Doc - NR + CG: Clarify Emmentaler is the 'font' and Feta/Parmesan are glyphs

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

diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 27241d8fde0a836ec07292f6c747e5c5980d350a..a393f1346c2a71c087bac8abfc951598b0644a08 100644 (file)
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -45,11 +45,8 @@ This section discusses rhythms, rests, durations, beaming and bars.
 @cindex note lengths
 
 @funindex \longa
 @cindex note lengths
 
 @funindex \longa

-@funindex longa

 @funindex \breve
 @funindex \breve

-@funindex breve

 @funindex \maxima
 @funindex \maxima

-@funindex maxima

 
 Durations are designated by numbers and dots.  Durations are entered
 as their reciprocal values.  For example, a quarter note is entered
 
 Durations are designated by numbers and dots.  Durations are entered
 as their reciprocal values.  For example, a quarter note is entered


@@ -135,11 +132,8 @@ duration.  For details of this and other settings which control
 proportional notation, see @ref{Proportional notation}.
 
 @funindex \dotsUp
 proportional notation, see @ref{Proportional notation}.
 
 @funindex \dotsUp

-@funindex dotsUp

 @funindex \dotsDown
 @funindex \dotsDown

-@funindex dotsDown

 @funindex \dotsNeutral
 @funindex \dotsNeutral

-@funindex dotsNeutral

 
 Dots are normally moved up to avoid staff lines, except in
 polyphonic situations.  Dots may be manually placed above or below
 
 Dots are normally moved up to avoid staff lines, except in
 polyphonic situations.  Dots may be manually placed above or below


@@ -192,7 +186,7 @@ Internals Reference:
 @c Deliberately duplicated in Durations and Rests.  -gp
 There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited:
 @c Deliberately duplicated in Durations and Rests.  -gp
 There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited:

-rests from 128th to maxima (8 x whole) may be printed.
+rests from 128th to maxima (8× whole) may be printed.

 
 
 @node Tuplets
 
 
 @node Tuplets


@@ -202,7 +196,6 @@ rests from 128th to maxima (8 x whole) may be printed.
 @cindex triplets
 
 @funindex \tuplet
 @cindex triplets
 
 @funindex \tuplet

-@funindex tuplet

 
 Tuplets are made from a music expression with the @code{\tuplet}
 command, multiplying the speed of the music expression by a fraction:
 
 Tuplets are made from a music expression with the @code{\tuplet}
 command, multiplying the speed of the music expression by a fraction:


@@ -239,11 +232,8 @@ in order to have the tuplets grouped automatically:
 @cindex tuplet bracket placement
 
 @funindex \tupletUp
 @cindex tuplet bracket placement
 
 @funindex \tupletUp

-@funindex tupletUp

 @funindex \tupletDown
 @funindex \tupletDown

-@funindex tupletDown

 @funindex \tupletNeutral
 @funindex \tupletNeutral

-@funindex tupletNeutral

 
 Tuplet brackets may be manually placed above or below the staff:
 
 
 Tuplet brackets may be manually placed above or below the staff:
 


@@ -371,7 +361,6 @@ a multiplier.  This is useful for skipping many measures, e.g.,
 @cindex expanding music
 
 @funindex \scaleDurations
 @cindex expanding music
 
 @funindex \scaleDurations

-@funindex scaleDurations

 
 Longer stretches of music may be compressed by a fraction in the
 same way, as if every note, chord or rest had the fraction as a
 
 Longer stretches of music may be compressed by a fraction in the
 same way, as if every note, chord or rest had the fraction as a


@@ -454,7 +443,7 @@ used when note values cross larger subdivisions of the measure:
 
 @lilypond[verbatim,quote]
 \relative {
 
 @lilypond[verbatim,quote]
 \relative {

-  r8 c'~ 2 r4 |
+  r8 c'4.~ 4 r4 |

   r8^"not" c2~ 8 r4
 }
 @end lilypond
   r8^"not" c2~ 8 r4
 }
 @end lilypond


@@ -486,7 +475,6 @@ the chord.
 @cindex ties and volta brackets
 
 @funindex \repeatTie
 @cindex ties and volta brackets
 
 @funindex \repeatTie

-@funindex repeatTie

 
 When a second alternative of a repeat starts with a tied note, you
 have to specify the repeated tie as follows:
 
 When a second alternative of a repeat starts with a tied note, you
 have to specify the repeated tie as follows:


@@ -507,7 +495,6 @@ have to specify the repeated tie as follows:
 @cindex ties, laissez vibrer
 
 @funindex \laissezVibrer
 @cindex ties, laissez vibrer
 
 @funindex \laissezVibrer

-@funindex laissezVibrer

 
 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
 notes must not be damped at the end.  It is used in notation for
 
 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
 notes must not be damped at the end.  It is used in notation for


@@ -521,11 +508,8 @@ be entered as follows:
 @cindex ties, placement
 
 @funindex \tieUp
 @cindex ties, placement
 
 @funindex \tieUp

-@funindex tieUp

 @funindex \tieDown
 @funindex \tieDown

-@funindex tieDown

 @funindex \tieNeutral
 @funindex \tieNeutral

-@funindex tieNeutral

 
 Ties may be made to curve up or down manually; see
 @ref{Direction and placement}.
 
 Ties may be made to curve up or down manually; see
 @ref{Direction and placement}.


@@ -537,11 +521,8 @@ Ties may be made to curve up or down manually; see
 @cindex dotted ties
 
 @funindex \tieDotted
 @cindex dotted ties
 
 @funindex \tieDotted

-@funindex tieDotted

 @funindex \tieDashed
 @funindex \tieDashed

-@funindex tieDashed

 @funindex \tieSolid
 @funindex \tieSolid

-@funindex tieSolid

 
 Ties may be made dashed, dotted, or a combination of solid and
 dashed.
 
 Ties may be made dashed, dotted, or a combination of solid and
 dashed.


@@ -662,14 +643,10 @@ Rests are entered as part of the music in music expressions.
 @cindex breve rest
 
 @funindex \rest
 @cindex breve rest
 
 @funindex \rest

-@funindex rest

 @funindex r
 @funindex \maxima
 @funindex r
 @funindex \maxima

-@funindex maxima

 @funindex \longa
 @funindex \longa

-@funindex longa

 @funindex \breve
 @funindex \breve

-@funindex breve

 
 Rests are entered like notes with the note name @code{r}.
 Durations longer than a whole rest use the following predefined
 
 Rests are entered like notes with the note name @code{r}.
 Durations longer than a whole rest use the following predefined


@@ -736,7 +713,7 @@ Internals Reference:
 @c Deliberately duplicated in Durations and Rests.  -gp
 There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited: there
 @c Deliberately duplicated in Durations and Rests.  -gp
 There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited: there

-are rests from 128th to maxima (8 x whole).
+are rests from 128th to maxima (8× whole).

 
 
 @node Invisible rests
 
 
 @node Invisible rests


@@ -750,7 +727,6 @@ are rests from 128th to maxima (8 x whole).
 
 @funindex s
 @funindex \skip
 
 @funindex s
 @funindex \skip

-@funindex skip

 
 An invisible rest (also called a @q{spacer rest}) can be entered
 like a note with the note name@tie{}@code{s}:
 
 An invisible rest (also called a @q{spacer rest}) can be entered
 like a note with the note name@tie{}@code{s}:


@@ -841,7 +817,6 @@ Internals Reference:
 @cindex whole rest for a full measure
 @cindex rest, whole for a full measure
 
 @cindex whole rest for a full measure
 @cindex rest, whole for a full measure
 

-@funindex compressMMRests

 @funindex \compressMMRests
 @funindex R
 
 @funindex \compressMMRests
 @funindex R
 


@@ -921,7 +896,6 @@ R2.*2 |
 @cindex multi-measure rest with markup
 
 @funindex \fermataMarkup
 @cindex multi-measure rest with markup
 
 @funindex \fermataMarkup

-@funindex fermataMarkup

 @funindex MultiMeasureRestText
 
 Markups can be added to multi-measure rests.
 @funindex MultiMeasureRestText
 
 Markups can be added to multi-measure rests.


@@ -955,13 +929,9 @@ setting, resulting bar-check warnings may not be displayed.
 
 
 @funindex \textLengthOn
 
 
 @funindex \textLengthOn

-@funindex textLengthOn

 @funindex \textLengthOff
 @funindex \textLengthOff

-@funindex textLengthOff

 @funindex \fermataMarkup
 @funindex \fermataMarkup

-@funindex fermataMarkup

 @funindex \compressMMRests
 @funindex \compressMMRests

-@funindex compressMMRests

 
 @predefined
 @code{\textLengthOn},
 
 @predefined
 @code{\textLengthOn},


@@ -1011,7 +981,7 @@ Internals Reference:
 @cindex multi-measure rests and fingerings
 
 @knownissues
 @cindex multi-measure rests and fingerings
 
 @knownissues

-Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
+Fingerings over multi-measure rests (e.g., @code{R1*10-4}) may result

 in the fingering numeral colliding with the bar counter
 numeral.
 
 in the fingering numeral colliding with the bar counter
 numeral.
 


@@ -1046,7 +1016,6 @@ Multi-measure rests do not take part in rest collisions.
 @cindex meter
 
 @funindex \time
 @cindex meter
 
 @funindex \time

-@funindex time

 
 The time signature is set as follows:
 
 
 The time signature is set as follows:
 


@@ -1081,9 +1050,7 @@ there.  This default behavior may be changed, see
 @cindex meter style
 
 @funindex \numericTimeSignature
 @cindex meter style
 
 @funindex \numericTimeSignature

-@funindex numericTimeSignature

 @funindex \defaultTimeSignature
 @funindex \defaultTimeSignature

-@funindex defaultTimeSignature

 
 The time signature symbol that is used in 2/2 and 4/4 time can be
 changed to a numeric style:
 
 The time signature symbol that is used in 2/2 and 4/4 time can be
 changed to a numeric style:


@@ -1292,7 +1259,6 @@ Internals Reference:
 @cindex metronome marking with text
 
 @funindex \tempo
 @cindex metronome marking with text
 
 @funindex \tempo

-@funindex tempo

 
 A basic metronome mark is simple to write:
 
 
 A basic metronome mark is simple to write:
 


@@ -1355,9 +1321,7 @@ written by including an empty string in the input:
 @end lilypond
 
 @funindex \markLengthOn
 @end lilypond
 
 @funindex \markLengthOn

-@funindex markLengthOn

 @funindex \markLengthOff
 @funindex \markLengthOff

-@funindex markLengthOff

 
 In a part for an instrument with long periods of rests,
 tempo indications sometimes follow each other closely.
 
 In a part for an instrument with long periods of rests,
 tempo indications sometimes follow each other closely.


@@ -1425,7 +1389,6 @@ Internals Reference:
 
 @funindex measurePosition
 @funindex \partial
 
 @funindex measurePosition
 @funindex \partial

-@funindex partial

 
 Partial or pick-up measures, such as an @emph{anacrusis} or an
 @emph{upbeat}, are entered using the @code{\partial} command:
 
 Partial or pick-up measures, such as an @emph{anacrusis} or an
 @emph{upbeat}, are entered using the @code{\partial} command:


@@ -1523,12 +1486,10 @@ Internal Reference:
 @cindex beams, unmetered music
 
 @funindex \cadenzaOn
 @cindex beams, unmetered music
 
 @funindex \cadenzaOn

-@funindex cadenzaOn

 @funindex \cadenzaOff
 @funindex \cadenzaOff

-@funindex cadenzaOff

 
 In metered music bar lines are inserted and bar numbers are calculated
 
 In metered music bar lines are inserted and bar numbers are calculated

-automatically. In unmetered music (i.e. cadenzas), this is not
+automatically. In unmetered music (i.e., cadenzas), this is not

 desirable and can be @q{switched off} using the command
 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
 using @code{\cadenzaOff}.
 desirable and can be @q{switched off} using the command
 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
 using @code{\cadenzaOff}.


@@ -1653,9 +1614,7 @@ stretches of unmetered music to permit breaking:
 
 @funindex timeSignatureFraction
 @funindex \scaleDurations
 
 @funindex timeSignatureFraction
 @funindex \scaleDurations

-@funindex scaleDurations

 @funindex \tuplet
 @funindex \tuplet

-@funindex tuplet

 
 Polymetric notation is supported explicitly or by manually modifying the
 visible time signature symbol and/or scaling note durations.
 
 Polymetric notation is supported explicitly or by manually modifying the
 visible time signature symbol and/or scaling note durations.


@@ -1756,7 +1715,7 @@ These are created using the @code{\compoundMeter} function.  The syntax
 for this is:
 
 @example
 for this is:
 
 @example

-\compoundMeter #'@code{(list of lists)}
+\compoundMeter #'(list of lists)

 @end example
 
 The simplest construction is a single list, where the @emph{last} number
 @end example
 
 The simplest construction is a single list, where the @emph{last} number


@@ -1905,7 +1864,7 @@ For consistency with previous behavior, notes and rests with
 duration longer than a measure, such as @code{c1*2}, are split into
 notes without any scale factor, @code{@{ c1 c1 @}}.  The property
 @code{completionFactor} controls this behavior, and setting it to
 duration longer than a measure, such as @code{c1*2}, are split into
 notes without any scale factor, @code{@{ c1 c1 @}}.  The property
 @code{completionFactor} controls this behavior, and setting it to

-@code{#f} cause split notes and rest to have the scale factor
+@code{#f} cause split notes and rests to have the scale factor

 of the input durations.
 
 
 of the input durations.
 
 


@@ -1944,9 +1903,7 @@ staff are squashed, and the staff itself has a single line
 
 @funindex Pitch_squash_engraver
 @funindex \improvisationOn
 
 @funindex Pitch_squash_engraver
 @funindex \improvisationOn

-@funindex improvisationOn

 @funindex \improvisationOff
 @funindex \improvisationOff

-@funindex improvisationOff

 
 Guitar chord charts often show the strumming rhythms.  This can
 be done with the @code{Pitch_squash_engraver} and
 
 Guitar chord charts often show the strumming rhythms.  This can
 be done with the @code{Pitch_squash_engraver} and


@@ -1972,6 +1929,22 @@ be done with the @code{Pitch_squash_engraver} and
 >>
 @end lilypond
 
 >>
 @end lilypond
 

+Music containing chords can also be used as input to @code{RhythmicStaff}
+and for use with the @code{Pitch_squash_engraver} if the chords are first
+reduced to single notes with the @code{\reduceChords} music function:
+
+@lilypond[quote,verbatim]
+\new RhythmicStaff {
+  \time 4/4
+  \reduceChords {
+    <c>2
+    <e>2
+    <c e g>2
+    <c e g>4
+    <c e g>4
+  }
+}
+@end lilypond

 
 @predefined
 @code{\improvisationOn},
 
 @predefined
 @code{\improvisationOn},


@@ -2013,9 +1986,7 @@ By default, beams are inserted automatically:
 @cindex beams, customizing rules
 
 @funindex \autoBeamOn
 @cindex beams, customizing rules
 
 @funindex \autoBeamOn

-@funindex autoBeamOn

 @funindex \autoBeamOff
 @funindex \autoBeamOff

-@funindex autoBeamOff

 
 @lilypond[quote,verbatim]
 \relative c'' {
 
 @lilypond[quote,verbatim]
 \relative c'' {


@@ -2112,14 +2083,11 @@ new beam starts.
 
 @funindex autoBeaming
 @funindex baseMoment
 
 @funindex autoBeaming
 @funindex baseMoment

-@funindex beamExceptions

 @funindex \beamExceptions
 @funindex beatStructure
 @funindex measureLength
 @funindex \time
 @funindex \beamExceptions
 @funindex beatStructure
 @funindex measureLength
 @funindex \time

-@funindex time

 @funindex \set
 @funindex \set

-@funindex set

 
 When automatic beaming is enabled, the placement of automatic beams
 is determined by three context properties:
 
 When automatic beaming is enabled, the placement of automatic beams
 is determined by three context properties:


@@ -2528,7 +2496,6 @@ Beaming direction can be set manually using direction indicators:
 @end lilypond
 
 @funindex \noBeam
 @end lilypond
 
 @funindex \noBeam

-@funindex noBeam

 
 Individual notes may be marked with @code{\noBeam} to prevent them
 from being beamed:
 
 Individual notes may be marked with @code{\noBeam} to prevent them
 from being beamed:


@@ -2611,7 +2578,6 @@ Internals Reference:
 @cindex feathered beams
 
 @funindex \featherDurations
 @cindex feathered beams
 
 @funindex \featherDurations

-@funindex featherDurations

 @funindex grow-direction
 
 Feathered beams are used to indicate that a small group of notes
 @funindex grow-direction
 
 Feathered beams are used to indicate that a small group of notes


@@ -2692,7 +2658,6 @@ music snippets, and when numbers in the fraction are small.
 @cindex repeat bars
 
 @funindex \bar
 @cindex repeat bars
 
 @funindex \bar

-@funindex bar

 
 Bar lines delimit measures, and are also used to indicate
 repeats.  Normally, simple bar lines are automatically inserted
 
 Bar lines delimit measures, and are also used to indicate
 repeats.  Normally, simple bar lines are automatically inserted


@@ -2717,7 +2682,7 @@ all notes end before the end of a measure.
 
 @warning{An incorrect duration can cause line breaks to be
 inhibited, leading to a line of highly compressed music or
 
 @warning{An incorrect duration can cause line breaks to be
 inhibited, leading to a line of highly compressed music or

-music which flows off the page.}
+music that flows off the page.}

 
 @cindex line breaks
 @cindex bar lines, invisible
 
 @cindex line breaks
 @cindex bar lines, invisible


@@ -2809,7 +2774,7 @@ However, as such ticks are typically used in Gregorian chant, it is
 preferable to use @code{\divisioMinima} there instead, described in
 the section @ref{Divisiones} in Gregorian chant.
 
 preferable to use @code{\divisioMinima} there instead, described in
 the section @ref{Divisiones} in Gregorian chant.
 

-Lilypond supports kievan notation and provides a special kievan
+LilyPond supports kievan notation and provides a special kievan

 bar line:
 @lilypond[quote,fragment,verbatim]
 f'1 \bar "k"
 bar line:
 @lilypond[quote,fragment,verbatim]
 f'1 \bar "k"


@@ -2902,7 +2867,6 @@ when used with a @code{\repeat volta} command, see
 @ref{Normal repeats}.
 
 @funindex \defineBarLine
 @ref{Normal repeats}.
 
 @funindex \defineBarLine

-@funindex defineBarLine

 @cindex bar lines, defining
 @cindex defining bar lines
 
 @cindex bar lines, defining
 @cindex defining bar lines
 


@@ -2993,7 +2957,7 @@ for defining span bars correctly aligned to the main bar lines:
 @end lilypond
 
 If additional elements are needed, LilyPond provides a simple
 @end lilypond
 
 If additional elements are needed, LilyPond provides a simple

-way to define them.  For more informations on modifying or adding
+way to define them.  For more information on modifying or adding

 bar lines, see file @file{scm/bar-line.scm}.
 
 In scores with many staves, a @code{\bar} command in one staff is
 bar lines, see file @file{scm/bar-line.scm}.
 
 In scores with many staves, a @code{\bar} command in one staff is


@@ -3022,7 +2986,6 @@ connected between different staves of a @code{StaffGroup},
 @funindex whichBar
 @funindex defaultBarType
 @funindex \bar
 @funindex whichBar
 @funindex defaultBarType
 @funindex \bar

-@funindex bar

 @funindex bartype
 
 The command @samp{\bar @var{bartype}} is a shortcut for
 @funindex bartype
 
 The command @samp{\bar @var{bartype}} is a shortcut for


@@ -3221,7 +3184,6 @@ for end of bar.
 @end lilypond
 
 @funindex \barNumberCheck
 @end lilypond
 
 @funindex \barNumberCheck

-@funindex barNumberCheck

 
 When copying large pieces of music, it can be helpful to check that
 the LilyPond bar number corresponds to the original that you are
 
 When copying large pieces of music, it can be helpful to check that
 the LilyPond bar number corresponds to the original that you are


@@ -3248,7 +3210,6 @@ Snippets:
 @cindex mark, rehearsal
 
 @funindex \mark
 @cindex mark, rehearsal
 
 @funindex \mark

-@funindex mark

 
 To print a rehearsal mark, use the @code{\mark} command.
 
 
 To print a rehearsal mark, use the @code{\mark} command.
 


@@ -3334,9 +3295,9 @@ produces a boxed number.
 @end lilypond
 
 The file @file{scm/translation-functions.scm} contains the
 @end lilypond
 
 The file @file{scm/translation-functions.scm} contains the

-definitions of @code{format-mark-numbers} (the default format),
-@code{format-mark-box-numbers}, @code{format-mark-letters} and
-@code{format-mark-box-letters}.  These can be used as inspiration
+definitions of @code{format-mark-letters} (the default format),
+@code{format-mark-box-letters}, @code{format-mark-numbers} and
+@code{format-mark-box-numbers}.  These can be used as inspiration

 for other formatting functions.
 
 You may use @code{format-mark-barnumbers},
 for other formatting functions.
 
 You may use @code{format-mark-barnumbers},


@@ -3367,7 +3328,6 @@ string.
 @cindex glyphs, music
 
 @funindex \musicglyph
 @cindex glyphs, music
 
 @funindex \musicglyph

-@funindex musicglyph

 
 Music glyphs (such as the segno sign) may be printed inside a
 @code{\mark}
 
 Music glyphs (such as the segno sign) may be printed inside a
 @code{\mark}


@@ -3382,7 +3342,7 @@ Music glyphs (such as the segno sign) may be printed inside a
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-See @ref{The Feta font}, for a list of symbols which may be
+See @ref{The Emmentaler font}, for a list of symbols which may be

 printed with @code{\musicglyph}.
 
 For common tweaks to the positioning of rehearsal marks, see
 printed with @code{\musicglyph}.
 
 For common tweaks to the positioning of rehearsal marks, see


@@ -3396,7 +3356,7 @@ other formatting functions.
 
 @seealso
 Notation Reference:
 
 @seealso
 Notation Reference:

-@ref{The Feta font},
+@ref{The Emmentaler font},

 @ref{Formatting text},
 @ref{Aligning objects}.
 
 @ref{Formatting text},
 @ref{Aligning objects}.
 


@@ -3479,7 +3439,6 @@ eighth grace note
 @cindex grace notes, following
 
 @funindex \afterGrace
 @cindex grace notes, following
 
 @funindex \afterGrace

-@funindex afterGrace

 
 If you want to end a note with a grace, use the @code{\afterGrace}
 command.  It takes two arguments: the main note, and the grace
 
 If you want to end a note with a grace, use the @code{\afterGrace}
 command.  It takes two arguments: the main note, and the grace


@@ -3489,11 +3448,23 @@ notes following the main note.
 \relative { c''1 \afterGrace d1 { c16[ d] } c1 }
 @end lilypond
 
 \relative { c''1 \afterGrace d1 { c16[ d] } c1 }
 @end lilypond
 

-This will put the grace notes after a space lasting 3/4 of the
-length of the main note.  The default fraction 3/4 can be changed by
-setting @code{afterGraceFraction}.  The following example shows
-the results from setting the space at the default,  at 15/16, and
-finally at 1/2 of the main note.
+This will place the grace notes @emph{after} the start of the main
+note.  The point of time where the grace notes are placed is a
+given fraction of the main note's duration.  The default setting
+of
+
+@example
+afterGraceFraction = 3/4
+@end example
+
+@noindent
+may be redefined at top level.  Individual @code{\afterGrace}
+commands may have the fraction specified right after the command
+itself instead.
+
+The following example shows the results from setting with the
+default space, setting it at @code{15/16}, and finally at
+@code{1/2} of the main note.

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


@@ -3501,19 +3472,17 @@ finally at 1/2 of the main note.
     c''1 \afterGrace d1 { c16[ d] } c1
   }
   \new Staff \relative {
     c''1 \afterGrace d1 { c16[ d] } c1
   }
   \new Staff \relative {

-    #(define afterGraceFraction (cons 15 16))
-    c''1 \afterGrace d1 { c16[ d] } c1
+    c''1 \afterGrace 15/16 d1 { c16[ d] } c1

   }
   \new Staff \relative {
   }
   \new Staff \relative {

-    #(define afterGraceFraction (cons 1 2))
-    c''1 \afterGrace d1 { c16[ d] } c1
+    c''1 \afterGrace 1/2 d1 { c16[ d] } c1

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

-The space between the main note and the grace note may also be
-specified using spacers.  The following example places the grace
-note after a space lasting 7/8 of the main note.
+The effect of @code{\afterGrace} can also be achieved using
+spacers.  The following example places the grace note after a
+space lasting 7/8 of the main note.

 
 @lilypond[quote,verbatim]
 \new Voice \relative {
 
 @lilypond[quote,verbatim]
 \new Voice \relative {


@@ -3774,10 +3743,10 @@ The next bar line then falls at 9/8 rather than 5/4.
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-As the example illustrates, @code{ly:make-moment n m} constructs a
+As the example illustrates, @code{ly:make-moment n/m} constructs a

 duration of n/m of a whole note.  For example,
 duration of n/m of a whole note.  For example,

-@code{ly:make-moment 1 8} is an eighth note duration and
-@code{ly:make-moment 7 16} is the duration of seven sixteenths
+@code{ly:make-moment 1/8} is an eighth note duration and
+@code{ly:make-moment 7/16} is the duration of seven sixteenths

 notes.
 
 @seealso
 notes.
 
 @seealso