Update snippet name.

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

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index 55e99d76d46cf4f766c9866b5a6f415c9dd6816a..be22529c7b6a2e65e42d80c42c47dd9f722d5023 100644 (file)
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -6,6 +6,8 @@
     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"
+

 
 @node Pitches
 @section Pitches
 
 @node Pitches
 @section Pitches


@@ -50,8 +52,8 @@ 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.
 
 through@tie{}@code{g}.  The note names @code{c} to @code{b} are
 engraved in the octave below middle C.
 

-@c NOTE: don't use c' here.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@c don't use c' here.
+@lilypond[verbatim,quote,fragment]

 \clef bass
 c d e f
 g a b c
 \clef bass
 c d e f
 g a b c


@@ -66,7 +68,7 @@ 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


@@ -77,9 +79,11 @@ d,, d, d c
 
 @seealso
 
 
 @seealso
 

-Music Glossary: @rglos{Pitch names}.
+Music Glossary:
+@rglos{Pitch names}.

 
 

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

 
 
 @node Relative octave entry
 
 
 @node Relative octave entry


@@ -102,8 +106,8 @@ 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


@@ -130,7 +134,7 @@ 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


@@ -142,7 +146,7 @@ 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


@@ -152,7 +156,7 @@ 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


@@ -162,15 +166,14 @@ 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


@@ -183,7 +186,7 @@ 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


@@ -195,11 +198,19 @@ that each interval contains.
 
 @seealso
 
 
 @seealso
 

-Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
+Music Glossary:
+@rglos{fifth},
+@rglos{interval},
+@rglos{Pitch names}.
+
+Notation Reference:
+@ref{Octave checks}.

 
 

-Notation Reference: @ref{Octave checks}.
+Snippets:
+@rlsr{Pitches}.

 
 

-Snippets: @lsrdir{Pitches,Pitches}.
+Internals Reference:
+@rinternals{RelativeOctaveMusic}.

 
 
 @funindex \transpose
 
 
 @funindex \transpose


@@ -213,7 +224,7 @@ The relative conversion will not affect @code{\transpose},
 To use relative mode within transposed music, an additional
 @code{\relative} must be placed inside @code{\transpose}.
 
 To use relative mode within transposed music, an additional
 @code{\relative} must be placed inside @code{\transpose}.
 

-@c NOTE: DEPRECATED
+@c DEPRECATED

 If no @var{startpitch} is specified for @code{\relative},
 then@tie{}@code{c'} is assumed.  However, this is a deprecated
 option and may disappear in future versions, so its use is
 If no @var{startpitch} is specified for @code{\relative},
 then@tie{}@code{c'} is assumed.  However, this is a deprecated
 option and may disappear in future versions, so its use is


@@ -228,6 +239,7 @@ discouraged.
 @cindex key signature
 @cindex clef
 
 @cindex key signature
 @cindex clef
 

+@c duplicated in Key signature and Accidentals

 @warning{New users are sometimes confused about accidentals and
 key signatures.  In LilyPond, note names are the raw input; key
 signatures and clefs determine how this raw input is displayed.
 @warning{New users are sometimes confused about accidentals and
 key signatures.  In LilyPond, note names are the raw input; key
 signatures and clefs determine how this raw input is displayed.


@@ -252,7 +264,7 @@ a @notation{double sharp} or @notation{double flat} is made by adding
 naming conventions.  To use other names for accidentals, see
 @ref{Note names in other languages}.
 
 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,fragment,relative=2]

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


@@ -261,7 +273,7 @@ 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,fragment,relative=2]

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


@@ -269,9 +281,9 @@ a4 aes a2
 @cindex semi-flats, semi-sharps
 
 Quarter tones may be added; the following is a series of Cs with
 @cindex semi-flats, semi-sharps
 
 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,fragment,relative=2]

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


@@ -294,14 +306,14 @@ 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,fragment,relative=2]

 cis cis cis! cis? c c c! c?
 @end lilypond
 
 Accidentals on tied notes are only printed at the beginning of a
 new system:
 
 cis cis cis! cis? c c c! c?
 @end lilypond
 
 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,fragment,relative=2]

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


@@ -310,21 +322,35 @@ cis
 
 @snippets
 
 
 @snippets
 

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

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

-Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
-@rglos{double flat}, @rglos{Pitch names}, @rglos{quarter-tone}.
+Music Glossary:
+@rglos{sharp},
+@rglos{flat},
+@rglos{double sharp},
+@rglos{double flat},
+@rglos{Pitch names},
+@rglos{quarter tone}.

 
 

-Learning Manual: @rlearning{Accidentals and key signatures}.
+Learning Manual:
+@rlearning{Accidentals and key signatures}.

 
 

-Notation Reference: @ref{Automatic accidentals},
-@ref{Musica ficta accidentals},
+Notation Reference:
+@ref{Automatic accidentals},
+@ref{Annotational accidentals},

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

-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{Accidental_engraver}, 
+@rinternals{Accidental},
+@rinternals{AccidentalCautionary},
+@rinternals{accidental-interface}.

 
 
 @knownissues
 
 
 @knownissues


@@ -397,7 +423,7 @@ 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,fragment,relative=2]

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


@@ -436,9 +462,11 @@ languages, no special names have been defined yet.
 
 @seealso
 
 
 @seealso
 

-Music Glossary: @rglos{Pitch names}.
+Music Glossary:
+@rglos{Pitch names}.

 
 

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

 
 
 @node Changing multiple pitches
 
 
 @node Changing multiple pitches


@@ -464,13 +492,13 @@ 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.
 
 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
+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.
 
 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,fragment]

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


@@ -480,12 +508,12 @@ the octave correction.
 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
 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
+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}.
 
 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}.
 

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

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


@@ -494,9 +522,9 @@ relative to the @var{controlpitch}.
 @end lilypond
 
 Compare the two bars below.  The first and third @code{\octave}
 @end lilypond
 
 Compare the two bars below.  The first and third @code{\octave}

-check 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,fragment]

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


@@ -513,7 +541,11 @@ check fail, but the second one does not fail.
 
 @seealso
 
 
 @seealso
 

-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{RelativeOctaveCheck}.

 
 
 @node Transpose
 
 
 @node Transpose


@@ -542,7 +574,7 @@ 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


@@ -551,12 +583,12 @@ automatically transposed as well.
 }
 @end lilypond
 
 }
 @end lilypond
 

-If a part written in C (normal concert pitch) is to be played on
+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:
 
 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


@@ -576,7 +608,7 @@ 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.
 
 will remain on the same scale step, the second version will print
 flats on the scale step above.
 

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

 mus = \relative c' { c d e f }
 \new Staff {
   \transpose c cis { \mus }
 mus = \relative c' { c d e f }
 \new Staff {
   \transpose c cis { \mus }


@@ -616,17 +648,20 @@ see @ref{Instrument transpositions}.
 
 @snippets
 
 
 @snippets
 

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

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

-Notation Reference: @ref{Instrument transpositions}.
+Notation Reference:
+@ref{Instrument transpositions}.

 
 

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

 
 

-Internals Reference: @internalsref{TransposedMusic}.
+Internals Reference:
+@rinternals{TransposedMusic}.

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


@@ -695,7 +730,7 @@ This section discusses how to alter the output of pitches.
 The clef is set with the @code{\clef} @var{clefname} command.
 Middle C is shown in every example.
 
 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]
+@lilypond[verbatim,quote,fragment,relative=1]

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


@@ -708,7 +743,7 @@ c2 c
 
 Other clefs include:
 
 
 Other clefs include:
 

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

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


@@ -738,12 +773,12 @@ Further supported clefs are described under @ref{Ancient clefs}.
 
 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
 
 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} transposes by two octaves.  The argument @var{clefname}
+@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
 
 must be enclosed in quotes when it contains underscores or digits.
 
 @cindex choral tenor clef
 

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

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


@@ -753,17 +788,23 @@ c2 c
 
 @snippets
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{clefs-commonly-tweaked-properties.ly}
+@lilypondfile[verbatim,lilyquote,texidoc]
+{tweaking-clef-properties.ly}

 
 
 @seealso
 
 
 
 @seealso
 

-Notation Reference: @ref{Ancient clefs}.
+Notation Reference:
+@ref{Ancient clefs}.

 
 

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

 
 

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

 
 
 @node Key signature
 
 
 @node Key signature


@@ -772,6 +813,7 @@ Internals Reference: @internalsref{Clef}.
 @cindex key signature
 @funindex \key
 
 @cindex key signature
 @funindex \key
 

+@c duplicated in Key signature and Accidentals

 @warning{New users are sometimes confused about accidentals and
 key signatures.  In LilyPond, note names are the raw input; key
 signatures and clefs determine how this raw input is displayed.
 @warning{New users are sometimes confused about accidentals and
 key signatures.  In LilyPond, note names are the raw input; key
 signatures and clefs determine how this raw input is displayed.


@@ -803,11 +845,11 @@ is done with the @code{\key} command:
 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
 key signature of @var{pitch}-major or @var{pitch}-minor,
 respectively.  You may also use the standard mode names, also
 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
 key signature of @var{pitch}-major or @var{pitch}-minor,
 respectively.  You may also use the standard mode names, also

-called @q{church modes}: @code{\ionian}, @code{\dorian},
+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,fragment,relative=2]

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


@@ -817,23 +859,33 @@ fis
 
 @snippets
 
 
 @snippets
 

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

 {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]

 {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}.

 
 

-Learning Manual: @rlearning{Accidentals and key signatures}.
+Learning Manual:
+@rlearning{Accidentals and key signatures}.

 
 

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

 
 

-Internals Reference: @internalsref{KeyCancellation},
-@internalsref{KeySignature}, @internalsref{Key_engraver}.
+Internals Reference:
+@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


@@ -848,7 +900,7 @@ Internals Reference: @internalsref{KeyCancellation},
 @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,fragment,relative=2]

 a'2 b
 #(set-octavation 1)
 a b
 a'2 b
 #(set-octavation 1)
 a b


@@ -862,17 +914,22 @@ The @code{set-octavation} function also takes -1 (for 8va bassa),
 
 @snippets
 
 
 @snippets
 

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

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

-Music Glossary: @rglos{octavation}.
+Music Glossary:
+@rglos{octavation}.

 
 

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

 
 

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

 
 
 
 
 
 


@@ -911,13 +968,13 @@ 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 Staff = "Vln" {
     \relative c'' {
       \set Staff.instrumentName = "Vln"
 \new GrandStaff <<
   \new Staff = "Vln" {
     \relative c'' {
       \set Staff.instrumentName = "Vln"

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

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


@@ -926,11 +983,10 @@ playing in unison.
   }
   \new Staff = "clarinet" {
     \relative c'' {
   }
   \new Staff = "clarinet" {
     \relative c'' {

-      \set Staff.instrumentName = \markup {Cl (B\flat)}
-      \set Staff.midiInstrument="clarinet"
+      \set Staff.instrumentName = \markup { Cl (B\flat) }
+      \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
     }


@@ -942,13 +998,14 @@ 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,fragment,relative=2]

 \set Staff.instrumentName = "Cl (A)"
 \key a \major
 \transposition a
 c d e f
 \textLengthOn
 \set Staff.instrumentName = "Cl (A)"
 \key a \major
 \transposition a
 c d e f
 \textLengthOn

-r1^\markup{Switch to B\flat clarinet}
+s1*0^\markup { Switch to B\flat clarinet }
+R1

 
 \key bes \major
 \transposition bes
 
 \key bes \major
 \transposition bes


@@ -958,22 +1015,26 @@ c2 g
 
 @seealso
 
 
 @seealso
 

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

 
 

-Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
+Notation Reference:
+@ref{Quoting other voices}, @ref{Transpose}.

 
 

-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@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
 
 There are many different conventions on how to typeset
 @funindex set-accidental-style
 
 There are many different conventions on how to typeset


@@ -1001,7 +1062,7 @@ 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' {


@@ -1036,12 +1097,10 @@ 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
     }


@@ -1052,6 +1111,7 @@ 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 @{
   <<


@@ -1068,17 +1128,17 @@ both staves.
 @end example
 
 
 @end example
 
 

-@c NOTE: don't use verbatim in this table.
+@c don't use verbatim in this table.

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

 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}:
 
 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}:
 

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

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


@@ -1125,7 +1185,7 @@ musicB = {
 @end lilypond
 
 @item voice
 @end lilypond
 
 @item voice

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


@@ -1140,7 +1200,7 @@ 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' {


@@ -1200,7 +1260,7 @@ 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' {


@@ -1248,10 +1308,10 @@ musicB = {
 
 @item modern-cautionary
 @cindex accidentals, modern cautionary style
 
 @item modern-cautionary
 @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}


@@ -1262,7 +1322,7 @@ defining the @code{cautionary-style} property of
 @code{AccidentalSuggestion}.
 
 
 @code{AccidentalSuggestion}.
 
 

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

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


@@ -1309,12 +1369,12 @@ 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


@@ -1327,7 +1387,7 @@ the@tie{}@code{d} in the lower staff is canceled because of the
 accidental in a different voice in the previous measure:
 
 
 accidental in a different voice in the previous measure:
 
 

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

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


@@ -1373,8 +1433,8 @@ 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
 @funindex modern-voice-cautionary
 @item modern-voice-cautionary
 @cindex accidental style, voice, modern cautionary
 @funindex modern-voice-cautionary
 @item modern-voice-cautionary


@@ -1385,7 +1445,7 @@ as cautionaries.  Even though all accidentals typeset by
 @code{default} @emph{are} typeset with this rule,
 some of them are typeset as cautionaries.
 
 @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' {


@@ -1432,22 +1492,21 @@ 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

 
 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

-GrandStaff or 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' {


@@ -1504,7 +1563,7 @@ musicB = {
 Same as @code{#(set-accidental-style 'piano)} but with the extra
 accidentals typeset as cautionaries.
 
 Same as @code{#(set-accidental-style 'piano)} but with the extra
 accidentals typeset as cautionaries.
 

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

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


@@ -1557,7 +1616,7 @@ musicB = {
 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' {


@@ -1610,10 +1669,10 @@ musicB = {
 
 This is the opposite of @code{no-reset}: Accidentals are not
 remembered at all -- and hence all accidentals are typeset
 
 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 was before in
+relative to the key signature, regardless of what came before in

 the music:
 
 the music:
 

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

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


@@ -1662,18 +1721,24 @@ musicB = {
 
 @snippets
 
 
 @snippets
 

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

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

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

 
 

-Internals Reference: @internalsref{Accidental_engraver},
-@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
-@internalsref{PianoStaff}, @internalsref{Staff}.
+Internals Reference:
+@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


@@ -1711,39 +1776,47 @@ 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

-    \consists Ambitus_engraver
+    \consists "Ambitus_engraver"

   }
 }
 
 \relative c'' {
   }
 }
 
 \relative c'' {

-  aes c e2 cis,2
+  aes c e2
+  cis,1

 }
 @end lilypond
 
 
 @snippets
 
 }
 @end lilypond
 
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{adding-ambiti-per-voice.ly}
+@lilypondfile[verbatim,lilyquote,texidoc]
+{adding-ambitus-per-voice.ly}

 
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{ambiti-multiple-voices.ly}
+@lilypondfile[verbatim,lilyquote,texidoc]
+{ambitus-with-multiple-voices.ly}

 
 
 @seealso
 
 
 
 @seealso
 

-Music Glossary: @rglos{ambitus}.
+Music Glossary:
+@rglos{ambitus}.

 
 

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

 
 

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

 
 
 @knownissues
 
 
 @knownissues


@@ -1787,7 +1860,7 @@ instruments, etc.  There is a shorthand (@code{\harmonic}) for
 diamond shapes; the other note head styles are produced by
 tweaking the property:
 
 diamond shapes; the other note head styles are produced by
 tweaking the property:
 

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

 c4 d
 \override NoteHead #'style = #'cross
 e f
 c4 d
 \override NoteHead #'style = #'cross
 e f


@@ -1801,12 +1874,20 @@ To see all note head styles, see @ref{Note head styles}.
 
 @seealso
 
 
 @seealso
 

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

 
 

-Notation Reference: @ref{Note head styles}.
+Notation Reference:
+@ref{Note head styles}.

 
 

-Internals Reference: @internalsref{NoteHead},
-@internalsref{LedgerLineSpanner}.
+Internals Reference:
+@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
 
 
 @node Easy notation note heads


@@ -1824,7 +1905,7 @@ Internals Reference: @internalsref{NoteHead},
 The @q{easy play} note head includes a note name inside the head.
 It is used in music for beginners.
 
 The @q{easy play} note head includes a note name inside the head.
 It is used in music for beginners.
 

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

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


@@ -1849,11 +1930,17 @@ staff size}.
 
 @seealso
 
 
 @seealso
 

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

 
 

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

 
 

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

 
 
 @node Shape note heads
 
 
 @node Shape note heads


@@ -1877,29 +1964,45 @@ notation was popular in nineteenth-century American song books.
 Shape note heads can be produced by setting @code{\aikenHeads} or
 @code{\sacredHarpHeads}, depending on the style desired.
 
 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,fragment,quote,relative=1]

 \aikenHeads
 \aikenHeads

-c8 d4 e8 a2 g1
+c8 d4 e8 a2
+g1

 \sacredHarpHeads
 \sacredHarpHeads

-c,8 d4 e8 a2 g1
+c,8 d4 e8 a2
+g1

 @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.
 
 @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.
 

+@predefined
+
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
+@code{\aikenHeads}, @code{\sacredHarpHeads}
+

 @snippets
 
 @snippets
 

-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{applying-notehead-styles-depending-on-the-step-of-the-scale.ly}
+@lilypondfile[verbatim,lilyquote,texidoc]
+{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
 
 
 @noindent
 To see all note head styles, see @ref{Note head styles}.
 
 @seealso
 

-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Notation Reference:
+@ref{Note head styles}.

 
 

-Notation Reference: @ref{Note head styles}.
+Internals Reference:
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.

 
 
 @node Improvisation
 
 
 @node Improvisation


@@ -1914,17 +2017,17 @@ 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]

 \new Voice \with {
 \new Voice \with {

-  \consists Pitch_squash_engraver
+  \consists "Pitch_squash_engraver"

 } \transpose c c' {
   e8 e g a a16( bes) a8 g
   \improvisationOn
 } \transpose c c' {
   e8 e g a a16( bes) a8 g
   \improvisationOn

-  e8
-  ~e2~e8 f4 fis8
-  ~fis2
+  e8 ~
+  e2 ~ e8 f4 f8 ~
+  f2

   \improvisationOff
   \improvisationOff

-  a16(bes) a8 g e
+  a16( bes) a8 g e

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1938,9 +2041,12 @@ rhythm.  Such note heads can be created:
 
 @seealso
 
 
 @seealso
 

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

 
 

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