Fix @ref{}s to accomodate new chapter names.

[lilypond.git] / Documentation / user / changing-defaults.itely

diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely
index b152900d0c6ffee1da13a59e11c053460c300672..ddd4317ad4cfa94059989f8dabe20d59fcaf4223 100644 (file)
--- a/Documentation/user/changing-defaults.itely
+++ b/Documentation/user/changing-defaults.itely
@@ -25,7 +25,8 @@ Program reference manual.
 That manual
 lists all different variables, functions and options available in
 LilyPond.  It is written as a HTML document, which is available
 That manual
 lists all different variables, functions and options available in
 LilyPond.  It is written as a HTML document, which is available

-@uref{http://@/lilypond@/.org/@/doc/@/v2.8/@/Documentation/@/user/@/lilypond@/-internals/,on@/-line},
+@uref{http://@/lilypond@/.org/@/doc/@/v2.8/@/Documentation/@/user/@/
+lilypond@/-internals/,on@/-line},

 but is also included with the LilyPond documentation package.
 
 There are four areas where the default settings may be changed:
 but is also included with the LilyPond documentation package.
 
 There are four areas where the default settings may be changed:


@@ -39,15 +40,15 @@ elements.  For example, changing the beaming rules.
 Output: changing the appearance of individual
 objects.  For example, changing stem directions or the location of
 subscripts.
 Output: changing the appearance of individual
 objects.  For example, changing stem directions or the location of
 subscripts.

-  
+

 @item
 Context: changing aspects of the translation from music events to
 @item
 Context: changing aspects of the translation from music events to

-notation.  For example, giving each staff a separate time signature. 
-  
+notation.  For example, giving each staff a separate time signature.
+

 @item
 @item

-Global layout: changing the appearance of the spacing, line
+Page layout: changing the appearance of the spacing, line

 breaks, and page dimensions.  These modifications are discussed
 breaks, and page dimensions.  These modifications are discussed

-in @ref{Global issues}.
+in @ref{Non-musical notation} and @ref{Page settings}.

 @end itemize
 
 Internally, LilyPond uses Scheme (a LISP dialect) to provide
 @end itemize
 
 Internally, LilyPond uses Scheme (a LISP dialect) to provide


@@ -64,7 +65,7 @@ on entering numbers, lists, strings, and symbols in Scheme.}
 * The \override command::       
 @end menu
 
 * The \override command::       
 @end menu
 

- 
+

 @node Automatic notation
 @section Automatic notation
 
 @node Automatic notation
 @section Automatic notation
 


@@ -83,7 +84,7 @@ beams are automatically displayed.
 Common rules for typesetting accidentals have been placed in a
 function.  This function is called as follows
 
 Common rules for typesetting accidentals have been placed in a
 function.  This function is called as follows
 

-@cindex @code{set-accidental-style}
+@findex set-accidental-style

 @example
 #(set-accidental-style 'STYLE #('CONTEXT#))
 @end example
 @example
 #(set-accidental-style 'STYLE #('CONTEXT#))
 @end example


@@ -94,6 +95,10 @@ changed.  If no context name is supplied, @code{Staff} is the default,
 but you may wish to apply the accidental style to a single @code{Voice}
 instead.
 
 but you may wish to apply the accidental style to a single @code{Voice}
 instead.
 

+@c TODO: we should create a very clear example, and show every
+@c accidental style on that example (with the example specially
+@c constructed so that it illustrates all the differences).  -gp
+

 The following accidental styles are supported
 @table @code
 @item default
 The following accidental styles are supported
 @table @code
 @item default


@@ -127,7 +132,7 @@ used by one musician (e.g., a conductor) then
 should be used instead.
 
 @item modern
 should be used instead.
 
 @item modern

-@cindex @code{modern} style accidentals
+@findex modern style accidentals

 This rule corresponds to the common practice in the 20th century.  This rule
 prints the same accidentals as @code{default}, but temporary
 accidentals also are canceled in other octaves.  Furthermore,
 This rule corresponds to the common practice in the 20th century.  This rule
 prints the same accidentals as @code{default}, but temporary
 accidentals also are canceled in other octaves.  Furthermore,


@@ -140,7 +145,7 @@ cis' c'' cis'2 | c'' c'
 @end lilypond
 
 @item @code{modern-cautionary}
 @end lilypond
 
 @item @code{modern-cautionary}

-@cindex @code{modern-cautionary}
+@findex modern-cautionary

 This rule is similar to @code{modern}, but the ``extra'' accidentals
 (the ones not typeset by @code{default}) are typeset as cautionary
 accidentals.  They are printed in reduced size or with parentheses
 This rule is similar to @code{modern}, but the ``extra'' accidentals
 (the ones not typeset by @code{default}) are typeset as cautionary
 accidentals.  They are printed in reduced size or with parentheses


@@ -149,14 +154,14 @@ accidentals.  They are printed in reduced size or with parentheses
 cis' c'' cis'2 | c'' c'
 @end lilypond
 
 cis' c'' cis'2 | c'' c'
 @end lilypond
 

-@cindex @code{modern-voice}
+@findex modern-voice

 @item modern-voice
 This rule is used for multivoice accidentals to be read both by musicians
 playing one voice and musicians playing all voices.  Accidentals are
 typeset for each voice, but they @emph{are} canceled across voices in
 the same @internalsref{Staff}.
 
 @item modern-voice
 This rule is used for multivoice accidentals to be read both by musicians
 playing one voice and musicians playing all voices.  Accidentals are
 typeset for each voice, but they @emph{are} canceled across voices in
 the same @internalsref{Staff}.
 

-@cindex @code{modern-voice-cautionary}
+@findex modern-voice-cautionary

 @item modern-voice-cautionary
 This rule is the same as @code{modern-voice}, but with the extra
 accidentals (the ones not typeset by @code{voice}) typeset
 @item modern-voice-cautionary
 This rule is the same as @code{modern-voice}, but with the extra
 accidentals (the ones not typeset by @code{voice}) typeset


@@ -165,19 +170,19 @@ as cautionaries.  Even though all accidentals typeset by
 some of them are typeset as cautionaries.
 
 @item piano
 some of them are typeset as cautionaries.
 
 @item piano

-@cindex @code{piano} accidentals
+@findex piano accidentals

 This rule reflects 20th century practice for piano notation.  Very similar to
 @code{modern} but accidentals also get canceled
 across the staves in the same @internalsref{GrandStaff} or
 @internalsref{PianoStaff}.
 
 @item piano-cautionary
 This rule reflects 20th century practice for piano notation.  Very similar to
 @code{modern} but accidentals also get canceled
 across the staves in the same @internalsref{GrandStaff} or
 @internalsref{PianoStaff}.
 
 @item piano-cautionary

-@cindex @code{#(set-accidental-style 'piano-cautionary)}
+@findex #(set-accidental-style 'piano-cautionary)

 Same as @code{#(set-accidental-style 'piano)} but with the extra
 accidentals typeset as cautionaries.
 
 @item no-reset
 Same as @code{#(set-accidental-style 'piano)} but with the extra
 accidentals typeset as cautionaries.
 
 @item no-reset

-@cindex @code{no-reset} accidental style
+@findex no-reset accidental style

 This is the same as @code{default} but with accidentals lasting
 ``forever'' and not only until the next measure
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
 This is the same as @code{default} but with accidentals lasting
 ``forever'' and not only until the next measure
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]


@@ -219,9 +224,9 @@ problematic notes.
 @node Setting automatic beam behavior
 @subsection Setting automatic beam behavior
 
 @node Setting automatic beam behavior
 @subsection Setting automatic beam behavior
 

-@cindex @code{autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
+@findex autoBeamSettings
+@findex (end * * * *)
+@findex (begin * * * *)

 @cindex automatic beams, tuning
 @cindex tuning automatic beaming
 
 @cindex automatic beams, tuning
 @cindex tuning automatic beaming
 


@@ -253,7 +258,8 @@ have this apply to any beam.
 this rule should apply.  Set @code{n} and @code{m} to @code{'*'}
 to have this apply in any time signature.
 
 this rule should apply.  Set @code{n} and @code{m} to @code{'*'}
 to have this apply in any time signature.
 

-@item @code{a/b} is the position in the bar at which the beam should begin/end.
+@item @code{a/b} is the position in the bar at which the beam should
+begin/end.

 
 @item @code{context} is optional, and it specifies the context at which
 the change should be made.  The default is @code{'Voice}.
 
 @item @code{context} is optional, and it specifies the context at which
 the change should be made.  The default is @code{'Voice}.


@@ -351,7 +357,7 @@ In 4/4 time signature, this means that automatic beams could end only on
 
 @cindex automatic beam generation
 @cindex autobeam
 
 @cindex automatic beam generation
 @cindex autobeam

-@cindex @code{autoBeaming}
+@findex autoBeaming

 @cindex lyrics
 
 If beams are used to indicate melismata in songs, then automatic
 @cindex lyrics
 
 If beams are used to indicate melismata in songs, then automatic


@@ -360,9 +366,9 @@ beaming should be switched off with @code{\autoBeamOff}.
 
 @refcommands
 
 
 @refcommands
 

-@cindex @code{\autoBeamOff}
+@findex \autoBeamOff

 @code{\autoBeamOff},
 @code{\autoBeamOff},

-@cindex @code{\autoBeamOn}
+@findex \autoBeamOn

 @code{\autoBeamOn}.
 
 
 @code{\autoBeamOn}.
 
 


@@ -378,6 +384,22 @@ accepting notes, it is not typeset.
 @node Interpretation contexts
 @section Interpretation contexts
 
 @node Interpretation contexts
 @section Interpretation contexts
 

+This section describes what contexts are, and how to modify them.
+
+@menu
+* Contexts explained::          
+* Creating contexts::           
+* Changing context properties on the fly::  
+* Modifying context plug-ins::  
+* Layout tunings within contexts::  
+* Changing context default settings::  
+* Defining new contexts::       
+@end menu
+
+
+@node Contexts explained
+@subsection Contexts explained
+

 When music is printed, a lot of notational elements must be added to the
 input.  For example, compare the input and output of the following example:
 
 When music is printed, a lot of notational elements must be added to the
 input.  For example, compare the input and output of the following example:
 


@@ -401,6 +423,10 @@ Within LilyPond, these rules and bits of information are grouped in
 example: a @context{Staff} can contain many @context{Voice}s, and a
 @context{Score} can contain many @context{Staff} contexts.
 
 example: a @context{Staff} can contain many @context{Voice}s, and a
 @context{Score} can contain many @context{Staff} contexts.
 

+@quotation
+@image{context-example,5cm,,}
+@end quotation
+

 Each context has the responsibility for enforcing some notation rules,
 creating some notation objects and maintaining the associated
 properties.  For example, the @context{Voice} context may introduce an
 Each context has the responsibility for enforcing some notation rules,
 creating some notation objects and maintaining the associated
 properties.  For example, the @context{Voice} context may introduce an


@@ -427,22 +453,13 @@ reference, see
 @ifhtml
 @internalsref{Contexts}.
 @end ifhtml
 @ifhtml
 @internalsref{Contexts}.
 @end ifhtml

-@ifnothtml 
+@ifnothtml

 Translation @arrow{} Context.
 @end ifnothtml
 
 @c [TODO: describe propagation]
 
 
 Translation @arrow{} Context.
 @end ifnothtml
 
 @c [TODO: describe propagation]
 
 

-@menu
-* Creating contexts::           
-* Changing context properties on the fly::  
-* Modifying context plug-ins::  
-* Layout tunings within contexts::  
-* Changing context default settings::  
-* Defining new contexts::       
-@end menu
-

 @node Creating contexts
 @subsection Creating contexts
 
 @node Creating contexts
 @subsection Creating contexts
 


@@ -456,7 +473,7 @@ create them by hand.  There are three commands that do this.
 The easiest command is @code{\new}, and it also the quickest to type.
 It is prepended to a music expression, for example
 
 The easiest command is @code{\new}, and it also the quickest to type.
 It is prepended to a music expression, for example
 

-@cindex @code{\new}
+@findex \new

 @cindex new contexts
 @cindex Context, creating
 
 @cindex new contexts
 @cindex Context, creating
 


@@ -470,7 +487,7 @@ where @var{type} is a context name (like @code{Staff} or
 interpreting the @var{music expression} with that.
 
 A practical application of @code{\new} is a score with many
 interpreting the @var{music expression} with that.
 
 A practical application of @code{\new} is a score with many

-staves.  Each part that should be on its own staff, is preceded with 
+staves.  Each part that should be on its own staff, is preceded with

 @code{\new Staff}.
 
 @lilypond[quote,verbatim,relative=2,ragged-right,fragment]
 @code{\new Staff}.
 
 @lilypond[quote,verbatim,relative=2,ragged-right,fragment]


@@ -489,8 +506,9 @@ However, this user specified name is only used if there is no other
 context already earlier with the same name.
 
 
 context already earlier with the same name.
 
 

-@cindex @code{\context}
-\item
+@findex \context
+
+@item

 Like @code{\new}, the @code{\context} command also directs a music
 expression to a context object, but gives the context an explicit name.  The
 syntax is
 Like @code{\new}, the @code{\context} command also directs a music
 expression to a context object, but gives the context an explicit name.  The
 syntax is


@@ -513,7 +531,7 @@ setting lyrics the melody is in a named context
 so the texts can be properly aligned to its notes,
 
 @example
 so the texts can be properly aligned to its notes,
 
 @example

-\new Lyrics \lyricsto "@b{tenor}" @var{lyrics} 
+\new Lyrics \lyricsto "@b{tenor}" @var{lyrics}

 @end example
 
 @noindent
 @end example
 
 @noindent


@@ -567,15 +585,15 @@ several levels.  For example, the @code{\applyOutput} command (see
 @code{\context}, it is usually applied to @context{Voice}
 
 @example
 @code{\context}, it is usually applied to @context{Voice}
 
 @example

-\applyOutput #@var{function}   % apply to Voice
+\applyOutput #'@var{context} #@var{function}   % apply to Voice

 @end example
 
 To have it interpreted at the @context{Score} or @context{Staff} level use
 these forms
 
 @example
 @end example
 
 To have it interpreted at the @context{Score} or @context{Staff} level use
 these forms
 
 @example

-\context Score \applyOutput #@var{function}
-\context Staff \applyOutput #@var{function}
+\context \applyOutput #'Score #@var{function}
+\context \applyOutput #'Staff #@var{function}

 @end example
 
 @end itemize
 @end example
 
 @end itemize


@@ -585,7 +603,7 @@ these forms
 @subsection Changing context properties on the fly
 
 @cindex properties
 @subsection Changing context properties on the fly
 
 @cindex properties

-@cindex @code{\set}
+@findex \set

 @cindex changing properties
 
 Each context can have different @emph{properties}, variables contained
 @cindex changing properties
 
 Each context can have different @emph{properties}, variables contained


@@ -598,7 +616,7 @@ This is achieved by inserting the @code{\set} command in the music,
 
 For example,
 @lilypond[quote,verbatim,relative=2,fragment]
 
 For example,
 @lilypond[quote,verbatim,relative=2,fragment]

-R1*2 
+R1*2

 \set Score.skipBars = ##t
 R1*2
 @end lilypond
 \set Score.skipBars = ##t
 R1*2
 @end lilypond


@@ -626,7 +644,7 @@ property (of the bottom-most context, in this case @code{Voice}) will
 have no effect.
 
 @lilypond[quote,verbatim,relative=2,fragment]
 have no effect.
 
 @lilypond[quote,verbatim,relative=2,fragment]

-R1*2 
+R1*2

 \set skipBars = ##t
 R1*2
 @end lilypond
 \set skipBars = ##t
 R1*2
 @end lilypond


@@ -637,7 +655,7 @@ example @context{Staff}, then the change would also apply to all
 `on-the-fly', during the music, so that the setting only affects the
 second group of eighth notes.
 
 `on-the-fly', during the music, so that the setting only affects the
 second group of eighth notes.
 

-@cindex @code{\unset} 
+@findex \unset

 
 There is also an @code{\unset} command,
 @example
 
 There is also an @code{\unset} command,
 @example


@@ -673,9 +691,9 @@ Like @code{\set}, the @var{context} argument does not have to be
 specified for a bottom context, so the two statements
 
 @example
 specified for a bottom context, so the two statements
 
 @example

-\set Voice.autoBeaming = ##t 
-\set autoBeaming = ##t 
-@end example 
+\set Voice.autoBeaming = ##t
+\set autoBeaming = ##t
+@end example

 
 @noindent
 are equivalent.
 
 @noindent
 are equivalent.


@@ -708,13 +726,14 @@ Translation @arrow{} Tunable context properties.
 @node Modifying context plug-ins
 @subsection Modifying context plug-ins
 
 @node Modifying context plug-ins
 @subsection Modifying context plug-ins
 

-Notation contexts (like Score and Staff) not only store properties,
-they also contain plug-ins, called ``engravers'' that create notation
-elements.  For example, the Voice context contains a
-@code{Note_head_engraver} and the Staff context contains a
+Notation contexts (like @code{Score} and @code{Staff}) not only
+store properties,
+they also contain plug-ins called ``engravers'' that create notation
+elements.  For example, the @code{Voice} context contains a
+@code{Note_head_engraver} and the @code{Staff} context contains a

 @code{Key_signature_engraver}.
 
 @code{Key_signature_engraver}.
 

-For a full a description of each plug-in, see 
+For a full a description of each plug-in, see

 @ifhtml
 @internalsref{Engravers}.
 @end ifhtml
 @ifhtml
 @internalsref{Engravers}.
 @end ifhtml


@@ -725,17 +744,17 @@ Every context described in
 @ifhtml
 @internalsref{Contexts}
 @end ifhtml
 @ifhtml
 @internalsref{Contexts}
 @end ifhtml

-@ifnothtml 
+@ifnothtml

 Program reference @arrow Translation @arrow{} Context.
 @end ifnothtml
 lists the engravers used for that context.
 
 
 It can be useful to shuffle around these plug-ins.  This is done by
 Program reference @arrow Translation @arrow{} Context.
 @end ifnothtml
 lists the engravers used for that context.
 
 
 It can be useful to shuffle around these plug-ins.  This is done by

-starting a new context, with @code{\new} or @code{\context}, and
-modifying it like this, 
+starting a new context with @code{\new} or @code{\context}, and
+modifying it,

 
 

-@cindex @code{\with}
+@findex \with

 
 @example
 \new @var{context} \with @{
 
 @example
 \new @var{context} \with @{


@@ -745,7 +764,9 @@ modifying it like this,
   \remove @dots{}
   @emph{etc.}
 @}
   \remove @dots{}
   @emph{etc.}
 @}

-@emph{..music..}
+@{
+  @emph{..music..}
+@}

 @end example
 
 @noindent
 @end example
 
 @noindent


@@ -814,7 +835,7 @@ Each context is responsible for creating certain types of graphical
 objects.  The settings used for printing these objects are also stored by
 context.  By changing these settings, the appearance of objects can be
 altered.
 objects.  The settings used for printing these objects are also stored by
 context.  By changing these settings, the appearance of objects can be
 altered.

- 
+

 The syntax for this is
 
 @example
 The syntax for this is
 
 @example


@@ -831,7 +852,7 @@ tweak} explains what to fill in for @var{name}, @var{property}, and
 The command
 
 @verbatim
 The command
 
 @verbatim

-\override Staff.Stem #'thickness = #4.0 
+\override Staff.Stem #'thickness = #4.0

 @end verbatim
 
 @noindent
 @end verbatim
 
 @noindent


@@ -842,7 +863,7 @@ appearance.  Here we see the command in action:
 
 @lilypond[quote,verbatim,relative=2,fragment]
 c4
 
 @lilypond[quote,verbatim,relative=2,fragment]
 c4

-\override Staff.Stem #'thickness = #4.0 
+\override Staff.Stem #'thickness = #4.0

 c4
 c4
 c4
 c4
 c4
 c4


@@ -854,31 +875,30 @@ all stems are thickened.
 
 Analogous to @code{\set}, the @var{context} argument may be left out,
 causing it to default to @context{Voice}, and adding @code{\once} applies
 
 Analogous to @code{\set}, the @var{context} argument may be left out,
 causing it to default to @context{Voice}, and adding @code{\once} applies

-the change during one timestep only 
+the change during one timestep only

 
 @lilypond[quote,fragment,verbatim,relative=2]
 c4
 
 @lilypond[quote,fragment,verbatim,relative=2]
 c4

-\once \override Stem #'thickness = #4.0 
+\once \override Stem #'thickness = #4.0
+c4

 c4
 c4

-c4 

 @end lilypond
 
 The @code{\override} must be done before the object is
 @end lilypond
 
 The @code{\override} must be done before the object is

-started.  Therefore, when altering @emph{Spanner} objects, like slurs or
-beams, the @code{\override} command must be executed at the moment when
-the object is created.  In this example,
-
+started.  Therefore, when altering @emph{Spanner} objects such as slurs
+or beams, the @code{\override} command must be executed at the moment
+when the object is created.  In this example,

 
 @lilypond[quote,fragment,verbatim,relative=2]
 \override Slur #'thickness = #3.0
 c8[( c
 \override Beam #'thickness = #0.6
 
 @lilypond[quote,fragment,verbatim,relative=2]
 \override Slur #'thickness = #3.0
 c8[( c
 \override Beam #'thickness = #0.6

-c8 c]) 
+c8 c])

 @end lilypond
 
 @noindent
 the slur is fatter but the beam is not.  This is because the command for
 @end lilypond
 
 @noindent
 the slur is fatter but the beam is not.  This is because the command for

-@code{Beam} comes after the Beam is started.  Therefore it has no effect.
+@code{Beam} comes after the Beam is started, so it has no effect.

 
 Analogous to @code{\unset}, the @code{\revert} command for a context
 undoes an @code{\override} command; like with @code{\unset}, it only
 
 Analogous to @code{\unset}, the @code{\revert} command for a context
 undoes an @code{\override} command; like with @code{\unset}, it only


@@ -891,10 +911,18 @@ affects settings that were made in the same context.  In other words, the
 @end example
 
 Some tweakable options are called ``subproperties'' and reside inside
 @end example
 
 Some tweakable options are called ``subproperties'' and reside inside

-properties.  To tweak those, use
+properties.  To tweak those, use commands of the form
+
+@c leave this as a long long
+@example
+\override @var{context}.@var{name} #'@var{property} #'@var{subproperty} = #@var{value}
+@end example
+
+@noindent
+such as

 
 @example
 
 @example

-\override Stem #'details #'beamed-lengths = #'(4 4 3) 
+\override Stem #'details #'beamed-lengths = #'(4 4 3)

 @end example
 
 
 @end example
 
 


@@ -918,7 +946,7 @@ or crashes, or both.
 The adjustments of the previous subsections (@ref{Changing context
 properties on the fly}, @ref{Modifying context plug-ins}, and
 @ref{Layout tunings within contexts}) can also be entered separately
 The adjustments of the previous subsections (@ref{Changing context
 properties on the fly}, @ref{Modifying context plug-ins}, and
 @ref{Layout tunings within contexts}) can also be entered separately

-from the music, in the @code{\layout} block,
+from the music in the @code{\layout} block,

 
 @example
 \layout @{
 
 @example
 \layout @{


@@ -933,14 +961,8 @@ from the music, in the @code{\layout} block,
 @}
 @end example
 
 @}
 @end example
 

-Here
-@example
-\Staff
-@end example
-
-@noindent
-takes the existing definition for context @context{Staff} from the
-identifier @code{\Staff}. 
+Here @code{\Staff} takes the existing definition for context @context{Staff} from the
+identifier @code{\Staff}.

 
 The statements
 @example
 
 The statements
 @example


@@ -950,9 +972,8 @@ The statements
 @end example
 
 @noindent
 @end example
 
 @noindent

-affect all staves in the score.
-
-Other contexts can be modified analogously.
+affect all staves in the score.  Other contexts can be modified
+analogously.

 
 The @code{\set} keyword is optional within the @code{\layout} block, so
 
 
 The @code{\set} keyword is optional within the @code{\layout} block, so
 


@@ -970,12 +991,12 @@ will also work.
 
 @refbugs
 
 
 @refbugs
 

-It is not possible to collect context changes in a variable, and apply
-them to one @code{\context} definition by referring to that variable.
+It is not possible to collect context changes in a variable and apply
+them to a @code{\context} definition by referring to that variable.

 
 

-The @code{\RemoveEmptyStaffContext} will override your current
-@code{\Staff} variable.  If you wish to change the defaults for a
-staff that uses @code{\RemoveEmptyStaffContext}, you must do so
+The @code{\RemoveEmptyStaffContext} will overwrite your current
+@code{\Staff} settings.  If you wish to change the defaults for a
+staff which uses @code{\RemoveEmptyStaffContext}, you must do so

 after calling @code{\RemoveemptyStaffContext}, ie
 
 @example
 after calling @code{\RemoveemptyStaffContext}, ie
 
 @example


@@ -993,14 +1014,13 @@ after calling @code{\RemoveemptyStaffContext}, ie
 @subsection Defining new contexts
 
 Specific contexts, like @context{Staff} and @code{Voice}, are made of
 @subsection Defining new contexts
 
 Specific contexts, like @context{Staff} and @code{Voice}, are made of

-simple building blocks, and it is possible to compose engraver
-plug-ins in different combinations, thereby creating new types of
-contexts.
+simple building blocks.  It is possible to create new types of
+contexts with different combinations of engraver plug-ins.

 
 The next example shows how to build a different type of
 @context{Voice} context from scratch.  It will be similar to
 
 The next example shows how to build a different type of
 @context{Voice} context from scratch.  It will be similar to

-@code{Voice}, but prints centered slash noteheads only.  It can be used
-to indicate improvisation in Jazz pieces,
+@code{Voice}, but only prints centered slash noteheads.  It can be used
+to indicate improvisation in jazz pieces,

 
 @lilypond[quote,ragged-right]
 \layout { \context {
 
 @lilypond[quote,ragged-right]
 \layout { \context {


@@ -1019,14 +1039,14 @@ to indicate improvisation in Jazz pieces,
 }}
 
 \relative c'' {
 }}
 
 \relative c'' {

-  a4 d8 bes8 \new ImproVoice { c4^"ad lib" c 
-   c4 c^"undress" c_"while playing :)" c } 
-  a1 
+  a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+   c4 c^"undress" c_"while playing :)" c }
+  a1

 }
 @end lilypond
 
 
 }
 @end lilypond
 
 

-These settings are again done within a @code{\context} block inside a
+These settings are defined within a @code{\context} block inside a

 @code{\layout} block,
 
 @example
 @code{\layout} block,
 
 @example


@@ -1040,7 +1060,7 @@ These settings are again done within a @code{\context} block inside a
 In the following discussion, the example input shown should go on the
 @dots{} in the previous fragment.
 
 In the following discussion, the example input shown should go on the
 @dots{} in the previous fragment.
 

-First, the context gets a name.  Instead of @context{Voice} it
+First the context's name is defined.  Instead of @context{Voice} it

 will be called @context{ImproVoice},
 
 @example
 will be called @context{ImproVoice},
 
 @example


@@ -1074,14 +1094,13 @@ by @internalsref{Note_heads_engraver}) and sets their vertical
 position to the value of @code{squashedPosition}, in this case@tie{}@code{0},
 the center line.
 
 position to the value of @code{squashedPosition}, in this case@tie{}@code{0},
 the center line.
 

-The notes look like a slash, without a stem,
+The notes look like a slash, and have no stem,

 
 @example
 \override NoteHead #'style = #'slash
 \override Stem #'transparent = ##t
 @end example
 
 
 @example
 \override NoteHead #'style = #'slash
 \override Stem #'transparent = ##t
 @end example
 

-

 All these plug-ins have to cooperate, and this is achieved with a
 special plug-in, which must be marked with the keyword @code{\type}.
 This should always be @internalsref{Engraver_group},
 All these plug-ins have to cooperate, and this is achieved with a
 special plug-in, which must be marked with the keyword @code{\type}.
 This should always be @internalsref{Engraver_group},


@@ -1106,21 +1125,23 @@ Put together, we get
 @}
 @end example
 
 @}
 @end example
 

+@findex \accepts

 Contexts form hierarchies.  We want to hang the @context{ImproVoice}
 under @context{Staff}, just like normal @code{Voice}s.  Therefore, we
 modify the @code{Staff} definition with the @code{\accepts}
 Contexts form hierarchies.  We want to hang the @context{ImproVoice}
 under @context{Staff}, just like normal @code{Voice}s.  Therefore, we
 modify the @code{Staff} definition with the @code{\accepts}

-command,@footnote{The opposite of @code{\accepts} is @code{\denies},
-which is sometimes needed when reusing existing context definitions.}
-
-
+command,

 
 @example
 \context @{
   \Staff
 
 @example
 \context @{
   \Staff

-  \accepts ImproVoice    
+  \accepts ImproVoice

 @}
 @end example
 
 @}
 @end example
 

+@findex \denies
+The opposite of @code{\accepts} is @code{\denies},
+which is sometimes needed when reusing existing context definitions.
+

 Putting both into a @code{\layout} block, like
 
 @example
 Putting both into a @code{\layout} block, like
 
 @example


@@ -1142,16 +1163,16 @@ Then the output at the start of this subsection can be entered as
 \relative c'' @{
   a4 d8 bes8
   \new ImproVoice @{
 \relative c'' @{
   a4 d8 bes8
   \new ImproVoice @{

-    c4^"ad lib" c 
+    c4^"ad lib" c

     c4 c^"undress"
     c c_"while playing :)"
   @}
   a1
 @}
 @end example
     c4 c^"undress"
     c c_"while playing :)"
   @}
   a1
 @}
 @end example

-  

 
 

-    
+
+

 
 @node The \override command
 @section The \override command
 
 @node The \override command
 @section The \override command


@@ -1159,9 +1180,6 @@ Then the output at the start of this subsection can be entered as
 In the previous section, we have already touched on a command that
 changes layout details: the @code{\override} command.  In this section,
 we will look in more detail at how to use the command in practice.
 In the previous section, we have already touched on a command that
 changes layout details: the @code{\override} command.  In this section,
 we will look in more detail at how to use the command in practice.

-First, we will give a few versatile commands that are sufficient
-for many situations.  The next section will discuss the general use of
-@code{\override}.

 
 
 @menu
 
 
 @menu


@@ -1170,6 +1188,7 @@ for many situations.  The next section will discuss the general use of
 * Layout interfaces::           
 * Determining the grob property::  
 * Objects connected to the input::  
 * Layout interfaces::           
 * Determining the grob property::  
 * Objects connected to the input::  

+* \set vs. \override::          

 * Difficult tweaks::            
 @end menu
 
 * Difficult tweaks::            
 @end menu
 


@@ -1178,25 +1197,24 @@ for many situations.  The next section will discuss the general use of
 @node Constructing a tweak
 @subsection Constructing a tweak
 
 @node Constructing a tweak
 @subsection Constructing a tweak
 

-The general procedure of changing output, that is, entering
-a command like
+Commands which change output generally look like

 
 @example
 \override Voice.Stem #'thickness = #3.0
 @end example
 
 @noindent
 
 @example
 \override Voice.Stem #'thickness = #3.0
 @end example
 
 @noindent

-means that we have to determine these bits of information:
+This means that we must determine these bits of information:

 
 @itemize
 @item the context: here @context{Voice}.
 @item the layout object: here @code{Stem}.
 
 @itemize
 @item the context: here @context{Voice}.
 @item the layout object: here @code{Stem}.

-@item the layout property: here @code{thickness}
-@item a sensible value: here @code{3.0}
-@end itemize  
+@item the layout property: here @code{thickness}.
+@item a sensible value: here @code{3.0}.
+@end itemize

 
 Some tweakable options are called ``subproperties'' and reside inside
 
 Some tweakable options are called ``subproperties'' and reside inside

-properties.  To tweak those, use
+properties.  To tweak those, use commands in the form

 
 @example
 \override Stem #'details #'beamed-lengths = #'(4 4 3)
 
 @example
 \override Stem #'details #'beamed-lengths = #'(4 4 3)


@@ -1204,14 +1222,15 @@ properties.  To tweak those, use
 
 @cindex internal documentation
 @cindex finding graphical objects
 
 @cindex internal documentation
 @cindex finding graphical objects

-@cindex graphical object descriptions 
+@cindex graphical object descriptions

 @cindex tweaking
 @cindex tweaking

-@cindex @code{\override}
+@findex \override

 @cindex internal documentation
 
 We demonstrate how to glean this information from the notation manual
 and the program reference.
 
 @cindex internal documentation
 
 We demonstrate how to glean this information from the notation manual
 and the program reference.
 

+

 @node Navigating the program reference
 @subsection Navigating the program reference
 
 @node Navigating the program reference
 @subsection Navigating the program reference
 


@@ -1225,17 +1244,18 @@ f
 @end lilypond
 
 If you visit the documentation on fingering instructions (in
 @end lilypond
 
 If you visit the documentation on fingering instructions (in

-@ref{Fingering instructions}), you will notice that there is written:
+@ref{Fingering instructions}), you will notice:

 
 @quotation
 @seealso
 
 
 @quotation
 @seealso
 

-Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
+Program reference: @internalsref{Fingering}.

 
 @end quotation
 
 
 
 @end quotation
 
 

-
+@c  outdated info; probably will delete.
+@ignore

 This fragment points to two parts of the program reference: a page
 on @code{FingerEvent} and one on @code{Fingering}.
 
 This fragment points to two parts of the program reference: a page
 on @code{FingerEvent} and one on @code{Fingering}.
 


@@ -1245,7 +1265,7 @@ forward.  For example, it says
 
 @quotation
 Accepted by: @internalsref{Fingering_engraver},
 
 @quotation
 Accepted by: @internalsref{Fingering_engraver},

-@end quotation 
+@end quotation

 
 @noindent
 That link brings us to the documentation for the Engraver, the
 
 @noindent
 That link brings us to the documentation for the Engraver, the


@@ -1257,6 +1277,7 @@ This engraver creates the following layout objects: @internalsref{Fingering}.
 
 In other words, once the @code{FingerEvent}s are interpreted, the
 @code{Fingering_engraver} plug-in will process them.
 
 In other words, once the @code{FingerEvent}s are interpreted, the
 @code{Fingering_engraver} plug-in will process them.

+@end ignore

 
 @ignore
 @c  I can't figure out what this is supposed to mean.  -gp
 
 @ignore
 @c  I can't figure out what this is supposed to mean.  -gp


@@ -1270,29 +1291,38 @@ second bit of information listed under @b{See also} in the Notation
 manual.
 @end ignore
 
 manual.
 @end ignore
 

+Follow the link to @internalsref{Fingering}.  At the top of the
+page, you will see
+
+@quotation
+Fingering objects are created by: @internalsref{Fingering_engraver} and
+@internalsref{New_fingering_engraver}.
+@end quotation
+

 By clicking around in the program reference, we can follow the
 By clicking around in the program reference, we can follow the

-flow of information within the program, either forward (like we did
-here), or backwards, following links like this:
+flow of information within the program, following links like this:

 
 @itemize @bullet
 
 @item @internalsref{Fingering}:
 @internalsref{Fingering} objects are created by:
 
 @itemize @bullet
 
 @item @internalsref{Fingering}:
 @internalsref{Fingering} objects are created by:

-@b{@internalsref{Fingering_engraver}}
+@internalsref{Fingering_engraver}

 
 @item @internalsref{Fingering_engraver}:
 
 @item @internalsref{Fingering_engraver}:

-Music types accepted: @b{@internalsref{fingering-event}}
+Music types accepted: @internalsref{fingering-event}

 
 @item @internalsref{fingering-event}:
 Music event type @code{fingering-event} is in Music expressions named
 
 @item @internalsref{fingering-event}:
 Music event type @code{fingering-event} is in Music expressions named

-@b{@internalsref{FingerEvent}}
+@internalsref{FingerEvent}

 @end itemize
 
 This path goes against the flow of information in the program: it
 @end itemize
 
 This path goes against the flow of information in the program: it

-starts from the output, and ends at the input event.
+starts from the output, and ends at the input event.  You could
+also start at an input event, and read with the flow of
+information, eventually ending up at the output object(s).

 
 The program reference can also be browsed like a normal document.  It
 
 The program reference can also be browsed like a normal document.  It

-contains a chapter on
+contains chapters on

 @ifhtml
 @internalsref{Music definitions},
 @end ifhtml
 @ifhtml
 @internalsref{Music definitions},
 @end ifhtml


@@ -1300,10 +1330,10 @@ contains a chapter on
 @code{Music definitions}
 @end ifnothtml
 on @internalsref{Translation}, and the @internalsref{Backend}.  Every
 @code{Music definitions}
 @end ifnothtml
 on @internalsref{Translation}, and the @internalsref{Backend}.  Every

-chapter lists all the definitions used, and all properties that may be
+chapter lists all the definitions used and all properties that may be

 tuned.
 
 tuned.
 

- 
+

 @node Layout interfaces
 @subsection Layout interfaces
 
 @node Layout interfaces
 @subsection Layout interfaces
 


@@ -1311,7 +1341,7 @@ tuned.
 @cindex layout interface
 @cindex grob
 
 @cindex layout interface
 @cindex grob
 

-The HTML page that we found in the previous section, describes the
+The HTML page that we found in the previous section describes the

 layout object called @internalsref{Fingering}.  Such an object is a
 symbol within the score.  It has properties that store numbers (like
 thicknesses and directions), but also pointers to related objects.  A
 layout object called @internalsref{Fingering}.  Such an object is a
 symbol within the score.  It has properties that store numbers (like
 thicknesses and directions), but also pointers to related objects.  A


@@ -1323,8 +1353,8 @@ The page for @code{Fingering} lists the definitions for the
 
 @quotation
 @code{padding} (dimension, in staff space):
 
 @quotation
 @code{padding} (dimension, in staff space):

-  
-@code{0.6}
+
+@code{0.5}

 @end quotation
 
 @noindent
 @end quotation
 
 @noindent


@@ -1354,8 +1384,8 @@ center of the notehead.
 Vertically, the symbol is placed next to the note and the staff.
 
 @item
 Vertically, the symbol is placed next to the note and the staff.
 
 @item

-The vertical position is also coordinated with other super- and subscript
-symbols.
+The vertical position is also coordinated with other superscript
+and subscript symbols.

 @end itemize
 
 Each of these aspects is captured in so-called @emph{interface}s,
 @end itemize
 
 Each of these aspects is captured in so-called @emph{interface}s,


@@ -1373,10 +1403,11 @@ This object supports the following interfaces:
 Clicking any of the links will take you to the page of the respective
 object interface.  Each interface has a number of properties.  Some of
 them are not user-serviceable (``Internal properties''), but others
 Clicking any of the links will take you to the page of the respective
 object interface.  Each interface has a number of properties.  Some of
 them are not user-serviceable (``Internal properties''), but others

-are.
+can be modified.

 
 We have been talking of @emph{the} @code{Fingering} object, but actually it
 
 We have been talking of @emph{the} @code{Fingering} object, but actually it

-does not amount to much.  The initialization file
+does not amount to much.  The initialization file (see
+@ref{Default files})

 @file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
 
 @example
 @file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
 
 @example


@@ -1407,11 +1438,11 @@ As you can see, the @code{Fingering} object is nothing more than a
 bunch of variable settings, and the webpage in the Program Reference
 is directly generated from this definition.
 
 bunch of variable settings, and the webpage in the Program Reference
 is directly generated from this definition.
 

+

 @node Determining the grob property
 @subsection Determining the grob property
 
 @node Determining the grob property
 @subsection Determining the grob property
 

-
-Recall that we wanted to change the position of the @b{2} in 
+Recall that we wanted to change the position of the @b{2} in

 
 @lilypond[quote,fragment,relative=2,verbatim]
 c-2
 
 @lilypond[quote,fragment,relative=2,verbatim]
 c-2


@@ -1421,7 +1452,7 @@ f
 
 Since the @b{2} is vertically positioned next to its note, we have to
 meddle with the interface associated with this positioning.  This is
 
 Since the @b{2} is vertically positioned next to its note, we have to
 meddle with the interface associated with this positioning.  This is

-done using @code{side-position-interface}.  The page for this interface 
+done using @code{side-position-interface}.  The page for this interface

 says
 
 @quotation
 says
 
 @quotation


@@ -1434,19 +1465,20 @@ victim object relative to the support (left or right, up or down?)
 
 @cindex padding
 @noindent
 
 @cindex padding
 @noindent

-below this description, the variable @code{padding} is described as
+Below this description, the variable @code{padding} is described as

 
 @quotation
 @table @code
 @item padding
 (dimension, in staff space)
 
 
 @quotation
 @table @code
 @item padding
 (dimension, in staff space)
 

-Add this much extra space between objects that are next to each other. 
+Add this much extra space between objects that are next to each other.

 @end table
 @end quotation
 
 @end table
 @end quotation
 

-By increasing the value of @code{padding}, we can move away the
-fingering.  The following command inserts 3 staff spaces of white
+By increasing the value of @code{padding}, we can move the
+fingering away from the notehead.  The following command inserts
+3 staff spaces of white

 between the note and the fingering:
 @example
 \once \override Voice.Fingering #'padding = #3
 between the note and the fingering:
 @example
 \once \override Voice.Fingering #'padding = #3


@@ -1468,12 +1500,15 @@ fact can also be deduced from the program reference, for the page for
 the @internalsref{Fingering_engraver} plug-in says
 
 @quotation
 the @internalsref{Fingering_engraver} plug-in says
 
 @quotation

-Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
+Fingering_engraver is part of contexts: @dots{} @internalsref{Voice}

 @end quotation
 
 @end quotation
 

+

 @node Objects connected to the input
 @subsection Objects connected to the input
 
 @node Objects connected to the input
 @subsection Objects connected to the input
 

+@findex \tweak
+

 In some cases, it is possible to take a short-cut for tuning graphical
 objects. For objects that result directly from a piece of the input,
 you can use the @code{\tweak} function, for example
 In some cases, it is possible to take a short-cut for tuning graphical
 objects. For objects that result directly from a piece of the input,
 you can use the @code{\tweak} function, for example


@@ -1484,7 +1519,7 @@ you can use the @code{\tweak} function, for example
   \tweak #'color #red d
   g
   \tweak #'duration-log #1  a
   \tweak #'color #red d
   g
   \tweak #'duration-log #1  a

->4-\tweak #'padding #10 -. 
+>4-\tweak #'padding #10 -.

 @end lilypond
 
 As you can see, properties are set directly in the objects directly,
 @end lilypond
 
 As you can see, properties are set directly in the objects directly,


@@ -1495,19 +1530,82 @@ This technique only works for objects that are directly connected to
 an @internalsref{event} from the input, for example
 
 @itemize @bullet
 an @internalsref{event} from the input, for example
 
 @itemize @bullet

-@item note heads, caused by chord-pitch.
-@item articulation signs, caused by articulation instructions
+@item note heads, caused by chord-pitch (i.e., notes inside a chord).
+@item articulation signs, caused by articulation instructions.

 @end itemize
 
 It notably does not work for stems and accidentals (these are caused
 by note heads, not by music events) or clefs (these are not caused by
 music inputs, but rather by the change of a property value).
 @end itemize
 
 It notably does not work for stems and accidentals (these are caused
 by note heads, not by music events) or clefs (these are not caused by
 music inputs, but rather by the change of a property value).

- 
+
+There are very few objects which are @emph{directly} connected to
+output.  A normal note (like @code{c4}) is not directly connected
+to output, so
+
+@example
+\tweak #'color #red c4
+@end example
+
+@noindent
+will not change color.  See @ref{Displaying music expressions} for
+details.
+
+
+@node \set vs. \override
+@subsection \set vs. \override
+
+We have seen two methods of changing properties: @code{\set} and
+@code{\override}.  There are actually two different kinds of
+properties.
+
+Contexts can have properties, which are usually named in
+@code{studlyCaps}.  They mostly control the translation from
+music to notatino, eg. @code{localKeySignature} (for determining
+whether to print accidentals), @code{measurePosition} (for
+determining when to print a barline).  Context properties can
+change value over time while interpreting a piece of music;
+@code{measurePosition} is an obvious example of
+this.  Context properties are modified with @code{\set}.
+
+There is a special type of context property: the element
+description. These properties are named in @code{StudlyCaps}
+(starting with capital letters).  They contain the
+``default settings'' for said graphical object as an
+association list.  See @file{scm/@/define@/-grobs@/.scm}
+to see what kind of settings there are.  Element descriptions
+may be modified with @code{\override}.
+
+@code{\override} is actually a shorthand;
+
+@example
+\override @var{context}.@var{name} #'@var{property} = #@var{value}
+@end example
+
+@noindent
+is more or less equivalent to
+
+@c  leave this long line -gp
+@example
+\set @var{context}.@var{name} #'@var{property} = #(cons (cons '@var{property} @var{value}) <previous value of @var{context})
+@end example
+
+The value of @code{context} (the alist) is used to initalize
+the properties of individual grobs.  Grobs also have
+properties, named in scheme style, with
+@code{dashed-words}.  The values of grob properties change
+during the formatting process: formatting basically amounts
+to computing properties using callback functions.
+
+@code{fontSize} is a special property: it is equivalent to
+entering @code{\override ... #'font-size} for all pertinent
+objects.  Since this is a common change, the special
+property (modified with @code{\set}) was created.
+

 
 @node Difficult tweaks
 @subsection Difficult tweaks
 
 
 @node Difficult tweaks
 @subsection Difficult tweaks
 

-There are a few classes of difficult adjustments.  
+There are a few classes of difficult adjustments.

 
 @itemize @bullet
 
 
 @itemize @bullet
 


@@ -1531,7 +1629,7 @@ objects have been split over different systems.
 
 In the following example, we define a procedure
 @code{my-callback}.  This procedure
 
 In the following example, we define a procedure
 @code{my-callback}.  This procedure

- 
+

 @itemize @bullet
 @item
 determines if we have been split across line breaks
 @itemize @bullet
 @item
 determines if we have been split across line breaks


@@ -1549,7 +1647,7 @@ of the broken tie is translated up.
 @lilypond[quote,verbatim,ragged-right]
 #(define (my-callback grob)
   (let* (
 @lilypond[quote,verbatim,ragged-right]
 #(define (my-callback grob)
   (let* (

-         ; have we been split? 
+         ; have we been split?

          (orig (ly:grob-original grob))
 
          ; if yes, get the split pieces (our siblings)
          (orig (ly:grob-original grob))
 
          ; if yes, get the split pieces (our siblings)


@@ -1560,7 +1658,7 @@ of the broken tie is translated up.
              (eq? (car (last-pair siblings)) grob))
      (ly:grob-set-property! grob 'extra-offset '(-2 . 5)))))
 
              (eq? (car (last-pair siblings)) grob))
      (ly:grob-set-property! grob 'extra-offset '(-2 . 5)))))
 

-\relative c'' { 
+\relative c'' {

   \override Tie #'after-line-breaking =
   #my-callback
   c1 ~ \break c2 ~ c
   \override Tie #'after-line-breaking =
   #my-callback
   c1 ~ \break c2 ~ c


@@ -1580,10 +1678,10 @@ and @code{PaperColumn}.  They can be changed with the
 @code{\outputProperty} function, which works similar to @code{\once
 \override}, but uses a different syntax,
 
 @code{\outputProperty} function, which works similar to @code{\once
 \override}, but uses a different syntax,
 

-@example 
+@example

 \outputProperty
 #"Score.NonMusicalPaperColumn"  % Grob name
 \outputProperty
 #"Score.NonMusicalPaperColumn"  % Grob name

-#'line-break-system-details     % Property name  
+#'line-break-system-details     % Property name

 #'((next-padding . 20))         % Value
 @end example
 
 #'((next-padding . 20))         % Value
 @end example