Docs: NR 2.8 Ancient - first round

[lilypond.git] / Documentation / user / pitches.itely

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index 78ca74506284b746f9883834ee77c806d0d10259..8a6f20d5408cfddde9dd5d43d242bdcd64019b37 100644 (file)
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -6,7 +6,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 

-@c \version "2.11.38"
+@c \version "2.11.51"

 
 
 @node Pitches
 
 
 @node Pitches


@@ -47,19 +47,21 @@ mode.  In most cases, relative mode will be more convenient.
 @cindex pitches
 @cindex absolute
 @cindex absolute octave specification
 @cindex pitches
 @cindex absolute
 @cindex absolute octave specification

+@cindex absolute octave entry

 
 A pitch name is specified using lowercase letters@tie{}@code{a}
 through@tie{}@code{g}.  The note names @code{c} to @code{b} are
 engraved in the octave below middle C.
 
 @c don't use c' here.
 
 A pitch name is specified using lowercase letters@tie{}@code{a}
 through@tie{}@code{g}.  The note names @code{c} to @code{b} are
 engraved in the octave below middle C.
 
 @c don't use c' here.

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

 \clef bass
 c d e f
 g a b c
 d e f g
 @end lilypond
 
 \clef bass
 c d e f
 g a b c
 d e f g
 @end lilypond
 

+@cindex octave changing mark

 @funindex '
 @funindex ,
 
 @funindex '
 @funindex ,
 


@@ -68,7 +70,7 @@ or comma@tie{}(@code{,}) character.  Each@tie{}@code{'} raises the
 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
 octave.
 
 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
 octave.
 

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

 \clef treble
 c' c'' e' g
 d'' d' d c
 \clef treble
 c' c'' e' g
 d'' d' d c


@@ -83,13 +85,14 @@ Music Glossary:
 @rglos{Pitch names}.
 
 Snippets:
 @rglos{Pitch names}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 
 @node Relative octave entry
 @unnumberedsubsubsec Relative octave entry
 
 @cindex relative
 
 
 @node Relative octave entry
 @unnumberedsubsubsec Relative octave entry
 
 @cindex relative

+@cindex relative octave entry

 @cindex relative octave specification
 @funindex \relative
 
 @cindex relative octave specification
 @funindex \relative
 


@@ -111,18 +114,20 @@ pitch inside @var{musicexpr} is calculated as follows:
 
 @itemize
 @item
 
 @itemize
 @item

-If no octave changing mark is used on a pitch, its octave is calculated
-so that the interval with the previous note is less than a fifth.  This
-interval is determined without considering accidentals.
+If no octave changing mark is used on a pitch, its octave is
+calculated so that the interval with the previous note is less
+than a fifth.  This interval is determined without considering
+accidentals.

 
 @item
 
 @item

-An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
-respectively raise or lower a pitch by an extra octave, relative to
-the pitch calculated without an octave mark.
+An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
+added to respectively raise or lower a pitch by an extra octave,
+relative to the pitch calculated without an octave mark.

 
 @item
 
 @item

-Multiple octave changing marks can be used.  For example, @code{''}@tie{}and
-@code{,,}@tie{} will alter the pitch by two octaves.
+Multiple octave changing marks can be used.  For example,
+@code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
+octaves.

 
 @item
 The pitch of the first note is relative to
 
 @item
 The pitch of the first note is relative to


@@ -134,7 +139,7 @@ absolute octave mode, and it is recommended that it be a octave of
 
 Here is the relative mode shown in action:
 
 
 Here is the relative mode shown in action:
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 \relative c {
   \clef bass
   c d e f
 \relative c {
   \clef bass
   c d e f


@@ -146,7 +151,7 @@ Here is the relative mode shown in action:
 Octave changing marks are used for intervals greater than a
 fourth:
 
 Octave changing marks are used for intervals greater than a
 fourth:
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 \relative c'' {
   c g c f,
   c' a, e'' c
 \relative c'' {
   c g c f,
   c' a, e'' c


@@ -156,7 +161,7 @@ fourth:
 A note sequence without a single octave mark can nevertheless span
 large intervals:
 
 A note sequence without a single octave mark can nevertheless span
 large intervals:
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 \relative c {
   c f b e
   a d g c
 \relative c {
   c f b e
   a d g c


@@ -166,15 +171,14 @@ large intervals:
 If the preceding item is a chord, the first note of the chord is
 used as the reference point for the octave placement of a
 following note or chord.  Inside chords, the next note is always
 If the preceding item is a chord, the first note of the chord is
 used as the reference point for the octave placement of a
 following note or chord.  Inside chords, the next note is always

-relative to the preceding one.
+relative to the preceding one.  Examine the next example
+carefully, paying attention to the @code{c} notes.

 
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 \relative c' {
   c
   <c e g>
 \relative c' {
   c
   <c e g>

-  % the C is now an octave higher

   <c' e g'>
   <c' e g'>

-  % the C returns to the original pitch

   <c, e, g''>
 }
 @end lilypond
   <c, e, g''>
 }
 @end lilypond


@@ -187,7 +191,7 @@ double-augmented fourth is considered a smaller interval than a
 double-diminished fifth, regardless of the number of semitones
 that each interval contains.
 
 double-diminished fifth, regardless of the number of semitones
 that each interval contains.
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 \relative c'' {
   c2 fis
   c2 ges
 \relative c'' {
   c2 fis
   c2 ges


@@ -208,12 +212,14 @@ Notation Reference:
 @ref{Octave checks}.
 
 Snippets:
 @ref{Octave checks}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{RelativeOctaveMusic}.
+@rinternals{RelativeOctaveMusic}.

 
 
 
 

+@cindex relative octave entry and transposition
+@cindex transposition and relative octave entry

 @funindex \transpose
 @funindex \chordmode
 @funindex \relative
 @funindex \transpose
 @funindex \chordmode
 @funindex \relative


@@ -257,15 +263,16 @@ see @rlearning{Accidentals and key signatures}.}
 @cindex double flat
 @cindex flat, double
 @cindex natural sign
 @cindex double flat
 @cindex flat, double
 @cindex natural sign

+@cindex natural pitch

 
 

-A @notation{sharp} pitch is made by adding @code{is} to the note name,
-and a @notation{flat} pitch by adding @code{es}.  As you might expect,
-a @notation{double sharp} or @notation{double flat} is made by adding
-@code{isis} or @code{eses}.  This syntax is derived from Dutch note
-naming conventions.  To use other names for accidentals, see
-@ref{Note names in other languages}.
+A @notation{sharp} pitch is made by adding @code{is} to the note
+name, and a @notation{flat} pitch by adding @code{es}.  As you
+might expect, a @notation{double sharp} or @notation{double flat}
+is made by adding @code{isis} or @code{eses}.  This syntax is
+derived from Dutch note naming conventions.  To use other names
+for accidentals, see @ref{Note names in other languages}.

 
 

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

 ais1 aes aisis aeses
 @end lilypond
 
 ais1 aes aisis aeses
 @end lilypond
 


@@ -274,7 +281,7 @@ signature.  However, naturals are not encoded into the note name
 syntax with a suffix; a natural pitch is shown as a simple note
 name:
 
 syntax with a suffix; a natural pitch is shown as a simple note
 name:
 

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

 a4 aes a2
 @end lilypond
 
 a4 aes a2
 @end lilypond
 


@@ -284,7 +291,7 @@ a4 aes a2
 Quarter tones may be added; the following is a series of Cs with
 increasing pitches:
 
 Quarter tones may be added; the following is a series of Cs with
 increasing pitches:
 

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

 ceseh1 ces ceh c cih cis cisih
 @end lilypond
 
 ceseh1 ces ceh c cih cis cisih
 @end lilypond
 


@@ -307,14 +314,17 @@ be obtained by adding the question mark@tie{}@code{?} after the
 pitch.  These extra accidentals can also be used to produce
 natural signs.
 
 pitch.  These extra accidentals can also be used to produce
 natural signs.
 

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

 cis cis cis! cis? c c c! c?
 @end lilypond
 
 cis cis cis! cis? c c c! c?
 @end lilypond
 

+@cindex accidental on tied note
+@cindex tied note, accidental
+

 Accidentals on tied notes are only printed at the beginning of a
 new system:
 
 Accidentals on tied notes are only printed at the beginning of a
 new system:
 

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

 cis1 ~ cis ~
 \break
 cis
 cis1 ~ cis ~
 \break
 cis


@@ -323,7 +333,7 @@ cis
 
 @snippets
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {preventing-extra-naturals-from-being-automatically-added.ly}
 
 @seealso
 {preventing-extra-naturals-from-being-automatically-added.ly}
 
 @seealso


@@ -341,19 +351,22 @@ Learning Manual:
 
 Notation Reference:
 @ref{Automatic accidentals},
 
 Notation Reference:
 @ref{Automatic accidentals},

-@ref{Musica ficta accidentals},
+@ref{Annotational accidentals (musica ficta)},

 @ref{Note names in other languages}.
 
 Snippets:
 @ref{Note names in other languages}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{Accidental_engraver}, 
-@internalsref{Accidental},
-@internalsref{AccidentalCautionary},
-@internalsref{accidental-interface}.
+@rinternals{Accidental_engraver}, 
+@rinternals{Accidental},
+@rinternals{AccidentalCautionary},
+@rinternals{accidental-interface}.

 
 
 
 

+@cindex accidental, quarter-tone
+@cindex quarter-tone accidental
+

 @knownissues
 
 There are no generally accepted standards for denoting
 @knownissues
 
 There are no generally accepted standards for denoting


@@ -365,14 +378,17 @@ any standard.
 @node Note names in other languages
 @unnumberedsubsubsec Note names in other languages
 
 @node Note names in other languages
 @unnumberedsubsubsec Note names in other languages
 

+@cindex note names, other languages
+@cindex pitch names, other languages
+@cindex language, note names in other
+@cindex language, pitch names in other
+

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

-For example, to use English notes names, add @code{\include
-"english.ly"} to the top of the input file.  The available
-language files and the note names they define are:
+For example, to use English notes names, add
+@w{@code{\include "english.ly"}} to the top of the input file.
+The available language files and the note names they define are:

 
 

-@cindex note names, other languages
-@cindex pitch names, other languages

 
 @smallexample
 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
 
 @smallexample
 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}


@@ -382,35 +398,38 @@ language files and the note names they define are:
 @item nederlands.ly
   @tab c d e f g a bes b
   @tab -is @tab -es @tab -isis @tab -eses
 @item nederlands.ly
   @tab c d e f g a bes b
   @tab -is @tab -es @tab -isis @tab -eses

-@item english.ly
-  @tab c d e f g a bf b
-  @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
-    @tab -ff/-flatflat
-@item deutsch.ly
-  @tab c d e f g a b h
-  @tab -is @tab -es @tab -isis @tab -eses
-@item norsk.ly
-  @tab c d e f g a b h
-  @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
-    @tab -essess/-eses
-@item svenska.ly
-  @tab c d e f g a b h
-  @tab -iss @tab -ess @tab -ississ @tab -essess
-@item suomi.ly
-  @tab c d e f g a b h
-  @tab -is @tab -es @tab -isis @tab -eses
-@item italiano.ly
+@item arabic.ly

   @tab do re mi fa sol la sib si
   @tab -d @tab -b @tab -dd @tab -bb
 @item catalan.ly
   @tab do re mi fa sol la sib si
   @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
   @tab do re mi fa sol la sib si
   @tab -d @tab -b @tab -dd @tab -bb
 @item catalan.ly
   @tab do re mi fa sol la sib si
   @tab -d/-s @tab -b @tab -dd/-ss @tab -bb

+@item deutsch.ly
+  @tab c d e f g a b h
+  @tab -is @tab -es @tab -isis @tab -eses
+@item english.ly
+  @tab c d e f g a bf b
+  @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
+    @tab -ff/-flatflat

 @item espanol.ly
   @tab do re mi fa sol la sib si
   @tab -s @tab -b @tab -ss @tab -bb
 @item espanol.ly
   @tab do re mi fa sol la sib si
   @tab -s @tab -b @tab -ss @tab -bb

+@item italiano.ly
+  @tab do re mi fa sol la sib si
+  @tab -d @tab -b @tab -dd @tab -bb
+@item norsk.ly
+  @tab c d e f g a b h
+  @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
+    @tab -essess/-eses

 @item portugues.ly
   @tab do re mi fa sol la sib si
   @tab -s @tab -b @tab -ss @tab -bb
 @item portugues.ly
   @tab do re mi fa sol la sib si
   @tab -s @tab -b @tab -ss @tab -bb

+@item suomi.ly
+  @tab c d e f g a b h
+  @tab -is @tab -es @tab -isis @tab -eses
+@item svenska.ly
+  @tab c d e f g a b h
+  @tab -iss @tab -ess @tab -ississ @tab -essess

 @item vlaams.ly
   @tab do re mi fa sol la sib si
   @tab -k @tab -b @tab -kk @tab -bb
 @item vlaams.ly
   @tab do re mi fa sol la sib si
   @tab -k @tab -b @tab -kk @tab -bb


@@ -424,11 +443,17 @@ are accepted in LilyPond.  Similarly, both @code{es} and
 @code{eeses}@tie{}/@tie{}@code{eses}.  Sometimes only these
 contracted names are defined in the corresponding language files.
 
 @code{eeses}@tie{}/@tie{}@code{eses}.  Sometimes only these
 contracted names are defined in the corresponding language files.
 

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

 a2 as e es a ases e eses
 @end lilypond
 
 
 a2 as e es a ases e eses
 @end lilypond
 
 

+@cindex microtones
+@cindex semi-sharp
+@cindex semi-flat
+@cindex sesqui-sharp
+@cindex sesqui-flat
+

 Some music uses microtones whose alterations are fractions of a
 @q{normal} sharp or flat.  The note names for quarter-tones
 defined in the various language files are listed in the following
 Some music uses microtones whose alterations are fractions of a
 @q{normal} sharp or flat.  The note names for quarter-tones
 defined in the various language files are listed in the following


@@ -445,12 +470,15 @@ languages, no special names have been defined yet.
 @item nederlands.ly
   @tab c d e f g a bes b
   @tab -ih @tab -eh @tab -isih @tab -eseh
 @item nederlands.ly
   @tab c d e f g a bes b
   @tab -ih @tab -eh @tab -isih @tab -eseh

-@item english.ly
-  @tab c d e f g a bf b
-  @tab -qs @tab -qf @tab -tqs @tab -tqf
+@item arabic.ly
+  @tab do re mi fa sol la sib si
+  @tab -sd @tab -sb @tab -dsd @tab -bsb

 @item deutsch.ly
   @tab c d e f g a b h
   @tab -ih @tab -eh @tab -isih @tab -eseh
 @item deutsch.ly
   @tab c d e f g a b h
   @tab -ih @tab -eh @tab -isih @tab -eseh

+@item english.ly
+  @tab c d e f g a bf b
+  @tab -qs @tab -qf @tab -tqs @tab -tqf

 @item italiano.ly
   @tab do re mi fa sol la sib si
   @tab -sd @tab -sb @tab -dsd @tab -bsb
 @item italiano.ly
   @tab do re mi fa sol la sib si
   @tab -sd @tab -sb @tab -dsd @tab -bsb


@@ -467,7 +495,7 @@ Music Glossary:
 @rglos{Pitch names}.
 
 Snippets:
 @rglos{Pitch names}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 
 @node Changing multiple pitches
 
 
 @node Changing multiple pitches


@@ -485,21 +513,23 @@ This section discusses how to modify pitches.
 
 @cindex octave correction
 @cindex octave check
 
 @cindex octave correction
 @cindex octave check

+@cindex control pitch

 @funindex =
 @funindex =

-@funindex \octave
+@funindex \octaveCheck
+@funindex controlpitch

 
 In relative mode, it is easy to forget an octave changing mark.
 Octave checks make such errors easier to find by displaying a
 warning and correcting the octave if a note is found in an
 unexpected octave.
 
 
 In relative mode, it is easy to forget an octave changing mark.
 Octave checks make such errors easier to find by displaying a
 warning and correcting the octave if a note is found in an
 unexpected octave.
 

-To check the octave of a note, specify the absolute
-octave after the @code{=}@tie{}symbol.  This example will generate
-a warning (and change the pitch) because the second note is the
-absolute octave @code{d''} instead of @code{d'} as indicated by
-the octave correction.
+To check the octave of a note, specify the absolute octave after
+the @code{=}@tie{}symbol.  This example will generate a warning
+(and change the pitch) because the second note is the absolute
+octave @code{d''} instead of @code{d'} as indicated by the octave
+correction.

 
 

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

 \relative c'' {
   c2 d='4 d
   e2 f
 \relative c'' {
   c2 d='4 d
   e2 f


@@ -507,34 +537,35 @@ the octave correction.
 @end lilypond
 
 The octave of notes may also be checked with the
 @end lilypond
 
 The octave of notes may also be checked with the

-@code{\octave}@tie{}@var{controlpitch} command.  @var{controlpitch} is
-specified in absolute mode.  This checks that the interval between the
-previous note and the @var{controlpitch} is within a fourth (i.e., the
-normal calculation of relative mode).  If this check fails, a warning
-is printed, but the previous note is not changed.  Future notes are
+@code{\octaveCheck}@tie{}@var{controlpitch} command.
+@var{controlpitch} is specified in absolute mode.  This checks
+that the interval between the previous note and the
+@var{controlpitch} is within a fourth (i.e., the normal
+calculation of relative mode).  If this check fails, a warning is
+printed, but the previous note is not changed.  Future notes are

 relative to the @var{controlpitch}.
 
 relative to the @var{controlpitch}.
 

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

 \relative c'' {
   c2 d
 \relative c'' {
   c2 d

-  \octave c'
+  \octaveCheck c'

   e2 f
 }
 @end lilypond
 
   e2 f
 }
 @end lilypond
 

-Compare the two bars below.  The first and third @code{\octave}
+Compare the two bars below.  The first and third @code{\octaveCheck}

 checks fail, but the second one does not fail.
 
 checks fail, but the second one does not fail.
 

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

 \relative c'' {
   c4 f g f
 
   c4
 \relative c'' {
   c4 f g f
 
   c4

-  \octave c'
+  \octaveCheck c'

   f
   f

-  \octave c'
+  \octaveCheck c'

   g
   g

-  \octave c'
+  \octaveCheck c'

   f
 }
 @end lilypond
   f
 }
 @end lilypond


@@ -543,18 +574,22 @@ checks fail, but the second one does not fail.
 @seealso
 
 Snippets:
 @seealso
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{RelativeOctaveCheck}.
+@rinternals{RelativeOctaveCheck}.

 
 
 @node Transpose
 @unnumberedsubsubsec Transpose
 
 @cindex transpose
 
 
 @node Transpose
 @unnumberedsubsubsec Transpose
 
 @cindex transpose

+@cindex transposing

 @cindex transposition
 @cindex transposition of pitches
 @cindex transposition
 @cindex transposition of pitches

+@cindex transposition of notes
+@cindex pitches, transposition of
+@cindex notes, transposition of

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


@@ -575,7 +610,7 @@ Consider a piece written in the key of D-major.  It can be
 transposed up to E-major; note that the key signature is
 automatically transposed as well.
 
 transposed up to E-major; note that the key signature is
 automatically transposed as well.
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 \transpose d e {
   \relative c' {
     \key d \major
 \transpose d e {
   \relative c' {
     \key d \major


@@ -584,12 +619,15 @@ automatically transposed as well.
 }
 @end lilypond
 
 }
 @end lilypond
 

-If a part written in C (normal @notation{concert pitch}) is to be played on
-the A clarinet (for which an A is notated as a C and thus sounds a
-minor third lower than notated), the appropriate part will be
-produced with:
+@cindex transposing instruments
+@cindex instruments, transposing

 
 

-@lilypond[verbatim,quote,ragged-right]
+If a part written in C (normal @notation{concert pitch}) is to be
+played on the A clarinet (for which an A is notated as a C and
+thus sounds a minor third lower than notated), the appropriate
+part will be produced with:
+
+@lilypond[verbatim,quote]

 \transpose a c' {
   \relative c' {
     \key c \major
 \transpose a c' {
   \relative c' {
     \key c \major


@@ -599,25 +637,26 @@ produced with:
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-Note that we specify @code{\key c \major} explicitly.  If we do
-not specify a key signature, the notes will be transposed but no
-key signature will be printed.
+Note that we specify @w{@code{\key c \major}} explicitly.  If we
+do not specify a key signature, the notes will be transposed but
+no key signature will be printed.

 
 @code{\transpose} distinguishes between enharmonic pitches: both
 
 @code{\transpose} distinguishes between enharmonic pitches: both

-@code{\transpose c cis} or @code{\transpose c des} will transpose
-up a semitone.  The first version will print sharps and the notes
-will remain on the same scale step, the second version will print
-flats on the scale step above.
+@w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
+transpose up a semitone.  The first version will print sharps and
+the notes will remain on the same scale step, the second version
+will print flats on the scale step above.

 
 

-@lilypond[verbatim,quote,ragged-right]
-mus = \relative c' { c d e f }
+@lilypond[verbatim,quote]
+music = \relative c' { c d e f }

 \new Staff {
 \new Staff {

-  \transpose c cis { \mus }
-  \transpose c des { \mus }
+  \transpose c cis { \music }
+  \transpose c des { \music }

 }
 @end lilypond
 
 @cindex transposing instruments
 }
 @end lilypond
 
 @cindex transposing instruments

+@cindex instruments, transposing

 
 @code{\transpose} may also be used in a different way, to input
 written notes for a transposing instrument.  The previous examples
 
 @code{\transpose} may also be used in a different way, to input
 written notes for a transposing instrument.  The previous examples


@@ -649,7 +688,7 @@ see @ref{Instrument transpositions}.
 
 @snippets
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
 
 
 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
 
 


@@ -659,10 +698,10 @@ Notation Reference:
 @ref{Instrument transpositions}.
 
 Snippets:
 @ref{Instrument transpositions}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{TransposedMusic}.
+@rinternals{TransposedMusic}.

 
 @funindex \transpose
 @funindex \chordmode
 
 @funindex \transpose
 @funindex \chordmode


@@ -670,7 +709,6 @@ Internals Reference:
 
 @knownissues
 
 
 @knownissues
 

-

 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.
 To use relative mode within transposed music, an additional
 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.
 To use relative mode within transposed music, an additional


@@ -728,10 +766,9 @@ This section discusses how to alter the output of pitches.
 @cindex clef, varbaritone 
 @cindex subbass clef, subbass 
 
 @cindex clef, varbaritone 
 @cindex subbass clef, subbass 
 

-The clef is set with the @code{\clef} @var{clefname} command.
-Middle C is shown in every example.
+The clef may be altered.  Middle C is shown in every example.

 
 

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

 \clef treble
 c2 c
 \clef alto
 \clef treble
 c2 c
 \clef alto


@@ -744,7 +781,7 @@ c2 c
 
 Other clefs include:
 
 
 Other clefs include:
 

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

 \clef french
 c2 c
 \clef soprano
 \clef french
 c2 c
 \clef soprano


@@ -771,15 +808,17 @@ Further supported clefs are described under @ref{Ancient clefs}.
 @cindex transposing clefs
 @cindex clef, transposing
 @cindex octave transposition
 @cindex transposing clefs
 @cindex clef, transposing
 @cindex octave transposition

-
-By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively, and @code{_15} and
-@code{^15} transpose by two octaves.  The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits.
-

 @cindex choral tenor clef
 
 @cindex choral tenor clef
 

-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
+clef is transposed one octave down or up, respectively,
+and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
+The clef name must be enclosed in quotes when it contains
+underscores or digits.
+
+@lilypond[verbatim,quote,relative=2]
+\clef treble
+c2 c

 \clef "treble_8"
 c2 c
 \clef "bass^15"
 \clef "treble_8"
 c2 c
 \clef "bass^15"


@@ -789,7 +828,7 @@ c2 c
 
 @snippets
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {tweaking-clef-properties.ly}
 
 
 {tweaking-clef-properties.ly}
 
 


@@ -799,13 +838,13 @@ Notation Reference:
 @ref{Ancient clefs}.
 
 Snippets:
 @ref{Ancient clefs}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{Clef_engraver},
-@internalsref{Clef},
-@internalsref{OctavateEight},
-@internalsref{clef-interface}.
+@rinternals{Clef_engraver},
+@rinternals{Clef},
+@rinternals{OctavateEight},
+@rinternals{clef-interface}.

 
 
 @node Key signature
 
 
 @node Key signature


@@ -824,8 +863,7 @@ see @rlearning{Accidentals and key signatures}.}
 
 The key signature indicates the tonality in which a piece is
 played.  It is denoted by a set of alterations (flats or sharps)
 
 The key signature indicates the tonality in which a piece is
 played.  It is denoted by a set of alterations (flats or sharps)

-at the start of the staff.  Setting or changing the key signature
-is done with the @code{\key} command:
+at the start of the staff.  The key signature may be altered:

 
 @example
 \key @var{pitch} @var{mode}
 
 @example
 \key @var{pitch} @var{mode}


@@ -842,6 +880,15 @@ is done with the @code{\key} command:
 @funindex \dorian
 @cindex church modes
 @cindex modes
 @funindex \dorian
 @cindex church modes
 @cindex modes

+@cindex major
+@cindex minor
+@cindex ionian
+@cindex locrian
+@cindex aeolian
+@cindex mixolydian
+@cindex lydian
+@cindex phrygian
+@cindex dorian

 
 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
 key signature of @var{pitch}-major or @var{pitch}-minor,
 
 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
 key signature of @var{pitch}-major or @var{pitch}-minor,


@@ -850,7 +897,7 @@ called @notation{church modes}: @code{\ionian}, @code{\dorian},
 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
 @code{\aeolian}, and @code{\locrian}.
 
 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
 @code{\aeolian}, and @code{\locrian}.
 

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

 \key g \major
 fis1
 f
 \key g \major
 fis1
 f


@@ -860,10 +907,10 @@ fis
 
 @snippets
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
 
 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {non-traditional-key-signatures.ly}
 
 
 {non-traditional-key-signatures.ly}
 
 


@@ -877,16 +924,16 @@ Learning Manual:
 @rlearning{Accidentals and key signatures}.
 
 Snippets:
 @rlearning{Accidentals and key signatures}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{KeyChangeEvent},
-@internalsref{Key_engraver},
-@internalsref{Key_performer},
-@internalsref{KeyCancellation},
-@internalsref{KeySignature},
-@internalsref{key-cancellation-interface},
-@internalsref{key-signature-interface}.
+@rinternals{KeyChangeEvent},
+@rinternals{Key_engraver},
+@rinternals{Key_performer},
+@rinternals{KeyCancellation},
+@rinternals{KeySignature},
+@rinternals{key-cancellation-interface},
+@rinternals{key-signature-interface}.

 
 
 @node Ottava brackets
 
 
 @node Ottava brackets


@@ -897,25 +944,26 @@ Internals Reference:
 @cindex 8va
 @cindex 8ve
 @cindex octavation
 @cindex 8va
 @cindex 8ve
 @cindex octavation

+@funindex set-octavation

 
 @notation{Ottava brackets} introduce an extra transposition of an
 octave for the staff:
 
 
 @notation{Ottava brackets} introduce an extra transposition of an
 octave for the staff:
 

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

 a'2 b
 a'2 b

-#(set-octavation 1)
+\ottava #1

 a b
 a b

-#(set-octavation 0)
+\ottava #0

 a b
 @end lilypond
 
 a b
 @end lilypond
 

-The @code{set-octavation} function also takes -1 (for 8va bassa),
+The @code{ottava} function also takes -1 (for 8va bassa),

 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
 
 
 @snippets
 
 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {ottava-text.ly}
 
 
 {ottava-text.ly}
 
 


@@ -925,12 +973,12 @@ Music Glossary:
 @rglos{octavation}.
 
 Snippets:
 @rglos{octavation}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{Ottava_spanner_engraver},
-@internalsref{OttavaBracket},
-@internalsref{ottava-bracket-interface}.
+@rinternals{Ottava_spanner_engraver},
+@rinternals{OttavaBracket},
+@rinternals{ottava-bracket-interface}.

 
 
 
 
 
 


@@ -941,6 +989,7 @@ Internals Reference:
 @cindex transposition, instrument
 @cindex transposing instrument
 @cindex MIDI
 @cindex transposition, instrument
 @cindex transposing instrument
 @cindex MIDI

+@cindex MIDI transposition

 @funindex \transposition
 
 When typesetting scores that involve transposing instruments, some
 @funindex \transposition
 
 When typesetting scores that involve transposing instruments, some


@@ -948,8 +997,8 @@ parts can be typeset in a different pitch than the
 @notation{concert pitch}.  In these cases, the key of the
 @notation{transposing instrument} should be specified; otherwise
 the MIDI output and cues in other parts will produce incorrect
 @notation{concert pitch}.  In these cases, the key of the
 @notation{transposing instrument} should be specified; otherwise
 the MIDI output and cues in other parts will produce incorrect

-pitches.  For more information about quotations, see @ref{Quoting
-other voices}.
+pitches.  For more information about quotations, see
+@ref{Quoting other voices}.

 
 @example
 \transposition @var{pitch}
 
 @example
 \transposition @var{pitch}


@@ -960,7 +1009,7 @@ the real sound heard when a@tie{}@code{c'} written on the staff is
 played by the transposing instrument.  This pitch is entered in
 absolute mode, so an instrument that produces a real sound which
 is one tone higher than the printed music should use
 played by the transposing instrument.  This pitch is entered in
 absolute mode, so an instrument that produces a real sound which
 is one tone higher than the printed music should use

-@code{\transposition d'}.  @code{\transposition} should
+@w{@code{\transposition d'}}.  @code{\transposition} should

 @emph{only} be used if the pitches are @emph{not} being entered in
 concert pitch.
 
 @emph{only} be used if the pitches are @emph{not} being entered in
 concert pitch.
 


@@ -969,13 +1018,13 @@ parts have been entered using the notes and key as they appear in
 each part of the conductor's score.  The two instruments are
 playing in unison.
 
 each part of the conductor's score.  The two instruments are
 playing in unison.
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 \new GrandStaff <<
 \new GrandStaff <<

-  \new Staff = "Vln" {
+  \new Staff = "violin" {

     \relative c'' {
       \set Staff.instrumentName = "Vln"
       \set Staff.midiInstrument = "violin"
     \relative c'' {
       \set Staff.instrumentName = "Vln"
       \set Staff.midiInstrument = "violin"

-      % strictly speaking not necessary, but a good reminder
+      % not strictly necessary, but a good reminder

       \transposition c'
 
       \key c \major
       \transposition c'
 
       \key c \major


@@ -988,7 +1037,6 @@ playing in unison.
       \set Staff.midiInstrument = "clarinet"
       \transposition bes
 
       \set Staff.midiInstrument = "clarinet"
       \transposition bes
 

-      % not concert pitch

       \key d \major
       a4( d8) r d r d4
     }
       \key d \major
       a4( d8) r d r d4
     }


@@ -1000,7 +1048,7 @@ The @code{\transposition} may be changed during a piece.  For
 example, a clarinetist may switch from an A clarinet to a B-flat
 clarinet.
 
 example, a clarinetist may switch from an A clarinet to a B-flat
 clarinet.
 

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

 \set Staff.instrumentName = "Cl (A)"
 \key a \major
 \transposition a
 \set Staff.instrumentName = "Cl (A)"
 \key a \major
 \transposition a


@@ -1025,7 +1073,7 @@ Notation Reference:
 @ref{Quoting other voices}, @ref{Transpose}.
 
 Snippets:
 @ref{Quoting other voices}, @ref{Transpose}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 
 @node Automatic accidentals
 
 
 @node Automatic accidentals


@@ -1038,10 +1086,11 @@ Snippets:
 @cindex automatic accidentals
 @cindex default accidental style
 @funindex set-accidental-style
 @cindex automatic accidentals
 @cindex default accidental style
 @funindex set-accidental-style

+@funindex voice

 
 There are many different conventions on how to typeset
 accidentals.  LilyPond provides a function to specify which
 
 There are many different conventions on how to typeset
 accidentals.  LilyPond provides a function to specify which

-accidental style to use.  This function is called as follows
+accidental style to use.  This function is called as follows:

 
 @example
 \new Staff <<
 
 @example
 \new Staff <<


@@ -1055,7 +1104,7 @@ default (with the exception of the styles @code{piano} and
 @code{piano-cautionary}, which are explained below).  Optionally,
 the function can take a second argument that determines in which
 scope the style should be changed.  For example, to use the same
 @code{piano-cautionary}, which are explained below).  Optionally,
 the function can take a second argument that determines in which
 scope the style should be changed.  For example, to use the same

-style in all staves of the current @code{StaffGroup}, use
+style in all staves of the current @code{StaffGroup}, use:

 
 @example
 #(set-accidental-style 'voice 'StaffGroup)
 
 @example
 #(set-accidental-style 'voice 'StaffGroup)


@@ -1064,7 +1113,9 @@ style in all staves of the current @code{StaffGroup}, use
 The following accidental styles are supported.  To demonstrate
 each style, we use the following example:
 
 The following accidental styles are supported.  To demonstrate
 each style, we use the following example:
 

-@lilypond[verbatim,quote,ragged-right]
+@funindex default
+
+@lilypond[verbatim,quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1099,12 +1150,10 @@ musicB = {
 \new PianoStaff {
   <<
     \context Staff = "up" {
 \new PianoStaff {
   <<
     \context Staff = "up" {

-      %%% change the next line as desired:

       #(set-accidental-style 'default)
       \musicA
     }
     \context Staff = "down" {
       #(set-accidental-style 'default)
       \musicA
     }
     \context Staff = "down" {

-      %%% change the next line as desired:

       #(set-accidental-style 'default)
       \musicB
     }
       #(set-accidental-style 'default)
       \musicB
     }


@@ -1115,6 +1164,7 @@ musicB = {
 Note that the last lines of this example can be replaced by the
 following, as long as the same accidental style should be used in
 both staves.
 Note that the last lines of this example can be replaced by the
 following, as long as the same accidental style should be used in
 both staves.

+

 @example
 \new PianoStaff @{
   <<
 @example
 \new PianoStaff @{
   <<


@@ -1134,6 +1184,11 @@ both staves.
 @c don't use verbatim in this table.
 @table @code
 @item default
 @c don't use verbatim in this table.
 @table @code
 @item default

+
+@cindex default accidental style
+@cindex accidental style, default
+@funindex default
+

 This is the default typesetting behavior.  It corresponds to
 eighteenth-century common practice: accidentals are remembered to
 the end of the measure in which they occur and only in their own
 This is the default typesetting behavior.  It corresponds to
 eighteenth-century common practice: accidentals are remembered to
 the end of the measure in which they occur and only in their own


@@ -1141,7 +1196,7 @@ octave.  Thus, in the example below, no natural signs are printed
 before the@tie{}@code{b} in the second measure or the
 last@tie{}@code{c}:
 
 before the@tie{}@code{b} in the second measure or the
 last@tie{}@code{c}:
 

-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1188,10 +1243,19 @@ musicB = {
 @end lilypond
 
 @item voice
 @end lilypond
 
 @item voice

-The normal behavior is to remember the accidentals at @code{Staff}-level.
-In this style, however, accidentals are typeset individually for
-each voice.  Apart from that, the rule is similar to
-@code{default}.
+
+@cindex accidental style, voice
+@cindex voice accidental style
+@cindex accidental style, modern
+@cindex modern accidental style
+@cindex accidental style, modern-cautionary
+@cindex modern-cautionary accidental style
+@funindex voice
+
+The normal behavior is to remember the accidentals at
+@code{Staff}-level.  In this style, however, accidentals are
+typeset individually for each voice.  Apart from that, the rule is
+similar to @code{default}.

 
 As a result, accidentals from one voice do not get canceled in
 other voices, which is often an unwanted result: in the following
 
 As a result, accidentals from one voice do not get canceled in
 other voices, which is often an unwanted result: in the following


@@ -1203,7 +1267,7 @@ individual musicians.  If the staff is to be used by one musician
 @code{modern-cautionary} should be used instead.
 
 
 @code{modern-cautionary} should be used instead.
 
 

-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1250,9 +1314,10 @@ musicB = {
 @end lilypond
 
 @item modern
 @end lilypond
 
 @item modern

+

 @cindex accidentals, modern style
 @cindex modern style accidentals
 @cindex accidentals, modern style
 @cindex modern style accidentals

-@funindex modern style accidentals
+@funindex modern

 
 This rule corresponds to the common practice in the twentieth
 century.  It prints the same accidentals as @code{default}, with
 
 This rule corresponds to the common practice in the twentieth
 century.  It prints the same accidentals as @code{default}, with


@@ -1263,7 +1328,7 @@ for notes in other octaves.  Hence the naturals before
 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
 the upper staff:
 
 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
 the upper staff:
 

-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1310,6 +1375,7 @@ musicB = {
 @end lilypond
 
 @item modern-cautionary
 @end lilypond
 
 @item modern-cautionary

+

 @cindex accidentals, modern cautionary style
 @cindex modern accidental style
 @cindex modern cautionary accidental style
 @cindex accidentals, modern cautionary style
 @cindex modern accidental style
 @cindex modern cautionary accidental style


@@ -1324,8 +1390,7 @@ parentheses, but they can also be printed in reduced size by
 defining the @code{cautionary-style} property of
 @code{AccidentalSuggestion}.
 
 defining the @code{cautionary-style} property of
 @code{AccidentalSuggestion}.
 

-
-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1372,6 +1437,7 @@ musicB = {
 @end lilypond
 
 @item modern-voice
 @end lilypond
 
 @item modern-voice

+

 @cindex accidental style, modern
 @cindex accidentals, modern
 @cindex accidentals, multivoice
 @cindex accidental style, modern
 @cindex accidentals, modern
 @cindex accidentals, multivoice


@@ -1389,8 +1455,7 @@ previous cancellation was in a different voice, and
 the@tie{}@code{d} in the lower staff is canceled because of the
 accidental in a different voice in the previous measure:
 
 the@tie{}@code{d} in the lower staff is canceled because of the
 accidental in a different voice in the previous measure:
 

-
-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1440,15 +1505,16 @@ musicB = {
 @cindex accidental style, modern voice cautionary
 @cindex accidental style, voice, modern cautionary
 @funindex modern-voice-cautionary
 @cindex accidental style, modern voice cautionary
 @cindex accidental style, voice, modern cautionary
 @funindex modern-voice-cautionary

+

 @item modern-voice-cautionary
 
 This rule is the same as @code{modern-voice}, but with the extra
 @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
-as cautionaries.  Even though all accidentals typeset by
-@code{default} @emph{are} typeset with this rule,
-some of them are typeset as cautionaries.
+accidentals (the ones not typeset by @code{voice}) typeset as
+cautionaries.  Even though all accidentals typeset by
+@code{default} @emph{are} typeset with this rule, some of them are
+typeset as cautionaries.

 
 

-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1495,21 +1561,23 @@ musicB = {
 @end lilypond
 
 @item piano
 @end lilypond
 
 @item piano

+

 @cindex accidental style, piano
 @cindex accidentals, piano
 @cindex piano accidental style
 @cindex piano accidentals
 @cindex accidental style, piano
 @cindex accidentals, piano
 @cindex piano accidental style
 @cindex piano accidentals

+@funindex piano

 
 This rule reflects twentieth-century practice for piano notation.
 Its behavior is very similar to @code{modern} style, but here
 accidentals also get canceled across the staves in the same
 
 This rule reflects twentieth-century practice for piano notation.
 Its behavior is very similar to @code{modern} style, but here
 accidentals also get canceled across the staves in the same

-@code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
-of the final notes.
+@code{GrandStaff} or @code{PianoStaff}, hence all the
+cancellations of the final notes.

 
 This accidental style applies to the current @code{GrandStaff} or
 @code{PianoStaff} by default.
 
 
 This accidental style applies to the current @code{GrandStaff} or
 @code{PianoStaff} by default.
 

-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1555,7 +1623,8 @@ musicB = {
 @end lilypond
 
 @item piano-cautionary
 @end lilypond
 
 @item piano-cautionary

-@funindex #(set-accidental-style 'piano-cautionary)
+
+@funindex piano-cautionary 

 @cindex accidentals, piano cautionary
 @cindex cautionary accidentals, piano
 @cindex piano cautionary accidentals
 @cindex accidentals, piano cautionary
 @cindex cautionary accidentals, piano
 @cindex piano cautionary accidentals


@@ -1563,10 +1632,10 @@ musicB = {
 @cindex cautionary accidental style, piano
 @cindex piano cautionary accidental style
 
 @cindex cautionary accidental style, piano
 @cindex piano cautionary accidental style
 

-Same as @code{#(set-accidental-style 'piano)} but with the extra
-accidentals typeset as cautionaries.
+This is the same as @code{piano} but with the extra accidentals
+typeset as cautionaries.

 
 

-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1611,15 +1680,189 @@ musicB = {
 }
 @end lilypond
 
 }
 @end lilypond
 

+
+@item neo-modern
+
+@funindex neo-modern
+@cindex neo-modern accidental style
+@cindex accidental style, neo-modern
+
+This rule reproduces a common practice in contemporary music:
+accidentals are printed like with @code{modern}, but they are printed
+again if the same note appears later in the same measure -- except
+if the note is immediately repeated.
+
+@lilypond[quote]
+musicA = {
+  <<
+    \relative c' {
+      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis2. <c, g'>4 |
+    }
+    \\
+    \relative c' {
+      ais'2 cis, |
+      fis8 b a4 cis2 |
+    }
+  >>
+}
+
+musicB = {
+  \clef bass
+  \new Voice {
+    \voiceTwo \relative c' {
+      <fis, a cis>4
+      \change Staff = up
+      cis'
+      \change Staff = down
+      <fis, a>
+      \change Staff = up
+      dis' |
+      \change Staff = down
+      <fis, a cis>4 gis <f a d>2 |
+    }
+  }
+}
+
+\new PianoStaff {
+  <<
+    \context Staff = "up" {
+      #(set-accidental-style 'neo-modern)
+      \musicA
+    }
+    \context Staff = "down" {
+      #(set-accidental-style 'neo-modern)
+      \musicB
+    }
+  >>
+}
+@end lilypond
+
+@item neo-modern-cautionary
+
+@funindex neo-modern-cautionary
+@cindex neo-modern-cautionary accidental style
+@cindex accidental style, neo-modern-cautionary
+
+This rule is similar to @code{neo-modern}, but the extra
+accidentals are printed as cautionary accidentals.
+
+@lilypond[quote]
+musicA = {
+  <<
+    \relative c' {
+      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis2. <c, g'>4 |
+    }
+    \\
+    \relative c' {
+      ais'2 cis, |
+      fis8 b a4 cis2 |
+    }
+  >>
+}
+
+musicB = {
+  \clef bass
+  \new Voice {
+    \voiceTwo \relative c' {
+      <fis, a cis>4
+      \change Staff = up
+      cis'
+      \change Staff = down
+      <fis, a>
+      \change Staff = up
+      dis' |
+      \change Staff = down
+      <fis, a cis>4 gis <f a d>2 |
+    }
+  }
+}
+
+\new PianoStaff {
+  <<
+    \context Staff = "up" {
+      #(set-accidental-style 'neo-modern-cautionary)
+      \musicA
+    }
+    \context Staff = "down" {
+      #(set-accidental-style 'neo-modern-cautionary)
+      \musicB
+    }
+  >>
+}
+@end lilypond
+
+
+@item dodecaphonic
+
+@funindex dodecaphonic
+@cindex dodecaphonic accidental style
+@cindex dodecaphonic style, neo-modern
+
+This rule reflects a practice introduced by composers at
+the beginning of the 20th century, in an attempt to
+abolish the hierarchy between natural and non-natural notes.
+With this style, @emph{every} note gets an accidental sign,
+including natural signs.
+
+@lilypond[quote]
+musicA = {
+  <<
+    \relative c' {
+      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis2. <c, g'>4 |
+    }
+    \\
+    \relative c' {
+      ais'2 cis, |
+      fis8 b a4 cis2 |
+    }
+  >>
+}
+
+musicB = {
+  \clef bass
+  \new Voice {
+    \voiceTwo \relative c' {
+      <fis, a cis>4
+      \change Staff = up
+      cis'
+      \change Staff = down
+      <fis, a>
+      \change Staff = up
+      dis' |
+      \change Staff = down
+      <fis, a cis>4 gis <f a d>2 |
+    }
+  }
+}
+
+\new PianoStaff {
+  <<
+    \context Staff = "up" {
+      #(set-accidental-style 'dodecaphonic)
+      \musicA
+    }
+    \context Staff = "down" {
+      #(set-accidental-style 'dodecaphonic)
+      \musicB
+    }
+  >>
+}
+@end lilypond
+
+

 @item no-reset
 @item no-reset

-@funindex no-reset accidental style
+
+@funindex no-reset

 @cindex accidental style, no reset
 @cindex no reset accidental style
 
 This is the same as @code{default} but with accidentals lasting
 @q{forever} and not only within the same measure:
 
 @cindex accidental style, no reset
 @cindex no reset accidental style
 
 This is the same as @code{default} but with accidentals lasting
 @q{forever} and not only within the same measure:
 

-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1666,16 +1909,18 @@ musicB = {
 @end lilypond
 
 @item forget
 @end lilypond
 
 @item forget

-@funindex forget accidental style
+
+@funindex forget

 @cindex forget accidental style
 @cindex accidental style, forget
 
 This is the opposite of @code{no-reset}: Accidentals are not
 remembered at all -- and hence all accidentals are typeset
 relative to the key signature, regardless of what came before in
 @cindex forget accidental style
 @cindex accidental style, forget
 
 This is the opposite of @code{no-reset}: Accidentals are not
 remembered at all -- and hence all accidentals are typeset
 relative to the key signature, regardless of what came before in

-the music:
+the music.  Unlike @code{dodecaphonic}, this rule never prints
+any naturals.

 
 

-@lilypond[quote,ragged-right]
+@lilypond[quote]

 musicA = {
   <<
     \relative c' {
 musicA = {
   <<
     \relative c' {


@@ -1724,24 +1969,24 @@ musicB = {
 
 @snippets
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
 
 
 @seealso
 
 Snippets:
 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
 
 
 @seealso
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{Accidental},
-@internalsref{Accidental_engraver},
-@internalsref{GrandStaff} and
-@internalsref{PianoStaff},
-@internalsref{Staff},
-@internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement},
-@internalsref{accidental-suggestion-interface}.
+@rinternals{Accidental},
+@rinternals{Accidental_engraver},
+@rinternals{GrandStaff} and
+@rinternals{PianoStaff},
+@rinternals{Staff},
+@rinternals{AccidentalSuggestion},
+@rinternals{AccidentalPlacement},
+@rinternals{accidental-suggestion-interface}.

 
 
 @cindex accidentals and simultaneous notes
 
 
 @cindex accidentals and simultaneous notes


@@ -1779,7 +2024,7 @@ clef.  The range is graphically specified by two note heads that
 represent the lowest and highest pitches.  Accidentals are only
 printed if they are not part of the key signature.
 
 represent the lowest and highest pitches.  Accidentals are only
 printed if they are not part of the key signature.
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 \layout {
   \context {
     \Voice
 \layout {
   \context {
     \Voice


@@ -1796,10 +2041,10 @@ printed if they are not part of the key signature.
 
 @snippets
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {adding-ambitus-per-voice.ly}
 
 {adding-ambitus-per-voice.ly}
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {ambitus-with-multiple-voices.ly}
 
 
 {ambitus-with-multiple-voices.ly}
 
 


@@ -1809,17 +2054,17 @@ Music Glossary:
 @rglos{ambitus}.
 
 Snippets:
 @rglos{ambitus}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{Ambitus_engraver},
-@internalsref{Voice},
-@internalsref{Staff},
-@internalsref{Ambitus},
-@internalsref{AmbitusAccidental},
-@internalsref{AmbitusLine},
-@internalsref{AmbitusNoteHead},
-@internalsref{ambitus-interface}.
+@rinternals{Ambitus_engraver},
+@rinternals{Voice},
+@rinternals{Staff},
+@rinternals{Ambitus},
+@rinternals{AmbitusAccidental},
+@rinternals{AmbitusLine},
+@rinternals{AmbitusNoteHead},
+@rinternals{ambitus-interface}.

 
 
 @knownissues
 
 
 @knownissues


@@ -1855,48 +2100,54 @@ This section suggests ways of altering note heads.
 @cindex parlato note heads
 @cindex harmonic note heads
 @cindex guitar note heads
 @cindex parlato note heads
 @cindex harmonic note heads
 @cindex guitar note heads

+@cindex note head styles
+@cindex styles, note heads
+@funindex cross

 
 

-Different note heads are used by various instruments for various
-meanings -- crosses are used for @q{parlato} with vocalists,
-stopped notes on guitar; diamonds are used for harmonics on string
-instruments, etc.  There is a shorthand (@code{\harmonic}) for
-diamond shapes; the other note head styles are produced by
-tweaking the property:
+Note heads may be altered:

 
 

-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-c4 d
+@lilypond[verbatim,quote,relative=2]
+c4 b a b

 \override NoteHead #'style = #'cross
 \override NoteHead #'style = #'cross

-e f
+c4 b a b

 \revert NoteHead #'style
 \revert NoteHead #'style

-e d <c f\harmonic> <d a'\harmonic>
+c4 d e f
+@end lilypond
+
+There is a shorthand for diamond shapes which can only be used
+inside chords:
+
+@lilypond[verbatim,quote,relative=2]
+<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>

 @end lilypond
 
 @noindent
 To see all note head styles, see @ref{Note head styles}.
 
 @end lilypond
 
 @noindent
 To see all note head styles, see @ref{Note head styles}.
 

-

 @seealso
 
 Snippets:
 @seealso
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Notation Reference:
 
 Notation Reference:

-@ref{Note head styles}.
+@ref{Note head styles},
+@ref{Chorded notes}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{Ledger_line_engraver},
-@internalsref{NoteHead},
-@internalsref{LedgerLineSpanner},
-@internalsref{note-head-interface},
-@internalsref{ledger-line-spanner-interface}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{Ledger_line_engraver},
+@rinternals{NoteHead},
+@rinternals{LedgerLineSpanner},
+@rinternals{note-head-interface},
+@rinternals{ledger-line-spanner-interface}.

 
 
 @node Easy notation note heads
 @unnumberedsubsubsec Easy notation note heads
 
 @cindex note heads, practice
 
 
 @node Easy notation note heads
 @unnumberedsubsubsec Easy notation note heads
 
 @cindex note heads, practice

+@cindex practice note heads

 @cindex note heads, easy notation
 @cindex easy notation
 @cindex Hal Leonard
 @cindex note heads, easy notation
 @cindex easy notation
 @cindex Hal Leonard


@@ -1906,9 +2157,11 @@ Internals Reference:
 @cindex note heads, easy play
 
 The @q{easy play} note head includes a note name inside the head.
 @cindex note heads, easy play
 
 The @q{easy play} note head includes a note name inside the head.

-It is used in music for beginners.
+It is used in music for beginners.  To make the letters readable,
+it should be printed in a large font size.  To print with a larger
+font, see @ref{Setting the staff size}.

 
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

 #(set-global-staff-size 26)
 \relative c' {
   \easyHeadsOn
 #(set-global-staff-size 26)
 \relative c' {
   \easyHeadsOn


@@ -1919,12 +2172,6 @@ It is used in music for beginners.
 }
 @end lilypond
 
 }
 @end lilypond
 

-The command @code{\easyHeadsOn} overrides settings for the
-@code{NoteHead} object.  These settings can be reverted with the command
-@code{\easyHeadsOff}. To make the letters readable, it has to be printed
-in a large font size.  To print with a larger font, see @ref{Setting the
-staff size}.
-

 @predefined
 
 @funindex \easyHeadsOn
 @predefined
 
 @funindex \easyHeadsOn


@@ -1937,13 +2184,13 @@ Notation Reference:
 @ref{Setting the staff size}.
 
 Snippets:
 @ref{Setting the staff size}.
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{NoteHead},
-@internalsref{note-head-interface}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.

 
 
 @node Shape note heads
 
 
 @node Shape note heads


@@ -1956,28 +2203,23 @@ Internals Reference:
 @cindex Aiken shape note heads
 @cindex sacred harp note heads
 @funindex \key
 @cindex Aiken shape note heads
 @cindex sacred harp note heads
 @funindex \key

-@funindex shapeNoteStyles

 @funindex \aikenHeads
 @funindex \sacredHarpHeads
 
 In shape note head notation, the shape of the note head
 corresponds to the harmonic function of a note in the scale.  This
 notation was popular in nineteenth-century American song books.
 @funindex \aikenHeads
 @funindex \sacredHarpHeads
 
 In shape note head notation, the shape of the note head
 corresponds to the harmonic function of a note in the scale.  This
 notation was popular in nineteenth-century American song books.

+Shape note heads can be produced:

 
 

-Shape note heads can be produced by setting @code{\aikenHeads} or
-@code{\sacredHarpHeads}, depending on the style desired.
-
-@lilypond[verbatim,fragment,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,relative=2]

 \aikenHeads
 \aikenHeads

-c8 d4 e8 a2
-g1
+c, d e f g a b c

 \sacredHarpHeads
 \sacredHarpHeads

-c,8 d4 e8 a2
-g1
+c, d e f g a b c

 @end lilypond
 
 @end lilypond
 

-Shapes are typeset according to the step in the scale, where
-the base of the scale is determined by the @code{\key} command.
+Shapes are typeset according to the step in the scale, where the
+base of the scale is determined by the @code{\key} command.

 
 @predefined
 
 
 @predefined
 


@@ -1987,7 +2229,7 @@ the base of the scale is determined by the @code{\key} command.
 
 @snippets
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]

 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
 
 @noindent
 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
 
 @noindent


@@ -1996,16 +2238,16 @@ To see all note head styles, see @ref{Note head styles}.
 @seealso
 
 Snippets:
 @seealso
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Notation Reference:
 @ref{Note head styles}.
 
 Internals Reference:
 
 Notation Reference:
 @ref{Note head styles}.
 
 Internals Reference:

-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{NoteHead},
-@internalsref{note-head-interface}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.

 
 
 @node Improvisation
 
 
 @node Improvisation


@@ -2020,10 +2262,10 @@ Improvisation is sometimes denoted with slashed note heads, where
 the performer may choose any pitch but should play the specified
 rhythm.  Such note heads can be created:
 
 the performer may choose any pitch but should play the specified
 rhythm.  Such note heads can be created:
 

-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote,relative=2]

 \new Voice \with {
   \consists "Pitch_squash_engraver"
 \new Voice \with {
   \consists "Pitch_squash_engraver"

-} \transpose c c' {
+} {

   e8 e g a a16( bes) a8 g
   \improvisationOn
   e8 ~
   e8 e g a a16( bes) a8 g
   \improvisationOn
   e8 ~


@@ -2045,11 +2287,11 @@ rhythm.  Such note heads can be created:
 @seealso
 
 Snippets:
 @seealso
 
 Snippets:

-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{Pitch_squash_engraver},
-@internalsref{Voice},
-@internalsref{RhythmicStaff}.
+@rinternals{Pitch_squash_engraver},
+@rinternals{Voice},
+@rinternals{RhythmicStaff}.