In spacing, the distribution of space should reflect the durations
between notes. However, many modern scores adhere to the durations
with mathematical precision, which leads to poor results. In the next
-example a motive is printed twice : once using exact mathematical
+example a motive is printed twice: once using exact mathematical
spacing, and once with corrections. Can you spot which fragment is
which?
with craftsmen who translate musical ideas to graphic symbols.
In the following example, we see how we start out with a plug-in for
-note heads, the @code{Note_heads_engraver}:
+note heads, the @code{Note_heads_engraver}.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
@end lilypond
@noindent
-and the @code{Stem_engraver} adds stems:
+and the @code{Stem_engraver} adds stems.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
In this situation, the accidentals and staff are shared, but the stems,
slurs, beams, etc., are private to each voice. Hence, engravers should
be grouped. The engravers for note heads, stems, slurs, etc., go into a
-group called `Voice context', while the engravers for key, accidental,
-bar, etc., go into a group called `Staff context'. In the case of
+group called @q{Voice context,} while the engravers for key, accidental,
+bar, etc., go into a group called @q{Staff context.} In the case of
polyphony, a single Staff context contains more than one Voice context.
Similarly, multiple Staff contexts can be put into a single Score
context. The Score context is the top level notation context.
We have written LilyPond as an experiment of how to condense the art
of music engraving into a computer program. Thanks to all that hard
work, the program can now be used to perform useful tasks. The
-simplest application is printing notes:
+simplest application is printing notes.
@lilypond[quote,relative=1,fragment]
\time 2/4 c4 c g'4 g a4 a g2
@end lilypond
@noindent
-By adding chord names and lyrics we obtain a lead sheet:
+By adding chord names and lyrics we obtain a lead sheet.
@lilypond[quote,ragged-right]
<<
@end lilypond
Polyphonic notation and piano music can also be printed. The following
-example combines some more exotic constructs:
+example combines some more exotic constructs.
@lilypondfile[quote,ragged-right]{screech-boink.ly}
a list of color names, and the Feta font.
@item
-@emph{@ref{Example templates}}
-provides templates of LilyPond pieces. Just cut and paste a
+@emph{@ref{Templates}}
+of LilyPond pieces. Just cut and paste a
template into a file, add notes, and you're done!
@item
initialization and example files. Throughout this manual, we refer to
input files relative to the top-directory of the source archive. For
example, @file{input/@/test/@/bla@/.ly} may refer to the file
-@file{lilypond@/-2.8.0/@/input/@/test/@/bla@/.ly}. On binary packages
+@file{lilypond@/2.x.y/@/input/@/test/@/bla@/.ly}. On binary packages
for the Unix platform, the documentation and examples can typically be
found somewhere below @file{/usr/@/share/@/doc/@/lilypond/}.
Initialization files, for example @file{scm/@/lily@/.scm}, or