1 d^. f^4_2-> e^-_+
+c4_-^1 d^. f^4_2-> e^-_+

 @end lilypond
 
 @subheading Dynamics
 @end lilypond
 
 @subheading Dynamics


@@ -339,7 +363,7 @@ Music Glossary: @rglos{dynamics}, @rglos{crescendo},
 backslash) to the note:
 
 @lilypond[verbatim,quote,relative=2]
 backslash) to the note:
 
 @lilypond[verbatim,quote,relative=2]

-c\ff c\mf c\p c\pp
+c4\ff c\mf c\p c\pp

 @end lilypond
 
 
 @end lilypond
 
 


@@ -349,13 +373,15 @@ example @code{\f}, will end the (de)crescendo, or the command
 @code{\!} can be used:
 
 @lilypond[verbatim,quote,relative=2]
 @code{\!} can be used:
 
 @lilypond[verbatim,quote,relative=2]

-c2\< c2\ff\> c2 c2\!
+c4\< c\ff\> c c\!

 @end lilypond
 
 
 @seealso
 @end lilypond
 
 
 @seealso

-Notation Reference: @ruser{Articulations and ornamentations},
-@ruser{Fingering instructions}, @ruser{Dynamics}.
+Notation Reference:
+@ruser{Articulations and ornamentations},
+@ruser{Fingering instructions},
+@ruser{Dynamics}.

 
 
 @node Adding text
 
 
 @node Adding text


@@ -371,21 +397,22 @@ Notation Reference: @ruser{Articulations and ornamentations},
 Text may be added to your scores:
 
 @lilypond[verbatim,quote,relative=2]
 Text may be added to your scores:
 
 @lilypond[verbatim,quote,relative=2]

-c1^"espr" a_"legato"
+c2^"espr" a_"legato"

 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 
 @lilypond[verbatim,quote,relative=2]
 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 
 @lilypond[verbatim,quote,relative=2]

-c1^\markup{ \bold espr}
-a1_\markup{
+c2^\markup { \bold espr }
+a2_\markup {

   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
 }
 @end lilypond
 
 
 @seealso
   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
 }
 @end lilypond
 
 
 @seealso

-Notation Reference: @ruser{Writing text}.
+Notation Reference:
+@ruser{Writing text}.

 
 
 @node Automatic and manual beams
 
 
 @node Automatic and manual beams


@@ -419,7 +446,7 @@ manually.  To correct just an occasional beam mark the first note
 to be beamed with @code{[} and the last one with @code{]}.
 
 @lilypond[verbatim,quote,relative=2]
 to be beamed with @code{[} and the last one with @code{]}.
 
 @lilypond[verbatim,quote,relative=2]

-a8[ ais] d[ ees r d] a b
+a8[ ais] d[ ees r d] c16 b a8

 @end lilypond
 
 If you want to turn off automatic beaming entirely or for an
 @end lilypond
 
 If you want to turn off automatic beaming entirely or for an


@@ -429,14 +456,16 @@ on again.
 
 @lilypond[verbatim,quote,relative=2]
 \autoBeamOff
 
 @lilypond[verbatim,quote,relative=2]
 \autoBeamOff

-a8 c b4 d8. c16 b4
+a8 c b4 d8. c16 b4 |

 \autoBeamOn
 \autoBeamOn

-a8 c b4 d8. c16 b4
+a8 c b4 d8. c16 b4 |

 @end lilypond
 
 
 @seealso
 @end lilypond
 
 
 @seealso

-Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
+Notation Reference:
+@ruser{Automatic beams},
+@ruser{Manual beams}.

 
 
 @node Advanced rhythmic commands
 
 
 @node Advanced rhythmic commands


@@ -458,8 +487,8 @@ A pickup (or @notation{anacrusis}) is entered with the keyword
 is a quarter note pickup and @code{\partial 8} an eighth note.
 
 @lilypond[verbatim,quote,relative=2]
 is a quarter note pickup and @code{\partial 8} an eighth note.
 
 @lilypond[verbatim,quote,relative=2]

-\partial 8
-f8 c2 d
+\partial 8 f8 |
+c2 d |

 @end lilypond
 
 @subheading Tuplets
 @end lilypond
 
 @subheading Tuplets


@@ -480,7 +509,7 @@ Triplets make notes occupy 2/3 of their notated duration, so a
 
 @lilypond[verbatim,quote,relative=2]
 \times 2/3 { f8 g a }
 
 @lilypond[verbatim,quote,relative=2]
 \times 2/3 { f8 g a }

-\times 2/3 { c r c }
+\times 2/3 { c8 r c }

 \times 2/3 { f,8 g16[ a g a] }
 \times 2/3 { d4 a8 }
 @end lilypond
 \times 2/3 { f,8 g16[ a g a] }
 \times 2/3 { d4 a8 }
 @end lilypond


@@ -506,14 +535,16 @@ although they can also be created by prefixing a music expression
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
 @lilypond[verbatim,quote,relative=2]
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
 @lilypond[verbatim,quote,relative=2]

-c2 \grace { a32[ b] } c2
-c2 \appoggiatura b16 c2
-c2 \acciaccatura b16 c2
+c2 \grace { a32[ b] } c2 |
+c2 \appoggiatura b16 c2 |
+c2 \acciaccatura b16 c2 |

 @end lilypond
 
 
 @seealso
 @end lilypond
 
 
 @seealso

-Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},
+Notation Reference:
+@ruser{Grace notes},
+@ruser{Tuplets},

 @ruser{Upbeats}.
 
 
 @ruser{Upbeats}.
 
 


@@ -565,7 +596,7 @@ that they are in sequence (i.e. each one follows the previous
 one).  The result is another music expression:
 
 @lilypond[verbatim,quote,relative=2]
 one).  The result is another music expression:
 
 @lilypond[verbatim,quote,relative=2]

-{ { a4 g } f g }
+{ { a4 g } f4 g }

 @end lilypond
 
 @subheading Analogy: mathematical expressions
 @end lilypond
 
 @subheading Analogy: mathematical expressions


@@ -625,9 +656,9 @@ notes) are combined simultaneously:
 @lilypond[verbatim,quote]
 \relative c'' {
   <<
 @lilypond[verbatim,quote]
 \relative c'' {
   <<

-    { a4 g }
-    { f e }
-    { d b }
+    { a2 g }
+    { f2 e }
+    { d2 b }

   >>
 }
 @end lilypond
   >>
 }
 @end lilypond


@@ -653,8 +684,8 @@ out on a single staff.
 
 @lilypond[verbatim,quote]
 \relative c'' {
 
 @lilypond[verbatim,quote]
 \relative c'' {

-  c2 <<c e>>
-  << { e f } { c <<b d>> } >>
+  c2 <<c e>> |
+  << { e2 f } { c2 <<b d>> } >> |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -691,8 +722,8 @@ and @code{>>}:
 @lilypond[verbatim,quote]
 \relative c'' {
   <<
 @lilypond[verbatim,quote]
 \relative c'' {
   <<

-    \new Staff { \clef treble c }
-    \new Staff { \clef bass c,, }
+    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "bass" c,,4 }

   >>
 }
 @end lilypond
   >>
 }
 @end lilypond


@@ -721,8 +752,8 @@ than polyrhythmic scores.
 @lilypond[verbatim,quote]
 \relative c'' {
   <<
 @lilypond[verbatim,quote]
 \relative c'' {
   <<

-    \new Staff { \clef treble \key d \major \time 3/4 c }
-    \new Staff { \clef bass c,, }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "bass" c,,4 }

   >>
 }
 @end lilypond
   >>
 }
 @end lilypond


@@ -745,7 +776,10 @@ than polyrhythmic scores.
 @funindex GrandStaff
 @funindex ChoirStaff
 
 @funindex GrandStaff
 @funindex ChoirStaff
 

-Music Glossary: @rglos{brace}.
+Music Glossary:
+@rglos{brace},
+@rglos{staff},
+@rglos{system}.

 
 Piano music is typeset in two staves connected by a
 @notation{brace}.
 
 Piano music is typeset in two staves connected by a
 @notation{brace}.


@@ -765,8 +799,8 @@ Here is a small example:
 @lilypond[verbatim,quote]
 \relative c'' {
   \new PianoStaff <<
 @lilypond[verbatim,quote]
 \relative c'' {
   \new PianoStaff <<

-    \new Staff { \time 2/4 c4 e g g, }
-    \new Staff { \clef bass c,, c' e c }
+    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \clef "bass" c,,4 c' | e c | }

   >>
 }
 @end lilypond
   >>
 }
 @end lilypond


@@ -779,14 +813,16 @@ every system and also controls the extent of bar lines.
 
 
 @seealso
 
 
 @seealso

-Notation Reference: @ruser{Keyboard and other multi-staff
-instruments},
+Notation Reference:
+@ruser{Keyboard and other multi-staff instruments},

 @ruser{Displaying staves}.
 
 
 @node Combining notes into chords
 @subsection Combining notes into chords
 
 @ruser{Displaying staves}.
 
 
 @node Combining notes into chords
 @subsection Combining notes into chords
 

+Music Glossary: @rglos{chord}
+

 @cindex chords
 @cindex note durations in chords
 
 @cindex chords
 @cindex note durations in chords
 


@@ -794,8 +830,6 @@ instruments},
 @funindex >
 @funindex < ... >
 
 @funindex >
 @funindex < ... >
 

-Music Glossary: @rglos{chord}.
-

 We saw earlier how notes can be combined into @notation{chords} by
 indicating they are simultaneous by enclosing them in double angle
 brackets.  However, the normal way of indicating a chord is to
 We saw earlier how notes can be combined into @notation{chords} by
 indicating they are simultaneous by enclosing them in double angle
 brackets.  However, the normal way of indicating a chord is to


@@ -804,7 +838,7 @@ all the notes in a chord must have the same duration, and that the
 duration is placed after the closing bracket.
 
 @lilypond[verbatim,quote,relative=2]
 duration is placed after the closing bracket.
 
 @lilypond[verbatim,quote,relative=2]

-r4 <c e g>4 <c f a>2
+r4 <c e g> <c f a>2

 @end lilypond
 
 Think of chords as almost equivalent to single notes:
 @end lilypond
 
 Think of chords as almost equivalent to single notes:


@@ -814,10 +848,16 @@ brackets.  For example, you can combine markings like beams and
 ties with chords.  They must be placed outside the angle brackets.
 
 @lilypond[verbatim,quote,relative=2]
 ties with chords.  They must be placed outside the angle brackets.
 
 @lilypond[verbatim,quote,relative=2]

-r4 <c e g>8[ <c f a>]~ <c f a>2
-r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
+r4 <c e g>~ <c f a>2 |
+<c e g>8[ <c f a> <c e g> <c f a>]
+  <c e g>8\>[ <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
 
 @end lilypond
 

+@seealso
+Notation Reference:
+@ruser{Chorded notes}.
+

 
 @node Single staff polyphony
 @subsection Single staff polyphony
 
 @node Single staff polyphony
 @subsection Single staff polyphony


@@ -836,13 +876,15 @@ r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
 
 Polyphonic music in lilypond, while not difficult, uses concepts
 that we haven't discussed yet, so we're not going to introduce
 
 Polyphonic music in lilypond, while not difficult, uses concepts
 that we haven't discussed yet, so we're not going to introduce

-them here. Instead, the following sections introduce these concepts
+them here.  Instead, the following sections introduce these concepts

 and explain them thoroughly.
 
 @seealso
 and explain them thoroughly.
 
 @seealso

-Learning Manual: @ref{Voices contain music}.
+Learning Manual:
+@ref{Voices contain music}.

 
 

-Notation Reference: @ruser{Simultaneous notes}.
+Notation Reference:
+@ruser{Simultaneous notes}.

 
 @node Songs
 @section Songs
 
 @node Songs
 @section Songs


@@ -874,7 +916,7 @@ rhyme, @notation{Girls and boys come out to play}:
 \relative c'' {
   \key g \major
   \time 6/8
 \relative c'' {
   \key g \major
   \time 6/8

-  d4 b8 c4 a8 d4 b8 g4
+  d4 b8 c4 a8 | d4 b8 g4

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -887,21 +929,20 @@ separating each syllable with a space.
   \relative c'' {
     \key g \major
     \time 6/8
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
+    d4 b8 c4 a8 | d4 b8 g4

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
+    Girls and boys come | out to play,

   }
 >>
 @end lilypond
 
   }
 >>
 @end lilypond
 

-Note the curly brackets delimiting both the music and the lyrics.
-It is essential that the final syllable is separated from the
-terminating curly bracket by a space or a newline, or it will be
+@warning{It is essential that the final syllable is separated from
+the terminating curly bracket by a space or a newline, or it will be

 assumed to be part of the syllable, giving rise to an obscure
 assumed to be part of the syllable, giving rise to an obscure

-error, see @rprogram{Apparent error in ../ly/init.ly}.
+error, see @rprogram{Apparent error in ../ly/init.ly}.}

 
 

-Note also the double angle brackets @w{@code{<< ... >>}} around the
+Note the double angle brackets @w{@code{<< ... >>}} around the

 whole piece to show that the music and lyrics are to occur at the
 same time.
 
 whole piece to show that the music and lyrics are to occur at the
 same time.
 


@@ -927,34 +968,47 @@ shine as bright as day}.  Let's extend it:
   \relative c'' {
     \key g \major
     \time 6/8
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
-    g8 a4 b8 c b a d4 b8 g4.
+    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    a4 b8 c b a | d4 b8 g4. |

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
-    The moon doth shine as bright as day;
+    Girls and boys come | out to play,
+    The | moon doth shine as | bright as day; |

   }
 >>
 @end lilypond
 
   }
 >>
 @end lilypond
 

-We see the extra lyrics do not align properly with the notes.  The
-word @notation{shine} should be sung on two notes, not one.  This
-is called a @notation{melisma}, a single syllable sung to more
-than one note.  There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them, for
-details, see @ref{Ties and slurs}:
+If you compile the code in the example above, you should see some
+warnings in the console output:
+
+@example
+song.ly:12:29: warning: barcheck failed at: 5/8
+    The | moon doth shine as
+                             | bright as day; |
+song.ly:12:46: warning: barcheck failed at: 3/8
+    The | moon doth shine as | bright as day;
+                                              |
+@end example
+
+This is a good example of the usefulness of bar checks.  Now,
+looking at the music, we see that the extra lyrics do not align
+properly with the notes.  The word @notation{shine} should be sung
+on two notes, not one.  This is called a @notation{melisma}, a
+single syllable sung to more than one note.  There are several
+ways to spread a syllable over multiple notes, the simplest being
+to add a slur across them, for details, see @ref{Ties and slurs}:

 
 @lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
     \time 6/8
 
 @lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
-    g8 a4 b8 c( b) a d4 b8 g4.
+    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    a4 b8 c( b) a | d4 b8 g4. |

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
-    The moon doth shine as bright as day;
+    Girls and boys come | out to play,
+    The | moon doth shine as | bright as day; |

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -970,12 +1024,12 @@ manual beams}.
   \relative c'' {
     \key g \major
     \time 6/8
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
-    g8 a4 b8 c([ b]) a d4 b8 g4.
+    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    a4 b8 c([ b]) a | d4 b8 g4. |

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
-    The moon doth shine as bright as day;
+    Girls and boys come | out to play,
+    The | moon doth shine as | bright as day; |

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -989,12 +1043,12 @@ that should be included in the melisma:
   \relative c'' {
     \key g \major
     \time 6/8
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
-    g8 a4 b8 c[ b] a d4 b8 g4.
+    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    a4 b8 c[ b] a | d4 b8 g4. |

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
-    The moon doth shine _ as bright as day;
+    Girls and boys come | out to play,
+    The | moon doth shine _ as | bright as day; |

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1011,12 +1065,12 @@ first three bars of @notation{Dido's Lament}, from Purcell's
   \relative c'' {
     \key g \minor
     \time 3/2
   \relative c'' {
     \key g \minor
     \time 3/2

-    g2 a bes bes( a)
-    b c4.( bes8 a4. g8 fis4.) g8 fis1
+    g2 a bes | bes2( a) b2 |
+    c4.( bes8 a4. g8 fis4.) g8 | fis1

   }
   \addlyrics {
   }
   \addlyrics {

-    When I am laid,
-    am laid __ in earth,
+    When I am | laid,
+    am | laid __ in | earth,

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1036,12 +1090,12 @@ far about aligning lyrics to notes.
     \key g \major
     \time 3/4
     \partial 4
     \key g \major
     \time 3/4
     \partial 4

-    d4 g4 g a8( b) g4 g4
-    b8( c) d4 d e4 c2
+    d4 | g4 g a8( b) | g4 g b8( c) |
+    d4 d e | c2

   }
   \addlyrics {
   }
   \addlyrics {

-    A -- way in a __ man -- ger,
-    no __ crib for a bed, __
+    A -- | way in a __ | man -- ger,
+    no __ | crib for a | bed, __

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1059,20 +1113,21 @@ Here's an example from Rossini's @notation{Figaro}, where
 @lilypond[verbatim,quote,noragged-right]
 <<
   \relative c' {
 @lilypond[verbatim,quote,noragged-right]
 <<
   \relative c' {

-    \clef bass
+    \clef "bass"

     \key c \major
     \time 6/8
     \key c \major
     \time 6/8

-    c4.~ c8 d b c([ d]) b c d b c
+    c4.~ c8 d b | c8([ d]) b c d b | c8

   }
   \addlyrics {
   }
   \addlyrics {

-    Lar -- go_al fac -- to -- tum del -- la cit -- tà
+    Lar -- go_al fac -- | to -- tum del -- la cit -- | tà

   }
 >>
 @end lilypond
 
 
 @seealso
   }
 >>
 @end lilypond
 
 
 @seealso

-Notation Reference: @ruser{Vocal music}.
+Notation Reference:
+@ruser{Vocal music}.

 
 
 @node Lyrics to multiple staves
 
 
 @node Lyrics to multiple staves


@@ -1091,19 +1146,19 @@ example from Handel's @notation{Judas Maccabæus}:
     \key f \major
     \time 6/8
     \partial 8
     \key f \major
     \time 6/8
     \partial 8

-    c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
+    c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4

   }
   \addlyrics {
   }
   \addlyrics {

-    Let flee -- cy flocks the hills a -- dorn, __
+    Let | flee -- cy flocks the | hills a -- | dorn, __

   }
   \relative c' {
     \key f \major
     \time 6/8
     \partial 8
   }
   \relative c' {
     \key f \major
     \time 6/8
     \partial 8

-    r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
+    r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4

   }
   \addlyrics {
   }
   \addlyrics {

-    Let flee -- cy flocks the hills a -- dorn,
+    Let | flee -- cy flocks the | hills a -- dorn,

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1115,7 +1170,8 @@ pieces with variables}.
 
 
 @seealso
 
 
 @seealso

-Notation Reference: @ruser{Vocal music}.
+Notation Reference:
+@ruser{Vocal music}.

 
 
 @node Final touches
 
 
 @node Final touches


@@ -1170,12 +1226,14 @@ violin = \new Staff {
     a4 b c b
   }
 }
     a4 b c b
   }
 }

+

 cello = \new Staff {
   \relative c {
 cello = \new Staff {
   \relative c {

-    \clef bass
+    \clef "bass"

     e2 d
   }
 }
     e2 d
   }
 }

+

 {
   <<
     \violin
 {
   <<
     \violin


@@ -1199,7 +1257,7 @@ tripletA = \times 2/3 { c,8 e g }
 barA = { \tripletA \tripletA \tripletA \tripletA }
 
 \relative c'' {
 barA = { \tripletA \tripletA \tripletA \tripletA }
 
 \relative c'' {

- \barA \barA
+  \barA \barA

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1220,6 +1278,7 @@ places.  The following example uses the above variables:
   \aFivePaper
   line-width = \width
 @}
   \aFivePaper
   line-width = \width
 @}

+

 @{
   c4^\name
 @}
 @{
   c4^\name
 @}


@@ -1243,6 +1302,7 @@ underneath the version number.
 
 @example
 \version @w{"@version{}"}
 
 @example
 \version @w{"@version{}"}

+

 \header @{
   title = "Symphony"
   composer = "Me"
 \header @{
   title = "Symphony"
   composer = "Me"


@@ -1256,7 +1316,7 @@ underneath the version number.
 
 When the file is processed, the title and composer are printed
 above the music.  More information on titling can be found in
 
 When the file is processed, the title and composer are printed
 above the music.  More information on titling can be found in

-@ruser{Creating titles}.
+@ruser{Creating titles headers and footers}.

 
 
 @node Absolute note names
 
 
 @node Absolute note names


@@ -1281,9 +1341,9 @@ bass clef.
 
 @lilypond[verbatim,quote]
 {
 
 @lilypond[verbatim,quote]
 {

-  \clef bass
-  c' b g, g,
-  g, f, f c'
+  \clef "bass"
+  c'4 b g, g, |
+  g,4 f, f c' |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1291,16 +1351,16 @@ Here is a four-octave scale:
 
 @lilypond[verbatim,quote]
 {
 
 @lilypond[verbatim,quote]
 {

-  \clef bass
-  c, d, e, f,
-  g, a, b, c
-  d e f g
-  a b c' d'
-  \clef treble
-  e' f' g' a'
-  b' c'' d'' e''
-  f'' g'' a'' b''
-  c'''1
+  \clef "bass"
+  c,4 d, e, f, |
+  g,4 a, b, c |
+  d4 e f g |
+  a4 b c' d' |
+  \clef "treble"
+  e'4 f' g' a' |
+  b'4 c'' d'' e'' |
+  f''4 g'' a'' b'' |
+  c'''1 |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1311,8 +1371,8 @@ of quote @code{'} marks.  Consider this fragment from Mozart:
 {
   \key a \major
   \time 6/8
 {
   \key a \major
   \time 6/8

-  cis''8. d''16 cis''8 e''4 e''8
-  b'8. cis''16 b'8 d''4 d''8
+  cis''8. d''16 cis''8 e''4 e''8 |
+  b'8. cis''16 b'8 d''4 d''8 |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1324,8 +1384,8 @@ easier to read and type:
 \relative c'' {
   \key a \major
   \time 6/8
 \relative c'' {
   \key a \major
   \time 6/8

-  cis8. d16 cis8 e4 e8
-  b8. cis16 b8 d4 d8
+  cis8. d16 cis8 e4 e8 |
+  b8. cis16 b8 d4 d8 |

 }
 @end lilypond
 
 }
 @end lilypond