Organize macros.texi, and make lsr snippets look better in pdf output.

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

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index aeeb5ed9d4cb5d9ca4f2deaa58eb6596e9dad886..10b7161f7c8e9ae8623ae2304ced35d5f4b60c0a 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


@@ -214,23 +221,59 @@ example, add @code{\include "english.ly"} to the top of the input
 file.  The available language files
 and the note names they define are
 
 file.  The available language files
 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  Oh, and should this be made into a multitable?
+@c  Should this be made into a multitable?

 @cindex note names, other languages
 @example
 @cindex note names, other languages
 @example

-                        Note Names               sharp       flat
-nederlands.ly  c   d   e   f   g   a   bes b   -is         -es
-english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat
-                                               -x (double)
-deutsch.ly     c   d   e   f   g   a   b   h   -is         -es
-norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es
-svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess
-italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b
-catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b
-espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b
+                        Note Names               sharp       flat     double        double
+                                                                       sharp        flat
+
+nederlands.ly  c   d   e   f   g   a   bes b   -is         -es       -isis         -eses
+english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat  -ss/-x/       -ff/
+                                                                     -sharpsharp   -flatflat
+deutsch.ly     c   d   e   f   g   a   b   h   -is         -es       -isis         -eses
+norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es  -ississ/-isis -essess/-eses
+svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess      -ississ       -essess
+italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b        -dd           -bb
+catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b        -dd/-ss       -bb
+espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b        -ss           -bb

 @end example
 
 @end example
 

+@noindent
+Note that in Dutch, German, Norwegian, and Swedish, the flat
+alterations of @samp{a} like for example @code{aes} and @code{aeses}
+are usually contracted to @code{as} and @code{ases} (or more commonly
+@code{asas}). Sometimes only these contracted names are defined in the
+corresponding language files (this also applies to the suffixes for
+quartertones below).
+
+@noindent
+Some music uses microtones whose alterations are fractions of a
+@q{regular} sharp or flat. The note names for quartertones defined in
+the various language files are listed in the following table. Here the
+prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
+half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
+special names have been defined yet.
+@c What about Turkish Maquam music and similar microtonal systems?
+@c
+@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code 
+@c is actually misleading since the alteration is in fact one and a half
+@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
+
+@example
+                        Note Names             semi-   semi-  sesqui-  sesqui-
+                                               sharp   flat    sharp    flat
+
+nederlands.ly  c   d   e   f   g   a   bes b   -ih     -eh    -isih    -eseh
+english.ly     c   d   e   f   g   a   bf  b   -qs     -qf    -tqs     -tqf
+deutsch.ly     c   d   e   f   g   a   b   h   -ih     -eh    -isih    -eseh
+norsk.ly       c   d   e   f   g   a   b   h   
+svenska.ly     c   d   e   f   g   a   b   h   
+italiano.ly    do  re  mi  fa  sol la  sib si  -sd     -sb    -dsd     -bsb
+catalan.ly     do  re  mi  fa  sol la  sib si  
+espanol.ly     do  re  mi  fa  sol la  sib si  
+@end example
+
+

 
 @node Relative octaves
 @subsection Relative octaves
 
 @node Relative octaves
 @subsection Relative octaves


@@ -422,7 +465,7 @@ 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 +542,8 @@ 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 +659,7 @@ 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]


@@ -719,6 +762,49 @@ 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
 

+Use the @code{\tweak} function to override nested tuplets beginning at the
+same music moment.  In this example, @code{\tweak} specifies fraction
+text for the
+outer @code{TupletNumber} and denominator text for the @code{TupletNumber}
+of the first of the three inner tuplets.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+  \tweak #'text #tuplet-number::calc-fraction-text
+  \times 4/3 {
+     \tweak #'text #tuplet-number::calc-denominator-text
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+  }
+}
+@end lilypond
+
+Here @code{\tweak} and @code{\override} work together to specify
+@code{TupletBracket} direction.  The first @code{\tweak} positions
+the @code{TupletBracket} of the outer
+tuplet above the staff.  The second @code{\tweak} positions the
+@code{TupletBracket} of the first of the three inner tuplets below the
+staff.  Note that this pair of @code{\tweak} functions affects only
+the outer tuplet and the first of the three inner tuplets because only
+those two tuplets begin at the same music moment.  We use @code{\override}
+in the usual way to position the @code{TupletBrackets} of
+the second and third of the inner tuplets below the staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+  \tweak #'text #tuplet-number::calc-fraction-text
+  \tweak #'direction #up
+  \times 4/3 {
+     \tweak #'direction #down
+     \times 2/3 { c'8[ c'8 c'8] }
+     \override TupletBracket #'direction = #down
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+  }
+}
+@end lilypond
+

 Tuplet brackets can be made to run to prefatory matter or
 the next note
 
 Tuplet brackets can be made to run to prefatory matter or
 the next note
 


@@ -745,19 +831,19 @@ 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
-will not affect the appearance of the notes or rests produced.
+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.  These
+may be combined such as @samp{*M*N}.

 
 In the following example, the first three notes take up exactly two
 beats, but no triplet bracket is printed.
 
 In the following example, the first three notes take up exactly two
 beats, but no triplet bracket is printed.

+

 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \time 2/4
 a4*2/3 gis4*2/3 a4*2/3
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \time 2/4
 a4*2/3 gis4*2/3 a4*2/3


@@ -768,7 +854,7 @@ b16*4 c4
 
 @seealso
 
 
 @seealso
 

-This manual: @ref{Tuplets}
+This manual: @ref{Tuplets}.

 
 
 @node Bar check
 
 
 @node Bar check


@@ -779,7 +865,7 @@ 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 +956,11 @@ 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 +1044,7 @@ 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 +1094,7 @@ 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 +1197,29 @@ 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 +1230,8 @@ 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.


@@ -1151,6 +1251,30 @@ 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
 


@@ -1172,8 +1296,9 @@ 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.


@@ -1200,13 +1325,6 @@ 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
 


@@ -1377,7 +1495,7 @@ 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}.
 


@@ -1387,7 +1505,7 @@ 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


@@ -1453,7 +1571,7 @@ property.  Setting it to @code{#'()} uses fraction style for 4/4 and
 @end lilypond
 
 There are many more options for its layout.  See @ref{Ancient time
 @end lilypond
 
 There are many more options for its layout.  See @ref{Ancient time

-signatures} for more examples.
+signatures}, for more examples.

 
 @code{\time} sets the property @code{timeSignatureFraction},
 @code{beatLength} and @code{measureLength} in the @code{Timing}
 
 @code{\time} sets the property @code{timeSignatureFraction},
 @code{beatLength} and @code{measureLength} in the @code{Timing}


@@ -1537,7 +1655,7 @@ 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


@@ -1774,7 +1892,7 @@ System start delimiters may be deeply nested,
 @cindex adjusting staff symbol
 
 Notes, dynamic signs, etc., are grouped
 @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}.
 


@@ -1815,7 +1933,7 @@ 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


@@ -1907,7 +2025,7 @@ 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'>


@@ -2007,12 +2125,6 @@ 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
 


@@ -2141,7 +2253,7 @@ 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


@@ -2155,7 +2267,7 @@ LilyPond inserts beams automatically
 
 When these automatic decisions are not good enough, beaming can be
 entered explicitly.  It is also possible to define beaming patterns
 
 When these automatic decisions are not good enough, beaming can be
 entered explicitly.  It is also possible to define beaming patterns

-that differ from the defaults.  See @ref{Setting automatic beam behavior}
+that differ from the defaults.  See @ref{Setting automatic beam behavior},

 for details.
 
 Individual notes may be marked with @code{\noBeam} to prevent them
 for details.
 
 Individual notes may be marked with @code{\noBeam} to prevent them


@@ -2229,9 +2341,10 @@ 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


@@ -2241,7 +2354,8 @@ behavior can be changed by setting @code{allowBeamBreak}.
 @refbugs
 
 Kneed beams are inserted automatically when a large gap is detected
 @refbugs
 
 Kneed beams are inserted automatically when a large gap is detected

-between the note heads.  This behavior can be tuned through the object.
+between the note heads.  This behavior can be tuned through the
+@code{auto-knee-gap} object.

 
 Automatically kneed cross-staff beams cannot be used together with
 hidden staves.  See @ref{Hiding staves}.
 
 Automatically kneed cross-staff beams cannot be used together with
 hidden staves.  See @ref{Hiding staves}.


@@ -2285,7 +2399,7 @@ 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


@@ -2331,7 +2445,7 @@ 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.
 


@@ -2629,7 +2743,7 @@ 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


@@ -2749,6 +2863,9 @@ a'2\< a a a\!\mf
 To create new dynamic marks or text that should be aligned
 with dynamics, see @ref{New dynamic marks}.
 
 To create new dynamic marks or text that should be aligned
 with dynamics, see @ref{New dynamic marks}.
 

+Vertical positioning of dynamics is handled by
+@internalsref{DynamicLineSpanner}.
+

 
 @commonprop
 
 
 @commonprop
 


@@ -2824,7 +2941,7 @@ 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


@@ -2890,7 +3007,9 @@ 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


@@ -3039,6 +3158,10 @@ 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
 


@@ -3080,8 +3203,8 @@ 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''
-beat in the second ending is due to the first time ending,
+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.
 
 and has nothing to do with the @code{\partial} at the
 beginning of the example.
 


@@ -3125,7 +3248,9 @@ 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


@@ -3269,9 +3394,6 @@ 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


@@ -3280,7 +3402,7 @@ 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