Begin Trevor's spacing chapter rewrite.

[lilypond.git] / Documentation / user / basic-notation.itely

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index f2a0493e0f4e9f4d64eb389fa3afc127950dfe6b..06ac1b5580f52f2a41656638561204d54c74660c 100644 (file)
--- a/Documentation/user/basic-notation.itely
+++ b/Documentation/user/basic-notation.itely
@@ -1,5 +1,12 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely

+@ignore
+    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.
+@end ignore
+

 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update
 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update


@@ -13,7 +20,7 @@ This chapter explains how to use basic notation features.
 @menu
 * Pitches::                     
 * Rhythms::                     
 @menu
 * Pitches::                     
 * Rhythms::                     

-* Multiple notes at once::      
+* Polyphony::                   

 * Staff notation::              
 * Connecting notes::            
 * Expressive marks::            
 * Staff notation::              
 * Connecting notes::            
 * Expressive marks::            


@@ -32,7 +39,7 @@ This section discusses how to specify the pitch of notes.
 * Accidentals::                 
 * Cautionary accidentals::      
 * Micro tones::                 
 * Accidentals::                 
 * Cautionary accidentals::      
 * Micro tones::                 

-* Notes names in other languages::  
+* Note names in other languages::  

 * Relative octaves::            
 * Octave check::                
 * Transpose::                   
 * Relative octaves::            
 * Octave check::                
 * Transpose::                   


@@ -68,9 +75,9 @@ c1
 @funindex ,
 
 The optional octave specification takes the form of a series of
 @funindex ,
 
 The optional octave specification takes the form of a series of

-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters.  Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+single quote (@samp{'}) characters or a series of comma
+(@samp{,}) characters.  Each @samp{'} raises the pitch by one
+octave; each @samp{,} lowers the pitch by an octave.

 
 @lilypond[quote,ragged-right,fragment,verbatim]
 \clef treble
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 \clef treble


@@ -117,11 +124,11 @@ suffix; a natural pitch is shown as a simple note name
 a4 aes a2
 @end lilypond
 
 a4 aes a2
 @end lilypond
 

-The input @code{d e f} is interpreted as ``print a D-natural,
-E-natural, and an F-natural,'' regardless of the key
+The input @code{d e f} is interpreted as @q{print a D-natural,
+E-natural, and an F-natural,} regardless of the key

 signature.  For more information about the distinction between
 musical content and the presentation of that content, see
 signature.  For more information about the distinction between
 musical content and the presentation of that content, see

-@ref{More about pitches}.
+@ref{Accidentals and key signatures}.

 
 @lilypond[fragment,quote,ragged-right,verbatim,relative]
 \key d \major
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative]
 \key d \major


@@ -167,7 +174,7 @@ print them manually.  A reminder accidental
 can be forced by adding an exclamation mark @code{!}
 after the pitch.  A cautionary accidental
 (i.e., an accidental within parentheses) can be obtained by adding the
 can be forced by adding an exclamation mark @code{!}
 after the pitch.  A cautionary accidental
 (i.e., an accidental within parentheses) can be obtained by adding the

-question mark `@code{?}' after the pitch.  These extra accidentals
+question mark @samp{?} after the pitch.  These extra accidentals

 can be used to produce natural signs, too.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
 can be used to produce natural signs, too.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]


@@ -205,8 +212,8 @@ three-quarter flats, so LilyPond's symbol does not conform to any
 standard.
 
 
 standard.
 
 

-@node Notes names in other languages
-@subsection Notes names in other languages
+@node Note names in other languages
+@subsection Note names in other languages

 
 There are predefined sets of note names for various other languages.
 To use them, include the language specific init file.  For
 
 There are predefined sets of note names for various other languages.
 To use them, include the language specific init file.  For


@@ -422,7 +429,7 @@ mus = { \key d \major cis d fis g }
 
 @code{\transpose} may also be used to input written notes for a
 transposing instrument.  Pitches are normally entered into LilyPond
 
 @code{\transpose} may also be used to input written notes for a
 transposing instrument.  Pitches are normally entered into LilyPond

-in C (or ``concert pitch''), but they may be entered in another
+in C (or @q{concert pitch}), but they may be entered in another

 key.  For example, when entering music for a B-flat trumpet which
 begins on concert D, one would write
 
 key.  For example, when entering music for a B-flat trumpet which
 begins on concert D, one would write
 


@@ -499,8 +506,8 @@ Program reference: @internalsref{Rest}.
 @funindex \skip
 @funindex s
 
 @funindex \skip
 @funindex s
 

-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
+An invisible rest (also called a @q{skip}) can be entered like a note
+with note name @samp{s} or with @code{\skip @var{duration}}

 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 a4 a4 s4 a4 \skip 1 a4
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 a4 a4 s4 a4 \skip 1 a4


@@ -616,7 +623,7 @@ duration.  The default for the first note is a quarter note.
 
 @funindex .
 
 
 @funindex .
 

-To obtain dotted note lengths, simply add a dot (`@code{.}') to
+To obtain dotted note lengths, simply add a dot (@samp{.}) to

 the number.  Double-dotted notes are produced in a similar way.
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 the number.  Double-dotted notes are produced in a similar way.
 
 @lilypond[quote,ragged-right,fragment,verbatim]


@@ -745,15 +752,13 @@ the next note
 Program reference: @internalsref{TupletBracket},
 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
 
 Program reference: @internalsref{TupletBracket},
 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
 

-Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
-

 
 
 @node Scaling durations
 @subsection Scaling durations
 
 You can alter the length of duration by a fraction @var{N/M}
 
 
 @node Scaling durations
 @subsection Scaling durations
 
 You can alter the length of duration by a fraction @var{N/M}

-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}).  This
+appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).  This

 will not affect the appearance of the notes or rests produced.
 
 In the following example, the first three notes take up exactly two
 will not affect the appearance of the notes or rests produced.
 
 In the following example, the first three notes take up exactly two


@@ -779,7 +784,7 @@ This manual: @ref{Tuplets}
 @funindex |
 
 Bar checks help detect errors in the durations.  A bar check is
 @funindex |
 
 Bar checks help detect errors in the durations.  A bar check is

-entered using the bar symbol, `@code{|}'.  Whenever it is encountered
+entered using the bar symbol, @samp{|}.  Whenever it is encountered

 during interpretation, it should fall on a measure boundary.  If it
 does not, a warning is printed.  In the next example, the second bar
 check will signal an error
 during interpretation, it should fall on a measure boundary.  If it
 does not, a warning is printed.  In the next example, the second bar
 check will signal an error


@@ -870,15 +875,11 @@ rests.
 
 @seealso
 
 
 @seealso
 

-Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
-
-@noindent
-

 Program reference: @internalsref{Completion_heads_engraver}.
 
 
 Program reference: @internalsref{Completion_heads_engraver}.
 
 

-@node Multiple notes at once
-@section Multiple notes at once
+@node Polyphony
+@section Polyphony

 
 Polyphony in music refers to having more than one voice occurring in
 a piece of music.  Polyphony in LilyPond refers to having more than
 
 Polyphony in music refers to having more than one voice occurring in
 a piece of music.  Polyphony in LilyPond refers to having more than


@@ -962,7 +963,7 @@ them simultaneously, separating the voices with @code{\\}
 @end lilypond
 
 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
 @end lilypond
 
 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic

-voices are sometimes called ``layers'' in other notation packages}
+voices are sometimes called @q{layers} in other notation packages}

 @cindex layers
 to be instantiated.  They bear the names @code{"1"}, @code{"2"}, etc.  In
 each of these contexts, vertical direction of slurs, stems, etc., is set
 @cindex layers
 to be instantiated.  They bear the names @code{"1"}, @code{"2"}, etc.  In
 each of these contexts, vertical direction of slurs, stems, etc., is set


@@ -1012,6 +1013,7 @@ to the note immediately preceding it.
 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
 @code{noteA}.
 
 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
 @code{noteA}.
 

+

 @node Explicitly instantiating voices
 @subsection Explicitly instantiating voices
 
 @node Explicitly instantiating voices
 @subsection Explicitly instantiating voices
 


@@ -1114,13 +1116,29 @@ the music.
 }
 @end lilypond
 
 }
 @end lilypond
 

+In some instances of complex polyphonic music, you may need additional
+voices to avoid collisions between notes.  Additional voices are added
+by defining an identifier, as shown below:
+
+@lilypond[quote,verbatim,ragged-right,relative=2]
+voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
+
+\relative c''' <<
+  { \voiceOne g4 ~  \stemDown g32[ f( es d c b a b64 )g] } \\
+  { \voiceThree  b4} \\
+  { \voiceFive d,} \\
+  { \voiceTwo g,}
+>>
+@end lilypond
+

 
 @node Collision Resolution
 @subsection Collision Resolution
 
 Normally, note heads with a different number of dots are not merged, but
 when the object property @code{merge-differently-dotted} is set in
 
 @node Collision Resolution
 @subsection Collision Resolution
 
 Normally, note heads with a different number of dots are not merged, but
 when the object property @code{merge-differently-dotted} is set in

-the @internalsref{NoteCollision} object, they are merged
+the @internalsref{NoteCollision} object, they are merged:
+

 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Voice << {
   g8 g8
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Voice << {
   g8 g8


@@ -1131,7 +1149,8 @@ the @internalsref{NoteCollision} object, they are merged
 @end lilypond
 
 Similarly, you can merge half note heads with eighth notes, by setting
 @end lilypond
 
 Similarly, you can merge half note heads with eighth notes, by setting

-@code{merge-differently-headed}
+@code{merge-differently-headed}:
+

 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \new Voice << {
   c8 c4.
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \new Voice << {
   c8 c4.


@@ -1140,6 +1159,10 @@ Similarly, you can merge half note heads with eighth notes, by setting
 c8 c4. } \\ { c2 c2 } >>
 @end lilypond
 
 c8 c4. } \\ { c2 c2 } >>
 @end lilypond
 

+@noindent
+@code{merge-differently-headed} and @code{merge-differently-dotted}
+only apply to opposing stem directions (ie. Voice 1 & 2).
+

 LilyPond also vertically shifts rests that are opposite of a stem,
 for example
 
 LilyPond also vertically shifts rests that are opposite of a stem,
 for example
 


@@ -1147,6 +1170,30 @@ for example
 \new Voice << c''4 \\ r4 >>
 @end lilypond
 
 \new Voice << c''4 \\ r4 >>
 @end lilypond
 

+If three or more notes line up in the same column,
+@code{merge-differently-headed} cannot
+successfully complete the merge of the two notes that should be merged.
+To allow the merge to work properly, apply a @code{\shift} to the note that
+should not be merged.  In the first measure of following example,
+@code{merge-differently-headed} does not work (the half-note head is
+solid).  In the second measure, @code{\shiftOn} is applied to move the
+top @code{g} out of the column, and @code{merge-differently-headed}
+works properly.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\override Staff.NoteCollision #'merge-differently-headed = ##t
+<<
+  { d=''2 g2 } \\
+  { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
+  { \voiceFour e,,2 e'2}
+>>
+<<
+  { d'=''2 \shiftOn g2 } \\ 
+  { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
+  { \voiceFour e,,2 e'2}
+>>
+@end lilypond
+

 
 @refcommands
 
 
 @refcommands
 


@@ -1168,8 +1215,9 @@ for example
 @funindex \shiftOnnn
 @code{\shiftOnnn},
 @funindex \shiftOff
 @funindex \shiftOnnn
 @code{\shiftOnnn},
 @funindex \shiftOff

-@code{\shiftOff}: these commands specify in what chords of the current
-voice should be shifted.  The outer voices (normally: voice one and
+@code{\shiftOff}: these commands specify the
+degree to which chords of the current voice should be shifted.
+The outer voices (normally: voice one and

 two) have @code{\shiftOff}, while the inner voices (three and four)
 have @code{\shiftOn}.  @code{\shiftOnn} and @code{\shiftOnnn} define
 further shift levels.
 two) have @code{\shiftOff}, while the inner voices (three and four)
 have @code{\shiftOn}.  @code{\shiftOnn} and @code{\shiftOnnn} define
 further shift levels.


@@ -1196,13 +1244,6 @@ be used to override typesetting decisions.
 Program reference: the objects responsible for resolving collisions are
 @internalsref{NoteCollision} and @internalsref{RestCollision}.
 
 Program reference: the objects responsible for resolving collisions are
 @internalsref{NoteCollision} and @internalsref{RestCollision}.
 

-Examples:
-@inputfileref{input/@/regression,collision@/-dots@/.ly},
-@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
-@inputfileref{input/@/regression,collision@/-heads@/.ly},
-@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
-@inputfileref{input/@/regression,collisions@/.ly}.
-

 
 @refbugs
 
 
 @refbugs
 


@@ -1373,7 +1414,7 @@ command
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get
 @var{pitch}-major or @var{pitch}-minor, respectively.  You may also
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get
 @var{pitch}-major or @var{pitch}-minor, respectively.  You may also

-use the standard mode names (also called ``church modes''): @code{\ionian},
+use the standard mode names (also called @q{church modes}): @code{\ionian},

 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
 @code{\phrygian}, and @code{\dorian}.
 
 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
 @code{\phrygian}, and @code{\dorian}.
 


@@ -1383,7 +1424,7 @@ can be specified by setting this property directly.
 
 Accidentals and key signatures often confuse new users, because
 unaltered notes get natural signs depending on the key signature.  For
 
 Accidentals and key signatures often confuse new users, because
 unaltered notes get natural signs depending on the key signature.  For

-more information, see @ref{Accidentals} or @ref{More about pitches}.
+more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}.

 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 \key g \major
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 \key g \major


@@ -1533,7 +1574,7 @@ This is internally translated into
 The property @code{measurePosition} contains a rational number
 indicating how much of the measure has passed at this point.  Note
 that this is a negative number; @code{\partial 4} is internally
 The property @code{measurePosition} contains a rational number
 indicating how much of the measure has passed at this point.  Note
 that this is a negative number; @code{\partial 4} is internally

-translated to mean ``there is a quarter note left in the bar''.
+translated to mean @qq{there is a quarter note left in the bar.}

 
 
 @refbugs
 
 
 @refbugs


@@ -1549,6 +1590,10 @@ g4
 a2 g2
 @end lilypond
 
 a2 g2
 @end lilypond
 

+@code{\partial} is only intended to be used at the beginning of a
+piece.  If you use it after the beginning, some odd warnings may
+occur.
+

 
 @node Bar lines
 @subsection Bar lines
 
 @node Bar lines
 @subsection Bar lines


@@ -1585,7 +1630,7 @@ To allow a line break where there is no visible bar line, use
 
 @noindent
 This will insert an invisible bar line and allow line breaks at this
 
 @noindent
 This will insert an invisible bar line and allow line breaks at this

-point.  This also increases the bar number counter.
+point (without increasing the bar number counter).

 
 In scores with many staves, a @code{\bar} command in one staff is
 automatically applied to all staves.  The resulting bar lines are
 
 In scores with many staves, a @code{\bar} command in one staff is
 automatically applied to all staves.  The resulting bar lines are


@@ -1634,8 +1679,6 @@ In this manual: @ref{Repeats}, @ref{System start delimiters}.
 Program reference: @internalsref{BarLine} (created at
 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
 
 Program reference: @internalsref{BarLine} (created at
 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
 

-Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
-

 
 @node Unmetered music
 @subsection Unmetered music
 
 @node Unmetered music
 @subsection Unmetered music


@@ -1744,13 +1787,31 @@ in every context, and that type is determined by the property
 @internalsref{systemStartDelimiter}.
 
 
 @internalsref{systemStartDelimiter}.
 
 

+@commonprop
+
+System start delimiters may be deeply nested,
+
+@lilypond[quote,ragged-right,verbatim]
+\new StaffGroup 
+\relative <<
+  \set StaffGroup.systemStartDelimiterHierarchy
+    = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
+>>
+@end lilypond
+
+

 @node Staff symbol
 @subsection Staff symbol
 
 @cindex adjusting staff symbol
 
 Notes, dynamic signs, etc., are grouped
 @node Staff symbol
 @subsection Staff symbol
 
 @cindex adjusting staff symbol
 
 Notes, dynamic signs, etc., are grouped

-with a set of horizontal lines, called a staff (plural `staves').  In
+with a set of horizontal lines, called a staff (plural @q{staves}).  In

 LilyPond, these lines are drawn using a separate layout object called
 @code{staff symbol}.
 
 LilyPond, these lines are drawn using a separate layout object called
 @code{staff symbol}.
 


@@ -1773,8 +1834,7 @@ b b
 @end lilypond
 
 In combination with Frenched staves, this may be used to typeset ossia
 @end lilypond
 
 In combination with Frenched staves, this may be used to typeset ossia

-sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
-shown here
+sections. An example is shown here

 
 @cindex ossia
 
 
 @cindex ossia
 


@@ -1792,7 +1852,7 @@ Program reference: @internalsref{StaffSymbol}.
 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
 @inputfileref{input/@/test@/,ossia.ly},
 @inputfileref{input/@/test,staff@/-size@/.ly},
 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
 @inputfileref{input/@/test@/,ossia.ly},
 @inputfileref{input/@/test,staff@/-size@/.ly},

-@inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
+@lsr{staff,staff-line-positions.ly}

 
 
 @node Writing music in parallel
 
 
 @node Writing music in parallel


@@ -1816,6 +1876,47 @@ Music for multiple parts can be interleaved
 >>
 @end lilypond
 
 >>
 @end lilypond
 

+This works quite well for piano music
+
+@lilypond[quote,verbatim]
+music = {
+  \key c \major
+  \time 4/4
+  \parallelMusic #'(voiceA voiceB voiceC voiceD) {
+    % Bar 1
+    r8  g'16[ c''] e''[ g' c'' e''] r8  g'16[ c''] e''[ g' c''
+e''] |
+    c'2                                 c'2 |
+    r8  a16[ d'] f'[ a d' f']       r8  a16[ d'] f'[ a d' f'] |
+    c2                                  c2 |
+
+    % Bar 2
+    a'8 b'      c'' d''    e'' f''    g'' a'' |
+    d'4         d'         d'         d' |
+    c16 d e f   d e f g    e f g a    f g a b |
+    a,4         a,4        a,4        a,4 |
+
+    % Bar 3 ...
+  }
+}
+
+\score {
+  \new PianoStaff <<
+    \music
+    \new Staff <<
+      \voiceA \\
+      \voiceB
+    >>
+    \new Staff {
+      \clef bass
+      <<
+        \voiceC \\
+        \voiceD
+      >>
+    }
+  >>
+}
+@end lilypond

 
 
 @node Connecting notes
 
 
 @node Connecting notes


@@ -1843,7 +1944,7 @@ This section deals with notation that affects groups of notes.
 A tie connects two adjacent note heads of the same pitch.  The tie in
 effect extends the length of a note.  Ties should not be confused with
 slurs, which indicate articulation, or phrasing slurs, which indicate
 A tie connects two adjacent note heads of the same pitch.  The tie in
 effect extends the length of a note.  Ties should not be confused with
 slurs, which indicate articulation, or phrasing slurs, which indicate

-musical phrasing.  A tie is entered using the tilde symbol `@code{~}'
+musical phrasing.  A tie is entered using the tilde symbol @samp{~}

 
 @lilypond[quote,ragged-right,fragment,verbatim]
 e' ~ e' <c' e' g'> ~ <c' e' g'>
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 e' ~ e' <c' e' g'> ~ <c' e' g'>


@@ -1900,13 +2001,25 @@ notes need not be consecutive.  This can be achieved by setting the
 @code{tieWaitForNote} property to true. The same feature is also useful,
 for example, to tie a tremolo to a chord. For example,
 
 @code{tieWaitForNote} property to true. The same feature is also useful,
 for example, to tie a tremolo to a chord. For example,
 

-@lilypond[fragment,verbatim,relative=1,ragged-right]
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]

 \set tieWaitForNote = ##t
 \grace { c16[~ e~ g]~ } <c, e g>2
 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
 e8~ c~ a~ f~ <e' c a f>2
 @end lilypond
 
 \set tieWaitForNote = ##t
 \grace { c16[~ e~ g]~ } <c, e g>2
 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
 e8~ c~ a~ f~ <e' c a f>2
 @end lilypond
 

+Ties may be engraved manually by changing the @code{tie-configuration}
+property.  The first number indicates the distance from the center
+of the staff in staff-spaces, and the second number indicates the
+direction (1=up, -1=down).
+
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
+<c e g>2~ <c e g> |
+\override TieColumn #'tie-configuration =
+  #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
+<c e g>~ <c e g> |
+@end lilypond
+

 
 @refcommands
 
 
 @refcommands
 


@@ -1931,12 +2044,6 @@ In this manual: @ref{Automatic note splitting}.
 
 Program reference: @internalsref{Tie}.
 
 
 Program reference: @internalsref{Tie}.
 

-Examples:
-@inputfileref{input/@/regression,tie-arpeggio.ly}
-@inputfileref{input/@/regression,tie-manual.ly}
-
-
-

 
 @refbugs
 
 
 @refbugs
 


@@ -2065,7 +2172,7 @@ Program reference:
 @internalsref{LaissezVibrerTieColumn}
 
 Example files:
 @internalsref{LaissezVibrerTieColumn}
 
 Example files:

-@inputfileref{input/regression,laissez-vibrer-tie.ly}
+@lsr{connecting,laissez-vibrer-ties.ly}

 
 
 @node Automatic beams
 
 
 @node Automatic beams


@@ -2153,9 +2260,10 @@ For more information about @code{make-moment}, see
 @ref{Time administration}.
 
 Line breaks are normally forbidden when beams cross bar lines.  This
 @ref{Time administration}.
 
 Line breaks are normally forbidden when beams cross bar lines.  This

-behavior can be changed by setting @code{allowBeamBreak}.
+behavior can be changed by setting @code{breakable}.
+
+@funindex breakable

 
 

-@funindex allowBeamBreak

 @cindex beams and line breaks
 @cindex beams, kneed
 @cindex kneed beams
 @cindex beams and line breaks
 @cindex beams, kneed
 @cindex kneed beams


@@ -2209,7 +2317,7 @@ c4 \grace c16 c4
 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
 @code{\grace} command does not start a slur.
 
 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
 @code{\grace} command does not start a slur.
 

-Internally, timing for grace notes is done using a second, `grace'
+Internally, timing for grace notes is done using a second, @q{grace}

 timing.  Every point in time consists of two rational numbers: one
 denotes the logical time, one denotes the grace timing.  The above
 example is shown here with timing tuples
 timing.  Every point in time consists of two rational numbers: one
 denotes the logical time, one denotes the grace timing.  The above
 example is shown here with timing tuples


@@ -2255,7 +2363,7 @@ following the main note.
 c1 \afterGrace d1 { c16[ d] } c4
 @end lilypond
 
 c1 \afterGrace d1 { c16[ d] } c4
 @end lilypond
 

-This will put the grace notes after a ``space'' lasting 3/4 of the
+This will put the grace notes after a @q{space} lasting 3/4 of the

 length of the main note.  The fraction 3/4 can be changed by setting
 @code{afterGraceFraction}, ie.
 
 length of the main note.  The fraction 3/4 can be changed by setting
 @code{afterGraceFraction}, ie.
 


@@ -2553,7 +2661,7 @@ very close to note heads in monophonic music,
 
 Program reference: @internalsref{Fingering}.
 
 
 Program reference: @internalsref{Fingering}.
 

-Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
+Examples: @lsr{expressive,fingering-chords.ly}

 
 
 @node Dynamics
 
 
 @node Dynamics


@@ -2748,7 +2856,7 @@ d4
 
 Program reference: @internalsref{BreathingSign}.
 
 
 Program reference: @internalsref{BreathingSign}.
 

-Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
+Examples: @lsr{expressive,breathing-sign.ly}

 
 
 @node Trills
 
 
 @node Trills


@@ -2814,7 +2922,9 @@ c2\glissando c,
 
 Program reference: @internalsref{Glissando}.
 
 
 Program reference: @internalsref{Glissando}.
 

-Example files: @file{input/@/regression/@/glissando@/.ly}.
+Example files:
+@lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
+

 
 
 @refbugs
 
 
 @refbugs


@@ -2963,6 +3073,10 @@ declared within a @code{Voice} context.
 @node Repeat syntax
 @subsection Repeat syntax
 
 @node Repeat syntax
 @subsection Repeat syntax
 

+@cindex volta
+@cindex prima volta
+@cindex seconda volta
+

 LilyPond has one syntactic construct for specifying different types of
 repeats.  The syntax is
 
 LilyPond has one syntactic construct for specifying different types of
 repeats.  The syntax is
 


@@ -3004,7 +3118,7 @@ c1
 
 In the following example, the first ending is not a complete
 bar (it only had 3 beats).  The beginning of the second ending
 
 In the following example, the first ending is not a complete
 bar (it only had 3 beats).  The beginning of the second ending

-contains the 4th beat from the first ending.  This ``extra''
+contains the 4th beat from the first ending.  This @q{extra}

 beat in the second ending is due to the first time ending,
 and has nothing to do with the @code{\partial} at the
 beginning of the example.
 beat in the second ending is due to the first time ending,
 and has nothing to do with the @code{\partial} at the
 beginning of the example.


@@ -3049,7 +3163,9 @@ Examples:
 
 Brackets for the repeat are normally only printed over the topmost
 staff.  This can be adjusted by setting the @code{voltaOnThisStaff}
 
 Brackets for the repeat are normally only printed over the topmost
 staff.  This can be adjusted by setting the @code{voltaOnThisStaff}

-property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
+property; see
+
+@lsr{repeats,volta@/-multi@/-staff@/.ly}.

 
 
 @refbugs
 
 
 @refbugs


@@ -3193,9 +3309,6 @@ In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
 
 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
 
 
 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
 

-Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
-@inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
-

 
 @node Tremolo subdivisions
 @subsection Tremolo subdivisions
 
 @node Tremolo subdivisions
 @subsection Tremolo subdivisions


@@ -3204,7 +3317,7 @@ Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
 @funindex tremoloFlags
 
 Tremolo marks can be printed on a single note by adding
 @funindex tremoloFlags
 
 Tremolo marks can be printed on a single note by adding

-`@code{:}[@var{number}]' after the note.  The number indicates the
+@q{@code{:}[@var{number}]} after the note.  The number indicates the

 duration of the subdivision, and it must be at least 8.  A
 @var{length} value of 8 gives one line across the note stem.  If the
 length is omitted, the last value (stored in @code{tremoloFlags}) is
 duration of the subdivision, and it must be at least 8.  A
 @var{length} value of 8 gives one line across the note stem.  If the
 length is omitted, the last value (stored in @code{tremoloFlags}) is