New short and long lyric ties.

[lilypond.git] / Documentation / notation / vocal.itely

diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely
index b8f13106e30ed0650294da924781e735aa9dfdfd..d2f32683e9af2e337d9d84f7bdead71272b0b590 100644 (file)
--- a/Documentation/notation/vocal.itely
+++ b/Documentation/notation/vocal.itely
@@ -609,21 +609,15 @@ Internals Reference:
 In order to assign more than one syllable to a single note with
 spaces between the syllables, you can surround the phrase with
 quotes or use a @code{_} character.  Alternatively, you can use
-code the tilde symbol (@code{~}) to get a lyric tie.  The lyric
-tie is implemented with the Unicode character U+203F, so be
-sure to use a font for this glyph which actually contains it.
-Freely available fonts with a lyric tie are, for example,
-`FreeSerif' (a Times clone), `DejaVuSans' (but not
-`DejaVuSerif'), or `TeXGyreSchola' (a Century Schoolbook
-clone).
+the tilde symbol (@code{~}) to get a lyric tie.
 
 @lilypond[quote,ragged-right,verbatim]
 {
-  \time 3/4
-  \relative c' { c2 e4 g2 e4 }
-  \addlyrics { gran- de_a- mi- go }
-  \addlyrics { pu- "ro y ho-" nes- to }
-  \addlyrics { pu- ro~y~ho- nes- to }
+  \relative c'' { \autoBeamOff
+    r8 b c fis, fis c' b e, }
+  \addlyrics { Che_in ques -- ta_è_in quel -- l'al -- tr'on -- da }
+  \addlyrics { "Che in" ques -- "ta è in" quel -- l'al -- tr'on -- da }
+  \addlyrics { Che~in ques -- ta~è~in quel -- l'al -- tr'on -- da }
 }
 @end lilypond
 
@@ -650,7 +644,7 @@ left-aligned with the first note of the melisma.
 When a melisma occurs on a syllable other that the last one in a
 word, that syllable is usually joined to the following one with a
 hyphenated line.  This is indicated by placing a double hyphen,
-@code{--}, immediately after the syllable.
+@w{@code{--}}, immediately after the syllable.
 
 Alternatively, when a melisma occurs on the last or only syllable in
 a word an extender line is usually drawn from the end of the syllable
@@ -2557,7 +2551,7 @@ If a transposing instrument is being quoted the instrument part should
 specify its key so the conversion of its cue notes will be done
 automatically.  The example below shows this transposition for a
 B-flat clarinet.  The notes in this example are low on the staff so
-@code{#DOWN} is specified in @code{\cueDuring} (so the stems are
+@code{DOWN} is specified in @code{\cueDuring} (so the stems are
 down) and the instrument name is positioned below the staff.  Note
 also that the piano right-hand voice is explicitly declared.  This
 is because the cue notes in this example begin at the start of the