Merge branch 'master' into dev/texi2html

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

diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index 859c70b2933cefe8b381d3422a0497b4172d163a..f5a60dadd640410062430772f5a87e00bb88fc72 100644 (file)
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -6,6 +6,31 @@
     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 "2.11.51"
+
+@ignore
+GDP TODO list
+
+1.2.3.1 Time signature
+Needs an example of beatLength, which is broken (see my recent
+mail
+to -bug).  What to do?  For now I've left a paragraph of text
+which really
+needs to be inserted with an example in a snippet.
+
+1.2.3.4 Polymetric notation
+Quite extensive changes. Could you please check through.  Divided
+into three
+sections.  Necessarily uses tweaks.  I've also left an @lsr under
+@seealso
+Snippets - is this permitted or is @lsr now verboten?  This
+snippet is too
+long to include, but seems relevant.
+A snippet "grouping beats" hasn't yet appeared (only sent to vv a
+couple of
+days ago).  Text left in Snippets: with TODO.
+@end ignore
+

 @node Rhythms
 @section Rhythms
 
 @node Rhythms
 @section Rhythms
 


@@ -14,12 +39,12 @@
 This section discusses rhythms, rests, durations, beaming and bars.
 
 @menu
 This section discusses rhythms, rests, durations, beaming and bars.
 
 @menu

-* Writing rhythms::             
-* Writing rests::               
-* Displaying rhythms::          
-* Beams::                       
-* Bars::                        
-* Special rhythmic concerns::   
+* Writing rhythms::
+* Writing rests::
+* Displaying rhythms::
+* Beams::
+* Bars::
+* Special rhythmic concerns::

 @end menu
 
 
 @end menu
 
 


@@ -27,10 +52,10 @@ This section discusses rhythms, rests, durations, beaming and bars.
 @subsection Writing rhythms
 
 @menu
 @subsection Writing rhythms
 
 @menu

-* Durations::                   
-* Tuplets::                     
-* Scaling durations::           
-* Ties::                        
+* Durations::
+* Tuplets::
+* Scaling durations::
+* Ties::

 @end menu
 
 @node Durations
 @end menu
 
 @node Durations


@@ -112,9 +137,9 @@ proportional notation, see @ref{Proportional notation}.
 @funindex \dotsNeutral
 
 Dots are normally moved up to avoid staff lines, except in
 @funindex \dotsNeutral
 
 Dots are normally moved up to avoid staff lines, except in

-polyphonic situations.  Predefined commands are available to 
+polyphonic situations.  Predefined commands are available to

 force a particular direction manually, for details
 force a particular direction manually, for details

-see @ref{Controlling direction and placement}.
+see @ref{Direction and placement}.

 
 @predefined
 
 
 @predefined
 


@@ -141,11 +166,12 @@ Notation Reference:
 @ref{Ancient notation},
 @ref{Proportional notation}.
 
 @ref{Ancient notation},
 @ref{Proportional notation}.
 

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

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{Dots},
-@internalsref{DotColumn}.
+@rinternals{Dots},
+@rinternals{DotColumn}.

 
 
 @knownissues
 
 
 @knownissues


@@ -180,7 +206,6 @@ the notes are 2/3 of their written length.
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 a2 \times 2/3 { b4 b b }
 c4 c \times 2/3 { b4 a g }
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 a2 \times 2/3 { b4 b b }
 c4 c \times 2/3 { b4 a g }

-

 @end lilypond
 
 @funindex \tupletUp
 @end lilypond
 
 @funindex \tupletUp


@@ -189,7 +214,7 @@ c4 c \times 2/3 { b4 a g }
 
 The automatic placement of the tuplet bracket above or below the
 notes may be overridden manually with predefined commands, for
 
 The automatic placement of the tuplet bracket above or below the
 notes may be overridden manually with predefined commands, for

-details see @ref{Controlling direction and placement}.
+details see @ref{Direction and placement}.

 
 Tuplets may be nested:
 
 
 Tuplets may be nested:
 


@@ -219,15 +244,15 @@ see @ref{Scaling durations}.
 @funindex tupletNumberFormatFunction
 @funindex tupletSpannerDuration
 
 @funindex tupletNumberFormatFunction
 @funindex tupletSpannerDuration
 

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

 {entering-several-tuplets-using-only-one--times-command.ly}
 
 @funindex TupletNumber
 
 {entering-several-tuplets-using-only-one--times-command.ly}
 
 @funindex TupletNumber
 

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

 {changing-the-tuplet-number.ly}
 
 {changing-the-tuplet-number.ly}
 

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

 {permitting-line-breaks-within-beamed-tuplets.ly}
 
 @seealso
 {permitting-line-breaks-within-beamed-tuplets.ly}
 
 @seealso


@@ -245,16 +270,17 @@ Notation Reference:
 @ref{Objects connected to the input},
 @ref{Polymetric notation}.
 
 @ref{Objects connected to the input},
 @ref{Polymetric notation}.
 

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

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{TupletBracket},
-@internalsref{TupletNumber},
-@internalsref{TimeScaledMusic}.
+@rinternals{TupletBracket},
+@rinternals{TupletNumber},
+@rinternals{TimeScaledMusic}.

 
 @knownissues
 @cindex grace notes within tuplet brackets
 
 @knownissues
 @cindex grace notes within tuplet brackets

-When the very first note on a staff is a grace note followed by a
+When the first note on a staff is a grace note followed by a

 tuplet the grace note must be placed before the @code{\times}
 command to avoid errors.  Anywhere else, grace notes may be
 placed within tuplet brackets.
 tuplet the grace note must be placed before the @code{\times}
 command to avoid errors.  Anywhere else, grace notes may be
 placed within tuplet brackets.


@@ -266,8 +292,6 @@ placed within tuplet brackets.
 @cindex scaling durations
 @cindex durations, scaling
 
 @cindex scaling durations
 @cindex durations, scaling
 

-TODO Change \compressMusic to \scaleDurations when implemented.
-

 You can alter the duration of single notes, rests or chords by a
 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
 @code{M} is 1) to the duration.
 You can alter the duration of single notes, rests or chords by a
 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
 @code{M} is 1) to the duration.


@@ -296,34 +320,26 @@ a multiplier.  This is useful for skipping many measures, e.g.,
 @code{s1*23}.
 
 @cindex compressing music
 @code{s1*23}.
 
 @cindex compressing music

-@funindex \compressMusic
-
-Longer stretches of music may be compressed by a fraction in
-the same way, as if every note, chord or rest had the fraction
-as a multiplier.  The general syntax of the command to do this
-is:
+@funindex \scaleDurations

 
 

-@example
-\compressMusic #'(@emph{num} . @emph{den}) @{ @emph{music} @}
-@end example
-
-@noindent
-This will leave the appearance of @emph{music} unchanged but
+Longer stretches of music may be compressed by a fraction in the
+same way, as if every note, chord or rest had the fraction as a
+multiplier.  This leaves the appearance of the music unchanged but

 the internal duration of the notes will be multiplied by the
 the internal duration of the notes will be multiplied by the

-fraction @emph{num}/@emph{den}.  The spaces around the dot
-are required.  Here is an example showing how music can be
-compressed and expanded:
+fraction @emph{num}/@emph{den}.  The spaces around the dot are
+required.  Here is an example showing how music can be compressed
+and expanded:

 
 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
 \time 2/4
 % Normal durations
 <c a>4 c8 a
 % Scale music by *2/3
 
 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
 \time 2/4
 % Normal durations
 <c a>4 c8 a
 % Scale music by *2/3

-\compressMusic #'(2 . 3) {
+\scaleDurations #'(2 . 3) {

   <c a f>4. c8 a f
 }
 % Scale music by *2
   <c a f>4. c8 a f
 }
 % Scale music by *2

-\compressMusic #'(2 . 1) {
+\scaleDurations #'(2 . 1) {

   <c' a>4 c8 b
 }
 @end lilypond
   <c' a>4 c8 b
 }
 @end lilypond


@@ -340,7 +356,8 @@ Notation Reference:
 @ref{Skips},
 @ref{Polymetric notation}.
 
 @ref{Skips},
 @ref{Polymetric notation}.
 

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

 
 
 @node Ties
 
 
 @node Ties


@@ -360,7 +377,7 @@ duration, similar to the augmentation dot.}
 A tie is entered using the tilde symbol @code{~}
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 A tie is entered using the tilde symbol @code{~}
 
 @lilypond[quote,ragged-right,fragment,verbatim]

-e' ~ e'
+e'2 ~ e'

 @end lilypond
 
 
 @end lilypond
 
 


@@ -422,7 +439,7 @@ piano, harp and other string and percussion instruments.  They can
 be entered as follows:
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=1]
 be entered as follows:
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=1]

-<c f g>\laissezVibrer
+<c f g>1\laissezVibrer

 @end lilypond
 
 @cindex ties, placement
 @end lilypond
 
 @cindex ties, placement


@@ -432,7 +449,7 @@ be entered as follows:
 
 The vertical placement of ties may be controlled, see
 Predefined commands, or for details, see
 
 The vertical placement of ties may be controlled, see
 Predefined commands, or for details, see

-@ref{Controlling direction and placement}.
+@ref{Direction and placement}.

 
 @cindex ties, appearance
 @funindex \tieDotted
 
 @cindex ties, appearance
 @funindex \tieDotted


@@ -455,10 +472,10 @@ commands.
 
 @snippets
 
 
 @snippets
 

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

 {using-ties-with-arpeggios.ly}
 
 {using-ties-with-arpeggios.ly}
 

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

 {engraving-ties-manually.ly}
 
 
 {engraving-ties-manually.ly}
 
 


@@ -470,13 +487,14 @@ Music Glossary:
 
 Notation Reference: @ref{Automatic note splitting}.
 
 
 Notation Reference: @ref{Automatic note splitting}.
 

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

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{LaissezVibrerTie},
-@internalsref{LaissezVibrerTieColumn},
-@internalsref{TieColumn},
-@internalsref{Tie}.
+@rinternals{LaissezVibrerTie},
+@rinternals{LaissezVibrerTieColumn},
+@rinternals{TieColumn},
+@rinternals{Tie}.

 
 
 @knownissues
 
 
 @knownissues


@@ -494,15 +512,18 @@ well-defined.  In these cases, a slur may be preferable.
 @node Writing rests
 @subsection Writing rests
 
 @node Writing rests
 @subsection Writing rests
 

+Rests are entered as part of the music in music expressions.
+

 @menu
 @menu

-* Rests::                       
-* Skips::                       
-* Full measure rests::          
+* Rests::
+* Skips::
+* Full measure rests::

 @end menu
 
 @node Rests
 @subsubsection Rests
 @cindex rest
 @end menu
 
 @node Rests
 @subsubsection Rests
 @cindex rest

+@cindex rest, entering durations

 @cindex maxima
 @cindex longa
 @cindex breve
 @cindex maxima
 @cindex longa
 @cindex breve


@@ -513,8 +534,9 @@ well-defined.  In these cases, a slur may be preferable.
 @funindex \longa
 @funindex \breve
 
 @funindex \longa
 @funindex \breve
 

-Rests are entered like notes with the note name @code{r};
-longer rests with the predefined commands shown:
+Rests are entered like notes with the note name @code{r}.
+Durations longer than a whole rest use the predefined
+commands shown:

 
 @c \time 16/1 is used to avoid spurious bar lines
 @c and long tracts of empty measures
 
 @c \time 16/1 is used to avoid spurious bar lines
 @c and long tracts of empty measures


@@ -533,16 +555,21 @@ longer rests with the predefined commands shown:
 }
 @end lilypond
 
 }
 @end lilypond
 

-Whole measure rests, centered in the middle of the measure, must
-be entered as multi-measure rests.  They can be used for a single
-measure as well as many measures and are discussed in
-@ref{Full measure rests}.
+@cindex rest, multi-measure
+@cindex rest, whole-measure
+
+Whole measure rests, centered in the middle of the measure, must be
+entered as multi-measure rests.  They can be used for a single
+measure as well as many measures and are discussed in @ref{Full
+measure rests}.
+
+@cindex rest, specifying vertical position

 
 To explicitly specify a rest's vertical position, write a note
 
 To explicitly specify a rest's vertical position, write a note

-followed by @code{\rest}.  A rest will be placed in the position
-where the note would appear.  This allows for precise manual
-formatting of polyphonic music, since the automatic rest collision
-formatter will leave these rests alone.
+followed by @code{\rest}.  A rest of the duration of the note will
+be placed at the staff position where the note would appear.  This
+allows for precise manual formatting of polyphonic music, since the
+automatic rest collision formatter will not move these rests.

 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 a4\rest d4\rest
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 a4\rest d4\rest


@@ -550,17 +577,20 @@ a4\rest d4\rest
 
 @snippets
 
 
 @snippets
 

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

 {rest-styles.ly}
 
 
 @seealso
 
 {rest-styles.ly}
 
 
 @seealso
 

-Notation Reference: @ref{Full measure rests}
+Notation Reference:
+@ref{Full measure rests}.

 
 

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

 
 

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

 
 
 @knownissues
 
 
 @knownissues


@@ -570,6 +600,7 @@ There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited: there
 are rests from 128th to maxima (8 x whole).
 
 longest and shortest), but the number of glyphs is limited: there
 are rests from 128th to maxima (8 x whole).
 

+

 @node Skips
 @subsubsection Skips
 
 @node Skips
 @subsubsection Skips
 


@@ -577,62 +608,58 @@ are rests from 128th to maxima (8 x whole).
 @cindex invisible rest
 @cindex rest, invisible
 @cindex spacer note
 @cindex invisible rest
 @cindex rest, invisible
 @cindex spacer note

-
-@funindex \skip

 @funindex s
 
 @funindex s
 

-An invisible rest (also called a @q{skip rest}) can be entered like a
-note with note name @code{s} or with the predefined skip command
-followed by the required duration, as shown here:
+An invisible rest (also called a @q{spacer rest}) can be entered
+like a note with the note name@tie{}@code{s}:

 
 

-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-% Skip the third beat in the first measure
-a4 a4 s4 a4
-% Use skip command to skip a whole note (measure)
-\skip 1
-a2 a2
+@lilypond[verbatim,quote,relative=2]
+c4 c s c
+s2 c

 @end lilypond
 
 @cindex lyrics, skip
 
 @end lilypond
 
 @cindex lyrics, skip
 

-The @code{s} syntax is only available in note mode and chord mode.
-In other situations, for example, when entering lyrics, one must
-use the predefined skip command:
+Spacer rests are available only in note mode and chord mode.  In
+other situations, for example, when entering lyrics, @code{\skip}
+is used to skip a musical moment.  @code{\skip} requires an
+explicit duration.

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

-  { a2 a2 }
-  \new Lyrics \lyricmode { \skip 2 bla2 }
+  {
+    a2 \skip2 a2 a2
+  }
+  \new Lyrics {
+    \lyricmode {
+      foo2 \skip 1 bla2
+    }
+  }

 >>
 @end lilypond
 
 >>
 @end lilypond
 

-The @code{s} skip rest implicitly causes @code{Staff} and
-@code{Voice} contexts to be created if none exist, just
-like notes and rests do.  These in turn cause a staff with default
-clef and time signature to be printed, with bar lines if necessary.
-For example, the following results in a complete staff with three
-short empty measures:
+A spacer rest implicitly causes @code{Staff} and @code{Voice}
+contexts to be created if none exist, just like notes and rests
+do:

 
 

-@lilypond[quote,verbatim,fragment,ragged-right]
-{ s1 s s }
+@lilypond[quote,verbatim,fragment]
+s1 s s

 @end lilypond
 
 @end lilypond
 

-However, the predefined skip command behaves differently: it is
-merely an empty musical placeholder.  It does not create any 
-contexts and does not cause anything to be printed, not even 
-transparently.  On its own it does not even print an
-empty page:
+@code{\skip} simply skips musical time; it creates no output of
+any kind.

 
 

-@example
+@lilypond[quote,verbatim,fragment]

 % This is valid input, but does nothing
 % This is valid input, but does nothing

-@{ \skip 1 @}
-@end example
+\skip 1 \skip1 \skip 1
+@end lilypond

 
 @seealso
 
 
 @seealso
 

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

 
 

-Internals Reference: @internalsref{SkipMusic}
+Internals Reference: @rinternals{SkipMusic}

 
 
 @node Full measure rests
 
 
 @node Full measure rests


@@ -657,15 +684,44 @@ R1*4
 b2^"Tutti" b4 a4
 @end lilypond
 
 b2^"Tutti" b4 a4
 @end lilypond
 

+The duration of full-measure rests is identical to the duration notation
+used for notes.  The duration in a multi-measure rest must always be an
+integral number of measure-lengths, so augmentation
+dots or fractions must often be used:
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\compressFullBarRests
+\time 2/4
+R1 | R2 |
+\time 3/4
+R2. | R2.*2 |
+\time 13/8
+R1*13/8 | R1*13/8*12 |
+\time 10/8
+R4*5*4 |
+@end lilypond
+
+A full-measure rest is printed as either a whole
+or breve rest, centered in the measure, depending on the time
+signature.
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\time 4/4
+R1 |
+\time 6/4
+R1*3/2 |
+\time 8/4
+R1*2 |
+@end lilypond

 @funindex \expandFullBarRests
 @funindex \compressFullBarRests
 @cindex multi-measure rest, expanding
 @cindex multi-measure rest, contracting
 
 By default a multi-measure rest is expanded in the printed score
 @funindex \expandFullBarRests
 @funindex \compressFullBarRests
 @cindex multi-measure rest, expanding
 @cindex multi-measure rest, contracting
 
 By default a multi-measure rest is expanded in the printed score

-to show all the rest measures explicitly or (as in the example
-above) it can be contracted to a single measure containing a
-multi-measure rest symbol, with the number of measures of rest
+to show all the rest measures explicitly.
+Alternatively, a mult-measure rest can be shown as a single measure
+containing a multi-measure rest symbol, with the number of measures of rest

 printed above the measure:
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 printed above the measure:
 
 @lilypond[quote,ragged-right,fragment,verbatim]


@@ -682,26 +738,6 @@ r1 | R1*17 | R1*4 |
 R2.*2 |
 @end lilypond
 
 R2.*2 |
 @end lilypond
 

-The @code{1} in @code{R1} is similar to the duration notation
-used for notes and is the length of a measure in 2/2 or 4/4 time.
-The duration in a multi-measure rest must always be an integral
-number of measure-lengths, so in other time signatures augmentation
-dots or fractions must be used:
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\compressFullBarRests
-\time 3/4
-R2. | R2.*2
-\time 13/8
-R1*13/8 | R1*13/8*12 |
-\time 10/8
-R4*5*4 |
-@end lilypond
-
-An @code{R} spanning a single measure is printed as either a whole
-or breve rest, centered in the measure, regardless of the time
-signature.
-

 
 @cindex text on multi-measure rest
 @cindex multi-measure rest, attaching text
 
 @cindex text on multi-measure rest
 @cindex multi-measure rest, attaching text


@@ -710,9 +746,8 @@ signature.
 @cindex fermata on multi-measure rest
 @cindex multi-measure rest, attaching fermata
 
 @cindex fermata on multi-measure rest
 @cindex multi-measure rest, attaching fermata
 

-Text can be added to multi-measure rests by using the
-@var{note} - @code{\markup} syntax described in
-@ref{Text markup}.  The predefined command @code{\fermataMarkup}
+Markups can be added to multi-measure rests.
+The predefined command @code{\fermataMarkup}

 is provided for adding fermatas.
 
 @lilypond[quote,ragged-right,verbatim,fragment]
 is provided for adding fermatas.
 
 @lilypond[quote,ragged-right,verbatim,fragment]


@@ -722,10 +757,12 @@ R2.*10^\markup { \italic "ad lib." }
 R2.^\fermataMarkup
 @end lilypond
 
 R2.^\fermataMarkup
 @end lilypond
 

-@warning{Text attached to a multi-measure rest is created
-by @code{MultiMeasureRestText}, not
+@warning{
+Markups attached to a multi-measure rest are
+objects of type @code{MultiMeasureRestText}, not

 @code{TextScript}.  Overrides must be directed to the correct
 @code{TextScript}.  Overrides must be directed to the correct

-object, or they will be ignored.  See the following example.}
+object, or they will be ignored.  See the following example.
+}

 
 @lilypond[quote,ragged-right,verbatim,fragment]
 % This fails, as the wrong object name is specified
 
 @lilypond[quote,ragged-right,verbatim,fragment]
 % This fails, as the wrong object name is specified


@@ -736,38 +773,6 @@ R1^"wrong"
 R1^"right"
 @end lilypond
 
 R1^"right"
 @end lilypond
 

-Text attached to a multi-measure rest will be centered above or
-below it.  Long text attached in this way does not cause the
-measure to expand, and may collide with text in adjacent measures.
-This behavior may be changed with the predefined command
-@code{\textLengthOn}, which will cause following bars to expand
-as necessary to accommodate text.  @code{\textLengthOff} returns
-to the default behavior.  To left-align text within a bar attach
-it to a zero-length skip note preceding the rest.
-
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\compressFullBarRests
-\textLengthOn
-s1*0^\markup { [MAJOR GENERAL] }
-R1*19
-s1*0^\markup { [MABEL] }
-s1*0_\markup { \italic { Cue: ... it is yours } }
-R1*30
-\textLengthOff
-c4^\markup { CHORUS } d f c
-@end lilypond
-
-@noindent
-Text attached to a skip note in this way is left-aligned to the
-position where the note would be placed in the measure, and placed
-above the measure count numeral, but if the measure length is
-determined by the length of the text, the text will appear to be
-centered.  If two (or more) texts are
-attached to skip notes in a measure the measure length is determined by
-the longer text, and the shorter text is then clearly
-left-aligned, as shown in the second measure above.  If the shorter
-text of two marks is short enough to fit it will be placed
-alongside and to the left of the measure count numeral.

 
 @predefined
 @code{\textLengthOn},
 
 @predefined
 @code{\textLengthOn},


@@ -782,33 +787,62 @@ alongside and to the left of the measure count numeral.
 @cindex rest, church
 @cindex kirchenpausen
 
 @cindex rest, church
 @cindex kirchenpausen
 

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

 {changing-form-of-multi--measure-rests.ly}
 
 @cindex multi-measure rests, positioning
 @cindex positioning multi-measure rests
 
 {changing-form-of-multi--measure-rests.ly}
 
 @cindex multi-measure rests, positioning
 @cindex positioning multi-measure rests
 

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

 {positioning-multi--measure-rests.ly}
 
 {positioning-multi--measure-rests.ly}
 

+@c TODO -- convert to snippet
+Markups attached to a multi-measure rest will be centered above or
+below it.  Long markups attached to multi-measure rests do not cause
+the measure to expand. To expand a multi-measure rest to fit the markup,
+use a spacer rest with an attached markup before the multi-measure rest:
+
+@c -- music is somewhat compressed vertically.  I thought it
+@c    was good because the emphasis is not on the content
+@c    of the markup, but on the place the markup was attached -cs
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\compressFullBarRests
+\textLengthOn
+s1*0^\markup { [MAJOR GENERAL] }
+R1*19
+s1*0_\markup { \italic { Cue: ... it is yours } }
+s1*0^\markup { A }
+R1*30^\markup { [MABEL] }
+\textLengthOff
+c4^\markup { CHORUS } d f c
+@end lilypond
+
+@noindent
+Note that the spacer rest causes a bar to be inserted.
+Text attached to a spacer rest in this way is left-aligned to the
+position where the note would be placed in the measure, but if the
+measure length is determined by the length of the text, the text will
+appear to be centered.
+
+

 @seealso
 
 Music Glossary:
 @seealso
 
 Music Glossary:

-@rglos{multi-measure rest},
-@rglos{church rests}.
+@rglos{multi-measure rest}.

 
 Notation Reference:
 @ref{Durations},
 @ref{Text},
 
 Notation Reference:
 @ref{Durations},
 @ref{Text},

-@ref{Text markup},
+@ref{Formatting text},

 @ref{Text scripts}.
 
 @ref{Text scripts}.
 

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

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{MultiMeasureRest},
-@internalsref{MultiMeasureRestNumber},
-@internalsref{MultiMeasureRestText}.
+@rinternals{MultiMeasureRest},
+@rinternals{MultiMeasureRestNumber},
+@rinternals{MultiMeasureRestText}.

 
 
 @knownissues
 
 
 @knownissues


@@ -819,33 +853,25 @@ fingering numeral (4) may collide with the bar counter
 numeral (10).
 
 @cindex condensing rests
 numeral (10).
 
 @cindex condensing rests

-@cindex rests, condensing ordinary
+@cindex rest, condensing ordinary

 
 There is no way to automatically condense multiple ordinary rests
 into a single multi-measure rest.
 
 
 There is no way to automatically condense multiple ordinary rests
 into a single multi-measure rest.
 

-@cindex rests, collisions of
+@cindex rest, collisions of

 
 Multi-measure rests do not take part in rest collisions.
 
 
 Multi-measure rests do not take part in rest collisions.
 

-Be careful when entering multi-measure rests followed by whole
-notes.  The following will enter two notes lasting four measures
-each:
-
-@example
-R1*4 cis cis
-@end example
-
-

 @node Displaying rhythms
 @subsection Displaying rhythms
 
 @menu
 @node Displaying rhythms
 @subsection Displaying rhythms
 
 @menu

-* Time signature::              
-* Upbeats::                     
-* Unmetered music::             
-* Polymetric notation::         
-* Automatic note splitting::    
+* Time signature::
+* Upbeats::
+* Unmetered music::
+* Polymetric notation::
+* Automatic note splitting::
+* Showing melody rhythms::

 @end menu
 
 @node Time signature
 @end menu
 
 @node Time signature


@@ -864,12 +890,22 @@ The time signature is set as follows:
 
 @cindex Time signature, visibility of
 
 
 @cindex Time signature, visibility of
 

-Time signatures by default are printed at the start of every line
+Time signatures are printed at the beginning of a piece

 and whenever the time signature changes.  If a change takes place
 and whenever the time signature changes.  If a change takes place

-at the end of a line a warning time signature sign is printed 
-there.  This default behavior may be changed, see 
+at the end of a line a warning time signature sign is printed
+there.  This default behavior may be changed, see

 @ref{Controlling visibility of objects}.
 
 @ref{Controlling visibility of objects}.
 

+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4
+c2 c
+\break
+c c
+\break
+\time 4/4
+c c c c
+@end lilypond
+

 @funindex \numericTimeSignature
 @funindex \defaultTimeSignature
 @cindex time signature style
 @funindex \numericTimeSignature
 @funindex \defaultTimeSignature
 @cindex time signature style


@@ -928,8 +964,8 @@ Options to group beats within a bar are available through the
 Scheme function @code{set-time-signature}, which takes three
 arguments: the number of beats, the beat length, and the internal
 grouping of beats in the measure.  If the
 Scheme function @code{set-time-signature}, which takes three
 arguments: the number of beats, the beat length, and the internal
 grouping of beats in the measure.  If the

-@internalsref{Measure_grouping_engraver} is included, the function
-will also create @internalsref{MeasureGrouping} signs.  Such signs
+@rinternals{Measure_grouping_engraver} is included, the function
+will also create @rinternals{MeasureGrouping} signs.  Such signs

 ease reading rhythmically complex modern music.  In the example,
 the 9/8 measure is subdivided in 2, 2, 2 and 3.  This is passed to
 @code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
 ease reading rhythmically complex modern music.  In the example,
 the 9/8 measure is subdivided in 2, 2, 2 and 3.  This is passed to
 @code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:


@@ -955,7 +991,7 @@ the 9/8 measure is subdivided in 2, 2, 2 and 3.  This is passed to
 @cindex compound time signatures
 @cindex time signature, compound
 
 @cindex compound time signatures
 @cindex time signature, compound
 

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

 {compound-time-signatures.ly}
 
 
 {compound-time-signatures.ly}
 
 


@@ -965,15 +1001,15 @@ Music Glossary:
 @rglos{time signature}
 
 Notation Reference:
 @rglos{time signature}
 
 Notation Reference:

-@ruser{Ancient time signatures},
-@ruser{Time administration}.
+@ref{Ancient time signatures},
+@ref{Time administration}.

 
 Snippets:
 
 Snippets:

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

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{TimeSignature},
-@internalsref{Timing_translator}.
+@rinternals{TimeSignature},
+@rinternals{Timing_translator}.

 
 
 @knownissues
 
 
 @knownissues


@@ -1005,9 +1041,15 @@ where @code{duration} is the rhythmic length of the @emph{notes}
 which are to be placed before the first complete measure:
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 which are to be placed before the first complete measure:
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]

-\partial 16*5 c16 cis d dis e |
+\partial 4 e4 |
+a2. c,4 |
+@end lilypond
+
+The partial measure can be any duration less than a full measure:
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\partial 8*3 c8 d e |

 a2. c,4 |
 a2. c,4 |

-b2

 @end lilypond
 
 Internally, this is translated into
 @end lilypond
 
 Internally, this is translated into


@@ -1022,16 +1064,17 @@ that this is set to a negative number by the @code{\partial}
 command: i.e., @code{\partial 4} is internally translated to
 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
 
 command: i.e., @code{\partial 4} is internally translated to
 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
 

-

 @seealso
 
 Music Glossary: @rglos{anacrusis}
 
 Notation Reference: @ref{Grace notes}
 
 @seealso
 
 Music Glossary: @rglos{anacrusis}
 
 Notation Reference: @ref{Grace notes}
 

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

 
 

-Internal Reference: @internalsref{Timing_translator}
+Internal Reference:
+@rinternals{Timing_translator}

 
 @knownissues
 
 
 @knownissues
 


@@ -1098,11 +1141,14 @@ d4 e d c
 
 @seealso
 
 
 @seealso
 

-Music Glossary: @rglos{cadenza}
+Music Glossary:
+@rglos{cadenza}

 
 

-Notation Reference: @ref{Controlling visibility of objects}
+Notation Reference:
+@ref{Controlling visibility of objects}

 
 

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

 
 @knownissues
 
 
 @knownissues
 


@@ -1159,7 +1205,7 @@ This notation can be created by setting a common time signature
 for each staff but replacing the symbol manually by setting
 @code{timeSignatureFraction} to the desired fraction and scaling
 the printed durations in each staff to the common time
 for each staff but replacing the symbol manually by setting
 @code{timeSignatureFraction} to the desired fraction and scaling
 the printed durations in each staff to the common time

-signature.  This done with @code{\compressMusic}, which
+signature.  This done with @code{\scaleDurations}, which

 is used in a similar way to @code{\times}, but does not create
 a tuplet bracket, see @ref{Scaling durations}.
 
 is used in a similar way to @code{\times}, but does not create
 a tuplet bracket, see @ref{Scaling durations}.
 


@@ -1178,13 +1224,13 @@ staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
   \new Staff {
     \time 3/4
     \set Staff.timeSignatureFraction = #'(9 . 8)
   \new Staff {
     \time 3/4
     \set Staff.timeSignatureFraction = #'(9 . 8)

-    \compressMusic #'(2 . 3)
+    \scaleDurations #'(2 . 3)

       \repeat unfold 6 { c8[ c c] }
   }
   \new Staff {
     \time 3/4
     \set Staff.timeSignatureFraction = #'(10 . 8)
       \repeat unfold 6 { c8[ c c] }
   }
   \new Staff {
     \time 3/4
     \set Staff.timeSignatureFraction = #'(10 . 8)

-    \compressMusic #'(3 . 5) {
+    \scaleDurations #'(3 . 5) {

       \repeat unfold 2 { c8[ c c] }
       \repeat unfold 2 { c8[ c] } |
       c4. c4. \times 2/3 { c8 c c } c4
       \repeat unfold 2 { c8[ c c] }
       \repeat unfold 2 { c8[ c] } |
       c4. c4. \times 2/3 { c8 c c } c4


@@ -1247,14 +1293,14 @@ Music Glossary:
 Notation Reference: @ref{Scaling durations}
 
 Snippets:
 Notation Reference: @ref{Scaling durations}
 
 Snippets:

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

 @c Is this still permitted?
 @c @lsr{contemporary,compound-time-signature}
 
 Internals Reference:
 @c Is this still permitted?
 @c @lsr{contemporary,compound-time-signature}
 
 Internals Reference:

-@internalsref{TimeSignature},
-@internalsref{Timing-translator},
-@internalsref{Staff}.
+@rinternals{TimeSignature},
+@rinternals{Timing-translator},
+@rinternals{Staff}.

 
 @knownissues
 
 
 @knownissues
 


@@ -1301,12 +1347,13 @@ Learning Manual:
 @rlearning{Engravers explained},
 @rlearning{Adding and removing engravers}.
 
 @rlearning{Engravers explained},
 @rlearning{Adding and removing engravers}.
 

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

 
 Internals Reference:
 
 Internals Reference:

-@internalsref{Note_heads_engraver},
-@internalsref{Completion_heads_engraver},
-@internalsref{Forbid_line_break_engraver}.
+@rinternals{Note_heads_engraver},
+@rinternals{Completion_heads_engraver},
+@rinternals{Forbid_line_break_engraver}.

 
 
 @knownissues
 
 
 @knownissues


@@ -1319,14 +1366,30 @@ The @code{Completion_heads_engraver} only affects notes; it does not
 split rests.
 
 
 split rests.
 
 

+@node Showing melody rhythms
+@subsubsection Showing melody rhythms
+
+Sometimes you might want to show only the rhythm of a melody.  This
+can be done with the rhythmic staff.  All pitches of notes on such a
+staff are squashed, and the staff itself has a single line
+
+@c TODO Devise a more realistic example, perhaps with lyrics -td
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new RhythmicStaff {
+  \time 4/4
+  c4 e8 f g2 | r4 g r2 | g1 | r1 |
+}
+@end lilypond
+
+

 @node Beams
 @subsection Beams
 
 @menu
 @node Beams
 @subsection Beams
 
 @menu

-* Automatic beams::             
-* Setting automatic beam behavior::  
-* Manual beams::                
-* Feathered beams::             
+* Automatic beams::
+* Setting automatic beam behavior::
+* Manual beams::
+* Feathered beams::

 @end menu
 
 @node Automatic beams
 @end menu
 
 @node Automatic beams


@@ -1379,8 +1442,8 @@ c8[^"(3+2)" c16 c8]
 The beams of consecutive 16th (or shorter) notes are, by default,
 not sub-divided.  That is, the three (or more) beams stretch
 unbroken over entire groups of notes.  This behavior can
 The beams of consecutive 16th (or shorter) notes are, by default,
 not sub-divided.  That is, the three (or more) beams stretch
 unbroken over entire groups of notes.  This behavior can

-be modified to sub-divide the beams into sub-groups by setting 
-the property @code{subdivideBeams}.  When set, multiple beams 
+be modified to sub-divide the beams into sub-groups by setting
+the property @code{subdivideBeams}.  When set, multiple beams

 will be sub-divided at intervals defined by the current value of
 @code{beatLength} by reducing the multiple beams to just one beam
 between the sub-groups. Note that @code{beatLength} lives in the
 will be sub-divided at intervals defined by the current value of
 @code{beatLength} by reducing the multiple beams to just one beam
 between the sub-groups. Note that @code{beatLength} lives in the


@@ -1410,7 +1473,7 @@ For more information about @code{make-moment}, see
 @cindex line breaks
 
 Line breaks are normally forbidden when beams cross bar lines.
 @cindex line breaks
 
 Line breaks are normally forbidden when beams cross bar lines.

-This behavior can be changed by setting the @code{breakable} 
+This behavior can be changed by setting the @code{breakable}

 property: @code{\override Beam #'breakable = ##t}.
 
 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
 property: @code{\override Beam #'breakable = ##t}.
 
 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]


@@ -1426,7 +1489,7 @@ c8 \repeat unfold 15 { c[ c] } c
 Kneed beams are inserted automatically when a large gap is
 detected between the note heads.  This behavior can be tuned
 through the @code{auto-knee-gap} property.  A kneed beam is
 Kneed beams are inserted automatically when a large gap is
 detected between the note heads.  This behavior can be tuned
 through the @code{auto-knee-gap} property.  A kneed beam is

-drawn if the gap is larger than the value of 
+drawn if the gap is larger than the value of

 @code{auto-knee-gap} plus the width of the beam object (which
 depends on the duration of the notes and the slope of the beam).
 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
 @code{auto-knee-gap} plus the width of the beam object (which
 depends on the duration of the notes and the slope of the beam).
 By default @code{auto-knee-gap} is set to 5.5 staff spaces.


@@ -1442,9 +1505,10 @@ f8 f''8 f8 f''8
 
 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
 
 
 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
 

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

 
 

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

 
 
 @knownissues
 
 
 @knownissues


@@ -1641,7 +1705,8 @@ automatic beam is still accepting notes, it is not typeset.
 
 @seealso
 
 
 @seealso
 

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

 
 
 @node Manual beams
 
 
 @node Manual beams


@@ -1701,13 +1766,13 @@ the group as a whole.
 @subsubsection Feathered beams
 
 @cindex beams, feathered
 @subsubsection Feathered beams
 
 @cindex beams, feathered

-@funindex \featherDurations 
+@funindex \featherDurations

 
 Feathered beams are used to indicate that a small group of notes
 should be played at an increasing (or decreasing) tempo, without
 
 Feathered beams are used to indicate that a small group of notes
 should be played at an increasing (or decreasing) tempo, without

-changing the overall tempo of the piece.  The extent of the 
+changing the overall tempo of the piece.  The extent of the

 feathered beam must be indicated manually using @code{[} and
 feathered beam must be indicated manually using @code{[} and

-@code{]}, and the beam feathering is turned on by specifying a 
+@code{]}, and the beam feathering is turned on by specifying a

 direction to the @code{Beam} property @code{grow-direction}.
 
 If the placement of the notes and the sound in the MIDI output
 direction to the @code{Beam} property @code{grow-direction}.
 
 If the placement of the notes and the sound in the MIDI output


@@ -1719,9 +1784,9 @@ between the durations of the first and last notes in the group.
 
 The square brackets
 show the extent of the beam and the braces show
 
 The square brackets
 show the extent of the beam and the braces show

-which notes are to have their durations modified.  Normally 
+which notes are to have their durations modified.  Normally

 these would delimit the same group of notes, but this is not
 these would delimit the same group of notes, but this is not

-required: the two commands are independent. 
+required: the two commands are independent.

 
 In the following example the eight 16th notes occupy exactly the
 same time as a half note, but the first note is one half as long
 
 In the following example the eight 16th notes occupy exactly the
 same time as a half note, but the first note is one half as long


@@ -1742,7 +1807,7 @@ the last four 32nd notes are at a constant tempo.
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-The spacing in the printed output represents the 
+The spacing in the printed output represents the

 note durations only approximately, but the midi output is exact.
 
 @knownissues
 note durations only approximately, but the midi output is exact.
 
 @knownissues


@@ -1752,7 +1817,8 @@ music snippets, and when numbers in the fraction are small.
 
 @seealso
 
 
 @seealso
 

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

 
 
 
 
 
 


@@ -1761,10 +1827,10 @@ Snippets: @lsrdir{Rhythms,Rhythms}
 
 
 @menu
 
 
 @menu

-* Bar lines::                   
-* Bar numbers::                 
-* Bar and bar number checks::   
-* Rehearsal marks::             
+* Bar lines::
+* Bar numbers::
+* Bar and bar number checks::
+* Rehearsal marks::

 @end menu
 
 @node Bar lines
 @end menu
 
 @node Bar lines


@@ -1777,10 +1843,10 @@ Snippets: @lsrdir{Rhythms,Rhythms}
 
 Bar lines delimit measures, and are also used to indicate
 repeats.  Normally, simple bar lines are automatically inserted
 
 Bar lines delimit measures, and are also used to indicate
 repeats.  Normally, simple bar lines are automatically inserted

-into the printed output at places based on the current time 
-signature.  
+into the printed output at places based on the current time
+signature.

 
 

-The simple bar lines inserted automatically can be changed to 
+The simple bar lines inserted automatically can be changed to

 other types with the @code{\bar} command.  For example, a closing
 double bar line is usually placed at the end of a piece:
 
 other types with the @code{\bar} command.  For example, a closing
 double bar line is usually placed at the end of a piece:
 


@@ -1790,13 +1856,13 @@ e4 d c2 \bar "|."
 
 @warning{An incorrect duration can lead to poorly formatted
 music.}
 
 @warning{An incorrect duration can lead to poorly formatted
 music.}

- 
-It is not invalid if the final note in a measure does not 
-end on the automatically entered bar line: the note is assumed 
+
+It is not invalid if the final note in a measure does not
+end on the automatically entered bar line: the note is assumed

 to carry over into the next measure.  But if a long sequence
 of such carry-over measures appears the music can appear compressed
 or even flowing off the page.  This is because automatic line
 to carry over into the next measure.  But if a long sequence
 of such carry-over measures appears the music can appear compressed
 or even flowing off the page.  This is because automatic line

-breaks happen only at the end of complete measures, i.e., where 
+breaks happen only at the end of complete measures, i.e., where

 the end of a note coincides with the end of a measure.
 
 @cindex line breaks
 the end of a note coincides with the end of a measure.
 
 @cindex line breaks


@@ -1804,7 +1870,7 @@ the end of a note coincides with the end of a measure.
 @cindex measure lines, invisible
 
 Line breaks are also permitted at manually inserted bar lines
 @cindex measure lines, invisible
 
 Line breaks are also permitted at manually inserted bar lines

-even within incomplete measures.  To allow a line break without 
+even within incomplete measures.  To allow a line break without

 printing a bar line, use
 
 @example
 printing a bar line, use
 
 @example


@@ -1813,17 +1879,17 @@ printing a bar line, use
 
 @noindent
 This will insert an invisible bar line and allow (but not
 
 @noindent
 This will insert an invisible bar line and allow (but not

-force) a line break to occur at this point.  The bar number 
-counter is not increased.  To force a line break see 
+force) a line break to occur at this point.  The bar number
+counter is not increased.  To force a line break see

 @ref{Line breaking}.
 
 This and other special bar lines may be inserted manually at any
 point.  When they coincide with the end of a measure they replace
 @ref{Line breaking}.
 
 This and other special bar lines may be inserted manually at any
 point.  When they coincide with the end of a measure they replace

-the simple bar line which would have been inserted there 
+the simple bar line which would have been inserted there

 automatically.  When they do not coincide
 with the end of a measure the specified bar line is inserted at that
 point in the printed output.  Such insertions do not affect
 automatically.  When they do not coincide
 with the end of a measure the specified bar line is inserted at that
 point in the printed output.  Such insertions do not affect

-the calculation and placement of subsequent automatic bar lines.  
+the calculation and placement of subsequent automatic bar lines.

 
 The simple bar line and four types of double bar line are available
 for manual insertion:
 
 The simple bar line and four types of double bar line are available
 for manual insertion:


@@ -1857,14 +1923,14 @@ automatically print the appropriate bar lines.
 In addition, you can specify @code{"||:"}, which is equivalent to
 @code{"|:"} except at line breaks, where it gives a double bar
 line at the end of the line and a start repeat at the beginning of
 In addition, you can specify @code{"||:"}, which is equivalent to
 @code{"|:"} except at line breaks, where it gives a double bar
 line at the end of the line and a start repeat at the beginning of

-the next line. 
+the next line.

 
 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
 \override Score.RehearsalMark #'padding = #3
 c c c c
 
 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
 \override Score.RehearsalMark #'padding = #3
 c c c c

-\bar "||:" 
+\bar "||:"

 c c c c \break
 c c c c \break

-\bar "||:" 
+\bar "||:"

 c c c c
 @end lilypond
 
 c c c c
 @end lilypond
 


@@ -1894,13 +1960,13 @@ connected between different staves of a @code{StaffGroup},
 @funindex defaultBarType
 
 The command @code{\bar }@var{bartype} is a shortcut for
 @funindex defaultBarType
 
 The command @code{\bar }@var{bartype} is a shortcut for

-@code{\set Timing.whichBar = }@var{bartype}.  A bar line is 
+@code{\set Timing.whichBar = }@var{bartype}.  A bar line is

 created whenever the @code{whichBar} property is
 created whenever the @code{whichBar} property is

-set.  
+set.

 
 The default bar type used for automatically inserted bar lines is
 @code{"|"}.  This may be changed at any time
 
 The default bar type used for automatically inserted bar lines is
 @code{"|"}.  This may be changed at any time

-with @code{\set Timing.defaultBarType = }@var{bartype}.  
+with @code{\set Timing.defaultBarType = }@var{bartype}.

 
 @seealso
 
 
 @seealso
 


@@ -1908,11 +1974,12 @@ Notation Reference: @ref{Line breaking}, @ref{Repeats},
 @c FIXME: node name changed, but is subject to further changes.
 @c @ref{System start delimiters}.
 
 @c FIXME: node name changed, but is subject to further changes.
 @c @ref{System start delimiters}.
 

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

 
 

-Internals Reference: @internalsref{BarLine} (created at
-@internalsref{Staff} level), @internalsref{SpanBar} (across
-staves), @internalsref{Timing_translator} (for Timing
+Internals Reference: @rinternals{BarLine} (created at
+@rinternals{Staff} level), @rinternals{SpanBar} (across
+staves), @rinternals{Timing_translator} (for Timing

 properties).
 
 
 properties).
 
 


@@ -1983,7 +2050,7 @@ c c c c c
 @cindex bar number, format
 
 The size of the bar number may be changed.  This is illustrated
 @cindex bar number, format
 
 The size of the bar number may be changed.  This is illustrated

-in the following example, which also shows how to enclose bar 
+in the following example, which also shows how to enclose bar

 numbers in boxes and circles, and shows an alternative way
 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
 
 numbers in boxes and circles, and shows an alternative way
 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
 


@@ -1992,7 +2059,7 @@ of specifying @code{#(#f #t #t)} for @code{break-visibility}.
 \override Score.BarNumber #'break-visibility
   = #end-of-line-invisible
 
 \override Score.BarNumber #'break-visibility
   = #end-of-line-invisible
 

-% Increase the size of the bar number by 2 
+% Increase the size of the bar number by 2

 \override Score.BarNumber #'font-size = #2
 \repeat unfold 3 { c1 } \bar "|"
 
 \override Score.BarNumber #'font-size = #2
 \repeat unfold 3 { c1 } \bar "|"
 


@@ -2012,7 +2079,7 @@ of specifying @code{#(#f #t #t)} for @code{break-visibility}.
 Bar numbers by default are left-aligned to their parent object.
 This is usually the left edge of a line or, if numbers are printed
 within a line, the left bar line of the measure.  The numbers may also
 Bar numbers by default are left-aligned to their parent object.
 This is usually the left edge of a line or, if numbers are printed
 within a line, the left bar line of the measure.  The numbers may also

-be positioned directly on the bar line or right-aligned to the 
+be positioned directly on the bar line or right-aligned to the

 bar line:
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]
 bar line:
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]


@@ -2050,16 +2117,17 @@ Bar numbers can be removed entirely by removing the
 
 @seealso
 
 
 @seealso
 

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

 
 

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

 
 
 @knownissues
 
 Bar numbers may collide with the top of the
 
 
 @knownissues
 
 Bar numbers may collide with the top of the

-@internalsref{StaffGroup} bracket, if there is one.  To solve
-this, the @code{padding} property of @internalsref{BarNumber} can
+@rinternals{StaffGroup} bracket, if there is one.  To solve
+this, the @code{padding} property of @rinternals{BarNumber} can

 be used to position the number correctly.
 
 Bar numbers may only be printed at bar lines; to print a bar
 be used to position the number correctly.
 
 Bar numbers may only be printed at bar lines; to print a bar


@@ -2085,11 +2153,11 @@ c1 c c c
 @funindex |
 
 Bar checks help detect errors in the entered durations.
 @funindex |
 
 Bar checks help detect errors in the entered durations.

-A bar check may be entered using the bar symbol, @code{|}, 
-at any place where a bar line is expected to fall.  
-If bar check lines are encountered at other places, 
+A bar check may be entered using the bar symbol, @code{|},
+at any place where a bar line is expected to fall.
+If bar check lines are encountered at other places,

 a list of warnings is printed in the log file,
 a list of warnings is printed in the log file,

-showing the line numbers and lines  
+showing the line numbers and lines

 in which the bar checks failed.  In the next
 example, the second bar check will signal an error.
 
 in which the bar checks failed.  In the next
 example, the second bar check will signal an error.
 


@@ -2114,17 +2182,17 @@ incorrect durations.
 @funindex |
 @funindex pipeSymbol
 
 @funindex |
 @funindex pipeSymbol
 

-It is also possible to redefine the action taken when a bar check 
-or pipe symbol, @code{|}, is encountered in the input, so that 
-it does something other than a bar check.  This is done by 
-assigning a music expression to @code{pipeSymbol}.  
-In the following example @code{|} is set to insert a double bar 
-line wherever it appears in the input, rather than checking 
+It is also possible to redefine the action taken when a bar check
+or pipe symbol, @code{|}, is encountered in the input, so that
+it does something other than a bar check.  This is done by
+assigning a music expression to @code{pipeSymbol}.
+In the following example @code{|} is set to insert a double bar
+line wherever it appears in the input, rather than checking

 for end of bar.
 
 @lilypond[quote,ragged-right,verbatim]
 pipeSymbol = \bar "||"
 for end of bar.
 
 @lilypond[quote,ragged-right,verbatim]
 pipeSymbol = \bar "||"

-{ 
+{

   c'2 c'2 |
   c'2 c'2
   c'2 | c'2
   c'2 c'2 |
   c'2 c'2
   c'2 | c'2


@@ -2147,7 +2215,8 @@ when it is processed.
 
 @seealso
 
 
 @seealso
 

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

 
 
 @node Rehearsal marks
 
 
 @node Rehearsal marks


@@ -2249,15 +2318,16 @@ See @ref{The Feta font}, for a list of symbols which may be
 printed with @code{\musicglyph}.
 
 For common tweaks to the positioning of rehearsal marks, see
 printed with @code{\musicglyph}.
 
 For common tweaks to the positioning of rehearsal marks, see

-@ref{Text marks}.
+@ref{Formatting text}.

 
 @seealso
 
 
 @seealso
 

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

 
 

-This manual: @ref{The Feta font}, @ref{Text marks}.
+This manual: @ref{The Feta font}, @ref{Formatting text}.

 
 

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

 
 Init files: @file{scm/@/translation@/-functions@/.scm} contains
 the definition of @code{format-mark-numbers} and
 
 Init files: @file{scm/@/translation@/-functions@/.scm} contains
 the definition of @code{format-mark-numbers} and


@@ -2272,9 +2342,9 @@ Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
 
 
 @menu
 
 
 @menu

-* Grace notes::                 
-* Aligning to cadenzas::        
-* Time administration::         
+* Grace notes::
+* Aligning to cadenzas::
+* Time administration::

 @end menu
 
 @node Grace notes
 @end menu
 
 @node Grace notes


@@ -2306,13 +2376,13 @@ and @code{\appoggiatura}, as demonstrated in the following
 example:
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 example:
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]

-b4 \acciaccatura d8 c4 
+b4 \acciaccatura d8 c4

 \appoggiatura e8 d4
 \acciaccatura { g16[ f] } e4
 @end lilypond
 
 @noindent
 \appoggiatura e8 d4
 \acciaccatura { g16[ f] } e4
 @end lilypond
 
 @noindent

-@code{\acciaccatura} and @code{\appoggiatura} start a slur, 
+@code{\acciaccatura} and @code{\appoggiatura} start a slur,

 @code{\grace} does not.
 
 The placement of grace notes is synchronized between different
 @code{\grace} does not.
 
 The placement of grace notes is synchronized between different


@@ -2415,20 +2485,16 @@ Grace notes may be forced to use align with regular notes
 in other staves by setting @code{strict-grace-spacing} to
 ##t:
 
 in other staves by setting @code{strict-grace-spacing} to
 ##t:
 

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

 <<
   \override Score.SpacingSpanner #'strict-grace-spacing = ##t
   \new Staff {
 <<
   \override Score.SpacingSpanner #'strict-grace-spacing = ##t
   \new Staff {

-     c'4
-     \afterGrace
-     c'4
-     { c'16[ c'8 c'16] }
-     c'4
-  }  
+    c4
+    \afterGrace c4 { c16[ c8 c16] }
+    c4 r
+  }

   \new Staff {
   \new Staff {

-     c'16[ c'16 c'16 c'16]
-     c'16[ c'16 c'16 c'16]
-     c'4
+    c16 c c c c c c c c4 r

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -2441,14 +2507,15 @@ Music Glossary:
 @rglos{acciaccatura},
 @rglos{appoggiatura}
 
 @rglos{acciaccatura},
 @rglos{appoggiatura}
 

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

 
 

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

 
 
 @knownissues
 
 
 
 @knownissues
 

-A multi-note beamed @emph{acciaccatura} is printed without a slash, 
+A multi-note beamed @emph{acciaccatura} is printed without a slash,

 and looks exactly the same as a multi-note beamed
 @emph{appoggiatura}.
 @c TODO Add link to LSR snippet to add slash when available
 and looks exactly the same as a multi-note beamed
 @emph{appoggiatura}.
 @c TODO Add link to LSR snippet to add slash when available


@@ -2511,7 +2578,8 @@ cadenza = \relative c' {
 
 @seealso
 
 
 @seealso
 

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

 
 
 @node Time administration
 
 
 @node Time administration


@@ -2533,7 +2601,7 @@ default is to be found in the @code{Score} context.  An alias,
 
 The following properties of @code{Timing} are used
 to keep track of timing within the score.
 
 The following properties of @code{Timing} are used
 to keep track of timing within the score.

- 
+

 @cindex bar number
 @cindex measure number
 
 @cindex bar number
 @cindex measure number
 


@@ -2551,7 +2619,7 @@ should be generated.
 @item measurePosition
 The point within the measure where we currently are.  This
 quantity is reset by subtracting @code{measureLength} whenever
 @item measurePosition
 The point within the measure where we currently are.  This
 quantity is reset by subtracting @code{measureLength} whenever

-@code{measureLength} is reached or exceeded.  When that happens, 
+@code{measureLength} is reached or exceeded.  When that happens,

 @code{currentBarNumber} is incremented.
 
 @item timing
 @code{currentBarNumber} is incremented.
 
 @item timing


@@ -2562,7 +2630,7 @@ measure indefinitely.
 @end table
 
 Timing can be changed by setting any of these variables
 @end table
 
 Timing can be changed by setting any of these variables

-explicitly.  In the next example, the default 4/4 time 
+explicitly.  In the next example, the default 4/4 time

 signature is printed, but @code{measureLength} is set to 5/4.
 At 4/8 through the third measure, the @code{measurePosition} is
 advanced by 1/8 to 5/8, shortening that bar by 1/8.
 signature is printed, but @code{measureLength} is set to 5/4.
 At 4/8 through the third measure, the @code{measurePosition} is
 advanced by 1/8 to 5/8, shortening that bar by 1/8.


@@ -2590,22 +2658,8 @@ notes.
 
 This manual: @ref{Bar numbers}, @ref{Unmetered music}
 
 
 This manual: @ref{Bar numbers}, @ref{Unmetered music}
 

-Snippets: @lsrdir{Rhythms,Rhythms}
-
-Internals Reference: @internalsref{Timing_translator},
-@internalsref{Score}
-
-
-
-
-
-
-
-
-
-
-
-
-
-
+Snippets:
+@rlsr{Rhythms}.

 
 

+Internals Reference: @rinternals{Timing_translator},
+@rinternals{Score}