Merge branch 'master' of /home/lilycvs/git/lily/

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

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 247d9f11b96c1e824394a90b33e6912df772bc18..119092e3e4d16f87146dd669c0da9eab3340d039 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -21,7 +21,7 @@ Tutorial guidelines:  (different from policy.txt!)
   correct Dutch naming, but let's not confuse people with this
   until we get to the Basic notation chapter.
 
   correct Dutch naming, but let's not confuse people with this
   until we get to the Basic notation chapter.
 

-- Add "Music glossary: @rglos{foo}" to the _top_ of the relevant
+- Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant

   portions of the tutorial.
 
 @end ignore
   portions of the tutorial.
 
 @end ignore


@@ -31,8 +31,9 @@ Tutorial guidelines:  (different from policy.txt!)
 @chapter Tutorial
 
 This tutorial starts with an introduction to the LilyPond music
 @chapter Tutorial
 
 This tutorial starts with an introduction to the LilyPond music

-language and how to produce printed music.  After this first
-contact we will explain how to create common musical notation.
+language and explains how to produce printed music.  After this first
+contact we will explain how to create beautiful printed music 
+containing common musical notation.

 
 @menu
 * First steps::                 
 
 @menu
 * First steps::                 


@@ -52,16 +53,20 @@ This section gives a basic introduction to working with LilyPond.
 * Compiling a file::            
 * Simple notation::             
 * Working on text files::       
 * Compiling a file::            
 * Simple notation::             
 * Working on text files::       

-* How to read the tutorial::    
+* How to read the manual::      

 @end menu
 
 
 @node Compiling a file
 @subsection Compiling a file
 
 @end menu
 
 
 @node Compiling a file
 @subsection Compiling a file
 

-The first example demonstrates how to start working with LilyPond.
+@qq{Compiling} is the term used for processing an input text file
+in LilyPond format to produce a file which can be printed and
+(optionally) a MIDI file which can be played.  The first example
+shows what a simple input text file looks like.
+

 To create sheet music, we write a text file that specifies the
 To create sheet music, we write a text file that specifies the

-notation.  For example, if we write
+notation.  For example, if we write:

 
 @example
 @{
 
 @example
 @{


@@ -79,15 +84,15 @@ the result looks like this:
 }
 @end lilypond
 
 }
 @end lilypond
 

-@warning{Every piece of LilyPond input needs to have
-@strong{@{ curly braces @}} placed around the input.  The braces
+@warning{Notes and lyrics in LilyPond input must always be
+surrounded by @strong{@{ curly braces @}}.  The braces

 should also be surrounded by a space unless they are at the
 beginning or end of a line to avoid ambiguities.  The braces may
 be omitted in some examples in this manual, but don't forget them
 in your own music!  For more information about the display of
 should also be surrounded by a space unless they are at the
 beginning or end of a line to avoid ambiguities.  The braces may
 be omitted in some examples in this manual, but don't forget them
 in your own music!  For more information about the display of

-examples in the manual, see @ref{How to read the tutorial}.}
+examples in the manual, see @ref{How to read the manual}.}

 
 

-@cindex Case sensitive
+@cindex case sensitive

 In addition, LilyPond input is @strong{case sensitive}.  @code{
 @{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
 error message.
 In addition, LilyPond input is @strong{case sensitive}.  @code{
 @{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
 error message.


@@ -97,7 +102,7 @@ error message.
 @subheading Entering music and viewing output
 
 @cindex PDF file
 @subheading Entering music and viewing output
 
 @cindex PDF file

-@cindex Viewing music
+@cindex viewing music

 
 In this section we will explain what commands to run and how to
 view or print the output.
 
 In this section we will explain what commands to run and how to
 view or print the output.


@@ -106,7 +111,7 @@ Note that there are several other text editors available with
 better support for LilyPond.  For more information, see
 @rprogram{Text editor support}.
 
 better support for LilyPond.  For more information, see
 @rprogram{Text editor support}.
 

-@warning{the first time you ever run LilyPond, it may take a
+@warning{The first time you ever run LilyPond, it may take a

 minute or two because all of the system fonts have to be analyzed
 first.  After this, LilyPond will be much faster!}
 
 minute or two because all of the system fonts have to be analyzed
 first.  After this, LilyPond will be much faster!}
 


@@ -114,7 +119,7 @@ first.  After this, LilyPond will be much faster!}
 
 If you double click @code{LilyPond.app}, it will open with an
 example file.  Save it, for example, to @file{test.ly} on your
 
 If you double click @code{LilyPond.app}, it will open with an
 example file.  Save it, for example, to @file{test.ly} on your

-Desktop, and then process it with the menu command @samp{Compile >
+Desktop, and then process it with the menu command @code{Compile >

 Typeset File}.  The resulting PDF file will be displayed on your
 screen.
 
 Typeset File}.  The resulting PDF file will be displayed on your
 screen.
 


@@ -138,16 +143,19 @@ pointer.
 To edit an existing @file{.ly} file, right-click on it and
 select @qq{Edit source}.  To get an empty file to start from, run
 the editor as described above and use @qq{New} in
 To edit an existing @file{.ly} file, right-click on it and
 select @qq{Edit source}.  To get an empty file to start from, run
 the editor as described above and use @qq{New} in

-the @qq{File} menu.
+the @qq{File} menu, or right-click on the desktop and select
+@qq{New..Text Document}, change its name to a name of your choice
+and change the file extension to @code{.ly}.  Double-click the
+icon to type in your LilyPond source code as before.

 
 Double-clicking the file does not only result in a PDF file, but
 also produces a @file{.log} file that contains some information on
 what LilyPond has done to the file.  If any errors occur, please
 examine this file.
 
 
 Double-clicking the file does not only result in a PDF file, but
 also produces a @file{.log} file that contains some information on
 what LilyPond has done to the file.  If any errors occur, please
 examine this file.
 

-@subsubheading Unix
+@subsubheading UNIX

 
 

-Create a file (such as @file{test.ly}) and enter:
+Create a text file called @file{test.ly} and enter:

 
 @example
 @{
 
 @example
 @{


@@ -155,21 +163,21 @@ Create a file (such as @file{test.ly}) and enter:
 @}
 @end example
 
 @}
 @end example
 

-To process @file{test.ly}, proceed as follows
+To process @file{test.ly}, proceed as follows:

 
 @example
 lilypond test.ly
 @end example
 
 @noindent
 
 @example
 lilypond test.ly
 @end example
 
 @noindent

-You will see something resembling
+You will see something resembling:

 
 @example
 lilypond test.ly
 GNU LilyPond 2.12.0
 Processing `test.ly'
 Parsing...
 
 @example
 lilypond test.ly
 GNU LilyPond 2.12.0
 Processing `test.ly'
 Parsing...

-Interpreting music... 
+Interpreting music...

 Preprocessing graphical objects...
 Finding the ideal number of pages...
 Fitting music on 1 page...
 Preprocessing graphical objects...
 Finding the ideal number of pages...
 Fitting music on 1 page...


@@ -199,27 +207,30 @@ values are useful.
 
 @subheading Pitches
 
 
 @subheading Pitches
 

-Music glossary: @rglos{interval}, @rglos{fourth}, @rglos{scale},
-@rglos{middle C}, @rglos{octave}.
+Music Glossary: @rglos{pitch}, @rglos{interval},
+@rglos{scale}, @rglos{middle C}, @rglos{octave},
+@rglos{accidental}.

 
 The easiest way to enter notes is by using @code{\relative} mode.
 
 The easiest way to enter notes is by using @code{\relative} mode.

-In this mode, the @notation{interval} between the previous note and
-the current note is assumed to be within a @notation{fourth}.  We
-begin by entering the most elementary piece of music, a
-@notation{scale}.
+In this mode, the octave is chosen automatically by assuming the
+following note is always to be placed closest to the previous
+note, i.e., it is to be placed in the octave which is within three
+staff spaces of the previous note.  We begin by entering the most
+elementary piece of music, a @notation{scale}, in which every note
+is within just one staff space of the previous note.

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

-\relative c' {
+\relative c' {  % set the starting point to middle C

   c d e f
   g a b c
 }
 @end lilypond
 
 The initial note is @notation{middle C}.  Each successive note is
   c d e f
   g a b c
 }
 @end lilypond
 
 The initial note is @notation{middle C}.  Each successive note is

-within a fourth of the previous note -- in other words, the first
+placed closest to the previous note -- in other words, the first

 @code{c} is the closest C to middle C.  This is followed by the
 @code{c} is the closest C to middle C.  This is followed by the

-closest D to the previous note.  We can create melodies which
-have larger intervals:
+closest D to the previous note.  We can create melodies which have
+larger intervals, still using only @code{\relative} mode:

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c' {


@@ -229,13 +240,50 @@ have larger intervals:
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-As you may notice, this example does not start on middle C. The first
-note -- the @code{d} -- is the closest D to middle C.
+It is not necessary for the first note of the melody to start on
+the note which specifies the starting pitch.  In the previous
+example, the first note -- the @code{d} -- is the closest D to
+middle C.
+
+By adding (or removing) quotes @code{'} or commas @code{,} from
+the @code{\relative c' @{} command, we can change the starting
+octave:
+
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {  % one octave above middle C
+  e c a c
+}
+@end lilypond
+
+Relative mode can be confusing initially, but is the easiest way
+to enter most melodies.  Let us see how this relative calculation
+works in practice.  Starting from a B, which is on the middle line
+in a treble clef, you can reach a C, D and E within 3 staff spaces
+going up, and an A, G and F within 3 staff spaces going down.  So
+if the note following a B is a C, D or E it will be assumed to be
+above the B, and an A, G or F will be assumed to be below.
+
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+  b c  % c is 1 staff space up, so is the c above
+  b d  % d is 2 up or 5 down, so is the d above
+  b e  % e is 3 up or 4 down, so is the e above
+  b a  % a is 6 up or 1 down, so is the a below
+  b g  % g is 5 up or 2 down, so is the g below
+  b f  % f is 4 up or 3 down, so is the f below
+}
+@end lilypond
+
+Exactly the same happens even when any of these notes are
+sharpened or flattened.  @notation{Accidentals} are
+@strong{totally ignored} in the calculation of relative position.
+Precisely the same staff space counting is done from a note at any
+other position on the staff.

 
 

-To add intervals that are larger than a fourth, we can raise
-the @notation{octave} by adding a single quote @code{'} (or apostrophe)
-to the note name.  We can lower the octave by adding a comma @code{,} to
-the note name.
+To add intervals that are larger than three staff spaces, we can
+raise the @notation{octave} by adding a single quote @code{'} (or
+apostrophe) to the note name.  We can lower the octave by adding a
+comma @code{,} to the note name.

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -250,17 +298,22 @@ To change a note by two (or more!) octaves, we use multiple
 quotes @code{''} and not one double quote @code{"}@tie{}!  The
 initial value in @code{\relative c'} may also be modified like
 this.
 quotes @code{''} and not one double quote @code{"}@tie{}!  The
 initial value in @code{\relative c'} may also be modified like
 this.

-
+@c " - keeps quotes in order for context-sensitive editor -td

 
 @subheading Durations (rhythms)
 
 
 @subheading Durations (rhythms)
 

-Music glossary: @rglos{beam}, @rglos{duration}, @rglos{whole note},
-@rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
+Music Glossary: @rglos{beam}, @rglos{duration},
+@rglos{whole note}, @rglos{half note}, @rglos{quarter note},
+@rglos{dotted note}.

 
 The @notation{duration} of a note is specified by a number after
 
 The @notation{duration} of a note is specified by a number after

-the note name.  @samp{1} for a @notation{whole note}, @samp{2} for
-a @notation{half note}, @samp{4} for a @notation{quarter note} and
-so on.  @notation{Beam}@tie{}s are added automatically.
+the note name.  @code{1} for a @notation{whole note}, @code{2} for
+a @notation{half note}, @code{4} for a @notation{quarter note} and
+so on.  @notation{Beams} are added automatically.
+
+If you do not specify a duration, the previous duration is used
+for the next note.  The duration of the first note defaults to a
+quarter.

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -270,13 +323,9 @@ so on.  @notation{Beam}@tie{}s are added automatically.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@noindent
-If you do not specify a duration, the previous duration is used
-for the next note.  The duration of the first note defaults to a
-quarter.
-
-To create @notation{dotted notes}, add a dot @samp{.} to the duration
-number.
+To create @notation{dotted notes}, add a dot @code{.} to the
+duration number.  The duration of a dotted note must be stated
+explicitly (i.e., with a number).

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -288,9 +337,10 @@ number.
 
 @subheading Rests
 
 
 @subheading Rests
 

-Music glossary: @rglos{rest}.
+Music Glossary: @rglos{rest}.

 
 

-A @notation{rest} is entered just like a note with the name @samp{r}:
+A @notation{rest} is entered just like a note with the name
+@code{r}:

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -302,7 +352,7 @@ A @notation{rest} is entered just like a note with the name @samp{r}:
 
 @subheading Time signature
 
 
 @subheading Time signature
 

-Music glossary: @rglos{time signature}.
+Music Glossary: @rglos{time signature}.

 
 The @notation{time signature} can be set with the @code{\time}
 command:
 
 The @notation{time signature} can be set with the @code{\time}
 command:


@@ -321,7 +371,7 @@ command:
 
 @subheading Clef
 
 
 @subheading Clef
 

-Music glossary: @rglos{clef}.
+Music Glossary: @rglos{clef}.

 
 The @notation{clef} can be set using the @code{\clef} command:
 
 
 The @notation{clef} can be set using the @code{\clef} command:
 


@@ -355,37 +405,38 @@ Here is a small example showing all these elements together:
 
 @seealso
 
 
 @seealso
 

-User manual: @ruser{Writing pitches}, @ruser{Writing rhythms},
-@ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
+Notation Reference: @ruser{Writing pitches},
+@ruser{Writing rhythms}, @ruser{Writing rests},
+@ruser{Time signature}, @ruser{Clef}.

 
 
 
 

-@c HERE's where I started
-

 @node Working on text files
 @subsection Working on text files
 
 LilyPond input files are similar to source files in many common
 programming languages.  They are case sensitive, and white-space
 @node Working on text files
 @subsection Working on text files
 
 LilyPond input files are similar to source files in many common
 programming languages.  They are case sensitive, and white-space

-is generally equivalent.  Expressions are formed with curly braces
+is generally ignored.  Expressions are formed with curly braces

 @{ @}, and comments are denoted with @code{%} or @code{%@{ ...
 %@}}.
 
 @{ @}, and comments are denoted with @code{%} or @code{%@{ ...
 %@}}.
 

-If the previous sentence sounds like nonsense, don't worry!  We'll
+If the previous sentences sound like nonsense, don't worry!  We'll

 explain what all these terms mean:
 
 @itemize
 
 explain what all these terms mean:
 
 @itemize
 

-@cindex Case sensitive
-@item @strong{Case sensitive}:
+@cindex case sensitive
+@item
+@strong{Case sensitive}:

 it matters whether you enter a letter in lower case (e.g. @code{a,
 b, s, t}) or upper case (e.g.  @code{A, B, S, T}).  Notes are
 lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
 will produce an error message.
 
 it matters whether you enter a letter in lower case (e.g. @code{a,
 b, s, t}) or upper case (e.g.  @code{A, B, S, T}).  Notes are
 lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
 will produce an error message.
 

-@item @strong{Whitespace insensitive}:
+@item
+@strong{Whitespace insensitive}:

 it does not matter how many spaces (or new lines) you add.
 @code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
 it does not matter how many spaces (or new lines) you add.
 @code{@{ c d e @}} means the same thing as @code{@{ c @tie{}

-@tie{} @tie{} d e @}} and
+@tie{} @tie{} d e @}} and:

 
 @example
 @{ c                        d
 
 @example
 @{ c                        d


@@ -402,29 +453,44 @@ thumb is to indent code blocks with either a tab or two spaces:
 @}
 @end example
 
 @}
 @end example
 

-@item @strong{Expressions:}
-Every piece of LilyPond input needs to have @strong{@{ curly
+@item
+@strong{Expressions}:
+every piece of LilyPond input needs to have @strong{@{ curly

 braces @}} placed around the input.  These braces tell LilyPond
 that the input is a single music expression, just like parentheses
 braces @}} placed around the input.  These braces tell LilyPond
 that the input is a single music expression, just like parentheses

-@samp{()} in mathematics.  The braces should be surrounded by a
+@code{()} in mathematics.  The braces should be surrounded by a

 space unless they are at the beginning or end of a line to avoid
 ambiguities.
 
 space unless they are at the beginning or end of a line to avoid
 ambiguities.
 

-A function (such as @code{\relative @{ @}}) also counts as a
-single music expression.
+A LilyPond command followed by a simple expression in braces (such
+as @code{\relative @{ @}}) also counts as a single music 
+expression.

 
 @cindex comments
 @cindex line comment
 @cindex block comment
 
 @cindex comments
 @cindex line comment
 @cindex block comment

-@item @strong{Comments}:
-A comment is a remark for the human reader of the music input; it
+@item
+@strong{Comments}:
+a comment is a remark for the human reader of the music input; it

 is ignored while parsing, so it has no effect on the printed
 output.  There are two types of comments.  The percent symbol
 is ignored while parsing, so it has no effect on the printed
 output.  There are two types of comments.  The percent symbol

-@samp{%} introduces a line comment; anything after @samp{%} on
-that line is ignored.  A block comment marks a whole section of
-music input as a comment.  Anything that is enclosed in @code{%@{}
-and @code{%@}} is ignored.  (Comments do not nest.)  The following
-fragment shows possible uses for comments
+@code{%} introduces a line comment; anything after @code{%} on
+that line is ignored.  By convention, a line comment is placed
+@emph{above} the code it refers to.
+
+@example
+a4 a a a
+% this comment refers to the Bs
+b2 b
+@end example
+
+A block comment marks a whole section of music input as a comment.
+Anything that is enclosed in @code{%@{} and @code{%@}} is ignored.
+However, block comments do not @q{nest}.  This means that you
+cannot place a block comment inside another block comment.  If you
+try, the first @code{%@}} will terminate @emph{both} block
+comments.  The following fragment shows possible uses for
+comments:

 
 @example
 % notes for twinkle twinkle follow
 
 @example
 % notes for twinkle twinkle follow


@@ -441,19 +507,16 @@ fragment shows possible uses for comments
 
 @end itemize
 
 
 @end itemize
 

-There are more tips for constructing input files in
-@ruser{Suggestions for writing LilyPond files}.
-

 
 

-@node How to read the tutorial
-@subsection How to read the tutorial
+@node How to read the manual
+@subsection How to read the manual

 
 

-As we saw in @ruser{Working on text files}, LilyPond input must be
-surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}.
-For the rest of this manual, most examples will omit this.  To
-replicate the examples, you may copy and paste the displayed input
-but you @strong{must} add the @code{\relative c'' @{ @}} like
-this:
+LilyPond input must be surrounded by @{ @} marks or a
+@code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
+files}.  For the rest of this manual, most examples will omit
+this.  To replicate the examples, you may copy and paste the
+displayed input but you @strong{must} add the @code{\relative c''
+@{ @}} like this:

 
 @example
 \relative c'' @{
 
 @example
 \relative c'' @{


@@ -492,6 +555,14 @@ you have a starting template for experiments.  To see exactly the
 same output (line-width and all), copy everything from @qq{Start
 cut-&-pastable section} to the bottom of the file.
 
 same output (line-width and all), copy everything from @qq{Start
 cut-&-pastable section} to the bottom of the file.
 

+@seealso
+
+
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond files}.  But it might be
+best to read through the rest of the tutorial first.
+
+

 
 @node Single staff notation
 @section Single staff notation
 
 @node Single staff notation
 @section Single staff notation


@@ -500,7 +571,6 @@ This section introduces common notation that is used for one voice
 on one staff.
 
 @menu
 on one staff.
 
 @menu

-* Relative note names::         

 * Accidentals and key signatures::  
 * Ties and slurs::              
 * Articulation and dynamics::   
 * Accidentals and key signatures::  
 * Ties and slurs::              
 * Articulation and dynamics::   


@@ -510,54 +580,21 @@ on one staff.
 @end menu
 
 
 @end menu
 
 

-@node Relative note names
-@subsection Relative note names
-
-Music glossary: @rglos{octave}, @rglos{fourth}, @rglos{fifth}.
-
-As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
-each note relative to the previous one@footnote{There is another mode
-of entering pitches, @ruser{Absolute note names}, but in practice
-relative mode is much easier and safer to use.}.  If no extra
-@notation{octave} marks (@code{'} and @code{,}) are added, it assumes
-that each pitch is within a @notation{fourth} of the previous note.
-
-LilyPond examines pitches based on the note names -- in other
-words, an augmented fourth is @emph{not} treated the same as a
-diminished fifth.  If we begin at a C, then an F-sharp will be placed a
-higher than the C, while a G-flat will be placed lower than the C.
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-c2 fis
-c2 ges
-@end lilypond
-
-@seealso
-@quotation
-@table @asis
-@item Relative octaves
-see @ruser{Relative octaves}.
-@item Octave check
-see @ruser{Octave check}.
-@end table
-@end quotation
-
-

 @node Accidentals and key signatures
 @subsection Accidentals and key signatures
 
 @subheading Accidentals
 
 @node Accidentals and key signatures
 @subsection Accidentals and key signatures
 
 @subheading Accidentals
 

-Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
+Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},

 @rglos{double flat}, @rglos{accidental}.
 
 @rglos{double flat}, @rglos{accidental}.
 

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

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 cis1 ees fisis, aeses
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 cis1 ees fisis, aeses


@@ -566,7 +603,8 @@ cis1 ees fisis, aeses
 @cindex key signature, setting
 @subheading Key signatures
 
 @cindex key signature, setting
 @subheading Key signatures
 

-Music glossary: @rglos{key signature}, @rglos{major}, @rglos{minor}.
+Music Glossary: @rglos{key signature}, @rglos{major},
+@rglos{minor}.

 
 The @notation{key signature} is set with the command @code{\key}
 followed by a pitch and @code{\major} or @code{\minor}.
 
 The @notation{key signature} is set with the command @code{\key}
 followed by a pitch and @code{\major} or @code{\minor}.


@@ -582,23 +620,26 @@ a
 
 @subheading Warning: key signatures and pitches
 
 
 @subheading Warning: key signatures and pitches
 

-Music glossary: @rglos{accidental}, @rglos{key signature},
-@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp}.
+Music Glossary: @rglos{accidental}, @rglos{key signature},
+@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
+@rglos{transposition}.

 
 To determine whether to print an @notation{accidental}, LilyPond
 examines the pitches and the @notation{key signature}.  The key
 
 To determine whether to print an @notation{accidental}, LilyPond
 examines the pitches and the @notation{key signature}.  The key

-signature only affects the @emph{printed} accidentals, not the note's
-@notation{pitch}!  This is a feature that often causes confusion to
-newcomers, so let us explain it in more detail.
+signature only affects the @emph{printed} accidentals, not the
+note's @notation{pitch}!  This is a feature that often causes
+confusion to newcomers, so let us explain it in more detail.

 
 LilyPond makes a sharp distinction between musical content and
 
 LilyPond makes a sharp distinction between musical content and

-layout.  The alteration (@notation{flat}, @notation{natural} or @notation{sharp}) of a note is part of the pitch, and is therefore
-musical content.  Whether an accidental (a @emph{printed} flat, natural
-or sharp sign) is printed in front of the corresponding note is a
-question of layout.  Layout is something that follows rules, so
-accidentals are printed automatically according to those rules.  The
-pitches in your music are works of art, so they will not be added
-automatically, and you must enter what you want to hear.
+layout.  The alteration (@notation{flat}, @notation{natural sign} or
+@notation{sharp}) of a note is part of the pitch, and is therefore
+musical content.  Whether an accidental (a @emph{printed} flat,
+natural or sharp sign) is printed in front of the corresponding
+note is a question of layout.  Layout is something that follows
+rules, so accidentals are printed automatically according to those
+rules.  The pitches in your music are works of art, so they will
+not be added automatically, and you must enter what you want to
+hear.

 
 In this example:
 
 
 In this example:
 


@@ -608,11 +649,11 @@ d cis fis
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-No note has a printed accidental, but you must still add the
-@samp{is} to @code{cis} and @code{fis}.
+No note has a printed accidental, but you must still add
+@code{is} and type @code{cis} and @code{fis} in the input file.

 
 

-The code @samp{e} does not mean @qq{print a black dot just below
-the first line of the staff.}  Rather, it means: @qq{there is a
+The code @code{e} does not mean @qq{print a black dot just below
+the first line of the staff.}  Rather, it means @qq{there is a

 note with pitch E-natural.}  In the key of A-flat major, it
 @emph{does} get an accidental:
 
 note with pitch E-natural.}  In the key of A-flat major, it
 @emph{does} get an accidental:
 


@@ -622,22 +663,19 @@ e
 @end lilypond
 
 Adding all alterations explicitly might require a little more
 @end lilypond
 
 Adding all alterations explicitly might require a little more

-effort when typing, but the advantage is that transposing is
-easier, and accidentals can be printed according to different
-conventions.  See @ruser{Automatic accidentals}, for some examples
-how accidentals can be printed according to different rules.
+effort when typing, but the advantage is that
+@notation{transposing} is easier, and accidentals can be printed
+according to different conventions.  For some examples how
+accidentals can be printed according to different rules, see
+@ruser{Automatic accidentals}.

 
 @seealso
 
 @seealso

-@quotation
-@table @asis
-@item Accidentals
-see @ruser{Accidentals}, and @ruser{Automatic accidentals}.
-@item Key signature
-see @ruser{Key signature}
-@item Pitch names
-see @rglos{Pitch names}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Note names in other languages},
+@ruser{Accidentals}, @ruser{Automatic accidentals},
+@ruser{Key signature}.
+
+Music Glossary: @rglos{Pitch names}.

 
 
 @node Ties and slurs
 
 
 @node Ties and slurs


@@ -646,10 +684,10 @@ see @rglos{Pitch names}.
 @cindex ties
 @subheading Ties
 
 @cindex ties
 @subheading Ties
 

-Music glossary: @rglos{tie}.
+Music Glossary: @rglos{tie}.

 
 

-A @notation{tie} is created by appending a tilde @samp{~} to the
-first note being tied
+A @notation{tie} is created by appending a tilde @code{~} to the
+first note being tied.

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 g4~ g c2~
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 g4~ g c2~


@@ -659,11 +697,11 @@ c4 ~ c8 a8 ~ a2
 @cindex slurs
 @subheading Slurs
 
 @cindex slurs
 @subheading Slurs
 

-Music glossary: @rglos{slur}.
+Music Glossary: @rglos{slur}.

 
 

-A @notation{slur} is a curve drawn across many notes.  The starting
-note and ending note are marked with @samp{(} and @samp{)}
-respectively.
+A @notation{slur} is a curve drawn across many notes.  The
+starting note and ending note are marked with @code{(} and
+@code{)} respectively.

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 d4( c16) cis( d e c cis d) e( d4)
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 d4( c16) cis( d e c cis d) e( d4)


@@ -673,12 +711,12 @@ d4( c16) cis( d e c cis d) e( d4)
 @cindex phrasing slurs
 @subheading Phrasing slurs
 
 @cindex phrasing slurs
 @subheading Phrasing slurs
 

-Music glossary: @rglos{phrasing}, @rglos{legato}.
+Music Glossary: @rglos{slurs}, @rglos{phrasing}.

 
 Slurs to indicate longer @notation{phrasing} can be entered with
 
 Slurs to indicate longer @notation{phrasing} can be entered with

-@code{\(} and @code{\)}.  You can have both @notation{legato} slurs and
-phrasing slurs at the same time, but you cannot have simultaneous legato
-slurs or simultaneous phrasing slurs.
+@code{\(} and @code{\)}.  You can have both @notation{slurs}
+and phrasing slurs at the same time, but you cannot have
+simultaneous slurs or simultaneous phrasing slurs.

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8(\( ais b c) cis2 b'2 a4 cis,\)
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8(\( ais b c) cis2 b'2 a4 cis,\)


@@ -689,28 +727,22 @@ a8(\( ais b c) cis2 b'2 a4 cis,\)
 @cindex slurs versus ties
 @subheading Warnings: slurs vs. ties
 
 @cindex slurs versus ties
 @subheading Warnings: slurs vs. ties
 

-Music glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
+Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.

 
 

-A @notation{slur} looks like a @notation{tie}, but it has a different
-meaning.  A tie simply makes the first note longer, and can only be used on pairs of notes with the same pitch.  Slurs indicate the
-@notation{articulation} of notes, and can be used on larger groups of
-notes. Slurs and ties can be nested.
+A @notation{slur} looks like a @notation{tie}, but it has a
+different meaning.  A tie simply makes the first note longer, and
+can only be used on pairs of notes with the same pitch.  Slurs
+indicate the @notation{articulation} of notes, and can be used on
+larger groups of notes.  Slurs and ties can be nested.

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2~( c8 fis fis4 ~ fis2 g2)
 @end lilypond
 
 @seealso
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2~( c8 fis fis4 ~ fis2 g2)
 @end lilypond
 
 @seealso

-@quotation
-@table @asis
-@item Ties
-see @ruser{Ties}.
-@item Slurs
-see @ruser{Slurs}.
-@item Phrasing slurs
-see @ruser{Phrasing slurs}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Ties}, @ruser{Slurs},
+@ruser{Phrasing slurs}.

 
 
 @node Articulation and dynamics
 
 
 @node Articulation and dynamics


@@ -721,10 +753,10 @@ see @ruser{Phrasing slurs}.
 @cindex staccato
 @subheading Articulations
 
 @cindex staccato
 @subheading Articulations
 

-Music glossary: @rglos{articulation}.
+Music Glossary: @rglos{articulation}.

 
 

-Common @notation{articulation}@tie{}s can be added to a note using a
-dash @samp{-} and a single character:
+Common @notation{articulations} can be added to a note using a
+dash @code{-} and a single character:

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c-. c-- c-> c-^ c-+ c-_
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c-. c-- c-> c-^ c-+ c-_


@@ -733,20 +765,21 @@ c-. c-- c-> c-^ c-+ c-_
 @cindex fingering
 @subheading Fingerings
 
 @cindex fingering
 @subheading Fingerings
 

-Music glossary: @rglos{fingering}.
+Music Glossary: @rglos{fingering}.
+

 
 

-Similarly, @notation{fingering} indications can be added to a note using
-a dash (@samp{-}) and the digit to be printed:
+Similarly, @notation{fingering} indications can be added to a note
+using a dash (@code{-}) and the digit to be printed:

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c-3 e-5 b-2 a-1
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c-3 e-5 b-2 a-1
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but

-you can specify a direction using @samp{^} (up) or @samp{_}
-(down).  You can also use multiple articulations on the same note.
-However, in most cases it is best to let LilyPond determine the
-articulation directions.
+you can specify a direction by replacing the dash (@code{-}) with
+@code{^} (up) or @code{_} (down).  You can also use multiple
+articulations on the same note.  However, in most cases it is best
+to let LilyPond determine the articulation directions.

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c_-^1 d^. f^4_2-> e^-_+
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c_-^1 d^. f^4_2-> e^-_+


@@ -754,11 +787,11 @@ c_-^1 d^. f^4_2-> e^-_+
 
 @subheading Dynamics
 
 
 @subheading Dynamics
 

-Music glossary: @rglos{dynamics}, @rglos{crescendo},
+Music Glossary: @rglos{dynamics}, @rglos{crescendo},

 @rglos{decrescendo}.
 
 @rglos{decrescendo}.
 

-Dynamic signs are made by adding the markings (with a backslash)
-to the note
+@notation{Dynamic} signs are made by adding the markings (with a
+backslash) to the note:

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c\ff c\mf c\p c\pp
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c\ff c\mf c\p c\pp


@@ -768,27 +801,20 @@ c\ff c\mf c\p c\pp
 @cindex decrescendo
 @cindex crescendo
 
 @cindex decrescendo
 @cindex crescendo
 

-Crescendi and decrescendi are started with the commands @code{\<}
-and @code{\>}.  An ending dynamic, for example @code{\f}, will
-finish the (de)crescendo, or the command @code{\!} can be used:
+@notation{Crescendi} and @notation{decrescendi} are started with
+the commands @code{\<} and @code{\>}.  The next dynamics sign, for
+example @code{\f}, will end the (de)crescendo, or the command
+@code{\!} can be used:

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2\< c2\ff\> c2 c2\!
 @end lilypond
 
 @seealso
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2\< c2\ff\> c2 c2\!
 @end lilypond
 
 @seealso

-@quotation
-@table @asis
-@item Articulations
-see @ruser{Articulations}.
-@item Fingering
-see @ruser{Fingering instructions}.
-@item Dynamics
-see @ruser{Dynamics} (User manual) and @rglos{dynamics} (Glossary).
-@end table
-@end quotation
-
-@c CONTINUE HERE
+
+Notation Reference: @ruser{Articulations and ornamentations},
+@ruser{Fingering instructions}, @ruser{Dynamics}.
+

 
 @node Adding text
 @subsection Adding text
 
 @node Adding text
 @subsection Adding text


@@ -805,22 +831,22 @@ Extra formatting may be added with the @code{\markup} command:
 c1^\markup{ \bold espr}
 a1_\markup{
   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
 c1^\markup{ \bold espr}
 a1_\markup{
   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p

-  }
+}

 @end lilypond
 
 
 @end lilypond
 
 

-@c Kurt: leave this alone for now.
-

 @seealso
 
 @seealso
 

-User manual: @ruser{Writing text}.
+Notation Reference: @ruser{Writing text}.

 
 
 @node Automatic and manual beams
 @subsection Automatic and manual beams
 
 
 
 @node Automatic and manual beams
 @subsection Automatic and manual beams
 

+Music Glossary: @rglos{beam}.
+

 @cindex beams, by hand
 @cindex beams, by hand

-All @rglos{beam}s are drawn automatically:
+All @notation{beams} are drawn automatically:

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8 ais d ees r d c16 b a8
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8 ais d ees r d c16 b a8


@@ -828,33 +854,29 @@ a8 ais d ees r d c16 b a8
 
 @noindent
 If you do not like the automatic beams, they may be overridden
 
 @noindent
 If you do not like the automatic beams, they may be overridden

-manually.  Mark the first note to be beamed with @samp{[} and the
-last one with @samp{]}.
+manually.  Mark the first note to be beamed with @code{[} and the
+last one with @code{]}.

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8[ ais] d[ ees r d] a b
 @end lilypond
 
 @seealso
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8[ ais] d[ ees r d] a b
 @end lilypond
 
 @seealso

-@quotation
-@table @asis
-@item Automatic beams
-see @ruser{Automatic beams}.
-@item Manual beams
-see @ruser{Manual beams}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.

 
 
 @node Advanced rhythmic commands
 @subsection Advanced rhythmic commands
 
 @cindex pickup
 
 
 @node Advanced rhythmic commands
 @subsection Advanced rhythmic commands
 
 @cindex pickup

-@cindex anacruse
+@cindex anacrusis

 @cindex partial measure
 @subheading Partial measure
 
 @cindex partial measure
 @subheading Partial measure
 

-A pickup (or @rglos{anacrusis}) is entered with the keyword
+Music Glossary: @rglos{anacrusis}.
+
+A pickup (or @notation{anacrusis}) is entered with the keyword

 @code{\partial}.  It is followed by a duration: @code{\partial 4}
 is a quarter note pickup and @code{\partial 8} an eighth note.
 
 @code{\partial}.  It is followed by a duration: @code{\partial 4}
 is a quarter note pickup and @code{\partial 8} an eighth note.
 


@@ -867,11 +889,13 @@ f8 c2 d
 @cindex triplets
 @subheading Tuplets
 
 @cindex triplets
 @subheading Tuplets
 

-Tuplets are made with the @code{\times} keyword.  It takes two
-arguments: a fraction and a piece of music.  The duration of the
-piece of music is multiplied by the fraction.  Triplets make notes
-occupy 2/3 of their notated duration, so a triplet has 2/3 as its
-fraction
+Music Glossary: @rglos{note value}, @rglos{triplet}.
+
+@notation{Tuplets} are made with the @code{\times} keyword.  It
+takes two arguments: a fraction and a piece of music.  The
+duration of the piece of music is multiplied by the fraction.
+Triplets make notes occupy 2/3 of their notated duration, so a
+@notation{triplet} has 2/3 as its fraction

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \times 2/3 { f8 g a }
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \times 2/3 { f8 g a }


@@ -885,9 +909,12 @@ fraction
 @cindex appoggiatura
 @subheading Grace notes
 
 @cindex appoggiatura
 @subheading Grace notes
 

-Grace notes are created with the @code{\grace} command, although
-they can also be created by prefixing a music expression with the
-keyword @code{\appoggiatura} or @code{\acciaccatura}
+Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
+@rglos{appoggiatura}.
+
+@notation{Grace notes} are created with the @code{\grace} command,
+although they can also be created by prefixing a music expression
+with the keyword @code{\appoggiatura} or @code{\acciaccatura}:

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2 \grace { a32[ b] } c2
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2 \grace { a32[ b] } c2


@@ -896,16 +923,9 @@ c2 \acciaccatura b16 c2
 @end lilypond
 
 @seealso
 @end lilypond
 
 @seealso

-@quotation
-@table @asis
-@item Grace notes
-see @ruser{Grace notes},
-@item Tuplets
-see @ruser{Tuplets},
-@item Pickups
-see @ruser{Partial measures}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},
+@ruser{Upbeats}.

 
 
 @node Multiple notes at once
 
 
 @node Multiple notes at once


@@ -922,7 +942,7 @@ than one voice on the same staff.
 @menu
 * Music expressions explained::  
 * Multiple staves::             
 @menu
 * Music expressions explained::  
 * Multiple staves::             

-* Piano staves::                
+* Staff groups::                

 * Combining notes into chords::  
 * Single staff polyphony::      
 @end menu
 * Combining notes into chords::  
 * Single staff polyphony::      
 @end menu


@@ -954,12 +974,42 @@ one).  The result is another music expression:
 { { a4 g } f g }
 @end lilypond
 
 { { a4 g } f g }
 @end lilypond
 

+@cindex expression
+@cindex music expression
+@subheading Analogy: mathematical expressions
+
+This mechanism is similar to mathematical formulas: a big formula
+is created by composing small formulas.  Such formulas are called
+expressions, and they can contain other expressions, so you can
+make arbitrarily complex and large expressions.  For example,
+
+@example
+1
+
+1 + 2
+
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)
+@end example
+
+This is a sequence of expressions, where each expression is
+contained in the next (larger) one.  The simplest expressions are
+numbers, and larger ones are made by combining expressions with
+operators (like @code{+}, @code{*} and @code{/}) and parentheses.
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep, which is necessary for complex music like
+polyphonic scores.
+
+

 @subheading Simultaneous music expressions: multiple staves
 
 @subheading Simultaneous music expressions: multiple staves
 

-This technique is useful for polyphonic music.  To enter music
-with more voices or more staves, we combine expressions in
-parallel.  To indicate that two voices should play at the same
-time, simply enter a simultaneous combination of music
+Music Glossary: @rglos{polyphony}.
+
+This technique is useful for @notation{polyphonic} music.  To
+enter music with more voices or more staves, we combine
+expressions in parallel.  To indicate that two voices should play
+at the same time, simply enter a simultaneous combination of music

 expressions.  A @q{simultaneous} music expression is formed by
 enclosing expressions inside @code{<<} and @code{>>}.  In the
 following example, three sequences (all containing two separate
 expressions.  A @q{simultaneous} music expression is formed by
 enclosing expressions inside @code{<<} and @code{>>}.  In the
 following example, three sequences (all containing two separate


@@ -982,15 +1032,15 @@ LilyPond code like this makes it much easier for humans to read.
 
 @warning{each note is relative to the previous note in
 the input, not relative to the @code{c''} in the initial
 
 @warning{each note is relative to the previous note in
 the input, not relative to the @code{c''} in the initial

-@code{\\relative} command.}
+@code{@bs{}relative} command.}

 
 
 @subheading Simultaneous music expressions: single staff
 
 To determine the number of staves in a piece, LilyPond looks at
 
 
 @subheading Simultaneous music expressions: single staff
 
 To determine the number of staves in a piece, LilyPond looks at

-the first expression.  If it is a single note, there is one staff;
-if there is a simultaneous expression, there is more than one
-staff.
+the beginning of the first expression.  If is a single note, there
+is one staff; if there is a simultaneous expression, there is more
+than one staff.

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -999,42 +1049,14 @@ staff.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@cindex expression
-@cindex music expression
-@subheading Analogy: mathematical expressions
-
-This mechanism is similar to mathematical formulas: a big formula
-is created by composing small formulas.  Such formulas are called
-expressions, and their definition is recursive so you can make
-arbitrarily complex and large expressions.  For example,
-
-@example
-1
-
-1 + 2
-
-(1 + 2) * 3
-
-((1 + 2) * 3) / (4 * 5)
-@end example
-
-This is a sequence of expressions, where each expression is
-contained in the next (larger) one.  The simplest expressions are
-numbers, and larger ones are made by combining expressions with
-operators (like @samp{+}, @samp{*} and @samp{/}) and parentheses.
-Like mathematical expressions, music expressions can be nested
-arbitrarily deep, which is necessary for complex music like
-polyphonic scores.
-
-

 @node Multiple staves
 @subsection Multiple staves
 
 @node Multiple staves
 @subsection Multiple staves
 

-As we saw in @ruser{Music expressions explained}, LilyPond input
-files are constructed out of music expressions.  If the score
-begins with simultaneous music expressions, LilyPond creates
-multiples staves.  However, it is easier to see what happens if we
-create each staff explicitly.
+LilyPond input files are constructed out of music expressions, as
+we saw in @ref{Music expressions explained}.  If the score begins
+with simultaneous music expressions, LilyPond creates multiples
+staves.  However, it is easier to see what happens if we create
+each staff explicitly.

 
 To print more than one staff, each piece of music that makes up a
 staff is marked by adding @code{\new Staff} before it.  These
 
 To print more than one staff, each piece of music that makes up a
 staff is marked by adding @code{\new Staff} before it.  These


@@ -1065,16 +1087,17 @@ creates a bigger music expression.  In this way it resembles the
 minus sign in mathematics.  The formula @math{(4+5)} is an
 expression, so @math{-(4+5)} is a bigger expression.
 
 minus sign in mathematics.  The formula @math{(4+5)} is an
 expression, so @math{-(4+5)} is a bigger expression.
 

-Time signatures entered in one staff affects all other
-staves@footnote{This behavior may be changed if desired; see
-@ruser{Polymetric notation}, for details.}.  On the other hand, the
-key signature of one staff does @emph{not} affect other staves.
+Time signatures entered in one staff affects all other staves by
+default.  On the other hand, the key signature of one staff does
+@emph{not} affect other staves.  This different default behavior
+is because scores with transposing instruments are more common
+than polyrhythmic scores.

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   <<
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   <<

-    \new Staff { \clef treble \time 3/4 c }
-    \new Staff { \clef bass \key d \major c,, }
+    \new Staff { \clef treble \key d \major \time 3/4 c }
+    \new Staff { \clef bass c,, }

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


@@ -1082,14 +1105,19 @@ key signature of one staff does @emph{not} affect other staves.
 
 
 
 
 
 

-@node Piano staves
-@subsection Piano staves
+@node Staff groups
+@subsection Staff groups

 
 

-@cindex staff switch, manual
-@cindex cross staff voice, manual
-Piano music is typeset in two staves connected by a brace.
+@cindex piano staff
+@cindex choir staff
+@cindex grand staff
+
+Music Glossary: @rglos{brace}.
+
+Piano music is typeset in two staves connected by a
+@notation{brace}.

 Printing such a staff is similar to the polyphonic example in
 Printing such a staff is similar to the polyphonic example in

-@ruser{Multiple staves}, but now this entire expression is
+@ref{Multiple staves}.  However, now this entire expression is

 inserted inside a @code{PianoStaff}:
 
 @example
 inserted inside a @code{PianoStaff}:
 
 @example


@@ -1110,32 +1138,47 @@ Here is a small example:
 }
 @end lilypond
 
 }
 @end lilypond
 

+Other staff groupings are introduced with
+@code{\new GrandStaff,} suitable for orchestral
+scores, and @code{\new ChoirStaff,} suitable for
+vocal scores.  These staff groups each form another
+type of context, one that generates the brace at the
+left end of every system and also controls the extent
+of bar lines.
+

 @seealso
 @seealso

-@quotation
-See @ruser{Piano music}.
-@end quotation
+
+Notation Reference: @ruser{Piano music}, 
+@ruser{Displaying staves}.

 
 
 @node Combining notes into chords
 @subsection Combining notes into chords
 
 @cindex chords
 
 
 @node Combining notes into chords
 @subsection Combining notes into chords
 
 @cindex chords

-Chords can be made by surrounding pitches with single angle
-brackets.  Angle brackets are the symbols @samp{<} and @samp{>}.

 
 

-@lilypond[quote,fragment,verbatim,relative=2,fragment]
+Music Glossary: @rglos{chord}.
+
+We saw earlier how notes can be combined into @notation{chords} by
+indicating they are simultaneous by enclosing them in double angle
+brackets.  However, the normal way of indicating a chord is to
+surround the pitches with @emph{single} angle brackets.  Note that
+all the notes in a chord must have the same duration, and that the
+duration is placed after the closing bracket.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]

 r4 <c e g>4 <c f a>2
 @end lilypond
 
 r4 <c e g>4 <c f a>2
 @end lilypond
 

-You can combine markings like beams and ties with chords.  They
-must be placed outside the angle brackets
+Think of chords as almost equivalent to single notes:
+almost everything you can attach to a single note can be attached
+to a chord, and everything must go @emph{outside} the angle
+brackets.  For example, you can combine markings like beams and
+ties with chords.  They must be placed outside the angle brackets.

 
 

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

 r4 <c e g>8[ <c f a>]~ <c f a>2
 r4 <c e g>8[ <c f a>]~ <c f a>2

-@end lilypond
-
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)

 @end lilypond
 
 
 @end lilypond
 
 


@@ -1164,8 +1207,8 @@ separating the voices with @code{\\}
 For polyphonic music typesetting, spacer rests can also be
 convenient; these are rests that do not print.  They are useful
 for filling up voices that temporarily do not play.  Here is the
 For polyphonic music typesetting, spacer rests can also be
 convenient; these are rests that do not print.  They are useful
 for filling up voices that temporarily do not play.  Here is the

-same example with a spacer rest (@samp{s}) instead of a normal
-rest (@samp{r}),
+same example with a spacer rest (@code{s}) instead of a normal
+rest (@code{r}),

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


@@ -1177,7 +1220,7 @@ rest (@samp{r}),
 @noindent
 Again, these expressions can be nested arbitrarily.
 
 @noindent
 Again, these expressions can be nested arbitrarily.
 

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

 <<
   \new Staff <<
     { a4 g2 f4~ f4 } \\
 <<
   \new Staff <<
     { a4 g2 f4~ f4 } \\


@@ -1192,9 +1235,8 @@ Again, these expressions can be nested arbitrarily.
 @end lilypond
 
 @seealso
 @end lilypond
 
 @seealso

-@quotation
-See @ruser{Basic polyphony}.
-@end quotation
+
+Notation Reference: @ruser{Simultaneous notes}.

 
 
 @node Songs
 
 
 @node Songs


@@ -1212,43 +1254,49 @@ This section introduces vocal music and simple song sheets.
 @node Setting simple songs
 @subsection Setting simple songs
 
 @node Setting simple songs
 @subsection Setting simple songs
 

-@cindex Lyrics
-@cindex Songs
+@cindex lyrics
+@cindex songs
+
+Music Glossary: @rglos{lyrics}.
+

 Here is the start of the melody to a nursery
 rhyme, @qq{Girls and boys come out to play}:
 
 @lilypond[verbatim,quote,ragged-right]
 Here is the start of the melody to a nursery
 rhyme, @qq{Girls and boys come out to play}:
 
 @lilypond[verbatim,quote,ragged-right]

- \relative c'' {
+\relative c'' {

   \key g \major
   \time 6/8
   d4 b8 c4 a8 d4 b8 g4
   \key g \major
   \time 6/8
   d4 b8 c4 a8 d4 b8 g4

- }
+}

 @end lilypond
 
 @end lilypond
 

-The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword.  Lyrics are entered by separating each
-syllable with a space.
+The @notation{lyrics} can be set to these notes, combining both
+with the @code{\addlyrics} keyword.  Lyrics are entered by
+separating each syllable with a space.

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

- \relative c'' {
-  \key g \major
-  \time 6/8
-  d4 b8 c4 a8 d4 b8 g4
- }
- \addlyrics {
-  Girls and boys come out to play,
- }
+  \relative c'' {
+    \key g \major
+    \time 6/8
+    d4 b8 c4 a8 d4 b8 g4
+  }
+  \addlyrics {
+    Girls and boys come out to play,
+  }

 >>
 @end lilypond
 
 Note the curly brackets delimiting both the music and the lyrics,
 >>
 @end lilypond
 
 Note the curly brackets delimiting both the music and the lyrics,

-and the angle brackets @code{<< ... >>} around the whole piece to
-show that the music and lyrics are to occur at the same time.
+and the double angle brackets @code{<< ... >>} around the whole 
+piece to show that the music and lyrics are to occur at the same 
+time.

 
 @node Aligning lyrics to a melody
 @subsection Aligning lyrics to a melody
 
 
 @node Aligning lyrics to a melody
 @subsection Aligning lyrics to a melody
 

+Music Glossary: @rglos{melisma}, @rglos{extender line}.
+

 @cindex melisma
 @cindex extender line
 @cindex hyphens
 @cindex melisma
 @cindex extender line
 @cindex hyphens


@@ -1259,38 +1307,38 @@ bright as day}.  Let's extend it:
 
 @lilypond[verbatim,quote,ragged-right]
 <<
 
 @lilypond[verbatim,quote,ragged-right]
 <<

- \relative c'' {
-  \key g \major
-  \time 6/8
-  d4 b8 c4 a8 d4 b8 g4 
-  g8 a4 b8 c b a d4 b8 g4.
- }
- \addlyrics {
-  Girls and boys come out to play,
-  The moon doth shine as bright as day;
- }
+  \relative c'' {
+    \key g \major
+    \time 6/8
+    d4 b8 c4 a8 d4 b8 g4 
+    g8 a4 b8 c b a d4 b8 g4.
+  }
+  \addlyrics {
+    Girls and boys come out to play,
+    The moon doth shine as bright as day;
+  }

 >>
 @end lilypond
 
 We see the extra lyrics do not align properly with the notes.  The
 word @q{shine} should be sung on two notes, not one.  This is
 >>
 @end lilypond
 
 We see the extra lyrics do not align properly with the notes.  The
 word @q{shine} should be sung on two notes, not one.  This is

-called a @rglos{melisma}, a single syllable sung to more than one
-note.  There are several ways to spread a syllable over multiple
-notes, the simplest being to add a slur across them (see @ref{Ties
-and slurs}):
+called a @notation{melisma}, a single syllable sung to more than
+one note.  There are several ways to spread a syllable over
+multiple notes, the simplest being to add a slur across them (see
+@ref{Ties and slurs}):

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

- \relative c'' {
-  \key g \major
-  \time 6/8
-  d4 b8 c4 a8 d4 b8 g4 
-  g8 a4 b8 c([ b)] a d4 b8 g4.
- }
- \addlyrics {
-  Girls and boys come out to play,
-  The moon doth shine as bright as day;
- }
+  \relative c'' {
+    \key g \major
+    \time 6/8
+    d4 b8 c4 a8 d4 b8 g4 
+    g8 a4 b8 c([ b)] a d4 b8 g4.
+  }
+  \addlyrics {
+    Girls and boys come out to play,
+    The moon doth shine as bright as day;
+  }

 >> 
 @end lilypond
 
 >> 
 @end lilypond
 


@@ -1298,12 +1346,31 @@ Here we have also used manual beaming (the square brackets @code{[
 ]} ) to generate the beaming which is customarily used with lyrics
 (see @ref{Automatic and manual beams}).
 
 ]} ) to generate the beaming which is customarily used with lyrics
 (see @ref{Automatic and manual beams}).
 

+As an alternative to using slurs, the melismata may be indicated
+in just the lyrics by using an underscore, @code{_}, for each
+note that should be included in the melisma:
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+  \relative c'' {
+    \key g \major
+    \time 6/8
+    d4 b8 c4 a8 d4 b8 g4 
+    g8 a4 b8 c[ b] a d4 b8 g4.
+  }
+  \addlyrics {
+    Girls and boys come out to play,
+    The moon doth shine _ as bright as day;
+  }
+>> 
+@end lilypond
+

 If a syllable extends over several notes or a single very long
 If a syllable extends over several notes or a single very long

-note an @emph{extender line} is usually drawn from the syllable
-extending under all the notes for that syllable.  It is entered as
-two underscores @code{__}.  Here is an example from the first
-three bars of Dido's Lament, from Purcell's Dido and Æneas:
- 
+note an @notation{extender line} is usually drawn from the
+syllable extending under all the notes for that syllable.  It is
+entered as two underscores @code{__}.  Here is an example from the
+first three bars of Dido's Lament, from Purcell's Dido and Æneas:
+

 @lilypond[verbatim,quote,ragged-right]
 <<
   \relative c'' {
 @lilypond[verbatim,quote,ragged-right]
 <<
   \relative c'' {


@@ -1328,7 +1395,7 @@ far about aligning lyrics to notes.
 
 @c no ragged-right here because otherwise the hyphens get lost,
 @c but the example is long enough to avoid looking strange.
 
 @c no ragged-right here because otherwise the hyphens get lost,
 @c but the example is long enough to avoid looking strange.

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

 <<
   \relative c' {
     \key g \major
 <<
   \relative c' {
     \key g \major


@@ -1354,7 +1421,7 @@ quotes.  Here's an example from Rossini's Figaro, where
 
 @c no ragged-right here because otherwise the hyphens get lost,
 @c but the example is long enough to avoid looking strange.
 
 @c no ragged-right here because otherwise the hyphens get lost,
 @c but the example is long enough to avoid looking strange.

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

 <<
   \relative c' {
     \clef bass
 <<
   \relative c' {
     \clef bass


@@ -1370,13 +1437,9 @@ quotes.  Here's an example from Rossini's Figaro, where
 
 
 @seealso
 
 
 @seealso

-@quotation
-More options, such as inserting explicit rhythms into lyrics,
-inserting lyric ties (e.g., between @q{go al}) above, 
-alternative ways of handling melismata,
-and adding extra verses,
-are discussed in @ruser{Vocal music}.
-@end quotation
+
+Notation Reference: @ruser{Vocal music}.
+

 
 @node Lyrics to multiple staves
 @subsection Lyrics to multiple staves
 
 @node Lyrics to multiple staves
 @subsection Lyrics to multiple staves


@@ -1391,13 +1454,15 @@ example from Handel's Judas Maccabæus:
     \time 6/8
     \partial 8
   }
     \time 6/8
     \partial 8
   }

-  \relative c'' { \key f \major
+  \relative c'' {
+    \key f \major

     c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
   }
   \addlyrics {
     Let flee -- cy flocks the hills a -- dorn, __
   }
     c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
   }
   \addlyrics {
     Let flee -- cy flocks the hills a -- dorn, __
   }

-  \relative c' { \key f \major
+  \relative c' {
+    \key f \major

     r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
   }
   \addlyrics {
     r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
   }
   \addlyrics {


@@ -1406,17 +1471,16 @@ example from Handel's Judas Maccabæus:
 >>
 @end lilypond
 
 >>
 @end lilypond
 

+@noindent

 but scores any more complex than this simple example are
 better produced by separating out the staff structure
 from the notes and lyrics with variables.  These are
 but scores any more complex than this simple example are
 better produced by separating out the staff structure
 from the notes and lyrics with variables.  These are

-discussed later (see @ref{Organizing pieces with variables}).
+discussed in @ref{Organizing pieces with variables}.

 
 @seealso
 
 @seealso

-@quotation
-More options, such as putting multiple stanzas below the score,
-setting choral music, and lyrics to divided voices, 
-are discussed in @ruser{Vocal music}.
-@end quotation
+
+Notation Reference: @ruser{Vocal music}.
+

 
 
 @node Final touches
 
 
 @node Final touches


@@ -1427,15 +1491,91 @@ add the final touches to simple pieces, and provides an
 introduction to the rest of the manual.
 
 @menu
 introduction to the rest of the manual.
 
 @menu

+* Organizing pieces with variables::  

 * Version number::              
 * Adding titles::               
 * Absolute note names::         
 * Version number::              
 * Adding titles::               
 * Absolute note names::         

-* Organizing pieces with variables::  

 * After the tutorial::          
 * After the tutorial::          

-* How to read the manual::      

 @end menu
 
 
 @end menu
 
 

+@node Organizing pieces with variables
+@subsection Organizing pieces with variables
+
+When all of the elements discussed earlier are combined to produce
+larger files, the music expressions get a lot bigger.  In
+polyphonic music with many staves, the input files can become very
+confusing.  We can reduce this confusion by using
+@emph{variables}.
+
+With variables (also known as identifiers or macros), we can break
+up complex music expressions.  A variable is assigned as
+follows:
+
+@example
+namedMusic = @{ @dots{} @}
+@end example
+
+The contents of the music expression @code{namedMusic} can be used
+later by placing a backslash in front of the name
+(@code{\namedMusic}, just like a normal LilyPond command).
+
+@lilypond[verbatim,quote,ragged-right]
+violin = \new Staff { \relative c'' {
+  a4 b c b
+}}
+cello = \new Staff { \relative c {
+  \clef bass
+  e2 d
+}}
+{
+  <<
+    \violin
+    \cello
+  >>
+}
+@end lilypond
+
+@noindent
+The name of a variable must have alphabetic characters only, no
+numbers, underscores, or dashes.
+
+Variables must be defined @emph{before} the main music
+expression, but may be used as many times as required anywhere after
+they have been defined.  They may even be used in a later definition
+of another variable, giving a way of shortening the input if a
+section of music is repeated many times.
+
+@lilypond[verbatim,quote,ragged-right]
+tripletA = \times 2/3 { c,8 e g }
+barA = { \tripletA \tripletA \tripletA \tripletA }
+
+\relative c'' {
+ \barA \barA
+}
+@end lilypond
+
+Variables may be used for many other types of objects in
+the input.  For example,
+
+@example
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+@end example
+
+Depending on its contents, the variable can be used in different
+places.  The following example uses the above variables:
+
+@example
+\paper @{
+  \aFivePaper
+  line-width = \width
+@}
+@{ c4^\name @}
+@end example
+
+

 @node Version number
 @subsection Version number
 
 @node Version number
 @subsection Version number
 


@@ -1444,17 +1584,17 @@ The @code{\version} statement records the version of LilyPond that
 was used to write the file:
 
 @example
 was used to write the file:
 
 @example

-\version "2.11.23"
+\version @w{"@version{}"}

 @end example
 
 @noindent
 @end example
 
 @noindent

-by convention, this is placed at the top of your LilyPond file.
+By convention, this is placed at the top of your LilyPond file.

 
 These annotations make future upgrades of LilyPond go more
 smoothly.  Changes in the syntax are handled with a special
 
 These annotations make future upgrades of LilyPond go more
 smoothly.  Changes in the syntax are handled with a special

-program, @file{convert-ly} (see @rprogram{Updating files with
-convert-ly}), and it uses @code{\version} to determine what rules
-to apply.
+program, @file{convert-ly}, and it uses @code{\version} to
+determine what rules to apply.  For details, see
+@rprogram{Updating files with convert-ly}.

 
 
 @node Adding titles
 
 
 @node Adding titles


@@ -1463,10 +1603,10 @@ to apply.
 The title, composer, opus number, and similar information are
 entered in the @code{\header} block.  This exists outside of the
 main music expression; the @code{\header} block is usually placed
 The title, composer, opus number, and similar information are
 entered in the @code{\header} block.  This exists outside of the
 main music expression; the @code{\header} block is usually placed

-underneath the @ruser{Version number}.
+underneath the @ref{Version number}.

 
 @example
 
 @example

-\version "2.11.23"
+\version @w{"@version{}"}

 \header @{
   title = "Symphony"
   composer = "Me"
 \header @{
   title = "Symphony"
   composer = "Me"


@@ -1496,7 +1636,7 @@ absolute values.  A @code{c'} will always mean middle C, a
 @code{g,} will always mean the note on the bottom staff of the
 bass clef.
 
 @code{g,} will always mean the note on the bottom staff of the
 bass clef.
 

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

 {
   \clef bass
   c' b g, g,
 {
   \clef bass
   c' b g, g,


@@ -1506,7 +1646,7 @@ bass clef.
 
 Here is a four-octave scale:
 
 
 Here is a four-octave scale:
 

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

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


@@ -1524,7 +1664,7 @@ Here is a four-octave scale:
 As you can see, writing a melody in the treble clef involves a lot
 of quote @code{'} marks.  Consider this fragment from Mozart:
 
 As you can see, writing a melody in the treble clef involves a lot
 of quote @code{'} marks.  Consider this fragment from Mozart:
 

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

 {
   \key a \major
   \time 6/8
 {
   \key a \major
   \time 6/8


@@ -1533,11 +1673,11 @@ of quote @code{'} marks.  Consider this fragment from Mozart:
 }
 @end lilypond
 
 }
 @end lilypond
 

-All these quotes makes the input less readable and it is a source
+All these quotes makes the input less readable and they are a source

 of errors.  With @code{\relative}, the previous example is much
 of errors.  With @code{\relative}, the previous example is much

-easier to read:
+easier to read and type:

 
 

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

 \relative c'' {
   \key a \major
   \time 6/8
 \relative c'' {
   \key a \major
   \time 6/8


@@ -1557,80 +1697,20 @@ intervals, and is extremely useful for computer-generated LilyPond
 files.
 
 
 files.
 
 

-@node Organizing pieces with variables
-@subsection Organizing pieces with variables
-
-When all of the elements discussed earlier are combined to produce
-larger files, the music expressions get a lot bigger.  In
-polyphonic music with many staves, the input files can become very
-confusing.  We can reduce this confusion by using
-@emph{variables}.
-
-With variables (also known as variables or macros), we can break
-up complex music expressions.  An variable is assigned as
-follows:
-
-@example
-namedMusic = @{ @dots{} @}
-@end example
-
-The contents of the music expression @code{namedMusic} can be used
-later by placing a backslash in front of the name
-(@code{\namedMusic}, just like a normal LilyPond command).
-Variables must be defined @emph{before} the main music
-expression.
-
-@lilypond[quote,verbatim,ragged-right]
-violin = \new Staff { \relative c'' {
-  a4 b c b
-}}
-cello = \new Staff { \relative c {
-  \clef bass
-  e2 d
-}}
-{
-  <<
-    \violin
-    \cello
-  >>
-}
-@end lilypond
-
-@noindent
-The name of an variable must have alphabetic characters only: no
-numbers, underscores, or dashes.
-
-It is possible to use variables for many other types of objects in
-the input.  For example,
-
-@example
-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
-@end example
-
-Depending on its contents, the variable can be used in different
-places.  The following example uses the above variables:
-
-@example
-\paper @{
-  \aFivePaper
-  line-width = \width
-@}
-@{ c4^\name @}
-@end example
-

 
 @node After the tutorial
 @subsection After the tutorial
 
 
 @node After the tutorial
 @subsection After the tutorial
 

+FIXME: rewrite slightly after the rest of the LM has been
+stabilized.  Translators, ignore this section for now.
+

 After finishing the tutorial, you should probably try writing a
 After finishing the tutorial, you should probably try writing a

-piece or two.  Start with one of the @ruser{Templates}, and add
-notes.  If you need any notation that was not covered in the
-tutorial, look at the Notation Reference, starting with
-@ruser{Basic notation}.  If you want to write for an instrument
+piece or two.  Start by adding notes to one of the
+@ref{Templates}.  If you need any notation that was not covered in
+the tutorial, look at the Notation Reference, starting with
+@ruser{Musical notation}.  If you want to write for an instrument

 ensemble that is not covered in the templates, take a look at
 ensemble that is not covered in the templates, take a look at

-@ruser{Extending the templates}.
+@ref{Extending the templates}.

 
 Once you have written a few short pieces, read the rest of the
 Learning Manual (chapters 3-5).  There's nothing wrong with
 
 Once you have written a few short pieces, read the rest of the
 Learning Manual (chapters 3-5).  There's nothing wrong with


@@ -1640,28 +1720,5 @@ wish to skim these chapters right now, and come back to them after
 you have more experience.
 
 
 you have more experience.
 
 

-@node How to read the manual
-@subsection How to read the manual

 
 

-As we saw in @ruser{How to read the tutorial}, many examples in
-the tutorial omitted a @code{\relative c'' @{ ... @}} around the
-printed example.
-
-In the rest of the manual, we are much more lax about the printed
-examples: sometimes they may have omitted a @code{\relative c'' @{
-... @}}, but other times a different initial pitch may be used
-(such as @code{c'} or @code{c,,}), and in some cases the whole
-example is in absolute note mode!  However, ambiguities like this
-only exist where the pitches are not important.  In any example
-where the pitch matters, we have explicitly stated
-@code{\relative} or absolute-mode @code{@{ @}}.
-
-If you are still confused about the exact LilyPond input that was
-used in an example, read the HTML version (if you are not already
-doing so) and click on the picture of the music.  This will
-display the exact input that LilyPond used to generate this
-manual.
-
-For information about the structure of the rest of the manual, see
-@ruser{About this manual}.