Doc: In NR, always write comma after `e.g.' and `i.e.'.

[lilypond.git] / Documentation / notation / ancient.itely

diff --git a/Documentation/notation/ancient.itely b/Documentation/notation/ancient.itely
index 714584210af7d2dc7026a1b7561b71287cc19820..1fda1536658a855996d0d1e3abdbb96906a37165 100644 (file)
--- a/Documentation/notation/ancient.itely
+++ b/Documentation/notation/ancient.itely
@@ -682,7 +682,7 @@ mensural notation or coloratio sections in white mensural notation.
 Because note head style does not influence flag count, in
 this style a semiminima should be notated as @code{a8*2}, not
 @code{a4}, otherwise it will look like a minima.
 Because note head style does not influence flag count, in
 this style a semiminima should be notated as @code{a8*2}, not
 @code{a4}, otherwise it will look like a minima.

-The multiplier can be different if coloratio is used e.g. to notate
+The multiplier can be different if coloratio is used, e.g., to notate

 triplets.
 
 Use @code{semipetrucci} style to draw half-colored
 triplets.
 
 Use @code{semipetrucci} style to draw half-colored


@@ -1471,7 +1471,7 @@ with any of the following commands:
 @funindex \linea
 @code{\linea}.
 
 @funindex \linea
 @code{\linea}.
 

-@item Ligatures, properly speaking (i.e. notes joined together), are
+@item Ligatures, properly speaking (i.e., notes joined together), are

 produced by placing one of the joining commands @code{\pes} or
 @code{\flexa}, for upwards and downwards movement, respectively,
 @emph{between} the notes to be joined.
 produced by placing one of the joining commands @code{\pes} or
 @code{\flexa}, for upwards and downwards movement, respectively,
 @emph{between} the notes to be joined.


@@ -1525,7 +1525,7 @@ Liquescent neumes
 
 Another main category of notes in Gregorian chant is the so-called
 liquescent neumes.  They are used under certain circumstances at
 
 Another main category of notes in Gregorian chant is the so-called
 liquescent neumes.  They are used under certain circumstances at

-the end of a syllable which ends in a @q{liquescent} letter, i.e.
+the end of a syllable which ends in a @q{liquescent} letter, i.e.,

 the sounding consonants that can hold a tone (the nasals, l, r, v,
 j, and their diphthong equivalents).  Thus, the liquescent neumes
 are never used alone (although some of them can be produced), and
 the sounding consonants that can hold a tone (the nasals, l, r, v,
 j, and their diphthong equivalents).  Thus, the liquescent neumes
 are never used alone (although some of them can be produced), and


@@ -2637,7 +2637,7 @@ typical scenarios are outlined, with suggestions of solutions.
 These involve:
 
 @itemize
 These involve:
 
 @itemize

-@item how to make incipits (i.e. prefatory material to indicate
+@item how to make incipits (i.e., prefatory material to indicate

 what the original has looked like) to modern transcriptions of
 mensural music;
 @item how to achieve the @emph{Mensurstriche} layout frequently
 what the original has looked like) to modern transcriptions of
 mensural music;
 @item how to achieve the @emph{Mensurstriche} layout frequently


@@ -2697,7 +2697,7 @@ produced.  If no instrument name is required then use
 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
 for bar lines that are drawn between the staves of a system but
 not through the staves themselves.  It is a common way to preserve
 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
 for bar lines that are drawn between the staves of a system but
 not through the staves themselves.  It is a common way to preserve

-the rhythmic appearance of the original, i.e. not having to break
+the rhythmic appearance of the original, i.e., not having to break

 syncopated notes at bar lines, while still providing the
 orientation aids that bar lines give.
 
 syncopated notes at bar lines, while still providing the
 orientation aids that bar lines give.
 


@@ -2835,7 +2835,7 @@ verba = \lyricmode {
 @end lilypond
 
 Another common situation is transcription of neumatic or
 @end lilypond
 
 Another common situation is transcription of neumatic or

-melismatic chants, i.e. chants with a varying number of notes
+melismatic chants, i.e., chants with a varying number of notes

 to each syllable.  In this case, one would want to set the
 syllable groups clearly apart, usually also the subdivisions of a
 longer melisma.  One way to achieve this is to use a fixed
 to each syllable.  In this case, one would want to set the
 syllable groups clearly apart, usually also the subdivisions of a
 longer melisma.  One way to achieve this is to use a fixed