MusicXML: Implement conversion of page layout options

[lilypond.git] / Documentation / user / instrument-notation.itely

diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely
index b4c5f2057071fe841efa842cd79beb778039cb6d..cd8f1e473abc783569641c4764fa2b06d1428a24 100644 (file)
--- a/Documentation/user/instrument-notation.itely
+++ b/Documentation/user/instrument-notation.itely
@@ -358,14 +358,17 @@ The mode is introduced by the keyword @code{\chordmode}.
 
 Other chords may be entered by suffixing a colon and introducing a
 modifier (which may include a number if desired)
+
 @lilypond[quote,fragment,verbatim]
 \chordmode { e1:m e1:7 e1:m7 }
 @end lilypond
+
 The first number following the root is taken to be the @q{type} of the
 chord, thirds are added to the root until it reaches the specified
-number
+number.  The exception is @code{c:13}, for which the 11 is omitted.
+
 @lilypond[quote,fragment,verbatim]
-\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 }
 @end lilypond
 
 @cindex root of chord
@@ -375,16 +378,21 @@ number
 More complex chords may also be constructed adding separate steps
 to a chord.  Additions are added after the number following
 the colon and are separated by dots
+
 @lilypond[quote,verbatim,fragment]
 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
 @end lilypond
+
 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
 to the number
+
 @lilypond[quote,verbatim,fragment]
 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
 @end lilypond
+
 Removals are specified similarly and are introduced by a caret.  They
 must come after the additions
+
 @lilypond[quote,verbatim,fragment]
 \chordmode { c^3 c:7^5 c:9^3.5 }
 @end lilypond
@@ -826,7 +834,7 @@ between syllables, or use tilde  symbol (@code{~}) to get a lyric tie.
 \addlyrics { pu- ro~y~ho- nes- to }
 @end lilypond
 
-The lyric ties is implemented with the Unicode character U+203F, so be
+The lyric tie is implemented with the Unicode character U+203F, so be
 sure to have a font (Like DejaVuLGC) installed that includes this
 glyph.
 
@@ -992,11 +1000,11 @@ sink2 or4 swim2.
 The alignment to a melody can be specified with the
 @code{associatedVoice} property,
  
- @example
+@example
 \set associatedVoice = #"lala"
- @end example
+@end example
  
- @noindent
+@noindent
 The value of the property (here: @code{"lala"}) should be the name of
 a @internalsref{Voice} context.  Without this setting, extender lines
 will not be formatted properly.
@@ -1183,9 +1191,6 @@ verseOne = \lyricmode @{ Joy to the world the Lord is come @}
 @}
 @end example
  
-@c TODO: Move the following section to 
-@c "Working with lyrics and identifiers"
- 
 For different or more complex orderings, the best way is to setup the
 hierarchy of staves and lyrics first, e.g.,
 @example
@@ -1222,6 +1227,7 @@ The final input would resemble
 Program reference: @internalsref{LyricCombineMusic},
 @internalsref{Lyrics}.  
 
+
 @node Flexibility in placement
 @subsection Flexibility in placement
 
@@ -1236,10 +1242,10 @@ differing ways.  Such variations can still be captured with
 * Lyrics independent of notes::  
 @end menu
 
+
 @node Lyrics to multiple notes of a melisma
 @subsubsection Lyrics to multiple notes of a melisma
 
-
 One possibility is that the text has a melisma in one stanza, but
 multiple syllables in another one.  One solution is to make the faster
 voice ignore the melisma.  This is done by setting
@@ -1509,7 +1515,7 @@ Stanza numbers can be added by setting @code{stanza}, e.g.,
   Hi, my name is Bert.
 } \addlyrics {
   \set stanza = "2. "
-  Oh, che -- ri, je t'aime
+  Oh, ché -- ri, je t'aime
 }
 @end lilypond
 
@@ -2212,6 +2218,22 @@ Chords are not handled in a special way, and hence the automatic
 string selector may easily select the same string to two notes in a
 chord.
 
+In order to handle @code{\partcombine}, a @code{TabStaff} must use
+specially-created voices:
+
+@lilypond[quote,ragged-right,verbatim]
+melodia = \partcombine { e4 g g g }{ e4 e e e }
+<<
+  \new TabStaff <<
+    \new TabVoice = "one" s1
+    \new TabVoice = "two" s1
+    \new TabVoice = "shared" s1
+    \new TabVoice = "solo" s1
+    { \melodia }
+  >>
+>>
+@end lilypond
+
 
 @node Non-guitar tablatures
 @subsection Non-guitar tablatures
@@ -2220,10 +2242,10 @@ chord.
 You can change the tuning of the strings.  A string tuning is given as
 a Scheme list with one integer number for each string, the number
 being the pitch (measured in semitones relative to middle C) of an
-open string.  The numbers specified for @code{stringTuning} are the
+open string.  The numbers specified for @code{stringTunings} are the
 numbers of semitones to subtract or add, starting the specified pitch
 by default middle C, in string order.  LilyPond automatically calculates
-the number of strings by looking at @code{stringTuning}.
+the number of strings by looking at @code{stringTunings}.
 
 In the next example,
 @code{stringTunings} is set for the pitches e, a, d, and g
@@ -2401,7 +2423,7 @@ The letters used for the fingerings are contained in the property
 
 @seealso
 
-Internalls: @internalsref{StrokeFinger}
+Program reference: @internalsref{StrokeFinger}
 
 
 
@@ -2461,7 +2483,7 @@ write @code{\taor} instead of
 @end example
 
 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
-notes in the appropiate octaves, so you do not need to worry about
+notes in the appropriate octaves, so you do not need to worry about
 @code{\relative} or @code{\transpose}.
 
 @lilypond[ragged-right,verbatim,quote,notime]