Merge branch 'master' into dev/texi2html

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

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index c1f48c0fffebc4ab674822485d79d2c8f9996398..b1683d51c2398a9fca54262c4ef88707656f203c 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -7,12 +7,14 @@
     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
 Tutorial guidelines:  (different from policy.txt!)
 - unless you have a really good reason, use either
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
 - unless you have a really good reason, use either

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

   or
   or

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

 
   Don't use any other relative=X commands (make it a non-fragment
   example), and don't use fragment without relative=2.
 
   Don't use any other relative=X commands (make it a non-fragment
   example), and don't use fragment without relative=2.


@@ -52,20 +54,21 @@ This section gives a basic introduction to working with LilyPond.
 @menu
 * Compiling a file::            
 * Simple notation::             
 @menu
 * Compiling a file::            
 * Simple notation::             

-* Working on text files::       
-* How to read the manual::      
+* Working on input files::
+* 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
 

-@qq{Compiling} is the term used for processing an input text file
+@qq{Compiling} is the term used for processing an input file

 in LilyPond format to produce a file which can be printed and
 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.
+(optionally) a MIDI file which can be played.  LilyPond input
+files are simple text files.  The first example
+shows what a simple input file looks like.

 
 

-To create sheet music, we write a text file that specifies the
+To create sheet music, we write an input file that specifies the

 notation.  For example, if we write:
 
 @example
 notation.  For example, if we write:
 
 @example


@@ -78,7 +81,7 @@ notation.  For example, if we write:
 the result looks like this:
 
 @c  in this case we don't want verbatim
 the result looks like this:
 
 @c  in this case we don't want verbatim

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

 {
   c' e' g' e'
 }
 {
   c' e' g' e'
 }


@@ -93,9 +96,9 @@ in your own music!  For more information about the display of
 examples in the manual, see @ref{How to read the manual}.}
 
 @cindex case sensitive
 examples in the manual, see @ref{How to read the manual}.}
 
 @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}.
+@w{@code{@{ c d e @}}} is valid input; @w{@code{@{ C D E @}}} will
+produce an error message.

 
 @smallspace
 
 
 @smallspace
 


@@ -117,11 +120,11 @@ first.  After this, LilyPond will be much faster!}
 
 @subsubheading MacOS X
 
 
 @subsubheading MacOS X
 

-If you double click @code{LilyPond.app}, it will open with an
+If you double click @command{LilyPond.app}, it will open with an

 example file.  Save it, for example, to @file{test.ly} on your
 example file.  Save it, for example, to @file{test.ly} on your

-Desktop, and then process it with the menu command @code{Compile >
-Typeset File}.  The resulting PDF file will be displayed on your
-screen.
+Desktop, and then process it with the menu command
+@w{@code{Compile > Typeset File}}.  The resulting PDF file will be
+displayed on your screen.

 
 For future use of LilyPond, you should begin by selecting @q{New}
 or @q{Open}.  You must save your file before typesetting it.  If
 
 For future use of LilyPond, you should begin by selecting @q{New}
 or @q{Open}.  You must save your file before typesetting it.  If


@@ -174,7 +177,7 @@ You will see something resembling:
 
 @example
 lilypond test.ly
 
 @example
 lilypond test.ly

-GNU LilyPond 2.12.0
+GNU LilyPond @version{}

 Processing `test.ly'
 Parsing...
 Interpreting music...
 Processing `test.ly'
 Parsing...
 Interpreting music...


@@ -194,7 +197,7 @@ LilyPond will add some notation elements automatically.  In the
 next example, we have only specified four pitches, but LilyPond
 has added a clef, time signature, and rhythms.
 
 next example, we have only specified four pitches, but LilyPond
 has added a clef, time signature, and rhythms.
 

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

 {
   c' e' g' e'
 }
 {
   c' e' g' e'
 }


@@ -219,7 +222,7 @@ 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.
 
 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]

 \relative c' {  % set the starting point to middle C
   c d e f
   g a b c
 \relative c' {  % set the starting point to middle C
   c d e f
   g a b c


@@ -232,7 +235,7 @@ placed closest to the previous note -- in other words, the first
 closest D to the previous note.  We can create melodies which have
 larger intervals, still using only @code{\relative} mode:
 
 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]
+@lilypond[verbatim,quote]

 \relative c' {
   d f a g
   c b f d
 \relative c' {
   d f a g
   c b f d


@@ -246,10 +249,10 @@ example, the first note -- the @code{d} -- is the closest D to
 middle C.
 
 By adding (or removing) quotes @code{'} or commas @code{,} from
 middle C.
 
 By adding (or removing) quotes @code{'} or commas @code{,} from

-the @code{\relative c' @{} command, we can change the starting
+the @w{@code{\relative c' @{}} command, we can change the starting

 octave:
 
 octave:
 

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

 \relative c'' {  % one octave above middle C
   e c a c
 }
 \relative c'' {  % one octave above middle C
   e c a c
 }


@@ -263,7 +266,7 @@ 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.
 
 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]
+@lilypond[verbatim,quote]

 \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
 \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


@@ -285,7 +288,7 @@ 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.
 
 apostrophe) to the note name.  We can lower the octave by adding a
 comma @code{,} to the note name.
 

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

 \relative c'' {
   a a, c' f,
   g g'' a,, f'
 \relative c'' {
   a a, c' f,
   g g'' a,, f'


@@ -296,7 +299,7 @@ comma @code{,} to the note name.
 To change a note by two (or more!) octaves, we use multiple
 @code{''} or @code{,,} -- but be careful that you use two single
 quotes @code{''} and not one double quote @code{"}@tie{}!  The
 To change a note by two (or more!) octaves, we use multiple
 @code{''} or @code{,,} -- but be careful that you use two single
 quotes @code{''} and not one double quote @code{"}@tie{}!  The

-initial value in @code{\relative c'} may also be modified like
+initial value in @w{@code{\relative c'}} may also be modified like

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


@@ -315,7 +318,7 @@ 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.
 

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

 \relative c'' {
   a1
   a2 a4 a8 a
 \relative c'' {
   a1
   a2 a4 a8 a


@@ -327,7 +330,7 @@ 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).
 
 duration number.  The duration of a dotted note must be stated
 explicitly (i.e., with a number).
 

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

 \relative c'' {
   a a a4. a8
   a8. a16 a a8. a8 a4.
 \relative c'' {
   a a a4. a8
   a8. a16 a a8. a8 a4.


@@ -340,9 +343,9 @@ explicitly (i.e., with a number).
 Music Glossary: @rglos{rest}.
 
 A @notation{rest} is entered just like a note with the name
 Music Glossary: @rglos{rest}.
 
 A @notation{rest} is entered just like a note with the name

-@code{r}:
+@code{r}@tie{}:

 
 

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

 \relative c'' {
   a r r2
   r8 a r4 r4. r8
 \relative c'' {
   a r r2
   r8 a r4 r4. r8


@@ -357,7 +360,7 @@ 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:
 

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

 \relative c'' {
   \time 3/4
   a4 a a
 \relative c'' {
   \time 3/4
   a4 a a


@@ -375,7 +378,7 @@ 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:
 

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

 \relative c' {
   \clef treble
   c1
 \relative c' {
   \clef treble
   c1


@@ -393,7 +396,7 @@ The @notation{clef} can be set using the @code{\clef} command:
 
 Here is a small example showing all these elements together:
 
 
 Here is a small example showing all these elements together:
 

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

 \relative c, {
   \time 3/4
   \clef bass
 \relative c, {
   \time 3/4
   \clef bass


@@ -410,14 +413,14 @@ Notation Reference: @ruser{Writing pitches},
 @ruser{Time signature}, @ruser{Clef}.
 
 
 @ruser{Time signature}, @ruser{Clef}.
 
 

-@node Working on text files
-@subsection Working on text files
+@node Working on input files
+@subsection Working on input files

 
 LilyPond input files are similar to source files in many common
 programming languages.  They are case sensitive, and white-space
 is generally ignored.  Expressions are formed with curly braces
 
 LilyPond input files are similar to source files in many common
 programming languages.  They are case sensitive, and white-space
 is generally ignored.  Expressions are formed with curly braces

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

 
 If the previous sentences sound like nonsense, don't worry!  We'll
 explain what all these terms mean:
 
 If the previous sentences sound like nonsense, don't worry!  We'll
 explain what all these terms mean:


@@ -427,16 +430,16 @@ explain what all these terms mean:
 @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.
+@w{@code{a, b, s, t}}) or upper case (e.g.  @w{@code{A, B, S, T}}).
+Notes are lower case: @w{@code{@{ c d e @}}} is valid input;
+@w{@code{@{ C D E @}}} will produce an error message.

 
 @item
 @strong{Whitespace insensitive}:
 it does not matter how many spaces (or new lines) you add.
 
 @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{}
-@tie{} @tie{} d e @}} and:
+@w{@code{@{ c d e @}}} means the same thing as
+@w{@code{@{ c @tie{}} @tie{} @tie{} d e @}} and:

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


@@ -463,7 +466,7 @@ space unless they are at the beginning or end of a line to avoid
 ambiguities.
 
 A LilyPond command followed by a simple expression in braces (such
 ambiguities.
 
 A LilyPond command followed by a simple expression in braces (such

-as @code{\relative @{ @}}) also counts as a single music 
+as @w{@code{\relative @{ @}}}) also counts as a single music

 expression.
 
 @cindex comments
 expression.
 
 @cindex comments


@@ -501,7 +504,7 @@ comments:
   are ignored, since they are in a
   block comment.
 
   are ignored, since they are in a
   block comment.
 

-  g g f f e e d d c2
+  f f e e d d c2

 %@}
 @end example
 
 %@}
 @end example
 


@@ -512,11 +515,11 @@ comments:
 @subsection How to read the manual
 
 LilyPond input must be surrounded by @{ @} marks or a
 @subsection How to read the manual
 
 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:
+@w{@code{\relative c'' @{ ... @}}}, as we saw in @ref{Working on
+input 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
+@w{@code{\relative c'' @{ @}}} like this:

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


@@ -526,9 +529,9 @@ displayed input but you @strong{must} add the @code{\relative c''
 
 Why omit the braces?  Most examples in this manual can be inserted
 into the middle of a longer piece of music.  For these examples,
 
 Why omit the braces?  Most examples in this manual can be inserted
 into the middle of a longer piece of music.  For these examples,

-it does not make sense to add @code{\relative c'' @{ @}} -- you
-should not place a @code{\relative} inside another
-@code{\relative}!  If we included @code{\relative c'' @{ @}}
+it does not make sense to add @w{@code{\relative c'' @{ @}}} --
+you should not place a @code{\relative} inside another
+@code{\relative}!  If we included @w{@code{\relative c'' @{ @}}}

 around every example, you would not be able to copy a small
 documentation example and paste it inside a longer piece of your
 own.  Most people want to add material to an existing piece, so we
 around every example, you would not be able to copy a small
 documentation example and paste it inside a longer piece of your
 own.  Most people want to add material to an existing piece, so we


@@ -544,7 +547,7 @@ LilyPond input that was used to generate that image.  Try it on
 this image:
 
 @c no verbatim here
 this image:
 
 @c no verbatim here

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

 \relative c'' {
   c-\markup { \bold \huge { Click here.  } }
 }
 \relative c'' {
   c-\markup { \bold \huge { Click here.  } }
 }


@@ -557,9 +560,8 @@ cut-&-pastable section} to the bottom of the file.
 
 @seealso
 
 
 @seealso
 

-

 There are more tips for constructing input files in
 There are more tips for constructing input files in

-@ref{Suggestions for writing LilyPond files}.  But it might be
+@ref{Suggestions for writing LilyPond input files}.  But it might be

 best to read through the rest of the tutorial first.
 
 
 best to read through the rest of the tutorial first.
 
 


@@ -596,7 +598,7 @@ 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}.
 
 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]
+@lilypond[verbatim,quote,relative=2]

 cis1 ees fisis, aeses
 @end lilypond
 
 cis1 ees fisis, aeses
 @end lilypond
 


@@ -609,7 +611,7 @@ Music Glossary: @rglos{key signature}, @rglos{major},
 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}.
 

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

 \key d \major
 a1
 \key c \minor
 \key d \major
 a1
 \key c \minor


@@ -643,7 +645,7 @@ hear.
 
 In this example:
 
 
 In this example:
 

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

 \key d \major
 d cis fis
 @end lilypond
 \key d \major
 d cis fis
 @end lilypond


@@ -652,12 +654,12 @@ d cis 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.
 
 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 @code{e} does not mean @qq{print a black dot just below
+The code @code{e} does not mean @qq{print a black dot just on

 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:
 

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

 \key aes \major
 e
 @end lilypond
 \key aes \major
 e
 @end lilypond


@@ -689,7 +691,7 @@ Music Glossary: @rglos{tie}.
 A @notation{tie} is created by appending a tilde @code{~} 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]
+@lilypond[verbatim,quote,relative=2]

 g4~ g c2~
 c4 ~ c8 a8 ~ a2
 @end lilypond
 g4~ g c2~
 c4 ~ c8 a8 ~ a2
 @end lilypond


@@ -703,7 +705,7 @@ A @notation{slur} is a curve drawn across many notes.  The
 starting note and ending note are marked with @code{(} and
 @code{)} respectively.
 
 starting note and ending note are marked with @code{(} and
 @code{)} respectively.
 

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

 d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 
 d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 


@@ -711,14 +713,14 @@ 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{slurs}, @rglos{phrasing}.
+Music Glossary: @rglos{slur}, @rglos{phrasing}.

 
 Slurs to indicate longer @notation{phrasing} can be entered with
 @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.
 
 
 Slurs to indicate longer @notation{phrasing} can be entered with
 @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]
+@lilypond[verbatim,quote,relative=2]

 a8(\( ais b c) cis2 b'2 a4 cis,\)
 @end lilypond
 
 a8(\( ais b c) cis2 b'2 a4 cis,\)
 @end lilypond
 


@@ -735,7 +737,7 @@ 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.
 
 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]
+@lilypond[verbatim,quote,relative=2]

 c2~( c8 fis fis4 ~ fis2 g2)
 @end lilypond
 
 c2~( c8 fis fis4 ~ fis2 g2)
 @end lilypond
 


@@ -758,7 +760,7 @@ Music Glossary: @rglos{articulation}.
 Common @notation{articulations} can be added to a note using a
 dash @code{-} 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]
+@lilypond[verbatim,quote,relative=2]

 c-. c-- c-> c-^ c-+ c-_
 @end lilypond
 
 c-. c-- c-> c-^ c-+ c-_
 @end lilypond
 


@@ -771,7 +773,7 @@ Music Glossary: @rglos{fingering}.
 Similarly, @notation{fingering} indications can be added to a note
 using a dash (@code{-}) 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]
+@lilypond[verbatim,quote,relative=2]

 c-3 e-5 b-2 a-1
 @end lilypond
 
 c-3 e-5 b-2 a-1
 @end lilypond
 


@@ -781,7 +783,7 @@ you can specify a direction by replacing the dash (@code{-}) with
 articulations on the same note.  However, in most cases it is best
 to let LilyPond determine the articulation directions.
 
 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]
+@lilypond[verbatim,quote,relative=2]

 c_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 
 c_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 


@@ -793,7 +795,7 @@ Music Glossary: @rglos{dynamics}, @rglos{crescendo},
 @notation{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]
+@lilypond[verbatim,quote,relative=2]

 c\ff c\mf c\p c\pp
 @end lilypond
 
 c\ff c\mf c\p c\pp
 @end lilypond
 


@@ -806,7 +808,7 @@ 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:
 
 example @code{\f}, will end the (de)crescendo, or the command
 @code{\!} can be used:
 

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

 c2\< c2\ff\> c2 c2\!
 @end lilypond
 
 c2\< c2\ff\> c2 c2\!
 @end lilypond
 


@@ -821,13 +823,13 @@ Notation Reference: @ruser{Articulations and ornamentations},
 
 Text may be added to your scores:
 
 
 Text may be added to your scores:
 

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

 c1^"espr" a_"legato"
 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 
 c1^"espr" a_"legato"
 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 

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

 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


@@ -848,19 +850,32 @@ Music Glossary: @rglos{beam}.
 @cindex beams, by hand
 All @notation{beams} are drawn automatically:
 
 @cindex beams, by hand
 All @notation{beams} are drawn automatically:
 

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

 a8 ais d ees r d c16 b a8
 @end lilypond
 
 a8 ais d ees r d c16 b a8
 @end lilypond
 

-@noindent

 If you do not like the automatic beams, they may be overridden
 If you do not like the automatic beams, they may be overridden

-manually.  Mark the first note to be beamed with @code{[} and the
-last one with @code{]}.
+manually.  To correct just an occasional beam mark the first note
+to be beamed with @code{[} and the last one with @code{]}.

 
 

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

 a8[ ais] d[ ees r d] a b
 @end lilypond
 
 a8[ ais] d[ ees r d] a b
 @end lilypond
 

+If you want to turn off automatic beaming entirely or for an
+extended section of music, use the command @code{\autoBeamOff}
+to turn off automatic beaming and @code{\autoBeamOn} to turn it
+on again.
+@c It will usually be necessary to manually beam music
+@c with lyrics.
+
+@lilypond[verbatim,quote,relative=2]
+\autoBeamOff
+a8 c b4 d8. c16 b4
+\autoBeamOn
+a8 c b4 d8. c16 b4
+@end lilypond
+

 @seealso
 
 Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
 @seealso
 
 Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.


@@ -880,7 +895,7 @@ 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.
 

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

 \partial 8
 f8 c2 d
 @end lilypond
 \partial 8
 f8 c2 d
 @end lilypond


@@ -897,7 +912,7 @@ 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
 
 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]
+@lilypond[verbatim,quote,relative=2]

 \times 2/3 { f8 g a }
 \times 2/3 { c r c }
 \times 2/3 { f,8 g16[ a g a] }
 \times 2/3 { f8 g a }
 \times 2/3 { c r c }
 \times 2/3 { f,8 g16[ a g a] }


@@ -916,7 +931,7 @@ Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
 although they can also be created by prefixing a music expression
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
 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]
+@lilypond[verbatim,quote,relative=2]

 c2 \grace { a32[ b] } c2
 c2 \appoggiatura b16 c2
 c2 \acciaccatura b16 c2
 c2 \grace { a32[ b] } c2
 c2 \appoggiatura b16 c2
 c2 \acciaccatura b16 c2


@@ -940,11 +955,11 @@ in a piece of music.  Polyphony in LilyPond refers to having more
 than one voice on the same staff.
 
 @menu
 than one voice on the same staff.
 
 @menu

-* Music expressions explained::  
-* Multiple staves::             
-* Staff groups::                
-* Combining notes into chords::  
-* Single staff polyphony::      
+* Music expressions explained::
+* Multiple staves::
+* Staff groups::
+* Combining notes into chords::
+* Single staff polyphony::

 @end menu
 
 
 @end menu
 
 


@@ -954,7 +969,7 @@ than one voice on the same staff.
 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 
 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 

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

 a4
 @end lilypond
 
 a4
 @end lilypond
 


@@ -962,7 +977,7 @@ Enclosing a note in braces creates a @emph{compound music
 expression}.  Here we have created a compound music expression
 with two notes:
 
 expression}.  Here we have created a compound music expression
 with two notes:
 

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

 { a4 g4 }
 @end lilypond
 
 { a4 g4 }
 @end lilypond
 


@@ -970,7 +985,7 @@ Putting a group of music expressions (e.g. notes) in braces means
 that they are in sequence (i.e. each one follows the previous
 one).  The result is another music expression:
 
 that they are in sequence (i.e. each one follows the previous
 one).  The result is another music expression:
 

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

 { { a4 g } f g }
 @end lilypond
 
 { { a4 g } f g }
 @end lilypond
 


@@ -1015,7 +1030,7 @@ enclosing expressions inside @code{<<} and @code{>>}.  In the
 following example, three sequences (all containing two separate
 notes) are combined simultaneously:
 
 following example, three sequences (all containing two separate
 notes) are combined simultaneously:
 

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

 \relative c'' {
   <<
     { a4 g }
 \relative c'' {
   <<
     { a4 g }


@@ -1030,10 +1045,9 @@ different amount of space.  LilyPond does not care how much (or
 little) space there is at the beginning of a line, but indenting
 LilyPond code like this makes it much easier for humans to read.
 
 little) space there is at the beginning of a line, but indenting
 LilyPond code like this makes it much easier for humans to read.
 

-@c FIXME: number of backslashes?!  works in html but not pdf.

 @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
 
 
 @subheading Simultaneous music expressions: single staff


@@ -1043,7 +1057,7 @@ 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.
 
 is one staff; if there is a simultaneous expression, there is more
 than one staff.
 

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

 \relative c'' {
   c2 <<c e>>
   << { e f } { c <<b d>> } >>
 \relative c'' {
   c2 <<c e>>
   << { e f } { c <<b d>> } >>


@@ -1064,7 +1078,7 @@ staff is marked by adding @code{\new Staff} before it.  These
 @code{Staff} elements are then combined in parallel with @code{<<}
 and @code{>>}:
 
 @code{Staff} elements are then combined in parallel with @code{<<}
 and @code{>>}:
 

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

 \relative c'' {
   <<
     \new Staff { \clef treble c }
 \relative c'' {
   <<
     \new Staff { \clef treble c }


@@ -1094,7 +1108,7 @@ default.  On the other hand, the key signature of one staff does
 is because scores with transposing instruments are more common
 than polyrhythmic scores.
 
 is because scores with transposing instruments are more common
 than polyrhythmic scores.
 

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

 \relative c'' {
   <<
     \new Staff { \clef treble \key d \major \time 3/4 c }
 \relative c'' {
   <<
     \new Staff { \clef treble \key d \major \time 3/4 c }


@@ -1130,7 +1144,7 @@ inserted inside a @code{PianoStaff}:
 
 Here is a small example:
 
 
 Here is a small example:
 

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

 \relative c'' {
   \new PianoStaff <<
     \new Staff { \time 2/4 c4 e g g, }
 \relative c'' {
   \new PianoStaff <<
     \new Staff { \time 2/4 c4 e g g, }


@@ -1139,17 +1153,15 @@ 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.
+Other staff groupings are introduced with @code{\new GrandStaff},
+suitable for orchestral scores, and @w{@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
 

-Notation Reference: @ruser{Piano music}, 
+Notation Reference: @ruser{Keyboard instruments},

 @ruser{Displaying staves}.
 
 
 @ruser{Displaying staves}.
 
 


@@ -1167,7 +1179,7 @@ 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.
 
 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]
+@lilypond[verbatim,quote,relative=2]

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


@@ -1177,7 +1189,7 @@ 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.
 
 brackets.  For example, you can combine markings like beams and
 ties with chords.  They must be placed outside the angle brackets.
 

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

 r4 <c e g>8[ <c f a>]~ <c f a>2
 r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
 @end lilypond
 r4 <c e g>8[ <c f a>]~ <c f a>2
 r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
 @end lilypond


@@ -1195,10 +1207,10 @@ slurs and beams, and the top voice has the stems up, while the
 bottom voice has them down.
 
 Entering such parts is done by entering each voice as a sequence
 bottom voice has them down.
 
 Entering such parts is done by entering each voice as a sequence

-(with @code{@{...@}}) and combining these simultaneously,
-separating the voices with @code{\\}
+(with @w{@code{@{...@}}}) and combining these simultaneously,
+separating the voices with @code{\\}:

 
 

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

 <<
   { a4 g2 f4~ f4 } \\
   { r4 g4 f2 f4 }
 <<
   { a4 g2 f4~ f4 } \\
   { r4 g4 f2 f4 }


@@ -1211,7 +1223,7 @@ for filling up voices that temporarily do not play.  Here is the
 same example with a spacer rest (@code{s}) instead of a normal
 rest (@code{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,relative=2]

 <<
   { a4 g2 f4~ f4 } \\
   { s4 g4 f2 f4 }
 <<
   { a4 g2 f4~ f4 } \\
   { s4 g4 f2 f4 }


@@ -1221,7 +1233,7 @@ rest (@code{r}),
 @noindent
 Again, these expressions can be nested arbitrarily.
 
 @noindent
 Again, these expressions can be nested arbitrarily.
 

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

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


@@ -1246,9 +1258,9 @@ Notation Reference: @ruser{Simultaneous notes}.
 This section introduces vocal music and simple song sheets.
 
 @menu
 This section introduces vocal music and simple song sheets.
 
 @menu

-* Setting simple songs::        
-* Aligning lyrics to a melody::  
-* Lyrics to multiple staves::   
+* Setting simple songs::
+* Aligning lyrics to a melody::
+* Lyrics to multiple staves::

 @end menu
 
 
 @end menu
 
 


@@ -1261,9 +1273,9 @@ This section introduces vocal music and simple song sheets.
 Music Glossary: @rglos{lyrics}.
 
 Here is the start of the melody to a nursery
 Music Glossary: @rglos{lyrics}.
 
 Here is the start of the melody to a nursery

-rhyme, @qq{Girls and boys come out to play}:
+rhyme, @notation{Girls and boys come out to play}:

 
 

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

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


@@ -1275,7 +1287,7 @@ 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.
 
 with the @code{\addlyrics} keyword.  Lyrics are entered by
 separating each syllable with a space.
 

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

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


@@ -1289,9 +1301,9 @@ separating each syllable with a space.
 @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 double 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 @w{@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


@@ -1303,15 +1315,15 @@ Music Glossary: @rglos{melisma}, @rglos{extender line}.
 @cindex hyphens
 @cindex underscore
 
 @cindex hyphens
 @cindex underscore
 

-The next line in the nursery rhyme is @q{The moon doth shine as
-bright as day}.  Let's extend it:
+The next line in the nursery rhyme is @notation{The moon doth
+shine as bright as day}.  Let's extend it:

 
 

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

 <<
   \relative c'' {
     \key g \major
     \time 6/8
 <<
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4 
+    d4 b8 c4 a8 d4 b8 g4

     g8 a4 b8 c b a d4 b8 g4.
   }
   \addlyrics {
     g8 a4 b8 c b a d4 b8 g4.
   }
   \addlyrics {


@@ -1322,66 +1334,84 @@ bright as day}.  Let's extend it:
 @end lilypond
 
 We see the extra lyrics do not align properly with the notes.  The
 @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 @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}):
+word @notation{shine} should be sung on two notes, not one.  This
+is 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, for
+details, see @ref{Ties and slurs}:

 
 

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

 <<
   \relative c'' {
     \key g \major
     \time 6/8
 <<
   \relative c'' {
     \key g \major
     \time 6/8

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

->> 
+>>

 @end lilypond
 
 @end lilypond
 

-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}).
+The words now line up correctly with the notes, but the automatic
+beaming for the notes above @notation{shine as} does not look right.
+We can correct this by inserting manual beaming commands to override
+the automatic beaming here, for details, see @ref{Automatic and
+manual beams}.
+
+@lilypond[verbatim,quote]
+<<
+  \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

 
 As an alternative to using slurs, the melismata may be indicated
 
 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:
+in just the lyrics by using an underscore @code{_} for each note
+that should be included in the melisma:

 
 

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

 <<
   \relative c'' {
     \key g \major
     \time 6/8
 <<
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4 
+    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;
   }
     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
 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
 @end lilypond
 
 If a syllable extends over several notes or a single very long
 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:
+first three bars of @notation{Dido's Lament}, from Purcell's 
+@notation{Dido and Æneas}:

 
 

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

 <<
   \relative c'' {
     \key g \minor
     \time 3/2
 <<
   \relative c'' {
     \key g \minor
     \time 3/2

-    g2 a bes bes( a) 
+    g2 a bes bes( a)

     b c4.( bes8 a4. g8 fis4.) g8 fis1
   }
   \addlyrics {
     b c4.( bes8 a4. g8 fis4.) g8 fis1
   }
   \addlyrics {

-    When I am laid, 
+    When I am laid,

     am laid __ in earth,
   }
 >>
     am laid __ in earth,
   }
 >>


@@ -1396,17 +1426,17 @@ 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[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]

 <<
   \relative c' {
     \key g \major
     \time 3/4
     \partial 4
 <<
   \relative c' {
     \key g \major
     \time 3/4
     \partial 4

-    d4 g4 g a8( b) g4 g4 
+    d4 g4 g a8( b) g4 g4

     b8( c) d4 d e4 c2
   }
   \addlyrics {
     b8( c) d4 d e4 c2
   }
   \addlyrics {

-    A -- way in a __ man -- ger, 
+    A -- way in a __ man -- ger,

     no __ crib for a bed, __
   }
 >>
     no __ crib for a bed, __
   }
 >>


@@ -1415,20 +1445,20 @@ far about aligning lyrics to notes.
 Some lyrics, especially those in Italian, require the opposite:
 setting more than one syllable to a single note.  This is
 achieved by linking the syllables together with a single
 Some lyrics, especially those in Italian, require the opposite:
 setting more than one syllable to a single note.  This is
 achieved by linking the syllables together with a single

-underscore @code{_} (with no spaces), or enclosing them in
-quotes.  Here's an example from Rossini's Figaro, where
-@q{al} has to be sung on the same note as the @q{go} of 
-@q{Largo} in Figaro's aria @q{Largo al factotum}:
+underscore @code{_} (with no spaces), or enclosing them in quotes.
+Here's an example from Rossini's @notation{Figaro}, where
+@notation{al} has to be sung on the same note as the @notation{go} of
+@notation{Largo} in Figaro's aria @notation{Largo al factotum}:

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

 <<
   \relative c' {
     \clef bass
     \key c \major
     \time 6/8
 <<
   \relative c' {
     \clef bass
     \key c \major
     \time 6/8

-    c4.~ c8 d b c([ d)] b c d b c
+    c4.~ c8 d b c([ d]) b c d b c

   }
   \addlyrics {
     Lar -- go_al fac -- to -- tum del -- la cit -- tà
   }
   \addlyrics {
     Lar -- go_al fac -- to -- tum del -- la cit -- tà


@@ -1447,9 +1477,12 @@ Notation Reference: @ruser{Vocal music}.
 
 The simple approach using @code{\addlyrics} can be used for
 placing lyrics under more than one staff.  Here is an
 
 The simple approach using @code{\addlyrics} can be used for
 placing lyrics under more than one staff.  Here is an

-example from Handel's Judas Maccabæus:
+example from Handel's @notation{Judas Maccabæus}:
+
+@c TODO \partial has not been previously explained
+@c Change example or add explanation earlier

 
 

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

 <<
   {
     \time 6/8
 <<
   {
     \time 6/8


@@ -1457,14 +1490,14 @@ example from Handel's Judas Maccabæus:
   }
   \relative c'' {
     \key f \major
   }
   \relative c'' {
     \key f \major

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

-    r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
+    r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4

   }
   \addlyrics {
     Let flee -- cy flocks the hills a -- dorn,
   }
   \addlyrics {
     Let flee -- cy flocks the hills a -- dorn,


@@ -1492,11 +1525,11 @@ 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::         
-* After the tutorial::          
+* Organizing pieces with variables::
+* Version number::
+* Adding titles::
+* Absolute note names::
+* After the tutorial::

 @end menu
 
 
 @end menu
 
 


@@ -1521,7 +1554,7 @@ 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).
 
 later by placing a backslash in front of the name
 (@code{\namedMusic}, just like a normal LilyPond command).
 

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

 violin = \new Staff { \relative c'' {
   a4 b c b
 }}
 violin = \new Staff { \relative c'' {
   a4 b c b
 }}


@@ -1547,7 +1580,7 @@ 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.
 
 of another variable, giving a way of shortening the input if a
 section of music is repeated many times.
 

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

 tripletA = \times 2/3 { c,8 e g }
 barA = { \tripletA \tripletA \tripletA \tripletA }
 
 tripletA = \times 2/3 { c,8 e g }
 barA = { \tripletA \tripletA \tripletA \tripletA }
 


@@ -1637,7 +1670,7 @@ 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[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

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


@@ -1647,7 +1680,7 @@ bass clef.
 
 Here is a four-octave scale:
 
 
 Here is a four-octave scale:
 

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

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


@@ -1665,7 +1698,7 @@ 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[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]

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


@@ -1678,7 +1711,7 @@ All these quotes makes the input less readable and they are a source
 of errors.  With @code{\relative}, the previous example is much
 easier to read and type:
 
 of errors.  With @code{\relative}, the previous example is much
 easier to read and type:
 

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

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