Replace `...' and ``...'' with @q (and just very few with @@).

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

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 33e147d4328b478386802b9118acecbe5b67da1b..d4d9ebfaa670e53d8ffb1b2bb810c7a91a9572c8 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -398,8 +398,8 @@ d cis fis
 @end example
 
 @noindent
 @end example
 
 @noindent

-The code @samp{d} does not mean `print a black dot just below the
-staff.'  Rather, it means: `a note with pitch D-natural.'  In the key
+The code @samp{d} does not mean @qq{print a black dot just below the
+staff.}  Rather, it means: @qq{a note with pitch D-natural.}  In the key

 of A-flat major, it does get an accidental
 
 @lilypond[quote,notime,fragment,relative=1,verbatim]
 of A-flat major, it does get an accidental
 
 @lilypond[quote,notime,fragment,relative=1,verbatim]


@@ -500,8 +500,8 @@ according to standard notation conventions.
 
 @c better to have this just before the `octaves are bad' snipped
 @c but we'd need to remove the ', from \key and tie
 
 @c better to have this just before the `octaves are bad' snipped
 @c but we'd need to remove the ', from \key and tie

-To raise a note by an octave, add a high quote @code{'} (apostrophe) to
-the note name, to lower a note one octave, add a `low quote' @code{,}
+To raise a note by an octave, add a high quote @samp{'} (apostrophe) to
+the note name, to lower a note one octave, add a @q{low quote} @samp{,}

 (comma).  Middle C is @code{c'}
 
 @lilypond[quote,notime,fragment,verbatim]
 (comma).  Middle C is @code{c'}
 
 @lilypond[quote,notime,fragment,verbatim]


@@ -520,11 +520,11 @@ b'8. cis''16 b'8 d''4 d''8
 @noindent
 This example shows that music in a high register needs lots of quotes.
 This makes the input less readable, and it is a source of errors.  The
 @noindent
 This example shows that music in a high register needs lots of quotes.
 This makes the input less readable, and it is a source of errors.  The

-solution is to use `relative octave' mode.   This is the
+solution is to use @q{relative octave} mode.   This is the

 most convenient way to copy existing music.
 
 most convenient way to copy existing music.
 

-In relative mode, a note without octavation quotes (i.e., the @code{'}
-or @code{,} after a note) is chosen so that it is closest to the
+In relative mode, a note without octavation quotes (i.e., the @samp{'}
+or @samp{,} after a note) is chosen so that it is closest to the

 previous one.  For example, @samp{c f} goes up while @samp{c g} goes
 down.
 
 previous one.  For example, @samp{c f} goes up while @samp{c g} goes
 down.
 


@@ -608,7 +608,7 @@ notes
 This technique is useful for non-monophonic music.  To enter music
 with more voices or more staves, we also combine expressions in
 parallel.  Two voices that should play at the same time, are entered
 This technique is useful for non-monophonic music.  To enter music
 with more voices or more staves, we also combine expressions in
 parallel.  Two voices that should play at the same time, are entered

-as a simultaneous combination of two sequences.  A `simultaneous'
+as a simultaneous combination of two sequences.  A @q{simultaneous}

 music expression is formed by enclosing expressions in @code{<<} and
 @code{>>}.  In the following example, three sequences (all containing
 two separate notes) are combined simultaneously
 music expression is formed by enclosing expressions in @code{<<} and
 @code{>>}.  In the following example, three sequences (all containing
 two separate notes) are combined simultaneously


@@ -696,7 +696,7 @@ staff is marked by adding @code{\new Staff} before it.  These
 @end lilypond
 
 
 @end lilypond
 
 

-The command @code{\new} introduces a `notation context.'  A notation
+The command @code{\new} introduces a @q{notation context.}  A notation

 context is an environment in which musical events (like notes or
 @code{\clef} commands) are interpreted.  For simple pieces, such
 notation contexts are created automatically.  For more complex pieces, it
 context is an environment in which musical events (like notes or
 @code{\clef} commands) are interpreted.  For simple pieces, such
 notation contexts are created automatically.  For more complex pieces, it


@@ -933,7 +933,7 @@ see @ref{Partial measures}.
 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{%}
 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; after @code{%} the rest of the line is
+introduces a line comment; after @samp{%} the rest of the line is

 ignored.  A block comment marks a whole section of music
 input.  Anything that is enclosed in @code{%@{} and @code{%@}} is
 ignored.  The following fragment shows possible uses for comments
 ignored.  A block comment marks a whole section of music
 input.  Anything that is enclosed in @code{%@{} and @code{%@}} is
 ignored.  The following fragment shows possible uses for comments


@@ -1011,7 +1011,7 @@ The lyrics can be set to these notes, combining both with the
 @cindex melisma
 @cindex extender line
 @c synonyms?
 @cindex melisma
 @cindex extender line
 @c synonyms?

-This melody ends on a @rglos{melisma}, a single syllable (`free')
+This melody ends on a @rglos{melisma}, a single syllable (@q{free})

 sung to more than one note.  This is indicated with an @emph{extender
 line}.  It is entered as two underscores, i.e.,
 
 sung to more than one note.  This is indicated with an @emph{extender
 line}.  It is entered as two underscores, i.e.,
 


@@ -1163,7 +1163,7 @@ 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 same example with a
 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 (@code{s}) instead of a normal rest (@code{r}),
+spacer rest (@samp{s}) instead of a normal rest (@samp{r}),

 
 @lilypond[quote,verbatim,relative=2,fragment]
 << { a4 g2 f4~ f4 } \\
 
 @lilypond[quote,verbatim,relative=2,fragment]
 << { a4 g2 f4~ f4 } \\


@@ -1405,7 +1405,7 @@ leading to
 More in-depth information on preparing parts and scores can be found
 in the notation manual; see @ref{Orchestral music}.
 
 More in-depth information on preparing parts and scores can be found
 in the notation manual; see @ref{Orchestral music}.
 

-Setting run-time variables (`properties') is discussed in
+Setting run-time variables (@q{properties}) is discussed in

 @ref{Changing context properties on the fly}.
 
 
 @ref{Changing context properties on the fly}.