Because note head style does not influence flag count, in
this style a semiminima should be notated as @code{a8*2}, not
@code{a4}, otherwise it will look like a minima.
-The multiplier can be different if coloratio is used e.g. to notate
+The multiplier can be different if coloratio is used, e.g., to notate
triplets.
Use @code{semipetrucci} style to draw half-colored
@funindex \linea
@code{\linea}.
-@item Ligatures, properly speaking (i.e. notes joined together), are
+@item Ligatures, properly speaking (i.e., notes joined together), are
produced by placing one of the joining commands @code{\pes} or
@code{\flexa}, for upwards and downwards movement, respectively,
@emph{between} the notes to be joined.
Another main category of notes in Gregorian chant is the so-called
liquescent neumes. They are used under certain circumstances at
-the end of a syllable which ends in a @q{liquescent} letter, i.e.
+the end of a syllable which ends in a @q{liquescent} letter, i.e.,
the sounding consonants that can hold a tone (the nasals, l, r, v,
j, and their diphthong equivalents). Thus, the liquescent neumes
are never used alone (although some of them can be produced), and
These involve:
@itemize
-@item how to make incipits (i.e. prefatory material to indicate
+@item how to make incipits (i.e., prefatory material to indicate
what the original has looked like) to modern transcriptions of
mensural music;
@item how to achieve the @emph{Mensurstriche} layout frequently
@node Incipits
@unnumberedsubsubsec Incipits
@funindex \incipit
-@funindex incipit
@cindex incipits, adding
It is customary when transcribing mensural music into modern notation to place
@emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
for bar lines that are drawn between the staves of a system but
not through the staves themselves. It is a common way to preserve
-the rhythmic appearance of the original, i.e. not having to break
+the rhythmic appearance of the original, i.e., not having to break
syncopated notes at bar lines, while still providing the
orientation aids that bar lines give.
@end lilypond
Another common situation is transcription of neumatic or
-melismatic chants, i.e. chants with a varying number of notes
+melismatic chants, i.e., chants with a varying number of notes
to each syllable. In this case, one would want to set the
syllable groups clearly apart, usually also the subdivisions of a
longer melisma. One way to achieve this is to use a fixed