Standardize on "Notation Reference: "

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

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index ad3d0a71233fabf3c26bcdd8c9578f4a3b78e12c..446ae6e672a1becbc3dc1794db764762b32fe1e4 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -137,7 +137,7 @@ 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.
 


@@ -321,8 +321,8 @@ 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
 @rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
 
 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
+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.
 
 @lilypond[verbatim,quote,ragged-right]
 so on.  @notation{Beams} are added automatically.
 
 @lilypond[verbatim,quote,ragged-right]


@@ -338,7 +338,7 @@ 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.
 
 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
+To create @notation{dotted notes}, add a dot @code{.} to the duration

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


@@ -353,7 +353,7 @@ number.
 
 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'' {


@@ -418,7 +418,7 @@ Here is a small example showing all these elements together:
 
 @seealso
 
 
 @seealso
 

-Notation reference: @ruser{Writing pitches}, @ruser{Writing rhythms},
+Notation Reference: @ruser{Writing pitches}, @ruser{Writing rhythms},

 @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
 
 
 @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
 
 


@@ -472,7 +472,7 @@ thumb is to indent code blocks with either a tab or two spaces:
 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
 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

-@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.
 


@@ -487,7 +487,7 @@ single music expression.
 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
 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

-@samp{%} introduces a line comment; anything after @samp{%} on
+@code{%} introduces a line comment; anything after @code{%} 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
 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


@@ -584,10 +584,10 @@ on one staff.
 Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
 @rglos{double flat}, @rglos{accidental}.
 
 Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
 @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
+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
 @notation{double sharp} or @notation{double flat} is made by adding

-@samp{isis} or @samp{eses}.  This syntax derived from note
+@code{isis} or @code{eses}.  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}.
 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}.


@@ -644,9 +644,9 @@ d cis fis
 
 @noindent
 No note has a printed accidental, but you must still add the
 
 @noindent
 No note has a printed accidental, but you must still add the

-@samp{is} to @code{cis} and @code{fis}.
+@code{is} to @code{cis} and @code{fis}.

 
 

-The code @samp{e} does not mean @qq{print a black dot just below
+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:
 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:


@@ -665,8 +665,8 @@ accidentals can be printed according to different rules, see
 
 @seealso
 
 
 @seealso
 

-Notation reference: @ruser{Accidentals}, @ruser{Automatic
-accidentals}, @ruser{Key signature}.
+Notation Reference: @ruser{Accidentals},
+@ruser{Automatic accidentals}, @ruser{Key signature}.

 
 Music glossary: @rglos{Pitch names}.
 
 
 Music glossary: @rglos{Pitch names}.
 


@@ -679,7 +679,7 @@ Music glossary: @rglos{Pitch names}.
 
 Music glossary: @rglos{tie}.
 
 
 Music glossary: @rglos{tie}.
 

-A @notation{tie} is created by appending a tilde @samp{~} to the
+A @notation{tie} is created by appending a tilde @code{~} to the

 first note being tied.
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 first note being tied.
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]


@@ -693,7 +693,7 @@ c4 ~ c8 a8 ~ a2
 Music glossary: @rglos{slur}.
 
 A @notation{slur} is a curve drawn across many notes.  The starting
 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{)}
+note and ending note are marked with @code{(} and @code{)}

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


@@ -734,8 +734,8 @@ c2~( c8 fis fis4 ~ fis2 g2)
 
 @seealso
 
 
 @seealso
 

-Notation reference: @ruser{Ties}, @ruser{Slurs}, @ruser{Phrasing
-slurs}.
+Notation Reference: @ruser{Ties}, @ruser{Slurs},
+@ruser{Phrasing slurs}.

 
 
 @node Articulation and dynamics
 
 
 @node Articulation and dynamics


@@ -749,7 +749,7 @@ slurs}.
 Music glossary: @rglos{articulation}.
 
 Common @notation{articulations} can be added to a note using a
 Music glossary: @rglos{articulation}.
 
 Common @notation{articulations} can be added to a note using a

-dash @samp{-} and a single character:
+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-_


@@ -761,14 +761,14 @@ c-. c-- c-> c-^ c-+ c-_
 Music glossary: @rglos{fingering}.
 
 Similarly, @notation{fingering} indications can be added to a note using
 Music glossary: @rglos{fingering}.
 
 Similarly, @notation{fingering} indications can be added to a note using

-a dash (@samp{-}) and the digit to be printed:
+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{_}
+you can specify a direction using @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.
 (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.


@@ -804,14 +804,12 @@ c2\< c2\ff\> c2 c2\!
 
 @seealso
 
 
 @seealso
 

-Notation reference: @ruser{Articulations}, @ruser{Fingering
-instructions}, @ruser{Dynamics}.
+Notation Reference: @ruser{Articulations},
+@ruser{Fingering instructions}, @ruser{Dynamics}.

 
 Music glossary: @rglos{Dynamics}.
 
 
 
 Music glossary: @rglos{Dynamics}.
 
 

-@c CONTINUE HERE
-

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


@@ -831,11 +829,9 @@ a1_\markup{
 @end lilypond
 
 
 @end lilypond
 
 

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

 @seealso
 
 @seealso
 

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

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


@@ -852,8 +848,8 @@ 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
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8[ ais] d[ ees r d] a b


@@ -861,7 +857,7 @@ a8[ ais] d[ ees r d] a b
 
 @seealso
 
 
 @seealso
 

-Notation reference: @ruser{Automatic beams}, @ruser{Manual beams}.
+Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.

 
 
 @node Advanced rhythmic commands
 
 
 @node Advanced rhythmic commands


@@ -921,7 +917,7 @@ c2 \acciaccatura b16 c2
 
 @seealso
 
 
 @seealso
 

-Notation reference: @ruser{Grace notes}, @ruser{Tuplets},
+Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},

 @ruser{Upbeats}.
 
 
 @ruser{Upbeats}.
 
 


@@ -1040,7 +1036,7 @@ arbitrarily complex and large expressions.  For 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
 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.
+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.
 Like mathematical expressions, music expressions can be nested
 arbitrarily deep, which is necessary for complex music like
 polyphonic scores.


@@ -1136,7 +1132,7 @@ Here is a small example:
 
 @seealso
 
 
 @seealso
 

-Notation reference: @ruser{Piano music}.
+Notation Reference: @ruser{Piano music}.

 
 
 @node Combining notes into chords
 
 
 @node Combining notes into chords


@@ -1147,8 +1143,8 @@ Notation reference: @ruser{Piano music}.
 Music glossary: @rglos{chord}.
 
 @notation{Chords} can be made by surrounding pitches with single
 Music glossary: @rglos{chord}.
 
 @notation{Chords} can be made by surrounding pitches with single

-angle brackets.  Angle brackets are the symbols @samp{<} and
-@samp{>}.
+angle brackets.  Angle brackets are the symbols @code{<} and
+@code{>}.

 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 r4 <c e g>4 <c f a>2
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 r4 <c e g>4 <c f a>2


@@ -1191,8 +1187,8 @@ 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]
 <<


@@ -1220,7 +1216,7 @@ Again, these expressions can be nested arbitrarily.
 
 @seealso
 
 
 @seealso
 

-Notation reference: @ruser{Simultaneous notes}.
+Notation Reference: @ruser{Simultaneous notes}.

 
 
 @node Songs
 
 
 @node Songs


@@ -1401,13 +1397,9 @@ 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


@@ -1445,11 +1437,8 @@ from the notes and lyrics with variables.  These are
 discussed later (see @ref{Organizing pieces with variables}).
 
 @seealso
 discussed later (see @ref{Organizing pieces with variables}).
 
 @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