lilypond-book robustness: ensure EOL at the end of @verbatim

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

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index 252cf82b13e2e19292e941b28e53640cc2b695ee..fce608a7c86883bcf1d8f37f66851cbf7af1f45c 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 "2.12.0"

 
 
 @node Pitches
 
 
 @node Pitches


@@ -18,10 +18,10 @@ This section discusses how to specify the pitch of notes.  There
 are three steps to this process: input, modification, and output.
 
 @menu
 are three steps to this process: input, modification, and output.
 
 @menu

-* Writing pitches::             
-* Changing multiple pitches::   
-* Displaying pitches::          
-* Note heads::                  
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+* Note heads::

 @end menu
 
 
 @end menu
 
 


@@ -33,10 +33,10 @@ different ways to place notes in octaves: absolute and relative
 mode.  In most cases, relative mode will be more convenient.
 
 @menu
 mode.  In most cases, relative mode will be more convenient.
 
 @menu

-* Absolute octave entry::       
-* Relative octave entry::       
-* Accidentals::                 
-* Note names in other languages::  
+* Absolute octave entry::
+* Relative octave entry::
+* Accidentals::
+* Note names in other languages::

 @end menu
 
 
 @end menu
 
 


@@ -47,19 +47,24 @@ 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 octave specification, absolute
+@cindex absolute octave entry
+@cindex octave entry, absolute

 
 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 +73,7 @@ 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


@@ -77,20 +82,25 @@ c, c,, e, g
 d,, d, d c
 @end lilypond
 
 d,, d, d c
 @end lilypond
 

-@seealso

 
 

+@seealso

 Music Glossary:
 @rglos{Pitch names}.
 
 Snippets:
 Music Glossary:
 @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 octave entry, relative

 @cindex relative octave specification
 @cindex relative octave specification

+@cindex ocatve specification, relative
+
+@funindex relative

 @funindex \relative
 
 When octaves are specified in absolute mode it is easy to
 @funindex \relative
 
 When octaves are specified in absolute mode it is easy to


@@ -106,23 +116,25 @@ octave.
 @end example
 
 In relative mode, each note is assumed to be as close to the
 @end example
 
 In relative mode, each note is assumed to be as close to the

-previous note as possible.  This means that the octave of pitches
-in @var{musicexpr} is calculated as follows:
+previous note as possible.  This means that the octave of each
+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 +146,7 @@ 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 +158,7 @@ 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


@@ -156,25 +168,68 @@ 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
 }
 @end lilypond
 
 \relative c {
   c f b e
   a d g c
 }
 @end lilypond
 

+When @code{\relative} blocks are nested, the innermost
+@code{\relative} block applies.
+
+@lilypond[verbatim,quote]
+\relative c' {
+  c d e f
+  \relative c'' {
+    c d e f
+  }
+}
+@end lilypond
+
+@code{\relative} has no effect on @code{\chordmode} blocks.
+
+@lilypond[verbatim,quote]
+\new Staff {
+  \relative c''' {
+    \chordmode { c1 }
+  }
+  \chordmode { c1 }
+}
+@end lilypond
+
+@code{\relative} is not allowed inside of @code{\chordmode} blocks.
+
+Music inside a @code{\transpose} block is absolute unless a
+@code{\relative} is included.
+
+@lilypond[verbatim,quote]
+\relative c' {
+  d e
+  \transpose f g {
+    d e
+    \relative c' {
+      d e
+    }
+  }
+}
+@end lilypond
+
+
+@cindex chords and relative octave entry
+@cindex relative octave entry and chords
+

 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 +242,7 @@ 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


@@ -198,7 +253,6 @@ that each interval contains.
 
 
 @seealso
 
 
 @seealso

-

 Music Glossary:
 @rglos{fifth},
 @rglos{interval},
 Music Glossary:
 @rglos{fifth},
 @rglos{interval},


@@ -208,22 +262,22 @@ 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 \transpose

+@funindex transpose

 @funindex \chordmode
 @funindex \chordmode

+@funindex chordmode

 @funindex \relative
 @funindex \relative

+@funindex relative

 
 

-@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
-@code{\relative} must be placed inside @code{\transpose}.

 
 @c DEPRECATED
 If no @var{startpitch} is specified for @code{\relative},
 
 @c DEPRECATED
 If no @var{startpitch} is specified for @code{\relative},


@@ -250,6 +304,7 @@ see @rlearning{Accidentals and key signatures}.}
 
 @cindex note names, Dutch
 @cindex note names, default
 
 @cindex note names, Dutch
 @cindex note names, default

+@cindex default note names

 @cindex sharp
 @cindex flat
 @cindex double sharp
 @cindex sharp
 @cindex flat
 @cindex double sharp


@@ -257,15 +312,16 @@ 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
 


@@ -274,17 +330,18 @@ 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
 
 @cindex quarter tones
 a4 aes a2
 @end lilypond
 
 @cindex quarter tones

-@cindex semi-flats, semi-sharps
+@cindex semi-flats
+@cindex semi-sharps

 
 Quarter tones may be added; the following is a series of Cs with
 
 Quarter tones may be added; the following is a series of Cs with

-increasing pitches
+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
 


@@ -294,11 +351,13 @@ ceseh1 ces ceh c cih cis cisih
 @cindex accidental, cautionary
 @cindex accidental, parenthesized
 @cindex reminder accidental
 @cindex accidental, cautionary
 @cindex accidental, parenthesized
 @cindex reminder accidental

-@funindex ?

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

+
+@funindex ?

 @funindex !
 
 @funindex !
 

+

 Normally accidentals are printed automatically, but you may also
 print them manually.  A reminder accidental can be forced by
 adding an exclamation mark@tie{}@code{!} after the pitch.  A
 Normally accidentals are printed automatically, but you may also
 print them manually.  A reminder accidental can be forced by
 adding an exclamation mark@tie{}@code{!} after the pitch.  A


@@ -307,14 +366,17 @@ 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


@@ -323,36 +385,42 @@ cis
 
 @snippets
 
 
 @snippets
 

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

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

-@seealso
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{makam-example.ly}

 
 

+
+@seealso

 Music Glossary:
 @rglos{sharp},
 @rglos{flat},
 @rglos{double sharp},
 @rglos{double flat},
 @rglos{Pitch names},
 Music Glossary:
 @rglos{sharp},
 @rglos{flat},
 @rglos{double sharp},
 @rglos{double flat},
 @rglos{Pitch names},

-@rglos{quarter-tone}.
+@rglos{quarter tone}.

 
 Learning Manual:
 @rlearning{Accidentals and key signatures}.
 
 Notation Reference:
 @ref{Automatic accidentals},
 
 Learning Manual:
 @rlearning{Accidentals and key signatures}.
 
 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
 
 
 @knownissues
 


@@ -365,57 +433,89 @@ 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
 

-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:
-

 @cindex note names, other languages
 @cindex pitch names, other languages
 @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}
-@headitem Language
-  @tab Note names
-  @tab sharp @tab flat @tab double sharp @tab double flat
-@item nederlands.ly
+@cindex language, note names in other
+@cindex language, pitch names in other
+
+There are predefined sets of note and accidental names for various
+other languages.  To use them, include the language-specific init
+file listed below.  For example, to use English note names, add
+@code{@w{\include "english.ly"}} to the input file.
+
+@warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
+use default (Nederlands) note names, the @code{@bs{}include}
+command for the language file should be placed after all other
+LilyPond distribution files.}
+
+The available language files and the note names they define are:
+
+@quotation
+@multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
+@headitem Language File
+  @tab Note Names
+@item @file{nederlands.ly}

   @tab c d e f g a bes b
   @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
+@item @file{arabic.ly}
+  @tab do re mi fa sol la sib si
+@item @file{catalan.ly}
+  @tab do re mi fa sol la sib si
+@item @file{deutsch.ly}

   @tab c d e f g a b h
   @tab c d e f g a b h

-  @tab -is @tab -es @tab -isis @tab -eses
-@item norsk.ly
+@item @file{english.ly}
+  @tab c d e f g a bf b
+@item @file{espanol.ly}
+  @tab do re mi fa sol la sib si
+@item @file{italiano.ly}
+  @tab do re mi fa sol la sib si
+@item @file{norsk.ly}

   @tab c d e f g a b h
   @tab c d e f g a b h

-  @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
-    @tab -essess/-eses
-@item svenska.ly
+@item @file{portugues.ly}
+  @tab do re mi fa sol la sib si
+@item @file{suomi.ly}

   @tab c d e f g a b h
   @tab c d e f g a b h

-  @tab -iss @tab -ess @tab -ississ @tab -essess
-@item suomi.ly
+@item @file{svenska.ly}

   @tab c d e f g a b h
   @tab c d e f g a b h

-  @tab -is @tab -es @tab -isis @tab -eses
-@item italiano.ly
+@item @file{vlaams.ly}

   @tab do re mi fa sol la sib si
   @tab do re mi fa sol la sib si

+@end multitable
+@end quotation
+
+@noindent
+and the accidental suffixes they define are:
+
+@quotation
+@multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
+@headitem Language File
+  @tab sharp @tab flat @tab double sharp @tab double flat
+@item @file{nederlands.ly}
+  @tab -is @tab -es @tab -isis @tab -eses
+@item @file{arabic.ly}

   @tab -d @tab -b @tab -dd @tab -bb
   @tab -d @tab -b @tab -dd @tab -bb

-@item catalan.ly
-  @tab do re mi fa sol la sib si
+@item @file{catalan.ly}

   @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
   @tab -d/-s @tab -b @tab -dd/-ss @tab -bb

-@item espanol.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
+@item @file{deutsch.ly}
+  @tab -is @tab -es @tab -isis @tab -eses
+@item @file{english.ly}
+  @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
+    @tab -ff/-flatflat
+@item @file{espanol.ly}
+  @tab -s @tab -b @tab -ss/-x @tab -bb
+@item @file{italiano.ly}
+  @tab -d @tab -b @tab -dd @tab -bb
+@item @file{norsk.ly}
+  @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
+    @tab -essess/-eses
+@item @file{portugues.ly}

   @tab -s @tab -b @tab -ss @tab -bb
   @tab -s @tab -b @tab -ss @tab -bb

-@item vlaams.ly
-  @tab do re mi fa sol la sib si
+@item @file{suomi.ly}
+  @tab -is @tab -es @tab -isis @tab -eses
+@item @file{svenska.ly}
+  @tab -iss @tab -ess @tab -ississ @tab -essess
+@item @file{vlaams.ly}

   @tab -k @tab -b @tab -kk @tab -bb
 @end multitable
   @tab -k @tab -b @tab -kk @tab -bb
 @end multitable

-@end smallexample
+@end quotation

 
 In Dutch, @code{aes} is contracted to @code{as}, but both forms
 are accepted in LilyPond.  Similarly, both @code{es} and
 
 In Dutch, @code{aes} is contracted to @code{as}, but both forms
 are accepted in LilyPond.  Similarly, both @code{es} and


@@ -424,11 +524,17 @@ 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


@@ -436,38 +542,35 @@ table.  Here the prefixes @notation{semi-} and @notation{sesqui-}
 mean @q{half} and @q{one and a half}, respectively.  For the other
 languages, no special names have been defined yet.
 
 mean @q{half} and @q{one and a half}, respectively.  For the other
 languages, no special names have been defined yet.
 

-@smallexample
-@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
-@headitem Language
-  @tab Note names
+@quotation
+@multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
+@headitem Language File

   @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
 
   @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
 

-@item nederlands.ly
-  @tab c d e f g a bes b
+@item @file{nederlands.ly}

   @tab -ih @tab -eh @tab -isih @tab -eseh
   @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 deutsch.ly
-  @tab c d e f g a b h
+@item @file{arabic.ly}
+  @tab -sd @tab -sb @tab -dsd @tab -bsb
+@item @file{deutsch.ly}

   @tab -ih @tab -eh @tab -isih @tab -eseh
   @tab -ih @tab -eh @tab -isih @tab -eseh

-@item italiano.ly
-  @tab do re mi fa sol la sib si
+@item @file{english.ly}
+  @tab -qs @tab -qf @tab -tqs @tab -tqf
+@item @file{espanol.ly}
+  @tab -cs @tab -cb @tab -tcs @tab -tcb
+@item @file{italiano.ly}

   @tab -sd @tab -sb @tab -dsd @tab -bsb
   @tab -sd @tab -sb @tab -dsd @tab -bsb

-@item portugues.ly
-  @tab do re mi fa sol la sib si
+@item @file{portugues.ly}

   @tab -sqt @tab -bqt @tab -stqt @tab -btqt
 @end multitable
   @tab -sqt @tab -bqt @tab -stqt @tab -btqt
 @end multitable

-@end smallexample
+@end quotation

 
 
 @seealso
 
 
 @seealso

-

 Music Glossary:
 @rglos{Pitch names}.
 
 Snippets:
 Music Glossary:
 @rglos{Pitch names}.
 
 Snippets:

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

 
 
 @node Changing multiple pitches
 
 
 @node Changing multiple pitches


@@ -476,8 +579,8 @@ Snippets:
 This section discusses how to modify pitches.
 
 @menu
 This section discusses how to modify pitches.
 
 @menu

-* Octave checks::               
-* Transpose::                   
+* Octave checks::
+* Transpose::

 @end menu
 
 @node Octave checks
 @end menu
 
 @node Octave checks


@@ -485,21 +588,25 @@ 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 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 specific 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


@@ -507,55 +614,61 @@ 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
 
 
 @seealso
   f
 }
 @end lilypond
 
 
 @seealso

-

 Snippets:
 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
 @funindex \transpose

+@funindex transpose

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


@@ -571,11 +684,14 @@ with pitch @var{frompitch} is changed to @var{topitch} and any
 other note is transposed by the same interval.  Both pitches are
 entered in absolute mode.
 
 other note is transposed by the same interval.  Both pitches are
 entered in absolute mode.
 

+@warning{Music inside a @code{@bs{}transpose} block is absolute
+unless a @code{@bs{}relative} is included in the block.}
+

 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.
 
 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.
 

-@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 +700,15 @@ 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
+
+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,ragged-right]
+@lilypond[verbatim,quote]

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


@@ -599,25 +718,24 @@ 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
 
 }
 @end lilypond
 

-@cindex transposing instruments

 
 @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


@@ -649,53 +767,54 @@ 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}
 
 
 @seealso
 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
 
 
 @seealso

-

 Notation Reference:
 Notation Reference:

+@ref{Relative octave entry},

 @ref{Instrument transpositions}.
 
 Snippets:
 @ref{Instrument transpositions}.
 
 Snippets:

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

 
 Internals Reference:
 
 Internals Reference:

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

 
 @funindex \transpose
 
 @funindex \transpose

+@funindex transpose

 @funindex \chordmode
 @funindex \chordmode

+@funindex chordmode

 @funindex \relative
 @funindex \relative

+@funindex relative

 
 @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
 @code{\relative} must be placed inside @code{\transpose}.
 
 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
 @code{\relative} must be placed inside @code{\transpose}.
 

-

 @node Displaying pitches
 @subsection Displaying pitches
 
 This section discusses how to alter the output of pitches.
 
 @menu
 @node Displaying pitches
 @subsection Displaying pitches
 
 This section discusses how to alter the output of pitches.
 
 @menu

-* Clef::                        
-* Key signature::               
-* Ottava brackets::             
-* Instrument transpositions::   
-* Automatic accidentals::       
-* Ambitus::                     
+* Clef::
+* Key signature::
+* Ottava brackets::
+* Instrument transpositions::
+* Automatic accidentals::
+* Ambitus::

 @end menu
 
 
 @node Clef
 @unnumberedsubsubsec Clef
 
 @end menu
 
 
 @node Clef
 @unnumberedsubsubsec Clef
 

-@funindex \clef

 @cindex G clef
 @cindex C clef
 @cindex F clef
 @cindex G clef
 @cindex C clef
 @cindex F clef


@@ -717,21 +836,23 @@ This section discusses how to alter the output of pitches.
 @cindex clef, C
 @cindex clef, F
 @cindex clef, treble
 @cindex clef, C
 @cindex clef, F
 @cindex clef, treble

-@cindex clef, violin 
-@cindex clef, alto 
+@cindex clef, violin
+@cindex clef, alto

 @cindex clef, tenor
 @cindex clef, tenor

-@cindex clef, bass 
-@cindex clef, french 
-@cindex clef, soprano 
-@cindex clef, mezzosoprano 
-@cindex clef, baritone 
-@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.
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@cindex clef, bass
+@cindex clef, french
+@cindex clef, soprano
+@cindex clef, mezzosoprano
+@cindex clef, baritone
+@cindex clef, varbaritone
+@cindex subbass clef, subbass
+
+@funindex \clef
+@funindex clef
+
+The clef may be altered.  Middle C is shown in every example.
+
+@lilypond[verbatim,quote,relative=1]

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


@@ -744,7 +865,7 @@ 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


@@ -764,22 +885,36 @@ c2 c
 c2 c
 \clef tab
 c2 c
 c2 c
 \clef tab
 c2 c

+
+\break
+
+\clef G
+c2 c
+\clef F
+c2 c
+\clef C
+c2 c
+

 @end lilypond
 
 @end lilypond
 

-Further supported clefs are described under @ref{Ancient clefs}.
+Further supported clefs are described under @ref{Mensural clefs}
+and @ref{Gregorian 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

+@cindex tenor clef, choral

 
 

-@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"


@@ -789,30 +924,31 @@ c2 c
 
 @snippets
 
 
 @snippets
 

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

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

-

 Notation Reference:
 Notation Reference:

-@ref{Ancient clefs}.
+@ref{Mensural clefs}, @ref{Gregorian clefs}.

 
 Snippets:
 
 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
 @unnumberedsubsubsec Key signature
 
 @cindex key signature
 
 
 @node Key signature
 @unnumberedsubsubsec Key signature
 
 @cindex key signature

+

 @funindex \key
 @funindex \key

+@funindex key

 
 @c duplicated in Key signature and Accidentals
 @warning{New users are sometimes confused about accidentals and
 
 @c duplicated in Key signature and Accidentals
 @warning{New users are sometimes confused about accidentals and


@@ -824,24 +960,42 @@ 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}
 @end example
 
 @funindex \major
 
 @example
 \key @var{pitch} @var{mode}
 @end example
 
 @funindex \major

+@funindex major

 @funindex \minor
 @funindex \minor

+@funindex minor

 @funindex \ionian
 @funindex \ionian

+@funindex ionian

 @funindex \locrian
 @funindex \locrian

+@funindex locrian

 @funindex \aeolian
 @funindex \aeolian

+@funindex aeolian

 @funindex \mixolydian
 @funindex \mixolydian

+@funindex mixolydian

 @funindex \lydian
 @funindex \lydian

+@funindex lydian

 @funindex \phrygian
 @funindex \phrygian

+@funindex phrygian

 @funindex \dorian
 @funindex \dorian

+@funindex dorian
+

 @cindex church modes
 @cindex modes
 @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 +1004,7 @@ 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


@@ -860,15 +1014,14 @@ 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}
 
 
 @seealso
 {non-traditional-key-signatures.ly}
 
 
 @seealso

-

 Music Glossary:
 @rglos{church mode},
 @rglos{scordatura}.
 Music Glossary:
 @rglos{church mode},
 @rglos{scordatura}.


@@ -877,16 +1030,16 @@ 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


@@ -898,40 +1051,42 @@ Internals Reference:
 @cindex 8ve
 @cindex octavation
 
 @cindex 8ve
 @cindex octavation
 

+@funindex set-octavation
+@funindex \ottava
+@funindex ottava
+

 @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}
 
 
 @seealso
 {ottava-text.ly}
 
 
 @seealso

-

 Music Glossary:
 @rglos{octavation}.
 
 Snippets:
 Music Glossary:
 @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}.

 
 
 @node Instrument transpositions
 
 
 @node Instrument transpositions


@@ -941,15 +1096,18 @@ Internals Reference:
 @cindex transposition, instrument
 @cindex transposing instrument
 @cindex MIDI
 @cindex transposition, instrument
 @cindex transposing instrument
 @cindex MIDI

+@cindex MIDI transposition
+

 @funindex \transposition
 @funindex \transposition

+@funindex transposition

 
 When typesetting scores that involve transposing instruments, some
 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
 
 When typesetting scores that involve transposing instruments, some
 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

-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 +1118,7 @@ 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 +1127,13 @@ 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'' {
     \relative c'' {

-      \set Staff.instrumentName = "Vln"
-      \set Staff.midiInstrument = "violin"
-      % strictly speaking not necessary, but a good reminder
+      \set Staff.instrumentName = #"Vln"
+      \set Staff.midiInstrument = #"violin"
+      % not strictly necessary, but a good reminder

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


@@ -985,10 +1143,9 @@ playing in unison.
   \new Staff = "clarinet" {
     \relative c'' {
       \set Staff.instrumentName = \markup { Cl (B\flat) }
   \new Staff = "clarinet" {
     \relative c'' {
       \set Staff.instrumentName = \markup { Cl (B\flat) }

-      \set Staff.midiInstrument = "clarinet"
+      \set Staff.midiInstrument = #"clarinet"

       \transposition bes
 
       \transposition bes
 

-      % not concert pitch

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


@@ -1000,8 +1157,8 @@ 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]
-\set Staff.instrumentName = "Cl (A)"
+@lilypond[verbatim,quote,relative=2]
+\set Staff.instrumentName = #"Cl (A)"

 \key a \major
 \transposition a
 c d e f
 \key a \major
 \transposition a
 c d e f


@@ -1016,7 +1173,6 @@ c2 g
 
 
 @seealso
 
 
 @seealso

-

 Music Glossary:
 @rglos{concert pitch},
 @rglos{transposing instrument}.
 Music Glossary:
 @rglos{concert pitch},
 @rglos{transposing instrument}.


@@ -1025,23 +1181,26 @@ Notation Reference:
 @ref{Quoting other voices}, @ref{Transpose}.
 
 Snippets:
 @ref{Quoting other voices}, @ref{Transpose}.
 
 Snippets:

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

 
 
 @node Automatic accidentals
 @unnumberedsubsubsec Automatic accidentals
 
 
 
 @node Automatic accidentals
 @unnumberedsubsubsec Automatic accidentals
 

-@cindex automatic accidentals
-@cindex accidentals, automatic
-@cindex accidentals

 @cindex accidental style
 @cindex accidental style

-@cindex default accidental style

 @cindex accidental style, default
 @cindex accidental style, default

+@cindex accidentals
+@cindex accidentals, automatic
+@cindex automatic accidentals
+@cindex default accidental style
+

 @funindex set-accidental-style
 @funindex set-accidental-style

+@funindex voice
+@funindex default

 
 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 +1214,7 @@ 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 +1223,8 @@ 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]
+
+@lilypond[verbatim,quote]

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


@@ -1099,12 +1259,10 @@ 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 +1273,7 @@ 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 +1293,12 @@ 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 +1306,7 @@ 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 +1353,20 @@ 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 +1378,7 @@ 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 +1425,11 @@ 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 +1440,7 @@ 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' {


@@ -1310,11 +1487,13 @@ musicB = {
 @end lilypond
 
 @item modern-cautionary
 @end lilypond
 
 @item modern-cautionary

+

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

-@cindex modern style accidentals
-@cindex modern style cautionary accidentals

 @cindex modern accidental style
 @cindex modern cautionary accidental style
 @cindex modern accidental style
 @cindex modern cautionary accidental style

+@cindex modern style accidentals
+@cindex modern style cautionary accidentals
+

 @funindex modern-cautionary
 
 This rule is similar to @code{modern}, but the @q{extra}
 @funindex modern-cautionary
 
 This rule is similar to @code{modern}, but the @q{extra}


@@ -1324,8 +1503,7 @@ 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' {


@@ -1372,12 +1550,14 @@ musicB = {
 @end lilypond
 
 @item modern-voice
 @end lilypond
 
 @item modern-voice

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

 @cindex accidentals, modern
 @cindex accidentals, modern

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

 @cindex modern accidentals
 @cindex multivoice accidentals
 @cindex modern accidentals
 @cindex multivoice accidentals

-@cindex accidental style, modern
-@cindex modern accidental style
+

 @funindex modern-voice
 
 This rule is used for multivoice accidentals to be read both by
 @funindex modern-voice
 
 This rule is used for multivoice accidentals to be read both by


@@ -1389,8 +1569,7 @@ 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' {


@@ -1436,19 +1615,21 @@ musicB = {
 }
 @end lilypond
 
 }
 @end lilypond
 

-@cindex accidental style, modern voice cautionary

 @cindex accidental style, cautionary, modern voice
 @cindex accidental style, cautionary, modern voice

+@cindex accidental style, modern voice cautionary

 @cindex accidental style, voice, modern cautionary
 @cindex accidental style, voice, modern cautionary

+

 @funindex modern-voice-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' {


@@ -1495,22 +1676,24 @@ musicB = {
 @end lilypond
 
 @item piano
 @end lilypond
 
 @item piano

-@cindex piano accidentals
-@cindex piano accidentals
+
+@cindex accidental style, piano

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

-@cindex accidental style, piano
+@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' {


@@ -1556,7 +1739,7 @@ musicB = {
 @end lilypond
 
 @item piano-cautionary
 @end lilypond
 
 @item piano-cautionary

-@funindex #(set-accidental-style '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


@@ -1564,10 +1747,12 @@ 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.
+@funindex piano-cautionary
+
+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' {


@@ -1612,15 +1797,256 @@ musicB = {
 }
 @end lilypond
 
 }
 @end lilypond
 

+
+@item neo-modern
+
+@cindex neo-modern accidental style
+@cindex accidental style, neo-modern
+
+@funindex 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
+
+@cindex neo-modern-cautionary accidental style
+@cindex accidental style, neo-modern-cautionary
+
+@funindex 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
+
+@cindex dodecaphonic accidental style
+@cindex dodecaphonic style, neo-modern
+
+@funindex dodecaphonic
+
+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 teaching
+
+@cindex teaching accidental style
+@cindex accidental style, teaching
+
+@funindex teaching
+
+This rule is intended for students, and makes it easy to create
+scale sheets with automagically created cautionary accidentals.
+Accidentals are printed like with @code{modern}, but cautionary
+accidentals are added for all sharp or flat tones specified by the
+key signature, 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" {
+      \key fis \minor
+      #(set-accidental-style 'teaching)
+      \musicA
+    }
+    \context Staff = "down" {
+      \key fis \minor
+      #(set-accidental-style 'teaching)
+      \musicB
+    }
+  >>
+}
+@end lilypond
+
+
+

 @item no-reset
 @item no-reset

-@funindex no-reset accidental style
+

 @cindex accidental style, no reset
 @cindex no reset accidental style
 
 @cindex accidental style, no reset
 @cindex no reset accidental style
 

+@funindex no-reset
+

 This is the same as @code{default} but with accidentals lasting
 @q{forever} and not only within the same measure:
 
 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' {


@@ -1667,16 +2093,19 @@ musicB = {
 @end lilypond
 
 @item forget
 @end lilypond
 
 @item forget

-@funindex forget accidental style
+

 @cindex forget accidental style
 @cindex accidental style, forget
 
 @cindex forget accidental style
 @cindex accidental style, forget
 

+@funindex 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
 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' {


@@ -1725,24 +2154,23 @@ musicB = {
 
 @snippets
 
 
 @snippets
 

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

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

-

 Snippets:
 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


@@ -1780,7 +2208,7 @@ 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


@@ -1797,30 +2225,29 @@ 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}
 
 
 @seealso
 {ambitus-with-multiple-voices.ly}
 
 
 @seealso

-

 Music Glossary:
 @rglos{ambitus}.
 
 Snippets:
 Music Glossary:
 @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


@@ -1835,10 +2262,10 @@ ambitus.
 This section suggests ways of altering note heads.
 
 @menu
 This section suggests ways of altering note heads.
 
 @menu

-* Special note heads::          
-* Easy notation note heads::    
-* Shape note heads::            
-* Improvisation::               
+* Special note heads::
+* Easy notation note heads::
+* Shape note heads::
+* Improvisation::

 @end menu
 
 @node Special note heads
 @end menu
 
 @node Special note heads


@@ -1856,20 +2283,26 @@ 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
 @end lilypond
 
 @noindent


@@ -1877,27 +2310,28 @@ To see all note head styles, see @ref{Note head styles}.
 
 
 @seealso
 
 
 @seealso

-

 Snippets:
 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


@@ -1906,10 +2340,17 @@ Internals Reference:
 @cindex easy play note heads
 @cindex note heads, easy play
 
 @cindex easy play note heads
 @cindex note heads, easy play
 

+@funindex \easyHeadsOn
+@funindex easyHeadsOn
+@funindex \easyHeadsOff
+@funindex easyHeadsOff
+

 The @q{easy play} note head includes a note name inside the head.
 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


@@ -1920,31 +2361,25 @@ 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
 
 @predefined

+@code{\easyHeadsOn},
+@code{\easyHeadsOff}.
+@endpredefined

 
 

-@funindex \easyHeadsOn
-@funindex \easyHeadsOff
-@code{\easyHeadsOn}, @code{\easyHeadsOff}

 
 @seealso
 
 @seealso

-

 Notation Reference:
 @ref{Setting the staff size}.
 
 Snippets:
 Notation Reference:
 @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


@@ -1956,57 +2391,57 @@ Internals Reference:
 @cindex shape notes
 @cindex Aiken shape note heads
 @cindex sacred harp note heads
 @cindex shape notes
 @cindex Aiken shape note heads
 @cindex sacred harp note heads

+

 @funindex \key
 @funindex \key

-@funindex shapeNoteStyles
+@funindex key

 @funindex \aikenHeads
 @funindex \aikenHeads

+@funindex aikenHeads

 @funindex \sacredHarpHeads
 @funindex \sacredHarpHeads

+@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.
 
 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

+@code{\aikenHeads},
+@code{\sacredHarpHeads}.
+@endpredefined

 
 

-@funindex \aikenHeads
-@funindex \sacredHarpHeads
-@code{\aikenHeads}, @code{\sacredHarpHeads}

 
 @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
 To see all note head styles, see @ref{Note head styles}.
 
 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
 
 @noindent
 To see all note head styles, see @ref{Note head styles}.
 

-@seealso

 
 

+@seealso

 Snippets:
 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


@@ -2017,14 +2452,19 @@ Internals Reference:
 @cindex note heads, improvisation
 @cindex note heads, slashed
 
 @cindex note heads, improvisation
 @cindex note heads, slashed
 

+@funindex \improvisationOn
+@funindex improvisationOn
+@funindex \improvisationOff
+@funindex improvisationOff
+

 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:
 
 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:
 

-@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 ~


@@ -2037,20 +2477,18 @@ rhythm.  Such note heads can be created:
 
 
 @predefined
 
 
 @predefined

+@code{\improvisationOn},
+@code{\improvisationOff}.
+@endpredefined

 
 

-@funindex \improvisationOn
-@funindex \improvisationOff
-
-@code{\improvisationOn}, @code{\improvisationOff}

 
 @seealso
 
 @seealso

-

 Snippets:
 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}.