Merge branch 'master' of git+ssh://jneem@git.sv.gnu.org/srv/git/lilypond

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

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index 401dd33ce9886258ffb6ccb7bf2b9cfc2535406d..da60b0e06cc876bc33edbfe50d74a0d53935c4be 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


@@ -92,20 +99,21 @@ 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}
+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.

 
 @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
 

-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
+@noindent
+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 aisis a aeses
+a2 as e es

 @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.


@@ -116,6 +124,18 @@ 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 @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
+@ref{Accidentals and key signatures}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+\key d \major
+d e f g
+d e fis g
+@end lilypond
+

 
 @commonprop
 
 
 @commonprop
 


@@ -154,7 +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]


@@ -192,8 +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


@@ -202,7 +222,7 @@ 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 clumns to the table?
+@c  more columns 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


@@ -270,6 +290,7 @@ 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''


@@ -287,7 +308,7 @@ to determine the first note of the next chord
 }
 @end lilypond
 
 }
 @end lilypond
 

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


@@ -321,11 +342,13 @@ 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.  If not, a warning is printed, and the
+quotes) in @code{\relative} mode compared to the note given in the
+@code{\relative} command.  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 relative mode) is within a fifth of @code{a'}.  However,
+the @code{e} (in @code{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


@@ -406,7 +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
 


@@ -414,7 +437,7 @@ 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}
 


@@ -427,12 +450,14 @@ 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 music that appears inside a
+@code{\relative} will have no effect on music that appears inside a

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


@@ -481,8 +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


@@ -546,8 +571,8 @@ 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
 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 variables @code{\longa} and
-@code{\breve}
+notes longer than a whole you must use the @code{\longa} and
+@code{\breve} commands

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


@@ -568,6 +593,11 @@ 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"


@@ -593,7 +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]


@@ -646,7 +676,7 @@ 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]

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

 \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 }


@@ -683,11 +713,10 @@ 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{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.
+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.

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


@@ -697,6 +726,26 @@ 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
 


@@ -711,7 +760,7 @@ Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
 @subsection Scaling durations
 
 You can alter the length of duration by a fraction @var{N/M}
 @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


@@ -737,7 +786,7 @@ 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


@@ -811,6 +860,10 @@ ties.  One of its uses is to debug complex scores: if the measures are
 not entirely filled, then the ties exactly show how much each measure
 is off.
 
 not entirely filled, then the ties exactly show how much each measure
 is off.
 

+If you want to allow line breaking on the bar lines where
+@internalsref{Completion_heads_engraver} splits notes, you must
+also remove @internalsref{Forbid_line_breaks_engraver}.
+

 
 @refbugs
 
 
 @refbugs
 


@@ -831,8 +884,8 @@ Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
 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


@@ -852,8 +905,8 @@ one voice on the same staff.
 
 @cindex Chords
 
 
 @cindex Chords
 

-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
+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

 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]


@@ -916,7 +969,7 @@ 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


@@ -1094,6 +1147,10 @@ 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
 


@@ -1291,6 +1348,8 @@ possibilities when setting properties manually.
 
 @seealso
 
 
 @seealso
 

+Manual: @ref{Grace notes}.
+

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


@@ -1325,7 +1384,7 @@ 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}.
 


@@ -1335,7 +1394,13 @@ 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{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
+f1
+fis
+@end lilypond

 
 
 @commonprop
 
 
 @commonprop


@@ -1467,6 +1532,9 @@ 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


@@ -1474,7 +1542,9 @@ 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.
+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 @qq{there is a quarter note left in the bar.}

 
 
 @refbugs
 
 
 @refbugs


@@ -1490,6 +1560,10 @@ 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


@@ -1526,11 +1600,12 @@ 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.
+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

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

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


@@ -1574,8 +1649,6 @@ 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


@@ -1601,8 +1674,9 @@ d4 e d c
 
 @refbugs
 
 
 @refbugs
 

-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
+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

 invisible bar lines
 
 @example
 invisible bar lines
 
 @example


@@ -1610,7 +1684,7 @@ invisible bar lines
 @end example
 
 @noindent
 @end example
 
 @noindent

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

 
 
 @node System start delimiters
 
 
 @node System start delimiters


@@ -1680,7 +1754,25 @@ 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

-@code{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
 
 
 @node Staff symbol


@@ -1689,9 +1781,9 @@ in every context, and that type is determined by the property
 @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
 LilyPond, these lines are drawn using a separate layout object called

-staff symbol.
+@code{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


@@ -1712,8 +1804,7 @@ 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
 


@@ -1755,6 +1846,47 @@ 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


@@ -1782,14 +1914,19 @@ 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'>
 @end lilypond
 
 When a tie is applied to a chord, all note heads whose pitches match
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 e' ~ e' <c' e' g'> ~ <c' e' g'>
 @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.
+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

 
 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


@@ -1815,6 +1952,8 @@ 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},
 


@@ -1832,10 +1971,23 @@ 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
 \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
 
 
 @end lilypond
 
 


@@ -1873,6 +2025,9 @@ 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


@@ -2137,7 +2292,7 @@ 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


@@ -2183,7 +2338,7 @@ 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.
 


@@ -2212,6 +2367,7 @@ 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 {


@@ -2228,8 +2384,8 @@ 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 Stem direction for this grace, so stems do not always
-point up.
+undefines the @code{Stem} direction for this grace, so
+that stems do not always point up.

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


@@ -2249,6 +2405,30 @@ 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}.


@@ -2297,6 +2477,7 @@ notes and rhythms.
 * Trills::                      
 * Glissando::                   
 * Arpeggio::                    
 * Trills::                      
 * Glissando::                   
 * Arpeggio::                    

+* Falls and doits::             

 @end menu
 
 
 @end menu
 
 


@@ -2509,8 +2690,16 @@ c\< c\! d\> e\!
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-A hairpin starts at the left edge of the beginning note and ends on the
-right edge of the ending note.
+A hairpin normally starts at the left edge of the beginning note
+and ends on the right edge of the ending note.  If the ending
+note falls on the downbeat, the hairpin ends on the immediately
+preceding barline. This may be modified by setting the
+@code{hairpinToBarline} property,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\set hairpinToBarline = ##f
+c4\< c2. c4\!
+@end lilypond

 
 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,


@@ -2524,14 +2713,27 @@ in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
 example
 
 @example
 example
 
 @example

-\override Staff.Hairpin #'minimum-length = #5
+\override Voice.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 a text saying @emph{cresc.} instead of hairpins
+You can also use 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


@@ -2576,7 +2778,8 @@ 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 cresc. and dim.) are printed with a
+Text style dynamic changes (such as @emph{cresc.} and @emph{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


@@ -2651,7 +2854,7 @@ 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]
+@lilypond[ragged-right,verbatim,fragment,relative=1,quote]

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


@@ -2778,7 +2981,17 @@ 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


@@ -2818,12 +3031,6 @@ printed, left to right with brackets.  This is the standard notation
 for repeats with alternatives.  These are not played in MIDI output by
 default.
 
 for repeats with alternatives.  These are not played in MIDI output by
 default.
 

-@ignore
-@item fold
-Alternative endings are written stacked.  This has limited use but may be
-used to typeset two lines of lyrics in songs with repeats, see
-@inputfileref{input,star-spangled-banner@/.ly}.
-@end ignore

 
 @item tremolo
 Make tremolo beams.  These are not played in MIDI output by default.
 
 @item tremolo
 Make tremolo beams.  These are not played in MIDI output by default.


@@ -2831,7 +3038,7 @@ 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 Voice context.
+declared within a @code{Voice} context.

 
 @end table
 
 
 @end table
 


@@ -2839,6 +3046,10 @@ declared within a 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
 


@@ -2863,6 +3074,7 @@ give enough alternatives for all of the repeats, the first alternative
 is assumed to be played more than once.
 
 Standard repeats are used like this
 is assumed to be played more than once.
 
 Standard repeats are used like this

+

 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 c1
 \repeat volta 2 { c4 d e f }
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 c1
 \repeat volta 2 { c4 d e f }


@@ -2870,15 +3082,16 @@ c1
 @end lilypond
 
 With alternative endings
 @end lilypond
 
 With alternative endings

+

 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 c1
 \repeat volta 2 {c4 d e f}
 \alternative { {d2 d} {f f,} }
 @end lilypond
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 c1
 \repeat volta 2 {c4 d e f}
 \alternative { {d2 d} {f f,} }
 @end lilypond
 

-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''
+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 @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.


@@ -2891,6 +3104,16 @@ 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.


@@ -2935,10 +3158,12 @@ 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.
 

+Volta brackets are not vertically aligned.
+

 
 @node Repeats and MIDI
 @subsection Repeats and MIDI
 
 @node Repeats and MIDI
 @subsection Repeats and MIDI


@@ -2948,7 +3173,7 @@ example by setting @code{Score.measurePosition} or entering
 
 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 functions changes all
+@code{\unfoldRepeats} music function.  This function 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]


@@ -2964,8 +3189,8 @@ repeats to unfold repeats.
 \bar "|."
 @end lilypond
 
 \bar "|."
 @end lilypond
 

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


@@ -3066,7 +3291,7 @@ 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


@@ -3120,10 +3345,10 @@ 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]
+@lilypond[fragment,verbatim,quote]

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