-@item font-relative-size
- A number indicating the size relative the standard size. For example,
- with 20pt staff height, relative size -1 corresponds to 16pt staff
- height, and relative size +1 corresponds to 23 pt staff height.
-
-@item font-design-size
-A number indicating the design size of the font.
-
-This is a feature of the Computer Modern Font: each point size has a
-slightly different design. Smaller design sizes are relatively wider,
-which enhances readability. Scalable type faces such TrueType and Adobe
-Type1 usually come as ``one design fits all sizes''.
-
-@item font-name
- The name of the font, without the design size, e.g. @code{cmr},
-@code{cmti}, etc. Setting this overrides font-family, font-shape and
-font-series.
-
-
-@end table
-
-
-The font is selected by taking the first font that satisfies all
-qualifiers specified. You can override any of these fields through
-@code{\override} and @code{\revert}. The special value @code{*} matches
-any value for that qualifier.
-
-@example
- \property Lyrics.LyricText \override #'font-series = #'bold
- \property Lyrics.LyricText \override #'font-shape = #'*
-@end example
-
-@cindex @code{font-style}
-
-There are also pre-cooked font selection qualifiers. These are selected
-through the grob property @code{font-style}. For example, the style
-@code{finger} selects family @code{number} and relative size @code{-3}.
-Styles available include @code{volta}, @code{finger}, @code{tuplet},
-@code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
-and @code{dynamic}.
-
-The style sheets and tables for selecting fonts are located in
-@file{scm/font.scm}. Refer to this file for more information.
-
-
-Setting @code{font-name} overrides all other qualifiers. The value for
-this property should be a string, the file name of the font. You may use
-this to use special fonts, which are not a part of the style sheet, or
-which have special encodings.
-
-The size of the font may be set with the grob property
-@code{font-magnification}. It is the size of font, relative to its
-standard size. For example, @code{1.0} is normal size.
-
-@refbugs
-
-Relative size is not linked to any real size.
-
-There is no style sheet provided for other fonts besides the @TeX{}
-family.
-
-@cindex font selection
-@cindex font magnification
-@cindex @code{font-interface}
-
-
-@node Text markup
-@subsection Text markup
-@cindex text markup
-@cindex markup text
-
-LilyPond has an internal mechanism to typeset texts. You can
-form text markup expressions by composing scheme expressions
-in the following way.
-
-@lilypond[verbatim, singleline]
- \relative c' {
- \fatText
- a^#"upright"
- b_#'(bold "bold")
- c^#'(italic "italic")
- d_#'((bold italic) "ff")
- e^#'(dynamic "ff")
- f_#'(lines "one" (bold "two"))
- g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
- }
-@end lilypond
-
-Normally, the Scheme markup text is stored in the @code{text} property
-of a grob. Formally, it is defined as follows:
-
-@example
-text: string | (head? text+)
-head: markup | (markup+)
-markup-item: property | abbrev
-property: (@var{key} . @var{value})
-abbrev: @code{columns lines roman music bold italic named super sub}
- @code{overstrike text finger volta timesig mmrest mark script}
- @code{large Large dynamic}
-@end example
-
-The markup is broken down and converted into a list of grob properties,
-which are prepended to the property list. The @var{key}-@var{value}
-pair is a grob property. A list of properties available is included in
-the generated documentation for @rint{Text_interface}.
-
-The following abbreviations are currently defined:
-@table @code
-@item columns
- horizontal mode: set all text on one line (default)
-@item lines
- vertical mode: set every text on a new line
-@item roman
- select roman font
-@item music
- selects the Feta font (the standard font for music notation glyphs),
-and uses named lookup
-
-@item bold
- select bold series
-@item italic
- select italic shape
-@item named
- lookup by character name
-@item text
- plain text lookup (by character value)
-@item super
- superscript
-@item sub
- subscript
-@item overstrike
- the next text or character overstrikes this one
-@item finger
- select fingering number fontstyle
-@item volta
- select volta number fontstyle
-@item timesig
- select time signature number fontstyle
-@item mmrest
- select multi measure rest number fontstyle
-@item mark
- select mark number fontstyle
-@item script
- select scriptsize roman fontstyle
-@item large
- select large roman fontstyle
-@item Large
- select Large roman fontstyle
-@item dynamic
- select dynamics fontstyle
-@end table
-
-
-@cindex metronome mark
-
-One practical application of complicated markup is to fake a metronome
-marking:
-
-@lilypond[verbatim]
-#(define note '(columns
- (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
-#(define eight-note `(columns ,note ((kern . -0.1)
- (music ((raise . 3.5) "flags-u3")))))
-#(define dotted-eight-note
- `(columns ,eight-note (music "dots-dot")))
-
-\score {
- \notes\relative c'' {
- a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
- }
- \paper {
- linewidth = -1.
- \translator{
- \ScoreContext
- TextScript \override #'font-shape = #'upright
- }
- }
-}
-@end lilypond
-
-@node Invisible grobs
-@subsection Invisible grobs
-@cindex invisible grobs
-
-@ignore
-
-ben nog steeds niet kapot van de informatiedichtheid hier.
-
---hwn
-
-@end ignore
-
-You can imagine a number of situations where you would want to make
-certain grobs not show up in the output. There may be aesthetic
-reasons, to make the output resemble an (old) manuscript as close as
-possible, or to make lessons or exercises for students.
-
-Grobs can be made invisible in a number of ways:
-
-Here's an example with blanked-out notes and stems:
-@lilypond[singleline,verbatim]
-blanknotes = {
- \property Voice.NoteHead \override
- #'transparent = ##t
- \property Voice.Stem \override
- #'transparent = ##t }
-
-unblanknotes = {
- \property Voice.NoteHead \revert #'transparent
- \property Voice.Stem \revert #'transparent }
-
-\score {
- \notes\relative c'' {
- \time 6/4
- a b c b \blanknotes c \unblanknotes d
- }
-}
-@end lilypond
-This method makes the grobs invisible but they still take the normal space.
-To remove all traces of the grob, you can redefine the function
-typesetting them:
-@lilypond[verbatim]
-\score {
- \notes\relative c'' {
- \key c \minor
- \time 6/4
- as bes c bes c d \break
- \property Staff.KeySignature \override #'molecule-callback = #'()
- as bes c bes c d
- }
- \paper{linewidth=5.0\cm indent=0}
-}
-@end lilypond
-
-A very rigorous way of removing grobs from the whole score is to remove
-the engraver that creates them. For example,
-
-@lilypond[singleline,verbatim]
-\score {\notes { c'4 d'8 e'8 g2 }
- \paper { \translator {
- \VoiceContext
- \remove Stem_engraver
- } }
-}
-@end lilypond
-
-@node Dirty tricks
-@subsection Dirty tricks
-@cindex embedded tex
-
-It is possible to use @TeX{} commands in the strings, but this should be
-avoided because it makes it impossible for LilyPond to compute the
-exact length of the string, which may lead to collisions. Also, @TeX{}
-commands won't work with direct PostScript output (see @ref{PostScript
-output}).
-
-@lilypond[fragment,relative,verbatim]
- a'^"3 $\\times$ \\`a deux"
-@end lilypond
-
-You can also use raw PostScript commands embedded in text scripts. This
-offers ultimate flexibility, but requires you to learn PostScript.
-Currently, embedded PostScript will @strong{not} work with direct
-PostScript output. Note that all dimensions that you use are in staff
-space.
-
-@lilypond[verbatim]
-\score {
- \notes \relative c'' {
- a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
- -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
- b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
- s2
- a'1
- }
- \paper { linewidth = 70*\staffspace }
-}
-@end lilypond
-
-
-@c . {Page layout}
-@node Page layout
-@section Page layout
-@cindex Page layout
-
-The page layout is the combined product of LilyPond formatting notation,
-and (La)@TeX{} putting the notation on a page, including page breaks.
-The part of LilyPond is documented here.
-
-@menu
-* Paper block::
-* Paper variables::
-* Font Size::
-* Paper size::
-* Line break::
-* Page break::
-* Output scaling::
-@end menu
-
-@c . {Paper block}
-@node Paper block
-@subsection Paper block
-@cindex Paper block
-
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
-
-@example
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end example
-
-where each of the items is one of
-
-@itemize @bullet
- @item An assignment.
-
- @item A context definition. See @ref{Interpretation context} for
- more information on context definitions.
-
- @item \stylesheet declaration. Its syntax is
- @example
- \stylesheet @var{alist}
- @end example
-
- See @file{scm/font.scm} for details of @var{alist}.
- @item an @code{\elementdescriptions} declaration.
- @example
- \elementdescriptions @var{alist}
- @end example
- See @file{scm/grob-description.scm} for details of
-@var{alist}. This command is not user-serviceable.
-
-@end itemize
-
-@c . {Paper variables}
-@node Paper variables
-@subsection Paper variables
-@cindex Paper variables
-
-The paper block has some variables you may want to use or change:
-
-@table @code
-@cindex @code{indent}
- @item @code{indent}
- The indentation of the first line of music.
-@cindex @code{staffspace}
-
- @item @code{staffspace}
- The distance between two staff lines, calculated from the center
- of the lines.
-
-@cindex @code{linewidth}
- @item @code{linewidth}
- Sets the width of the lines.
-
-If set to a negative value, a single unjustified line is produced.
-@c rename to singleLinePaper ?
-The shorthand @code{\singleLine} defines a default paper block that
-produces a single line.
-
-@cindex @code{textheight}
-
- @item @code{textheight}
- Sets the total height of the music on each page. Only used by
-@code{ly2dvi}.
-
-@cindex @code{interscoreline}
-
- @item @code{interscoreline}
- Sets the spacing between systems. The default is 16pt.
-
-@cindex @code{interscorelinefill}
-
- @item @code{interscorelinefill}
- If set to a positive number, the distance between the score
- lines will stretch in order to fill the full page. In that
- case @code{interscoreline} specifies the minimum spacing.
-
- Not set by default.
-
-
-@cindex @code{stafflinethickness}
-
- @item @code{stafflinethickness}
- Determines the thickness of staff lines, and also acts as a scaling
- parameter for other line thicknesses.
-@end table
-
-You may enter these dimension using units (@code{cm}, @code{in},
-@code{mm}, @code{pt}), or relative to another dimension
-@example
- linewidth = 20.0 * \staffspace
- indent = 0.5 \cm
-@end example
-
-
-@c . {Font size}
-@node Font Size
-@subsection Font size
-@cindex font size
-
-The Feta font provides musical symbols at six different sizes. These
-fonts are 11 point, 13 point, 16 point, 20 point,
-23 point, and 26 point. The point size of a font is the
-height of the five lines in a staff when displayed in the font.
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
-these files, the identifiers @code{paperEleven}, @code{paperThirteen},
-@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
-@code{paperTwentysix} are defined respectively. The default
-@code{\paper} block is also set.
-
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{scm/font.scm}.
-
-
-
-@c . {Paper size}
-@node Paper size
-@subsection Paper size
-@cindex Paper size
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
-
-To change the paper size, you must first set the
-@code{papersize} paper variable variable. Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}. After this
-specification, you must set the font as described above. If you want
-the default font, then use the 20 point font.
-
-@example
- \paper@{ papersize = "a4" @}
- \include "paper16.ly"
-@end example
-
-The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
-will set the paper variables @code{hsize} and @code{vsize} (used by
-Lilypond and @code{ly2dvi})
-
-@c . {Line break}
-@node Line break
-@subsection Line break
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that it looks neither cramped nor loose, and that consecutive lines have
-similar density.
-
-Occasionally you might want to override the automatic breaks; you can do
-this by specifying @code{\break}. This will force a line break at this
-point. Do remember that line breaks can only occur at places where there
-are bar lines. If you want to have a line break where there is no
-bar line, you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
-
-If you want linebreaks at regular intervals, you can use the following:
-@example
-
-< \repeat 7 unfold @{ s1 * 4 \break @}
- @emph{real music}
->
-@end example
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures.
-
-
-@cindex @code{\penalty}
-
-The @code{\break} and @code{\noBreak} commands are defined in terms of
-the penalty command:
-@example
- \penalty @var{int}
-@end example
-
-This encourages or discourages LilyPond to make a line break at this
-point.
-
-@refbugs
-
-The scaling of the @code{\penalty} argument is not well-defined. The
-command is rather kludgey, and slated for rewriting.
-
-@c . {Page break}
-@node Page break
-@subsection Page break
-
-@cindex page breaks
-@cindex breaking pages
-
-Page breaks are normally computed by @TeX{}, so they are not under
-direct control of LilyPond. However, you can insert a commands into the
-@file{.tex} output to instruct @TeX{} where to break pages, by inserting
-the command @code{\newpage}
-@cindex @code{\newpage}
-
-@example
- \newpage
-@end example
-
-@c why do so difficult?
-@c maybe should explain contents of between-system.ly,
-@c but not now, we're talking about page breaks here.
-@c For more
-@c details, see the example file @file{input/test/between-systems.ly}
-
-
-@c . {Output scaling}
-@node Output scaling
-@subsection Output scaling
-
-[TODO]
-
-@example
-dvips ...
-@end example
-
-@example
-pstops ...
-@end example
-
-
-@refbugs
-
-There is no mechanism to select magnification of particular fonts,
-meaning that you don't have access to continuously scaled fonts.
-
-
-
-@c . {Output formats}
-@node Output formats
-@section Output formats
-
-LilyPond can output processed music in different output formats.
-
-@menu
-* TeX output::
-* PostScript output::
-* Scheme output::
-* ASCIIScript output::
-@end menu
-
-@node TeX output
-@subsection TeX output
-@cindex TeX output
-
-LilyPond will use @TeX{} by default. Even if you want to produce
-PostScript output for viewing or printing, you should normally have
-LilyPond produce @TeX{} first. The .tex output must be processed by
-@TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
-is used to generate PostScript. Alternatively, @file{ly2dvi} can be
-used to generate the .dvi for you.
-
-@refbugs
-
-Titling is not generated unless you use @file{ly2dvi}.
-
-
-@node PostScript output
-@subsection PostScript output
-@cindex PostScript output
-@cindex direct PostScript output
-
-LilyPond can produce PostScript directly, without going through @TeX{}.
-Currently, this is mainly useful if you cannot use TeX, because direct
-PostScript output has some problems; see Bugs below.
-
-@example
-$ lilypond -fps foo.ly
-GNU LilyPond 1.3.144
-Now processing: `foo.ly'
-Parsing...
-Interpreting music...[3]
-Preprocessing elements...
-Calculating column positions...
-paper output to foo.ps...
-
-$ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
-@end example
-
-
-@refbugs
-
-Text font selection is broken.
-
-The .ps file does not contain the .pfa font files. To print a .ps
-created through direct postscript output, you should prepend the
-necessary .pfa files to LilyPond's .ps output, or upload them to the
-printer before printing.
-
-The line height calculation is broken, you must set @var{lineheight} in
-the paperblock if you have more than one staff in your score, e.g.
-
-@example
- ...
- \paper @{
- % Set line height to 40 staff spaces
- lineheight = 40
- @}
-@end example
-
-@node Scheme output
-@subsection Scheme output
-@cindex Scheme output
-
-In the typesetting stage, LilyPond builds a page description, which is
-then written to disk in postscript, @TeX{} or ASCII art. Before it is
-written, the page description is represented as Scheme expressions. You
-can also dump these Scheme expressions to a file, which may be
-convenient for debugging output routines. This is done with the Scheme
-output format
-
-@example
-$ lilypond -fscm foo.ly
-GNU LilyPond 1.3.144
-Now processing: `foo.ly'
-Parsing...
-Interpreting music...[3]
-Preprocessing elements...
-Calculating column positions...
-paper output to foo.scm...
-
-$ head -4 foo.scm
-;;; Usage: guile -s x.scm > x.tex
- (primitive-load-path 'standalone.scm)
-; (scm-tex-output)
- (scm-ps-output)
-
-$ guile -s foo.scm > foo.tex
-@end example
-
-
-@node ASCIIScript output
-@subsection ASCIIScript output
-@cindex ASCIIScript output
-@cindex ascii script
-@cindex ascii art
-
-LilyPond can output ASCII Art. This is a two step process, LilyPond
-produces an ASCII description file, dubbed ASCIIScript (extension
-@file{.as}). ASCIIScript has a small and simple command set that
-includes font selection, character and string printing and line drawing
-commands. The program @file{as2text} is used to translate an .as file
-to text.
-
-To produce ASCII Art, you must include an ASCII Art paper definition
-file in your .ly, one of:
-@example
-\include "paper-as5.ly"
-\include "paper-as9.ly"
-@end example
-
-Here's an example use for ASCII Art output (the example file
-@file{as-email.ly} is included in the LilyPond distribution), the staff
-symbol has been made invisible:
-
-@example
-$ lilypond -fas as-email.ly
-GNU LilyPond 1.3.144
-Now processing: `as-email.ly'
-Parsing...
-Interpreting music...[3]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to as-email.as...
-
-$ as2text as-email.as 2>/dev/null
- |\
- |/ |##|##| | | | | |
- /| | | | | |\ |\ |\ |\ |\ |
- / |_ 3 | | | | 5 | )| )| )| )| )|
- | /| \ 8 * * * | 8 * * * * * |
- \_|_/ | |
- *_|
-
- lily
-@end example
-
-
-@refbugs
-
-The ASCII Art fonts are far from complete and not very well designed.
-It's easy to change the glyphs, though; if you think you can do better,
-have a look at @file{mf/*.af}.
-
-Lots of resizable symbols such as slurs, ties and tuplets are missing.
-
-The poor looks of most ASCII Art output and its limited general
-usefulness gives ASCII Art output a low priority; it may be
-dropped in future versions.
-
-@c . {Sound}
-@node Sound
-@section Sound
-@cindex Sound
-
-LilyPond can produce MIDI output. The performance lacks lots of
-interesting effects, such as swing, articulation, slurring, etc., but it
-is good enough for proof-hearing the music you have entered. Ties,
-dynamics and tempo changes are interpreted.
-
-Dynamic marks, crescendi and decrescendi translate into MIDI volume
-levels. Dynamic marks translate to a fixed fraction of the available
-MIDI volume range, crescendi and decrescendi make the the volume vary
-linearly between their two extremities. The fractions be adjusted by
-overriding the @code{absolute-volume-alist} defined in
-@file{scm/midi.scm}.
-
-For each type of musical instrument (that MIDI supports), a volume range
-can be defined. This gives you basic equalizer control, which can
-enhance the quality of the MIDI output remarkably. You can add
-instruments and ranges or change the default settings by overriding the
-@code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
-
-Both loudness controls are combined to produce the final MIDI volume.
-
-
-@refbugs
-
-It is currently not possible to use the percussion channel (generally
-channel 10 of a MIDI file).
-
-@menu
-* MIDI block::
-* MIDI instrument names::
-@end menu
-
-@c . {MIDI block}
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
-
-
-The MIDI block is analogous to the paper block, but it is somewhat
-simpler. The @code{\midi} block can contain:
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
-@end itemize
-
-Assignments in the @code{\midi} block are not allowed.
-
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer.ly}.
-
-
-@node MIDI instrument names
-@subsection MIDI instrument names
-
-@cindex instrument names
-@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
-
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
-property. The instrument name should be chosen from the list in
-@ref{MIDI instruments}.
-
-@refbugs
-
-If the selected string does not exactly match, then LilyPond uses the
-default (Grand Piano). It is not possible to select an instrument by
-number.
-
-
-
-
-
-
-
-
-@c FIXME: Note entry vs Music entry at top level menu is confusing.
-@c . {Music entry}
-@node Music entry
-@section Music entry
-@cindex Music entry
-@menu
-* Relative::
-* Bar check::
-* Point and click::
-@end menu
-
-When entering music with LilyPond, it is easy to introduce errors. This
-section deals with tricks and features that help you enter music, and
-find and correct mistakes.
-
-@c . {Relative}
-@node Relative
-@subsection Relative
-@cindex Relative
-@cindex relative octave specification
-
-Octaves are specified by adding @code{'} and @code{,} to pitch names.
-When you copy existing music, it is easy to accidentally put a pitch in
-the wrong octave and hard to find such an error. To prevent these
-errors, LilyPond features octave entry.
-
-@cindex @code{\relative}
-@example
- \relative @var{startpitch} @var{musicexpr}
-@end example
-
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or less
-(This distance is determined without regarding alterations; a
-@code{fisis} following a @code{ceses} will be put above the
-@code{ceses})
-
-The octave changing marks @code{'} and @code{,} can be added to raise or
-lower the pitch by an extra octave. Upon entering relative mode, an
-absolute starting pitch must be specified that will act as the
-predecessor of the first note of @var{musicexpr}.
-
-Entering music that changes octave frequently is easy in relative mode.
-@lilypond[fragment,singleline,verbatim,center]
- \relative c'' {
- b c d c b c bes a
- }
-@end lilypond
-
-And octave changing marks are used for intervals greater than a fourth.
-@lilypond[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
-@end lilypond
-
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. However, other notes
-within the second chord are determined by looking at the immediately
-preceding note.
-
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
-@cindex @code{\notes}
-
-The pitch after the @code{\relative} contains a note name. To parse
-the pitch as a note name, you have to be in note mode, so there must
-be a surrounding @code{\notes} keyword (which is not
-shown here).
-
-The relative conversion will not affect @code{\transpose},
-@code{\chords} or @code{\relative} sections in its argument. If you
-want to use relative within transposed music, you must place an
-additional @code{\relative} inside the @code{\transpose}.
-
-
-@c . {Bar check}
-@node Bar check
-@subsection Bar check
-@cindex Bar check
-
-@cindex bar check
-@cindex @code{barCheckNoSynchronize}
-@cindex @code{|}
-
-
-Whenever a bar check is encountered during interpretation, a warning
-message is issued if it doesn't fall at a measure boundary. This can
-help you find errors in the input. Depending on the value of
-@code{barCheckNoSynchronize}, the beginning of the measure will be
-relocated, so this can also be used to shorten measures.
-
-A bar check is entered using the bar symbol, @code{|}:
-@example
- \time 3/4 c2 e4 | g2.
-@end example
-
-
-
-@cindex skipTypesetting
-
-Failed bar checks are most often caused by entering incorrect
-durations. Incorrect durations often completely garble up the score,
-especially if it is polyphonic, so you should start correcting the score
-by scanning for failed bar checks and incorrect durations. To speed up
-this process, you can use @code{skipTypesetting} (See @ref{Skipping
-corrected music})). Bar
-
-
-@c . {Point and click}
-@node Point and click
-@subsection Point and click
-
-Point and click lets you find notes in the input by clicking on them in
-the Xdvi window. This makes it very easy to find input that causes some
-error in the sheet music.
-
-To use it, you need the following software
-
-@unnumberedsubsec Installation
-
-@itemize @bullet
-@item
-@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
-Xdvi} version 22.36 or newer.
-
- Note that most @TeX{} distributions ship with xdvik, which is a
- different and less well maintained program. To find out which xdvi you
- are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
-@item emacs
-@end itemize
-
-Xdvi must be configured to find the TeX fonts and music
-fonts. Refer to the Xdvi documentation for more information.
-
-
-@unnumberedsubsec Using it
-
-Add one of these lines to the top of your .ly file. The first one is for
-line location only. The second one is more convenient, but requires
-patching @code{emacsclient} and @code{server.el}.
-
-@example
-#(set! point-and-click line-location)
-@end example
-
-In the emacs startup file (usually @file{~/.emacs}), add the following
-@example
-(server-start)
-@end example
-
-Make sure that the environment variable @code{XEDITOR} is set
-to
-@example
-emacsclient --no-wait +%l %f
-@end example
-The second one, that also specifies the column, only works if you have
-patched your emacsclient and server, and have compiled your @code{.ly}
-file using the @code{line-column-location} setting.
-
-When viewing, control-mousebutton 1 will take you to the originating
-spot in the @file{.ly} file. Control-mousebutton 2 will show all
-clickable boxes.