Merge branch 'master' into translation

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

diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely
index 9dcca07a431eefe47b38b8ecb300ebb4e5340535..b9b62cf3b321452ec117290c7f9b68cf4246e39b 100644 (file)
--- a/Documentation/learning/common-notation.itely
+++ b/Documentation/learning/common-notation.itely
@@ -12,12 +12,8 @@
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)

-- unless you have a really good reason, use either
+- unless you have a really good reason, use

     @lilypond[verbatim,quote]
     @lilypond[verbatim,quote]

-  or
-    @lilypond[verbatim,quote,relative=2]
-
-  Don't use any other relative=X commands.

 
 - use "aes" and "ees" instead of "as" and "es".  I know it's not
   correct Dutch naming, but let's not confuse people with this
 
 - use "aes" and "ees" instead of "as" and "es".  I know it's not
   correct Dutch naming, but let's not confuse people with this


@@ -79,8 +75,8 @@ lines are added using @code{\bar}, for example
 for an ending bar line.  For a full list of bar lines see
 the @ruser{Bar lines}.
 
 for an ending bar line.  For a full list of bar lines see
 the @ruser{Bar lines}.
 

-@lilypond[verbatim,quote,relative=2]
-g1 e1 \bar "||" c2. c'4 \bar "|."
+@lilypond[verbatim,quote]
+\relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }

 @end lilypond
 
 @node Bar checks
 @end lilypond
 
 @node Bar checks


@@ -107,8 +103,8 @@ warning in the console output:
 
 @example
 warning: barcheck failed at: 1/2
 
 @example
 warning: barcheck failed at: 1/2

- g1 | e1 | c2. c'
-                  | g4 c g e | c4 r r2 |
+ g'1 | e1 | c2. c'
+                   | g4 c g e | c4 r r2 |

 @end example
 
 Although the missing duration is clear in the musical output in this
 @end example
 
 Although the missing duration is clear in the musical output in this


@@ -164,8 +160,8 @@ from note naming conventions in Nordic and Germanic languages,
 like German and Dutch.  To use other names for
 @notation{alterations}, see @ruser{Note names in other languages}.
 
 like German and Dutch.  To use other names for
 @notation{alterations}, see @ruser{Note names in other languages}.
 

-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }

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


@@ -182,11 +178,8 @@ cis4 ees fisis, aeses
 @cindex layout vs. content
 
 @funindex \key
 @cindex layout vs. content
 
 @funindex \key

-@funindex key

 @funindex \major
 @funindex \major

-@funindex major

 @funindex \minor
 @funindex \minor

-@funindex minor

 
 Music Glossary: @rglos{key signature}, @rglos{major},
 @rglos{minor}.
 
 Music Glossary: @rglos{key signature}, @rglos{major},
 @rglos{minor}.


@@ -194,11 +187,13 @@ Music Glossary: @rglos{key signature}, @rglos{major},
 The @notation{key signature} is set with the command @code{\key}
 followed by a pitch and @code{\major} or @code{\minor}.
 
 The @notation{key signature} is set with the command @code{\key}
 followed by a pitch and @code{\major} or @code{\minor}.
 

-@lilypond[verbatim,quote,relative=1]
-\key d \major
-d4 fis a c |
-\bar "||" \key c \minor
-c,4 ees g b |
+@lilypond[verbatim,quote]
+\relative {
+  \key d \major
+  d'4 fis a c |
+  \bar "||" \key c \minor
+  c,4 ees g b |
+}

 @end lilypond
 
 @smallspace
 @end lilypond
 
 @smallspace


@@ -226,9 +221,11 @@ the pitch assigned to a note such as @code{c} in the input.
 
 In this example:
 
 
 In this example:
 

-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+  \key d \major
+  cis''4 d e fis
+}

 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent


@@ -240,9 +237,11 @@ the middle line of the staff.}  Rather, it means @qq{there is a
 note with pitch B-natural.}  In the key of A-flat major, it
 @emph{does} get an accidental:
 
 note with pitch B-natural.}  In the key of A-flat major, it
 @emph{does} get an accidental:
 

-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+  \key aes \major
+  aes'4 c b c
+}

 @end lilypond
 
 Whenever you enter a pitch that is a black key on the piano, you
 @end lilypond
 
 Whenever you enter a pitch that is a black key on the piano, you


@@ -291,8 +290,8 @@ Music Glossary: @rglos{tie}.
 A @notation{tie} is created by appending a tilde @code{~} to the
 first of the two notes being tied.
 
 A @notation{tie} is created by appending a tilde @code{~} to the
 first of the two notes being tied.
 

-@lilypond[verbatim,quote,relative=2]
-g4~ g c2~ | c4~ c8 a~ a2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ g c2~ | c4~ c8 a~ a2 | }

 @end lilypond
 
 @cindex bare duration
 @end lilypond
 
 @cindex bare duration


@@ -301,8 +300,8 @@ g4~ g c2~ | c4~ c8 a~ a2 |
 When the pitch does not change, as is always the case with tied notes,
 subsequent pitches may be omitted, specifying just the bare duration:
 
 When the pitch does not change, as is always the case with tied notes,
 subsequent pitches may be omitted, specifying just the bare duration:
 

-@lilypond[verbatim,quote,relative=2]
-g4~ 4 c2~ | 4~ 8 a~ 2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }

 @end lilypond
 
 This shorthand may be useful in other places where the rhythm changes
 @end lilypond
 
 This shorthand may be useful in other places where the rhythm changes


@@ -321,8 +320,8 @@ A @notation{slur} is a curve drawn across many notes.  The
 starting note and ending note are marked with @code{(} and
 @code{)} respectively.
 
 starting note and ending note are marked with @code{(} and
 @code{)} respectively.
 

-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }

 @end lilypond
 
 @node Phrasing slurs
 @end lilypond
 
 @node Phrasing slurs


@@ -332,12 +331,11 @@ d4( c16) cis( d e c cis d) e( d4)
 Music Glossary: @rglos{slur}, @rglos{phrasing}.
 
 Slurs to indicate longer @notation{phrasing} can be entered with
 Music Glossary: @rglos{slur}, @rglos{phrasing}.
 
 Slurs to indicate longer @notation{phrasing} can be entered with

-@code{\(} and @code{\)}.  You can have both @notation{slurs}
-and phrasing slurs at the same time, but you cannot have
-simultaneous slurs or simultaneous phrasing slurs.
+@code{\(} and @code{\)}.  You can have both @notation{slurs} and
+phrasing slurs at the same time.

 
 

-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }

 @end lilypond
 
 @smallspace
 @end lilypond
 
 @smallspace


@@ -356,8 +354,8 @@ can only be used on pairs of notes with the same pitch.  Slurs
 indicate the @notation{articulation} of notes, and can be used on
 larger groups of notes.  Slurs and ties can be nested.
 
 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]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }

 @end lilypond
 
 
 @end lilypond
 
 


@@ -390,9 +388,11 @@ Music Glossary: @rglos{articulation}.
 Common @notation{articulations} can be added to a note using a
 dash @code{-} and a single character:
 
 Common @notation{articulations} can be added to a note using a
 dash @code{-} and a single character:
 

-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+  c''4-^ c-+ c-- c-!
+  c4-> c-. c2-_
+}

 @end lilypond
 
 @node Fingerings
 @end lilypond
 
 @node Fingerings


@@ -409,8 +409,8 @@ Music Glossary: @rglos{fingering}.
 Similarly, @notation{fingering} indications can be added to a note
 using a dash (@code{-}) and the digit to be printed:
 
 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]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 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


@@ -419,8 +419,8 @@ you can specify a direction by replacing the dash (@code{-}) with
 articulations on the same note.  However, in most cases it is best
 to let LilyPond determine the articulation directions.
 
 articulations on the same note.  However, in most cases it is best
 to let LilyPond determine the articulation directions.
 

-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }

 @end lilypond
 
 @node Dynamics
 @end lilypond
 
 @node Dynamics


@@ -438,11 +438,8 @@ c4_-^1 d^. f^4_2-> e^-_+
 @funindex \mf
 @funindex \pp
 @funindex \<
 @funindex \mf
 @funindex \pp
 @funindex \<

-@funindex <

 @funindex \>
 @funindex \>

-@funindex >

 @funindex \!
 @funindex \!

-@funindex !

 
 Music Glossary: @rglos{dynamics}, @rglos{crescendo},
 @rglos{decrescendo}.
 
 Music Glossary: @rglos{dynamics}, @rglos{crescendo},
 @rglos{decrescendo}.


@@ -450,8 +447,8 @@ Music Glossary: @rglos{dynamics}, @rglos{crescendo},
 @notation{Dynamic} signs are made by adding the markings (with a
 backslash) to the note:
 
 @notation{Dynamic} signs are made by adding the markings (with a
 backslash) to the note:
 

-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }

 @end lilypond
 
 
 @end lilypond
 
 


@@ -460,8 +457,8 @@ the commands @code{\<} and @code{\>}.  The next dynamics sign, for
 example @code{\f}, will end the (de)crescendo, or the command
 @code{\!} can be used:
 
 example @code{\f}, will end the (de)crescendo, or the command
 @code{\!} can be used:
 

-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }

 @end lilypond
 
 
 @end lilypond
 
 


@@ -480,19 +477,18 @@ Notation Reference:
 @cindex markup
 
 @funindex \markup
 @cindex markup
 
 @funindex \markup

-@funindex markup

 
 Text may be added to your scores:
 
 
 Text may be added to your scores:
 

-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"

 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 
 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 

-@lilypond[verbatim,quote,relative=2]
-c2^\markup { \bold espr }
-a2_\markup {
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {

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


@@ -517,24 +513,22 @@ Notation Reference:
 @funindex [
 @funindex ]
 @funindex \autoBeamOff
 @funindex [
 @funindex ]
 @funindex \autoBeamOff

-@funindex autoBeamOff

 @funindex \autoBeamOn
 @funindex \autoBeamOn

-@funindex autoBeamOn

 
 Music Glossary: @rglos{beam}.
 
 All @notation{beams} are drawn automatically:
 
 
 Music Glossary: @rglos{beam}.
 
 All @notation{beams} are drawn automatically:
 

-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }

 @end lilypond
 
 If you do not like the automatic beams, they may be overridden
 manually.  To correct just an occasional beam mark the first note
 to be beamed with @code{[} and the last one with @code{]}.
 
 @end lilypond
 
 If you do not like the automatic beams, they may be overridden
 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]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ 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


@@ -542,11 +536,13 @@ extended section of music, use the command @code{\autoBeamOff}
 to turn off automatic beaming and @code{\autoBeamOn} to turn it
 on again.
 
 to turn off automatic beaming and @code{\autoBeamOn} to turn it
 on again.
 

-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+  \autoBeamOff
+  a'8 c b4 d8. c16 b4 |
+  \autoBeamOn
+  a8 c b4 d8. c16 b4 |
+}

 @end lilypond
 
 
 @end lilypond
 
 


@@ -574,7 +570,6 @@ Notation Reference:
 @cindex partial measure
 
 @funindex \partial
 @cindex partial measure
 
 @funindex \partial

-@funindex partial

 
 Music Glossary: @rglos{anacrusis}.
 
 
 Music Glossary: @rglos{anacrusis}.
 


@@ -582,9 +577,11 @@ A pickup (or @notation{anacrusis}) is entered with the keyword
 @code{\partial}.  It is followed by a duration: @code{\partial 4}
 is a quarter note pickup and @code{\partial 8} an eighth note.
 
 @code{\partial}.  It is followed by a duration: @code{\partial 4}
 is a quarter note pickup and @code{\partial 8} an eighth note.
 

-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+  \partial 8 f''8 |
+  c2 d |
+}

 @end lilypond
 
 @node Tuplets
 @end lilypond
 
 @node Tuplets


@@ -595,7 +592,6 @@ c2 d |
 @cindex triplets
 
 @funindex \tuplet
 @cindex triplets
 
 @funindex \tuplet

-@funindex tuplet

 
 Music Glossary: @rglos{note value}, @rglos{triplet}.
 
 
 Music Glossary: @rglos{note value}, @rglos{triplet}.
 


@@ -606,11 +602,13 @@ of notes normally filling the same duration.
 For triplets, there are three notes instead of two, so
 @notation{triplets} have 3/2 as their fraction.
 
 For triplets, there are three notes instead of two, so
 @notation{triplets} have 3/2 as their fraction.
 

-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@lilypond[verbatim,quote]
+\relative {
+  \tuplet 3/2 { f''8 g a }
+  \tuplet 3/2 { c8 r c }
+  \tuplet 3/2 { f,8 g16[ a g a] }
+  \tuplet 3/2 { d4 a8 }
+}

 @end lilypond
 
 @node Grace notes
 @end lilypond
 
 @node Grace notes


@@ -622,9 +620,7 @@ For triplets, there are three notes instead of two, so
 @cindex appoggiatura
 
 @funindex \grace
 @cindex appoggiatura
 
 @funindex \grace

-@funindex grace

 @funindex \acciaccatura
 @funindex \acciaccatura

-@funindex acciaccatura

 @funindex \appoggiatura
 @funindex acciaccatura
 
 @funindex \appoggiatura
 @funindex acciaccatura
 


@@ -635,10 +631,12 @@ Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
 although they can also be created by prefixing a music expression
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
 although they can also be created by prefixing a music expression
 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 |
+@lilypond[verbatim,quote]
+\relative {
+  c''2 \grace { a32 b } c2 |
+  c2 \appoggiatura b16 c2 |
+  c2 \acciaccatura b16 c2 |
+}

 @end lilypond
 
 
 @end lilypond
 
 


@@ -686,24 +684,24 @@ than one voice on the same staff.
 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 
 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 

-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4

 @end lilypond
 
 Enclosing a note in braces creates a @emph{compound music
 expression}.  Here we have created a compound music expression
 with two notes:
 
 @end lilypond
 
 Enclosing a note in braces creates a @emph{compound music
 expression}.  Here we have created a compound music expression
 with two notes:
 

-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }

 @end lilypond
 
 Putting a group of music expressions (e.g. notes) in braces means
 that they are in sequence (i.e. each one follows the previous
 one).  The result is another music expression:
 
 @end lilypond
 
 Putting a group of music expressions (e.g. notes) in braces means
 that they are in sequence (i.e. each one follows the previous
 one).  The result is another music expression:
 

-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }

 @end lilypond
 
 @node Analogy mathematical expressions
 @end lilypond
 
 @node Analogy mathematical expressions


@@ -765,13 +763,11 @@ following example, three sequences (all containing two separate
 notes) are combined simultaneously:
 
 @lilypond[verbatim,quote]
 notes) are combined simultaneously:
 
 @lilypond[verbatim,quote]

-\relative {
-  <<
-    { a'2 g }
-    { f2 e }
-    { d2 b }
-  >>
-}
+<<
+  \relative { a'2 g }
+  \relative { f'2 e }
+  \relative { d'2 b }
+>>

 @end lilypond
 
 Note that we have indented each level of the input with a
 @end lilypond
 
 Note that we have indented each level of the input with a


@@ -812,10 +808,8 @@ out on a single staff.
 @cindex notation context
 
 @funindex \new Staff
 @cindex notation context
 
 @funindex \new Staff

-@funindex new Staff

 @funindex Staff
 @funindex \new
 @funindex Staff
 @funindex \new

-@funindex new

 @funindex Score
 @funindex Voice
 @funindex Lyrics
 @funindex Score
 @funindex Voice
 @funindex Lyrics


@@ -833,12 +827,10 @@ staff is marked by adding @code{\new Staff} before it.  These
 and @code{>>}:
 
 @lilypond[verbatim,quote]
 and @code{>>}:
 
 @lilypond[verbatim,quote]

-\relative {
-  <<
-    \new Staff { \clef "treble" c''4 }
-    \new Staff { \clef "bass" c,,4 }
-  >>
-}
+<<
+  \new Staff { \clef "treble" c''4 }
+  \new Staff { \clef "bass" c4 }
+>>

 @end lilypond
 
 The command @code{\new} introduces a @q{notation context.}  A
 @end lilypond
 
 The command @code{\new} introduces a @q{notation context.}  A


@@ -863,12 +855,10 @@ is because scores with transposing instruments are more common
 than polyrhythmic scores.
 
 @lilypond[verbatim,quote]
 than polyrhythmic scores.
 
 @lilypond[verbatim,quote]

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

 @end lilypond
 
 @node Staff groups
 @end lilypond
 
 @node Staff groups


@@ -907,12 +897,10 @@ inserted inside a @code{PianoStaff}:
 Here is a small example:
 
 @lilypond[verbatim,quote]
 Here is a small example:
 
 @lilypond[verbatim,quote]

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

 @end lilypond
 
 Other staff groupings are introduced with @code{\new GrandStaff},
 @end lilypond
 
 Other staff groupings are introduced with @code{\new GrandStaff},


@@ -947,8 +935,8 @@ surround the pitches with @emph{single} angle brackets.  Note that
 all the notes in a chord must have the same duration, and that the
 duration is placed after the closing bracket.
 
 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]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { 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:


@@ -957,11 +945,13 @@ to a chord, and everything must go @emph{outside} the angle
 brackets.  For example, you can combine markings like beams and
 ties with chords.  They must be placed outside the angle brackets.
 
 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]
-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>) |
+@lilypond[verbatim,quote]
+\relative {
+  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
 
 @seealso
 @end lilypond
 
 @seealso


@@ -1015,7 +1005,6 @@ This section introduces vocal music and simple song sheets.
 @cindex songs
 
 @funindex \addlyrics
 @cindex songs
 
 @funindex \addlyrics

-@funindex addlyrics

 
 Music Glossary: @rglos{lyrics}.
 
 
 Music Glossary: @rglos{lyrics}.
 


@@ -1335,8 +1324,7 @@ cello = \new Staff {
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-The name of a variable must have alphabetic characters only, no
-numbers, underscores, or dashes.
+By convention, variable names consist of alphabetic characters only.

 
 Variables must be defined @emph{before} the main music
 expression, but may be used as many times as required anywhere after
 
 Variables must be defined @emph{before} the main music
 expression, but may be used as many times as required anywhere after


@@ -1355,9 +1343,9 @@ Variables may be used for many other types of objects in
 the input.  For example,
 
 @example
 the input.  For example,
 
 @example

-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+myWidth = 60      % a number to pass to a \paper variable (the unit is millimeter)
+myName = "Wendy"  % a string to pass to a markup
+aFivePaper = \paper @{ #(set-paper-size "a5") @}

 @end example
 
 Depending on its contents, the variable can be used in different
 @end example
 
 Depending on its contents, the variable can be used in different


@@ -1366,11 +1354,11 @@ places.  The following example uses the above variables:
 @example
 \paper @{
   \aFivePaper
 @example
 \paper @{
   \aFivePaper

-  line-width = \width
+  line-width = \myWidth

 @}
 
 @{
 @}
 
 @{

-  c4^\name
+  c4^\myName

 @}
 @end example
 
 @}
 @end example
 


@@ -1383,7 +1371,6 @@ places.  The following example uses the above variables:
 @cindex header block
 
 @funindex \header
 @cindex header block
 
 @funindex \header

-@funindex header

 
 The title, composer, opus number, and similar information are
 entered in the @code{\header} block.  This exists outside of the
 
 The title, composer, opus number, and similar information are
 entered in the @code{\header} block.  This exists outside of the


@@ -1419,13 +1406,13 @@ above the music.  More information on titling can be found in
 @cindex pitches, absolute values
 @cindex absolute note names
 
 @cindex pitches, absolute values
 @cindex absolute note names
 

-So far we have always used @code{\relative} to define pitches.
+So far we have used @code{\relative} to define pitches.

 This is usually the fastest way to enter most music.  Without
 @code{\relative}, pitches are interpreted in absolute mode.
 
 In this mode, LilyPond treats all pitches as absolute values.  A
 This is usually the fastest way to enter most music.  Without
 @code{\relative}, pitches are interpreted in absolute mode.
 
 In this mode, LilyPond treats all pitches as absolute values.  A

-@code{c'} will always mean middle C, a @code{b} will always mean
-the note one step below middle C, and a @code{g,} will always mean
+@code{c'} will always mean middle@tie{}C, a @code{b} will always mean
+the note one step below middle@tie{}C, and a @code{g,} will always mean

 the note on the bottom staff of the bass clef.
 
 @lilypond[verbatim,quote]
 the note on the bottom staff of the bass clef.
 
 @lilypond[verbatim,quote]


@@ -1436,24 +1423,7 @@ the note on the bottom staff of the bass clef.
 }
 @end lilypond
 
 }
 @end lilypond
 

-Here is a four-octave scale:
-
-@lilypond[verbatim,quote]
-{
-  \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
-
-As you can see, writing a melody in the treble clef involves a lot
+Writing a melody in the treble clef involves a lot

 of quote @code{'} marks.  Consider this fragment from Mozart:
 
 @lilypond[verbatim,quote]
 of quote @code{'} marks.  Consider this fragment from Mozart:
 
 @lilypond[verbatim,quote]