Fix some bugs in the dynamic engraver and PostScript backend

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

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index 6115449cdf28355df7cf60dc525a12fc04d7ef45..0e7086d869a97a52999d295e27f281d80b927942 100644 (file)
--- a/Documentation/user/basic-notation.itely
+++ b/Documentation/user/basic-notation.itely
@@ -64,8 +64,8 @@ c1
 c1
 @end lilypond
 
 c1
 @end lilypond
 

-@funindex '
-@funindex ,
+@findex '
+@findex ,

 
 The optional octave specification takes the form of a series of
 single quote (`@code{'}') characters or a series of comma
 
 The optional octave specification takes the form of a series of
 single quote (`@code{'}') characters or a series of comma


@@ -92,21 +92,20 @@ octave specifications (@code{'} and @code{,}).  See
 @cindex note names, default
 
 A sharp is formed by adding @code{-is} to the end of a pitch name and
 @cindex note names, default
 
 A sharp is formed by adding @code{-is} to the end of a pitch name and

-a flat is formed by adding @code{-es}.  Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} to a note name.
+a flat is formed by adding @code{-es}

 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 a2 ais a aes
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 a2 ais a aes

-a2 aisis a aeses

 @end lilypond
 
 @end lilypond
 

-@noindent
-These are the Dutch note names.  In Dutch, @code{aes} is contracted to
+Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses} to a note name.  These
+are the Dutch note names.  In Dutch, @code{aes} is contracted to

 @code{as}, but both forms are accepted.  Similarly, both
 @code{es} and @code{ees} are accepted
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 @code{as}, but both forms are accepted.  Similarly, both
 @code{es} and @code{ees} are accepted
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]

-a2 as e es
+a2 aisis a aeses

 @end lilypond
 
 A natural will cancel the effect of an accidental or key signature.
 @end lilypond
 
 A natural will cancel the effect of an accidental or key signature.


@@ -117,18 +116,6 @@ 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
-signature.  For more information about the distinction between
-musical content and the presentation of that content, see
-@ref{More about pitches}.
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
-\key d \major
-d e f g
-d e fis g
-@end lilypond
-

 
 @commonprop
 
 
 @commonprop
 


@@ -157,10 +144,10 @@ Program reference: @internalsref{LedgerLineSpanner},
 @cindex accidental, cautionary
 @cindex accidental, parenthesized
 @cindex reminder accidental
 @cindex accidental, cautionary
 @cindex accidental, parenthesized
 @cindex reminder accidental

-@funindex ?
+@findex ?

 @cindex cautionary accidental
 @cindex parenthesized accidental
 @cindex cautionary accidental
 @cindex parenthesized accidental

-@funindex !
+@findex !

 
 Normally accidentals are printed automatically, but you may also
 print them manually.  A reminder accidental
 
 Normally accidentals are printed automatically, but you may also
 print them manually.  A reminder accidental


@@ -215,7 +202,7 @@ file.  The available language files
 and the note names they define are
 
 @c  what about micro-tunes, double-sharps, and double-flats?  add
 and the note names they define are
 
 @c  what about micro-tunes, double-sharps, and double-flats?  add

-@c  more columns to the table?
+@c  more clumns to the table?

 @c  Oh, and should this be made into a multitable?
 @cindex note names, other languages
 @example
 @c  Oh, and should this be made into a multitable?
 @cindex note names, other languages
 @example


@@ -237,7 +224,7 @@ espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b
 
 @cindex Relative
 @cindex Relative octave specification
 
 @cindex Relative
 @cindex Relative octave specification

-@funindex \relative
+@findex \relative

 
 Octaves are specified by adding @code{'} and @code{,} to pitch names.
 When you copy existing music, it is easy to accidentally put a pitch
 
 Octaves are specified by adding @code{'} and @code{,} to pitch names.
 When you copy existing music, it is easy to accidentally put a pitch


@@ -283,7 +270,6 @@ Here is the relative mode shown in action
 @end lilypond
 
 Octave changing marks are used for intervals greater than a fourth
 @end lilypond
 
 Octave changing marks are used for intervals greater than a fourth

-

 @lilypond[quote,ragged-right,fragment,verbatim]
 \relative c'' {
   c g c f, c' a, e''
 @lilypond[quote,ragged-right,fragment,verbatim]
 \relative c'' {
   c g c f, c' a, e''


@@ -301,7 +287,7 @@ to determine the first note of the next chord
 }
 @end lilypond
 
 }
 @end lilypond
 

-The pitch after @code{\relative} contains a note name.
+The pitch after the @code{\relative} contains a note name.

 
 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.  To use
 
 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.  To use


@@ -335,13 +321,11 @@ There is also an octave check that produces no visible output.  The syntax
 @end example
 
 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
 @end example
 
 This checks that @var{pitch} (without quotes) yields @var{pitch} (with

-quotes) in @code{\relative} mode compared to the note given in the
-@code{\relative} command.  If not, a warning is printed, and the
+quotes) in @code{\relative} mode.  If not, a warning is printed, and the

 octave is corrected.  The @var{pitch} is not printed as a note.
 
 In the example below, the first check passes without incident, since
 octave is corrected.  The @var{pitch} is not printed as a note.
 
 In the example below, the first check passes without incident, since

-the @code{e} (in @code{relative} mode) is within a fifth of
-@code{a'}.  However,
+the @code{e} (in relative mode) is within a fifth of @code{a'}.  However,

 the second check produces a warning, since the @code{e} is not within
 a fifth of @code{b'}.  The warning message is printed, and the octave
 is adjusted so that the following notes are in the correct octave
 the second check produces a warning, since the @code{e} is not within
 a fifth of @code{b'}.  The warning message is printed, and the octave
 is adjusted so that the following notes are in the correct octave


@@ -376,7 +360,7 @@ the output of the piece.
 
 @cindex Transpose
 @cindex Transposition of pitches
 
 @cindex Transpose
 @cindex Transposition of pitches

-@funindex \transpose
+@findex \transpose

 
 A music expression can be transposed with @code{\transpose}.  The
 syntax is
 
 A music expression can be transposed with @code{\transpose}.  The
 syntax is


@@ -430,7 +414,7 @@ begins on concert D, one would write
 \transpose c bes @{ e4 @dots{} @}
 @end example
 
 \transpose c bes @{ e4 @dots{} @}
 @end example
 

-To print this music in B-flat again (i.e., producing a trumpet part,
+To print this music in B-flat again (i.e. producing a trumpet part,

 instead of a concert pitch conductor's score) you would wrap the
 existing music with another @code{transpose}
 
 instead of a concert pitch conductor's score) you would wrap the
 existing music with another @code{transpose}
 


@@ -443,14 +427,12 @@ existing music with another @code{transpose}
 
 Program reference: @internalsref{TransposedMusic}.
 
 
 Program reference: @internalsref{TransposedMusic}.
 

-Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
-

 
 @refbugs
 
 If you want to use both @code{\transpose} and @code{\relative},
 you must put @code{\transpose} outside of @code{\relative}, since
 
 @refbugs
 
 If you want to use both @code{\transpose} and @code{\relative},
 you must put @code{\transpose} outside of @code{\relative}, since

-@code{\relative} will have no effect on music that appears inside a
+@code{\relative} will have no effect music that appears inside a

 @code{\transpose}.
 
 
 @code{\transpose}.
 
 


@@ -458,8 +440,8 @@ you must put @code{\transpose} outside of @code{\relative}, since
 @subsection Rests
 @cindex Rests
 
 @subsection Rests
 @cindex Rests
 

-@funindex \rest
-@funindex r
+@findex \rest
+@findex r

 
 Rests are entered like notes with the note name @code{r}
 
 
 Rests are entered like notes with the note name @code{r}
 


@@ -496,8 +478,8 @@ Program reference: @internalsref{Rest}.
 @cindex Skip
 @cindex Invisible rest
 @cindex Space note
 @cindex Skip
 @cindex Invisible rest
 @cindex Space note

-@funindex \skip
-@funindex s
+@findex \skip
+@findex 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 `skip') can be entered like a note
 with note name `@code{s}' or with @code{\skip @var{duration}}


@@ -556,16 +538,16 @@ This section discusses rhythms, durations, and bars.
 @subsection Durations
 
 @cindex duration
 @subsection Durations
 
 @cindex duration

-@funindex \longa
-@funindex \breve
-@funindex \maxima
+@findex \longa
+@findex \breve
+@findex \maxima

 
 In Note, Chord, and Lyrics mode, durations are designated by numbers and
 dots: durations are entered as their reciprocal values.  For example, a
 quarter note is entered using a @code{4} (since it is a 1/4 note), while
 a half note is entered using a @code{2} (since it is a 1/2 note).  For
 
 In Note, Chord, and Lyrics mode, durations are designated by numbers and
 dots: durations are entered as their reciprocal values.  For example, a
 quarter note is entered using a @code{4} (since it is a 1/4 note), while
 a half note is entered using a @code{2} (since it is a 1/2 note).  For

-notes longer than a whole you must use the @code{\longa} and
-@code{\breve} commands
+notes longer than a whole you must use the variables @code{\longa} and
+@code{\breve}

 
 @example
 c'\breve
 
 @example
 c'\breve


@@ -586,11 +568,6 @@ r1 r2 r4 r8 r16 r32 r64 r64
   }
   \layout {
     ragged-right = ##t
   }
   \layout {
     ragged-right = ##t

-    indent=0\mm
-    \context {
-      \Score
-        \remove "Bar_number_engraver"
-    }

     \context {
       \Staff
         \remove "Clef_engraver"
     \context {
       \Staff
         \remove "Clef_engraver"


@@ -614,7 +591,7 @@ duration.  The default for the first note is a quarter note.
 @node Augmentation dots
 @subsection Augmentation dots
 
 @node Augmentation dots
 @subsection Augmentation dots
 

-@funindex .
+@findex .

 
 To obtain dotted note lengths, simply add a dot (`@code{.}') to
 the number.  Double-dotted notes are produced in a similar way.
 
 To obtain dotted note lengths, simply add a dot (`@code{.}') to
 the number.  Double-dotted notes are produced in a similar way.


@@ -629,11 +606,11 @@ Dots are normally moved up to avoid staff lines, except in polyphonic
 situations.  The following commands may be used to force a particular
 direction manually
 
 situations.  The following commands may be used to force a particular
 direction manually
 

-@funindex \dotsUp
+@findex \dotsUp

 @code{\dotsUp},
 @code{\dotsUp},

-@funindex \dotsDown
+@findex \dotsDown

 @code{\dotsDown},
 @code{\dotsDown},

-@funindex \dotsNeutral
+@findex \dotsNeutral

 @code{\dotsNeutral}.
 
 @seealso
 @code{\dotsNeutral}.
 
 @seealso


@@ -646,7 +623,7 @@ Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
 
 @cindex tuplets
 @cindex triplets
 
 @cindex tuplets
 @cindex triplets

-@funindex \times
+@findex \times

 
 Tuplets are made out of a music expression by multiplying all durations
 with a fraction
 
 Tuplets are made out of a music expression by multiplying all durations
 with a fraction


@@ -669,7 +646,7 @@ g'4 \times 2/3 {c'4 c' c'} d'4 d'4
 Tuplets may be nested, for example,
 
 @lilypond[fragment,ragged-right,verbatim,relative=2]
 Tuplets may be nested, for example,
 
 @lilypond[fragment,ragged-right,verbatim,relative=2]

-\override TupletNumber #'text = #tuplet-number::calc-fraction-text
+\set tupletNumberFormatFunction = #fraction-tuplet-formatter

 \times 4/6 {
   a4 a
   \times 3/5 { a a a a a }
 \times 4/6 {
   a4 a
   \times 3/5 { a a a a a }


@@ -678,17 +655,17 @@ Tuplets may be nested, for example,
 
 @refcommands
 
 
 @refcommands
 

-@funindex \tupletUp
+@findex \tupletUp

 @code{\tupletUp},
 @code{\tupletUp},

-@funindex \tupletDown
+@findex \tupletDown

 @code{\tupletDown},
 @code{\tupletDown},

-@funindex \tupletNeutral
+@findex \tupletNeutral

 @code{\tupletNeutral}.
 
 
 @commonprop
 
 @code{\tupletNeutral}.
 
 
 @commonprop
 

-@funindex tupletNumberFormatFunction
+@findex tupletNumberFormatFunction

 @cindex tuplet formatting
 
 The property @code{tupletSpannerDuration} specifies how long each
 @cindex tuplet formatting
 
 The property @code{tupletSpannerDuration} specifies how long each


@@ -706,10 +683,11 @@ used once
 For more information about @code{make-moment}, see
 @ref{Time administration}.
 
 For more information about @code{make-moment}, see
 @ref{Time administration}.
 

-The format of the number is determined by the property @code{text} in
-@code{TupletNumber}.  The default prints only the denominator, but if
-it is set to the function @code{tuplet-number::calc-fraction-text},
-@var{num}:@var{den} will be printed instead.
+The format of the number is determined by the property
+@code{tupletNumberFormatFunction}.  The default prints only the
+denominator, but if it is set to the Scheme function
+@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
+instead.

 
 To avoid printing tuplet numbers, use
 
 
 To avoid printing tuplet numbers, use
 


@@ -719,26 +697,6 @@ To avoid printing tuplet numbers, use
 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
 @end lilypond
 
 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
 @end lilypond
 

-Tuplet brackets can be made to run to prefatory matter or
-the next note
-
-@lilypond[ragged-right]
-\new RhythmicStaff {
-  \set tupletFullLength = ##t
-  \time 4/4
-  \times 4/5 {
-    c4 c1
-  }
-  \set tupletFullLengthNote = ##t
-  \time 2/4
-  \times 2/3 {
-    c4 c c 
-  }
-  \time 3/4
-  c4 
-}
-@end lilypond
-

 
 @seealso
 
 
 @seealso
 


@@ -775,8 +733,8 @@ This manual: @ref{Tuplets}
 @subsection Bar check
 
 @cindex Bar check
 @subsection Bar check
 
 @cindex Bar check

-@funindex barCheckSynchronize
-@funindex |
+@findex barCheckSynchronize
+@findex |

 
 Bar checks help detect errors in the durations.  A bar check is
 entered using the bar symbol, `@code{|}'.  Whenever it is encountered
 
 Bar checks help detect errors in the durations.  A bar check is
 entered using the bar symbol, `@code{|}'.  Whenever it is encountered


@@ -801,8 +759,8 @@ durations.  Incorrect durations often completely garble up the score,
 especially if the score is polyphonic, so a good place to start correcting
 input is by scanning for failed bar checks and incorrect durations.
 
 especially if the score is polyphonic, so a good place to start correcting
 input is by scanning for failed bar checks and incorrect durations.
 

-@funindex |
-@funindex pipeSymbol
+@findex |
+@findex pipeSymbol

 
 It is also possible to redefine the meaning of @code{|}.  This is done
 by assigning a music expression to @code{pipeSymbol},
 
 It is also possible to redefine the meaning of @code{|}.  This is done
 by assigning a music expression to @code{pipeSymbol},


@@ -894,8 +852,8 @@ one voice on the same staff.
 
 @cindex Chords
 
 
 @cindex Chords
 

-A chord is formed by a enclosing a set of pitches between @code{<}
-and @code{>}.  A chord may be followed by a duration, and a set of
+A chord is formed by a enclosing a set of pitches in @code{<} and
+@code{>}.  A chord may be followed by a duration, and a set of

 articulations, just like simple notes
 
 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
 articulations, just like simple notes
 
 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]


@@ -914,11 +872,11 @@ made invisible.
 
 @refcommands
 
 
 @refcommands
 

-@funindex \stemUp
+@findex \stemUp

 @code{\stemUp},
 @code{\stemUp},

-@funindex \stemDown
+@findex \stemDown

 @code{\stemDown},
 @code{\stemDown},

-@funindex \stemNeutral
+@findex \stemNeutral

 @code{\stemNeutral}.
 
 
 @code{\stemNeutral}.
 
 


@@ -944,7 +902,7 @@ The easiest way to enter fragments with more than one voice on a staff
 is to enter each voice as a sequence (with @code{@{...@}}), and combine
 them simultaneously, separating the voices with @code{\\}
 
 is to enter each voice as a sequence (with @code{@{...@}}), and combine
 them simultaneously, separating the voices with @code{\\}
 

-@funindex \\
+@findex \\

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


@@ -977,8 +935,6 @@ second
 voice in the first @code{<< \\ >>} construct is effective in the second
 @code{<< \\ >>}, and the voice is tied across the two constructs.
 
 voice in the first @code{<< \\ >>} construct is effective in the second
 @code{<< \\ >>}, and the voice is tied across the two constructs.
 

-@cindex note heads, styles
-

 @lilypond[quote,verbatim,fragment]
 \new Staff \relative c' {
   \override NoteHead #'style = #'cross
 @lilypond[quote,verbatim,fragment]
 \new Staff \relative c' {
   \override NoteHead #'style = #'cross


@@ -1146,24 +1102,24 @@ for example
 
 @refcommands
 
 
 @refcommands
 

-@funindex \oneVoice
+@findex \oneVoice

 @code{\oneVoice},
 @code{\oneVoice},

-@funindex \voiceOne
+@findex \voiceOne

 @code{\voiceOne},
 @code{\voiceOne},

-@funindex \voiceTwo
+@findex \voiceTwo

 @code{\voiceTwo},
 @code{\voiceTwo},

-@funindex \voiceThree
+@findex \voiceThree

 @code{\voiceThree},
 @code{\voiceThree},

-@funindex \voiceFour
+@findex \voiceFour

 @code{\voiceFour}.
 
 @code{\voiceFour}.
 

-@funindex \shiftOn
+@findex \shiftOn

 @code{\shiftOn},
 @code{\shiftOn},

-@funindex \shiftOnn
+@findex \shiftOnn

 @code{\shiftOnn},
 @code{\shiftOnn},

-@funindex \shiftOnnn
+@findex \shiftOnnn

 @code{\shiftOnnn},
 @code{\shiftOnnn},

-@funindex \shiftOff
+@findex \shiftOff

 @code{\shiftOff}: these commands specify in what 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)
 @code{\shiftOff}: these commands specify in what 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)


@@ -1230,14 +1186,13 @@ such as key signatures, clefs and time signatures.
 * Unmetered music::             
 * System start delimiters::     
 * Staff symbol::                
 * Unmetered music::             
 * System start delimiters::     
 * Staff symbol::                

-* Writing music in parallel::   

 @end menu
 
 
 @node Clef
 @subsection Clef
 
 @end menu
 
 
 @node Clef
 @subsection Clef
 

-@funindex \clef
+@findex \clef

 
 The clef indicates which lines of the staff correspond to which
 pitches.  The clef is set with the @code{\clef} command
 
 The clef indicates which lines of the staff correspond to which
 pitches.  The clef is set with the @code{\clef} command


@@ -1333,8 +1288,6 @@ possibilities when setting properties manually.
 
 @seealso
 
 
 @seealso
 

-Manual: @ref{Grace notes}.
-

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


@@ -1342,7 +1295,7 @@ Program reference: @internalsref{Clef}.
 @subsection Key signature
 
 @cindex Key signature
 @subsection Key signature
 
 @cindex Key signature

-@funindex \key
+@findex \key

 
 The key signature indicates the tonality in which a piece is played.  It
 is denoted by a set of alterations (flats or sharps) at the start of the
 
 The key signature indicates the tonality in which a piece is played.  It
 is denoted by a set of alterations (flats or sharps) at the start of the


@@ -1355,16 +1308,16 @@ command
 @code{\key} @var{pitch} @var{type}
 @end example
 
 @code{\key} @var{pitch} @var{type}
 @end example
 

-@funindex \minor
-@funindex \major
-@funindex \minor
-@funindex \ionian
-@funindex \locrian
-@funindex \aeolian
-@funindex \mixolydian
-@funindex \lydian
-@funindex \phrygian
-@funindex \dorian
+@findex \minor
+@findex \major
+@findex \minor
+@findex \ionian
+@findex \locrian
+@findex \aeolian
+@findex \mixolydian
+@findex \lydian
+@findex \phrygian
+@findex \dorian

 @cindex church modes
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get
 @cindex church modes
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get


@@ -1379,13 +1332,7 @@ 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}.
-
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\key g \major
-f1
-fis
-@end lilypond
+more information, see @ref{More about pitches}.

 
 
 @commonprop
 
 
 @commonprop


@@ -1418,7 +1365,7 @@ Program reference: @internalsref{KeyCancellation},
 
 @cindex Time signature
 @cindex meter
 
 @cindex Time signature
 @cindex meter

-@funindex \time
+@findex \time

 
 Time signature indicates the metrum of a piece: a regular pattern of
 strong and weak beats.  It is denoted by a fraction at the start of the
 
 Time signature indicates the metrum of a piece: a regular pattern of
 strong and weak beats.  It is denoted by a fraction at the start of the


@@ -1503,7 +1450,7 @@ Automatic beaming does not use the measure grouping specified with
 @cindex partial measure
 @cindex measure, partial
 @cindex shorten measures
 @cindex partial measure
 @cindex measure, partial
 @cindex shorten measures

-@funindex \partial
+@findex \partial

 
 Partial measures, such as an anacrusis or upbeat, are entered using the
 
 
 Partial measures, such as an anacrusis or upbeat, are entered using the
 


@@ -1517,9 +1464,6 @@ The syntax for this command is
 \partial @var{duration}
 @end example
 
 \partial @var{duration}
 @end example
 

-where @code{duration} is the rhythmic length to be added before
-the next bar.
-

 This is internally translated into
 
 @example
 This is internally translated into
 
 @example


@@ -1527,9 +1471,7 @@ This is internally translated into
 @end example
 
 The property @code{measurePosition} contains a rational number
 @end example
 
 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''.
+indicating how much of the measure has passed at this point.

 
 
 @refbugs
 
 
 @refbugs


@@ -1550,7 +1492,7 @@ a2 g2
 @subsection Bar lines
 
 @cindex Bar lines
 @subsection Bar lines
 
 @cindex Bar lines

-@funindex \bar
+@findex \bar

 @cindex measure lines
 @cindex repeat bars
 
 @cindex measure lines
 @cindex repeat bars
 


@@ -1581,12 +1523,11 @@ 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.

 
 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

-connected between different staves of a @code{StaffGroup},
-@code{PianoStaff}, or @code{ChoirStaff}.
+connected between different staves of a StaffGroup

 
 @lilypond[quote,ragged-right,fragment,verbatim]
 <<
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 <<


@@ -1605,9 +1546,9 @@ connected between different staves of a @code{StaffGroup},
 
 @commonprop
 
 
 @commonprop
 

-@funindex whichBar
-@funindex repeatCommands
-@funindex defaultBarType
+@findex whichBar
+@findex repeatCommands
+@findex defaultBarType

 
 The command @code{\bar }@var{bartype} is a short cut for doing
 @code{\set Timing.whichBar = }@var{bartype}.  Whenever @code{whichBar}
 
 The command @code{\bar }@var{bartype} is a short cut for doing
 @code{\set Timing.whichBar = }@var{bartype}.  Whenever @code{whichBar}


@@ -1637,8 +1578,8 @@ Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
 @subsection Unmetered music
 
 @cindex cadenza
 @subsection Unmetered music
 
 @cindex cadenza

-@funindex \cadenzaOn
-@funindex \cadenzaOff
+@findex \cadenzaOn
+@findex \cadenzaOff

 
 Bar lines and bar numbers are calculated automatically.  For unmetered
 music (cadenzas, for example), this is not desirable.  To turn off
 
 Bar lines and bar numbers are calculated automatically.  For unmetered
 music (cadenzas, for example), this is not desirable.  To turn off


@@ -1657,9 +1598,8 @@ d4 e d c
 
 @refbugs
 
 
 @refbugs
 

-LilyPond will only insert line breaks and page breaks at a
-barline.  Unless the unmetered music ends before the end of
-the staff line, you will need to insert
+LilyPond will only insert page breaks at a barline.  Unless the unmetered
+music ends before the end of the staff line, you will need to insert

 invisible bar lines
 
 @example
 invisible bar lines
 
 @example


@@ -1667,7 +1607,7 @@ invisible bar lines
 @end example
 
 @noindent
 @end example
 
 @noindent

-to indicate where breaks can occur.
+to indicate where line breaks can occur.

 
 
 @node System start delimiters
 
 
 @node System start delimiters


@@ -1737,7 +1677,7 @@ The bar lines at the start of each system are
 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
 @internalsref{SystemStartBracket}.  Only one of these types is created
 in every context, and that type is determined by the property
 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
 @internalsref{SystemStartBracket}.  Only one of these types is created
 in every context, and that type is determined by the property

-@internalsref{systemStartDelimiter}.
+@code{systemStartDelimiter}.

 
 
 @node Staff symbol
 
 
 @node Staff symbol


@@ -1748,7 +1688,7 @@ in every context, and that type is determined by the property
 Notes, dynamic signs, etc., are grouped
 with a set of horizontal lines, called a staff (plural `staves').  In
 LilyPond, these lines are drawn using a separate layout object called
 Notes, dynamic signs, etc., are grouped
 with a set of horizontal lines, called a staff (plural `staves').  In
 LilyPond, these lines are drawn using a separate layout object called

-@code{staff symbol}.
+staff symbol.

 
 The staff symbol may be tuned in the number, thickness and distance
 of lines, using properties.  This is demonstrated in the example files
 
 The staff symbol may be tuned in the number, thickness and distance
 of lines, using properties.  This is demonstrated in the example files


@@ -1791,28 +1731,6 @@ Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
 @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
 
 
 @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
 
 

-@node Writing music in parallel
-@subsection Writing music in parallel
-
-@cindex Writing music in parallel
-@cindex Interleaved music
-
-Music for multiple parts can be interleaved
-
-@lilypond[quote,fragment,verbatim]
-\parallelMusic #'(voiceA voiceB) {
-  r8     g'16[ c''] e''[ g' c'' e''] r8     g'16[ c''] e''[ g' c'' e''] |
-  c'2                                c'2                                |
-  r8     a'16[ d''] f''[ a' d'' f''] r8     a'16[ d''] f''[ a' d'' f''] |
-  c'2                                c'2                                |
-}
-\new StaffGroup <<
-  \new Staff \new Voice \voiceA
-  \new Staff \new Voice \voiceB
->>
-@end lilypond
-
-

 
 @node Connecting notes
 @section Connecting notes
 
 @node Connecting notes
 @section Connecting notes


@@ -1834,7 +1752,7 @@ This section deals with notation that affects groups of notes.
 @subsection Ties
 
 @cindex tie
 @subsection Ties
 
 @cindex tie

-@funindex ~
+@findex ~

 
 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
 
 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


@@ -1846,12 +1764,7 @@ e' ~ e' <c' e' g'> ~ <c' e' g'>
 @end lilypond
 
 When a tie is applied to a chord, all note heads whose pitches match
 @end lilypond
 
 When a tie is applied to a chord, all note heads whose pitches match

-are connected.  When no note heads match, no ties will be created.  Chords
-may be partially tied by placing the tie inside the chord,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-<c~ e g~ b> <c e g b>
-@end lilypond
+are connected.  When no note heads match, no ties will be created.

 
 A tie is just a way of extending a note duration, similar to the
 augmentation dot.  The following example shows two ways of notating
 
 A tie is just a way of extending a note duration, similar to the
 augmentation dot.  The following example shows two ways of notating


@@ -1877,8 +1790,6 @@ automatic note splitting (see @ref{Automatic note splitting}).  This
 mechanism automatically splits long notes, and ties them across bar
 lines.
 
 mechanism automatically splits long notes, and ties them across bar
 lines.
 

-@funindex \repeatTie
-

 When a second alternative of a repeat starts with a tied note, you
 have to repeat the tie. This can be achieved with @code{\repeatTie},
 
 When a second alternative of a repeat starts with a tied note, you
 have to repeat the tie. This can be achieved with @code{\repeatTie},
 


@@ -1900,24 +1811,23 @@ for example, to tie a tremolo to a chord. For example,
 \set tieWaitForNote = ##t
 \grace { c16[~ e~ g]~ } <c, e g>2
 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
 \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
 
 
 @refcommands
 
 
 @end lilypond
 
 
 @refcommands
 
 

-@funindex \tieUp
+@findex \tieUp

 @code{\tieUp},
 @code{\tieUp},

-@funindex \tieDown
+@findex \tieDown

 @code{\tieDown},
 @code{\tieDown},

-@funindex \tieNeutral
+@findex \tieNeutral

 @code{\tieNeutral},
 @code{\tieNeutral},

-@funindex \tieDotted
+@findex \tieDotted

 @code{\tieDotted},
 @code{\tieDotted},

-@funindex \tieDashed
+@findex \tieDashed

 @code{\tieDashed},
 @code{\tieDashed},

-@funindex \tieSolid
+@findex \tieSolid

 @code{\tieSolid}.
 
 
 @code{\tieSolid}.
 
 


@@ -1938,9 +1848,6 @@ Examples:
 
 Switching staves when a tie is active will not produce a slanted tie.
 
 
 Switching staves when a tie is active will not produce a slanted tie.
 

-Changing clefs or octavations during a tie is not really
-well-defined.  In these cases, a slur may be preferable.
-

 
 @node Slurs
 @subsection Slurs
 
 @node Slurs
 @subsection Slurs


@@ -1985,17 +1892,17 @@ be achieved in LilyPond by setting @code{doubleSlurs},
 
 @refcommands
 
 
 @refcommands
 

-@funindex \slurUp
+@findex \slurUp

 @code{\slurUp},
 @code{\slurUp},

-@funindex \slurDown
+@findex \slurDown

 @code{\slurDown},
 @code{\slurDown},

-@funindex \slurNeutral
+@findex \slurNeutral

 @code{\slurNeutral},
 @code{\slurNeutral},

-@funindex \slurDashed
+@findex \slurDashed

 @code{\slurDashed},
 @code{\slurDashed},

-@funindex \slurDotted
+@findex \slurDotted

 @code{\slurDotted},
 @code{\slurDotted},

-@funindex \slurSolid
+@findex \slurSolid

 @code{\slurSolid}.
 
 @seealso
 @code{\slurSolid}.
 
 @seealso


@@ -2028,11 +1935,11 @@ You cannot have simultaneous phrasing slurs.
 
 @refcommands
 
 
 @refcommands
 

-@funindex \phrasingSlurUp
+@findex \phrasingSlurUp

 @code{\phrasingSlurUp},
 @code{\phrasingSlurUp},

-@funindex \phrasingSlurDown
+@findex \phrasingSlurDown

 @code{\phrasingSlurDown},
 @code{\phrasingSlurDown},

-@funindex \phrasingSlurNeutral
+@findex \phrasingSlurNeutral

 @code{\phrasingSlurNeutral}.
 
 
 @code{\phrasingSlurNeutral}.
 
 


@@ -2095,8 +2002,8 @@ Program reference: @internalsref{Beam}.
 @subsection Manual beams
 
 @cindex beams, manual
 @subsection Manual beams
 
 @cindex beams, manual

-@funindex ]
-@funindex [
+@findex ]
+@findex [

 
 In some cases it may be necessary to override the automatic beaming
 algorithm.  For example, the autobeamer will not put beams over rests
 
 In some cases it may be necessary to override the automatic beaming
 algorithm.  For example, the autobeamer will not put beams over rests


@@ -2112,8 +2019,8 @@ and end point with @code{[} and @code{]}
 
 @commonprop
 
 
 @commonprop
 

-@funindex stemLeftBeamCount
-@funindex stemRightBeamCount
+@findex stemLeftBeamCount
+@findex stemRightBeamCount

 
 Normally, beaming patterns within a beam are determined automatically.
 If necessary, the properties @code{stemLeftBeamCount} and
 
 Normally, beaming patterns within a beam are determined automatically.
 If necessary, the properties @code{stemLeftBeamCount} and


@@ -2142,7 +2049,7 @@ c16[ c c c c c c c]
 \set Score.beatLength = #(ly:make-moment 1 8)
 c16[ c c c c c c c]
 @end lilypond
 \set Score.beatLength = #(ly:make-moment 1 8)
 c16[ c c c c c c c]
 @end lilypond

-@funindex subdivideBeams
+@findex subdivideBeams

 
 @noindent
 For more information about @code{make-moment}, see
 
 @noindent
 For more information about @code{make-moment}, see


@@ -2151,7 +2058,7 @@ For more information about @code{make-moment}, see
 Line breaks are normally forbidden when beams cross bar lines.  This
 behavior can be changed by setting @code{allowBeamBreak}.
 
 Line breaks are normally forbidden when beams cross bar lines.  This
 behavior can be changed by setting @code{allowBeamBreak}.
 

-@funindex allowBeamBreak
+@findex allowBeamBreak

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


@@ -2173,7 +2080,7 @@ texts and accidentals.
 @node Grace notes
 @subsection Grace notes
 
 @node Grace notes
 @subsection Grace notes
 

-@funindex \grace
+@findex \grace

 @cindex ornaments
 @cindex grace notes
 @cindex appoggiatura
 @cindex ornaments
 @cindex grace notes
 @cindex appoggiatura


@@ -2241,7 +2148,7 @@ every eighth grace note
    \new Staff { c4 \grace { g8[ b] } c4 } >>
 @end lilypond
 
    \new Staff { c4 \grace { g8[ b] } c4 } >>
 @end lilypond
 

-@funindex \afterGrace
+@findex \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 notes
 
 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 notes


@@ -2280,7 +2187,6 @@ A @code{\grace} section will introduce special typesetting settings,
 for example, to produce smaller type, and set directions.  Hence, when
 introducing layout tweaks, they should be inside the grace section,
 for example,
 for example, to produce smaller type, and set directions.  Hence, when
 introducing layout tweaks, they should be inside the grace section,
 for example,

-

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


@@ -2297,8 +2203,8 @@ The overrides should also be reverted inside the grace section.
 
 The layout of grace sections can be changed throughout the music using
 the function @code{add-grace-property}.  The following example
 
 The layout of grace sections can be changed throughout the music using
 the function @code{add-grace-property}.  The following example

-undefines the @code{Stem} direction for this grace, so
-that stems do not always point up.
+undefines the Stem direction for this grace, so stems do not always
+point up.

 
 @example
 \new Staff @{
 
 @example
 \new Staff @{


@@ -2318,30 +2224,6 @@ Another option is to change the variables @code{startGraceMusic},
 The slash through the stem in acciaccaturas can be obtained
 in other situations by @code{\override Stem  #'stroke-style = #"grace"}.
 
 The slash through the stem in acciaccaturas can be obtained
 in other situations by @code{\override Stem  #'stroke-style = #"grace"}.
 

-
-@commonprop
-
-Grace notes may be forced to use floating spacing,
-
-@lilypond[relative=2,ragged-right]
-<<
-  \override Score.SpacingSpanner #'strict-grace-spacing = ##t
-  \new Staff {
-     c'4
-     \afterGrace
-     c'4
-     { c'16[ c'8 c'16] }
-     c'4
-  }  
-  \new Staff {
-     c'16[ c'16 c'16 c'16]
-     c'16[ c'16 c'16 c'16]
-     c'4
-  }
->>
-@end lilypond
-
-

 @seealso
 
 Program reference: @internalsref{GraceMusic}.
 @seealso
 
 Program reference: @internalsref{GraceMusic}.


@@ -2390,7 +2272,6 @@ notes and rhythms.
 * Trills::                      
 * Glissando::                   
 * Arpeggio::                    
 * Trills::                      
 * Glissando::                   
 * Arpeggio::                    

-* Falls and doits::             

 @end menu
 
 
 @end menu
 
 


@@ -2556,23 +2437,23 @@ Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
 @subsection Dynamics
 
 @cindex Dynamics
 @subsection Dynamics
 
 @cindex Dynamics

-@funindex \pppp
-@funindex \ppp
-@funindex \pp
-@funindex \p
-@funindex \mp
-@funindex \mf
-@funindex \f
-@funindex \ff
-@funindex \fff
-@funindex \ffff
-@funindex \fp
-@funindex \sf
-@funindex \sff
-@funindex \sp
-@funindex \spp
-@funindex \sfz
-@funindex \rfz
+@findex \pppp
+@findex \ppp
+@findex \pp
+@findex \p
+@findex \mp
+@findex \mf
+@findex \f
+@findex \ff
+@findex \fff
+@findex \ffff
+@findex \fp
+@findex \sf
+@findex \sff
+@findex \sp
+@findex \spp
+@findex \sfz
+@findex \rfz

 
 Absolute dynamic marks are specified using a command after a note
 @code{c4\ff}.  The available dynamic marks are @code{\ppppp},
 
 Absolute dynamic marks are specified using a command after a note
 @code{c4\ff}.  The available dynamic marks are @code{\ppppp},


@@ -2586,9 +2467,9 @@ c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
 @end lilypond
 
 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
 @end lilypond
 

-@funindex \<
-@funindex \>
-@funindex \!
+@findex \<
+@findex \>
+@findex \!

 
 A crescendo mark is started with @code{\<} and terminated with
 @code{\!} or an absolute dynamic.  A decrescendo is started with
 
 A crescendo mark is started with @code{\<} and terminated with
 @code{\!} or an absolute dynamic.  A decrescendo is started with


@@ -2604,13 +2485,7 @@ c\< c\! d\> e\!
 
 @noindent
 A hairpin starts at the left edge of the beginning note and ends on the
 
 @noindent
 A hairpin starts at the left edge of the beginning note and ends on the

-right edge of the ending note.  This may be modified by setting
-the @code{hairpinToBarline} property,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\set hairpinToBarline = ##t
-c4\< c2. c4\!
-@end lilypond
+right edge of the ending note.

 
 In some situations the @code{\espressivo} articulation mark may
 be suitable to indicate a crescendo and decrescendo on the one note,
 
 In some situations the @code{\espressivo} articulation mark may
 be suitable to indicate a crescendo and decrescendo on the one note,


@@ -2624,27 +2499,14 @@ in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
 example
 
 @example
 example
 
 @example

-\override Voice.Hairpin #'minimum-length = #5
+\override Staff.Hairpin #'minimum-length = #5

 @end example
 
 @end example
 

-@cindex al niente
-@cindex niente, al
-
-Hairpins may be printed with a circled tip (al niente notation) by
-setting the @code{circled-tip} property,
-
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-\override Hairpin #'circled-tip = ##t
-c2\< c\!
-c4\> c\< c2\!
-@end lilypond
-
-

 @cindex crescendo
 @cindex decrescendo
 @cindex diminuendo
 
 @cindex crescendo
 @cindex decrescendo
 @cindex diminuendo
 

-You can also use text saying @emph{cresc.} instead of hairpins
+You can also use a text saying @emph{cresc.} instead of hairpins

 
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \setTextCresc
 
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \setTextCresc


@@ -2689,8 +2551,7 @@ new line are not printed.  To change this behavior, use
 \override Score.Hairpin #'after-line-breaking = ##t
 @end example
 
 \override Score.Hairpin #'after-line-breaking = ##t
 @end example
 

-Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
-are printed with a
+Text style dynamic changes (such as cresc. and dim.) are printed with a

 dashed line showing their extent.  To surpress printing this line, use
 
 @example
 dashed line showing their extent.  To surpress printing this line, use
 
 @example


@@ -2700,11 +2561,11 @@ dashed line showing their extent.  To surpress printing this line, use
 
 @refcommands
 
 
 @refcommands
 

-@funindex \dynamicUp
+@findex \dynamicUp

 @code{\dynamicUp},
 @code{\dynamicUp},

-@funindex \dynamicDown
+@findex \dynamicDown

 @code{\dynamicDown},
 @code{\dynamicDown},

-@funindex \dynamicNeutral
+@findex \dynamicNeutral

 @code{\dynamicNeutral}.
 
 
 @code{\dynamicNeutral}.
 
 


@@ -2765,7 +2626,7 @@ Long running trills are made with @code{\startTrillSpan} and
 Trills that should be executed on an explicitly specified pitch can be
 typeset with the command @code{pitchedTrill},
 
 Trills that should be executed on an explicitly specified pitch can be
 typeset with the command @code{pitchedTrill},
 

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

 \pitchedTrill c4\startTrillSpan fis
 f\stopTrillSpan
 @end lilypond
 \pitchedTrill c4\startTrillSpan fis
 f\stopTrillSpan
 @end lilypond


@@ -2777,9 +2638,9 @@ is printed as a stemless note head in parentheses.
 @refcommands
 
 @code{\startTrillSpan},
 @refcommands
 
 @code{\startTrillSpan},

-@funindex \startTrillSpan
+@findex \startTrillSpan

 @code{\stopTrillSpan}.
 @code{\stopTrillSpan}.

-@funindex \stopTrillSpan
+@findex \stopTrillSpan

 
 
 @seealso
 
 
 @seealso


@@ -2791,7 +2652,7 @@ Program reference: @internalsref{TrillSpanner}.
 @subsection Glissando
 
 @cindex Glissando
 @subsection Glissando
 
 @cindex Glissando

-@funindex \glissando
+@findex \glissando

 
 A glissando is a smooth change in pitch.  It is denoted by a line or a
 wavy line between two notes.  It is requested by attaching
 
 A glissando is a smooth change in pitch.  It is denoted by a line or a
 wavy line between two notes.  It is requested by attaching


@@ -2821,7 +2682,7 @@ Printing text over the line (such as @emph{gliss.}) is not supported.
 
 @cindex Arpeggio
 @cindex broken chord
 
 @cindex Arpeggio
 @cindex broken chord

-@funindex \arpeggio
+@findex \arpeggio

 
 You can specify an arpeggio sign (also known as broken chord) on a
 chord by attaching an @code{\arpeggio} to a chord
 
 You can specify an arpeggio sign (also known as broken chord) on a
 chord by attaching an @code{\arpeggio} to a chord


@@ -2869,13 +2730,13 @@ in both staves and set
 @refcommands
 
 @code{\arpeggio},
 @refcommands
 
 @code{\arpeggio},

-@funindex \arpeggioUp
+@findex \arpeggioUp

 @code{\arpeggioUp},
 @code{\arpeggioUp},

-@funindex \arpeggioDown
+@findex \arpeggioDown

 @code{\arpeggioDown},
 @code{\arpeggioDown},

-@funindex \arpeggioNeutral
+@findex \arpeggioNeutral

 @code{\arpeggioNeutral},
 @code{\arpeggioNeutral},

-@funindex \arpeggioBracket
+@findex \arpeggioBracket

 @code{\arpeggioBracket}.
 
 
 @code{\arpeggioBracket}.
 
 


@@ -2892,17 +2753,7 @@ It is not possible to mix connected arpeggios and unconnected
 arpeggios in one @internalsref{PianoStaff} at the same point in time.
 
 
 arpeggios in one @internalsref{PianoStaff} at the same point in time.
 
 

-@node Falls and doits
-@subsection Falls and doits

 
 

-Falls and doits can be added to notes using the @code{\bendAfter}
-command,
-
-@lilypond[fragment,ragged-right,relative=2]
-\override Score.SpacingSpanner #'shortest-duration-space = #3.0
-c4-\bendAfter #+5
-c4-\bendAfter #-3
-@end lilypond

 
 
 @node Repeats
 
 
 @node Repeats


@@ -2926,7 +2777,7 @@ for repetitions.
 @subsection Repeat types
 
 @cindex repeats
 @subsection Repeat types
 
 @cindex repeats

-@funindex \repeat
+@findex \repeat

 
 The following types of repetition are supported
 
 
 The following types of repetition are supported
 


@@ -2955,7 +2806,7 @@ Make tremolo beams.  These are not played in MIDI output by default.
 @item percent
 Make beat or measure repeats.  These look like percent signs.  These
 are not played in MIDI output by default.  Percent repeats must be
 @item percent
 Make beat or measure repeats.  These look like percent signs.  These
 are not played in MIDI output by default.  Percent repeats must be

-declared within a @code{Voice} context.
+declared within a Voice context.

 
 @end table
 
 
 @end table
 


@@ -2971,7 +2822,7 @@ repeats.  The syntax is
 @end example
 
 If you have alternative endings, you may add
 @end example
 
 If you have alternative endings, you may add

-@funindex \alternative
+@findex \alternative

 @example
 \alternative @{
   @var{alternative1}
 @example
 \alternative @{
   @var{alternative1}


@@ -3000,8 +2851,8 @@ c1
 \alternative { {d2 d} {f f,} }
 @end lilypond
 
 \alternative { {d2 d} {f f,} }
 @end lilypond
 

-In the following example, the first ending is not a complete
-bar (it only had 3 beats).  The beginning of the second ending
+In this 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''
 beat in the second ending is due to the first time ending,
 and has nothing to do with the @code{\partial} at the
 contains the 4th beat from the first ending.  This ``extra''
 beat in the second ending is due to the first time ending,
 and has nothing to do with the @code{\partial} at the


@@ -3015,16 +2866,6 @@ beginning of the example.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@funindex \repeatTie
-
-Ties may be added to a second ending,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-c1
-\repeat volta 2 {c4 d e f ~ }
-\alternative { {f2 d} {f\repeatTie f,} }
-@end lilypond
-

 It is possible to shorten volta brackets
 by setting @code{voltaSpannerDuration}.  In the next example, the
 bracket only lasts one measure, which is a duration of 3/4.
 It is possible to shorten volta brackets
 by setting @code{voltaSpannerDuration}.  In the next example, the
 bracket only lasts one measure, which is a duration of 3/4.


@@ -3069,8 +2910,8 @@ having the @code{\alternative} belong to the inner @code{\repeat}.
 For clarity, it is advisable to use braces in such situations.
 
 Timing information is not remembered at the start of an alternative,
 For clarity, it is advisable to use braces in such situations.
 
 Timing information is not remembered at the start of an alternative,

-so after a repeat timing information must be reset by hand; for
-example, by setting @code{Score.measurePosition} or entering
+so after a repeat timing information must be reset by hand, for
+example by setting @code{Score.measurePosition} or entering

 @code{\partial}.  Similarly, slurs or ties are also not repeated.
 
 
 @code{\partial}.  Similarly, slurs or ties are also not repeated.
 
 


@@ -3078,11 +2919,11 @@ example, by setting @code{Score.measurePosition} or entering
 @subsection Repeats and MIDI
 
 @cindex expanding repeats
 @subsection Repeats and MIDI
 
 @cindex expanding repeats

-@funindex \unfoldRepeats
+@findex \unfoldRepeats

 
 With a little bit of tweaking, all types of repeats can be present
 in the MIDI output.  This is achieved by applying the
 
 With a little bit of tweaking, all types of repeats can be present
 in the MIDI output.  This is achieved by applying the

-@code{\unfoldRepeats} music function.  This function changes all
+@code{\unfoldRepeats} music function.  This functions changes all

 repeats to unfold repeats.
 
 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
 repeats to unfold repeats.
 
 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]


@@ -3098,8 +2939,8 @@ repeats to unfold repeats.
 \bar "|."
 @end lilypond
 
 \bar "|."
 @end lilypond
 

-When creating a score file using @code{\unfoldRepeats} for MIDI,
-it is necessary to make two @code{\score} blocks: one for MIDI (with
+When creating a score file using @code{\unfoldRepeats} for midi, then
+it is necessary to make two @code{\score} blocks.  One for MIDI (with

 unfolded repeats) and one for notation (with volta, tremolo, and
 percent repeats).  For example,
 
 unfolded repeats) and one for notation (with volta, tremolo, and
 percent repeats).  For example,
 


@@ -3118,7 +2959,7 @@ percent repeats).  For example,
 @node Manual repeat commands
 @subsection Manual repeat commands
 
 @node Manual repeat commands
 @subsection Manual repeat commands
 

-@funindex repeatCommands
+@findex repeatCommands

 
 The property @code{repeatCommands} can be used to control the layout of
 repeats.  Its value is a Scheme list of repeat commands.
 
 The property @code{repeatCommands} can be used to control the layout of
 repeats.  Its value is a Scheme list of repeat commands.


@@ -3197,7 +3038,7 @@ Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
 @subsection Tremolo subdivisions
 
 @cindex tremolo marks
 @subsection Tremolo subdivisions
 
 @cindex tremolo marks

-@funindex tremoloFlags
+@findex tremoloFlags

 
 Tremolo marks can be printed on a single note by adding
 `@code{:}[@var{number}]' after the note.  The number indicates the
 
 Tremolo marks can be printed on a single note by adding
 `@code{:}[@var{number}]' after the note.  The number indicates the


@@ -3254,10 +3095,10 @@ on the @code{countPercentRepeats} property,
 
 
 
 
 
 

-Isolated percents can also be printed. This is done by putting a
-multi-measure rest with a different print function,
+Isolated percents can also be printed. This is done by putting a multi
+measure rest with a different print function,

 
 

-@lilypond[fragment,verbatim,quote]
+@lilypond[fragment,verbatim]

 \override MultiMeasureRest #'stencil
   = #ly:multi-measure-rest::percent
 R1
 \override MultiMeasureRest #'stencil
   = #ly:multi-measure-rest::percent
 R1