The grand \paper -> \layout, \bookpaper -> \paper renaming.

[lilypond.git] / Documentation / user / music-glossary.tely

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 97f619bb3ab7299e7c289b4d334790027faf0fc3..e61c413384d244da13442dc6ff0f4fdaa56aa181 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -1,4 +1,4 @@
-                   \input texinfo  @c -*-texinfo-*-
+\input texinfo  @c -*-texinfo-*-
 @settitle Music Glossary
 @setfilename music-glosssary.info
 
@@ -208,8 +208,8 @@ accidental.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   gis1 s s gisis s s ges s s geses s s g!
 }
 \context Lyrics \lyrics {
@@ -314,7 +314,7 @@ FI: luonnollinen molliasteikko.
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
 a1 b c d e f g a }
 @end lilypond
 
@@ -347,7 +347,7 @@ a. is performed as a short note regardless of the duration of the main note
 the duration of the long a. is proportional to that of the main note.
 
 @lilypond
-\context Voice \notes\relative c'' {
+\context Voice \relative c'' {
 \key d \major
 \time 4/4
 
@@ -364,7 +364,7 @@ fis8 e16 fis
   }
 g8 fis16 g |
 \cadenzaOn a4 \bar "||" \cadenzaOff }
-\notes\relative c'' {
+\relative c'' {
 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
 \cadenzaOn a4 \bar "||" \cadenzaOff }
 @end lilypond
@@ -372,7 +372,7 @@ g8 fis16 g |
 An appoggiatura may have more notes preceding the main note.
 
 @lilypond
-\notes\relative c'' {
+\relative c'' {
   \key as \major
   \time 2/4
 %  \override Score.TextScript   #'font-style = #'large
@@ -397,7 +397,7 @@ S: arpeggio,
 FI: arpeggio, murtosointu.
 
 @lilypond[fragment]
-\notes \context PianoStaff <<
+ \context PianoStaff <<
   \context Staff = SA \relative c'' {
     \time 4/4
     \clef treble
@@ -440,7 +440,7 @@ FI: ylinouseva intervalli.
 
 @aref{interval}.
 
-@aitem{autograph       }
+@aitem{autograph}
 I: autografo,
 F: manuscrit,
 D: Autograph, Handschrift,
@@ -551,7 +551,7 @@ The number of beams determine the note value of the connected notes.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   g8_"1/8"[ g g g] s16
   g16_"1/16"[ g g g] s16
   g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
@@ -575,9 +575,9 @@ the start of the music.
 @lilypond[fragment]
 \key g \major
 \time 4/4
-\notes\relative c'' { g4 c b a | g1 \bar "||"}
+\relative c'' { g4 c b a | g1 \bar "||"}
 \time 3/8
-\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+\relative c'' { g8 d' c | b c a | g4. \bar "||"}
 @end lilypond
 
 @aitem{bind}
@@ -598,7 +598,7 @@ for connecting piano staves, angular brackets for connecting parts in an
 orchestral or choral score.
 
 @lilypond[fragment]
-\notes\context GrandStaff <<
+\context GrandStaff <<
   \relative c''\context Staff = SA  { \clef treble g4 e c2 }
   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
@@ -606,8 +606,8 @@ orchestral or choral score.
 @lilypond[fragment]
 \context StaffGroup <<
 %  \set StaffGroup.minVerticalAlign = #12
-  \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
-  \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+  \relative c'' \context Staff = SA { \clef treble g4 e c2 }
+  \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
 
 @aitem{brass}
@@ -650,7 +650,7 @@ in pre-1650 music.
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' { g\breve }
+\relative c'' { g\breve }
 @end lilypond
 
 @aitem{C}
@@ -680,8 +680,8 @@ lines.
 \set Score.automaticBars = ##f
 \override Score.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
+\oldaddlyrics
+\context Staff \relative c' {
   \clef soprano c1 s s
   \clef mezzosoprano c s s
   \clef alto c s s
@@ -717,8 +717,8 @@ S: kadens,
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of
-movement.  The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her ability to improvise.  Since
+movement.  The purpose of a cadenza is to give singers or players a chance to
+exhibit their technical skill and not the least their ability to improvise.  Since
 the middle of the 19th century, however, most cadences have been written down
 by the composer.
 
@@ -773,8 +773,8 @@ chords are denoted open chords
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   <g b d>1 s s
   <g bes d> s s
   <g bes des> s s
@@ -803,7 +803,7 @@ A scale consisting of all 12 @aref{semitone}s.
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+\relative c' { c1 cis d dis e f fis g gis a ais b c }
 @end lilypond
 
 @aitem{chromaticism}
@@ -926,7 +926,7 @@ Progressing melodically by intervals of a second.  Opposite of @aref{disjunct mo
 
 @lilypond[fragment]
 \key g \major \time 4/4
-\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
 @end lilypond
 
 @aitem{consonance}
@@ -973,8 +973,8 @@ music of the baroque era, has been one of the most popular polyphonic
 composition methods.
 
 @lilypond[fragment,staffsize=11]
-\set Score.TimeSignature =\turnOff
-\notes\context PianoStaff <<
+\override Score.TimeSignature #'break-visibility = #all-invisible
+\context PianoStaff <<
   \context Staff = SA \relative c' {
     \key bes \major
     \time 4/4
@@ -1042,7 +1042,7 @@ abbreviation ``cresc.''.
 
 @lilypond[fragment]
 \key g \major \time 4/4
-\notes\relative c'' { g4 \< a b c |  d1\! \bar "|." }
+\relative c'' { g4 \< a b c |  d1\! \bar "|." }
 @end lilypond
 
 @aitem{cue-notes}
@@ -1074,7 +1074,7 @@ of the 20th century
 
 @lilypond
 \score {
-    \notes {
+     {
 %      \override Staff.Custos #'neutral-position = #4
        \override Staff.Custos #'neutral-direction = #-1
 
@@ -1082,7 +1082,7 @@ of the 20th century
        c'1
        \break < d' a' f''>1
     }
-    \paper {
+    \layout {
        \context {
            \Staff
            \consists Custos_engraver
@@ -1132,7 +1132,7 @@ another place frequently near the beginning marked by a sign:
 %\override TextScript   #'font-style = #'large
 \override TextScript   #'font-shape = #'italic
 \key g \major \time 4/4
-\notes\relative c'' { d1 | g,4^\segno  a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
+\relative c'' { d1 | g,4^\segno  a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
 @end lilypond
 
 @aitem{decrescendo}
@@ -1148,7 +1148,7 @@ Decreasing tone volume.  Indicated by a leftwards opening horizontal wedge
 or the abbreviation ``decresc.''.
 
 @lilypond[fragment]
-\notes\relative c'' {
+\relative c'' {
   \key g \major \time 4/4
   d4 \> c b a |  g1 \! \bar "|."
 }
@@ -1187,8 +1187,8 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \context Staff \notes\relative c' {
+\oldaddlyrics
+  \context Staff \relative c' {
     c1 d
     \override TextScript   #'padding = #-4
     e^"~~ S" f g a b^"~~ S" c
@@ -1202,8 +1202,8 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \context Staff \notes\relative c' {
+\oldaddlyrics
+  \context Staff \relative c' {
     d1
     \override TextScript   #'padding = #-4
     e^"~~ S" f g a b^"~~ S" c d
@@ -1217,8 +1217,8 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+\oldaddlyrics
+  \relative c' {
     \override TextScript   #'padding = #-4
     e1^"~~ S" f g a b^"~~ S" c d e
   }
@@ -1231,8 +1231,8 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+\oldaddlyrics
+  \relative c' {
     f1 g a
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f
@@ -1246,8 +1246,8 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     g1 a
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g }
@@ -1260,8 +1260,8 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     a1
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g a
@@ -1280,8 +1280,8 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+\oldaddlyrics
+  \relative c' {
     c1 d
     \override TextScript   #'padding = #-4
     e^"~~ S" f g a b^"~~ S" c
@@ -1295,8 +1295,8 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     a1
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g a
@@ -1310,8 +1310,8 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     a1
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
@@ -1325,8 +1325,8 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     a1
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e fis gis^"~~ S"
@@ -1377,7 +1377,7 @@ Opposite of @aref{conjunct movement}.
 @lilypond[fragment]
 \key a \major
 \time 4/4
-\notes\relative c' {
+\relative c' {
   \partial 8 e8 |
   a4. gis8 b a e cis |
   fis2 d4. \bar "||" }
@@ -1646,8 +1646,8 @@ but equal pitch.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   gis1 s s as s s <des g,!> s s <cis g!> s s
 }
 \context Lyrics \lyrics {
@@ -1714,8 +1714,8 @@ symbol indicates playing an octave lower (for example on double bass
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\notes\relative c {
+\oldaddlyrics
+\relative c {
   \clef varbaritone
   f1
   \clef bass
@@ -1753,7 +1753,7 @@ Prolonged note or rest of indefinite duration.
 
 @lilypond[fragment]
 \time 4/4
-\notes\relative c'' {
+\relative c'' {
   a4 b c2^\fermata \bar "|."
 }
 @end lilypond
@@ -1802,7 +1802,7 @@ less than a quarter note.  The number of flags determines the
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   g8_"1/8" s8
   g16_"1/16" s8
   g32_"1/32" s8
@@ -1882,8 +1882,8 @@ variants of the base chords.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+\oldaddlyrics
+\context Voice \relative c'' {
   <g e c >1 < a f d > < b g e >
   <c a f > < d b g > < e c a > < f d b > }
 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
@@ -1919,8 +1919,8 @@ scores are notated like that).
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
+\oldaddlyrics
+\relative c'' {
   \clef french
   g1 s s
   \clef treble
@@ -2029,7 +2029,7 @@ Sequence of chords that terminate a musical phrase or
 section.  @aref{functional harmony}.
 
 @lilypond[fragment]
-\notes\context PianoStaff <<
+\context PianoStaff <<
   \context Staff = SA \relative c'' {
     \time 4/4
     \clef treble
@@ -2038,7 +2038,7 @@ section.  @aref{functional harmony}.
     < c a f > < b g d > < c g e >2
   }
 %  %\override Score.LyricText   #'font-style = #'large
-  \addlyrics
+  \oldaddlyrics
   \context Staff = SB \relative c {
     \clef bass
     \partial 4 c4 | f, g c2
@@ -2068,7 +2068,7 @@ Consonances:
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\context Voice \notes\relative c'' {
+\context Voice \relative c'' {
   <g g>1_"unisone  " s
   <g b>_"third  " s
   <g c>_"fourth  " s
@@ -2084,7 +2084,7 @@ Dissonances:
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\context Voice  \notes\relative c'' {
+\context Voice  \relative c'' {
   <g a>1_"second  " s s
   <g f'>_"seventh  " s s
   <g a'>_"ninth" s s
@@ -2126,8 +2126,8 @@ of such two forms an octave.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+\oldaddlyrics
+\context Voice \relative c'' {
   < g g >1 s
   < g as >^"minor" s
   < g a! > s
@@ -2147,8 +2147,8 @@ of such two forms an octave.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   < g c >^"perfect" s
   < g cis >^"augm"  s
   < g d' >^"perfect"  s
@@ -2168,8 +2168,8 @@ of such two forms an octave.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   < gis f'! >1^"dimin"  s
   < g! f'! >^"minor"  s
   < g fis' >^"major"  s
@@ -2200,7 +2200,7 @@ The difference between an interval and an octave.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\context Staff \notes\relative c'' {
+\context Staff \relative c'' {
   < g  a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
   < g, b >_"third  " s s < g' b, >_"sixth  " s s \bar "||"
   < g, c >_"fourth  " s s < g' c, >_"fifth  " s s \bar "||"
@@ -2287,7 +2287,7 @@ A ledger line is an extension of the staff.
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' { a,1 s c'' }
+\relative c'' { a,1 s c'' }
 @end lilypond
 
 @aitem{legato}
@@ -2306,8 +2306,8 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   c4-( d e-) \bar "||"
   c4-- d-- e-- \bar "||"
   c4-.-( d-. e-.-) \bar "||"
@@ -2390,7 +2390,7 @@ Note value: double length of @aref{breve}.
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
   \override NoteHead   #'style = #'mensural
   g\longa
 }
@@ -2506,14 +2506,14 @@ one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
 @emph{quadruple} (4/2, 4/4, 4/8) meter.  4/4 is also called common meter.
 
 @lilypond[fragment]
-\notes\relative c'' {
+\relative c'' {
   \time 3/4
   \key f \major
   c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
 @end lilypond
 
 @lilypond[fragment]
-\notes\relative c' {
+\relative c' {
   \time 6/8
   \key f \major
   f8 f f f a16 g a f |
@@ -2521,7 +2521,7 @@ one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
 @end lilypond
 
 @lilypond[fragment]
-\notes\relative c'' {
+\relative c'' {
   \time 5/4
   \key g \major
   d4 b8 g b d d c a4 |
@@ -2582,7 +2582,7 @@ First C below the 440 Hz A.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
-\notes\relative c' {
+\relative c' {
   \clef bass c1 s
   \clef alto c s
   \clef treble c s
@@ -2665,9 +2665,9 @@ The briefest intelligible and self-contained fragment of a musical theme or
 subject.
 
 @lilypond[fragment]
-\set Score.TimeSignature = \turnOff
+\override Score.TimeSignature #'break-visibility = #all-invisible
 %\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   \time 4/4
   \key g \major
   \partial 8 g16_"------" fis |
@@ -2701,7 +2701,7 @@ S: flertaktspaus,
 FI: usean tahdin mittainen tauko.
 
 @lilypond[fragment]
-\notes\relative c'' {
+\relative c'' {
   a1
   \set Score.skipBars = ##t R1*3
   a1
@@ -2792,7 +2792,7 @@ but sometimes (mostly in pre baroque music) the double length note value
 @lilypond[fragment,notime]
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
   \override NoteHead   #'style = #'mensural
   g\longa_"longa" g\breve_"breve"
   \revert NoteHead #'style
@@ -2803,7 +2803,7 @@ but sometimes (mostly in pre baroque music) the double length note value
 @lilypond[fragment,notime]
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
   r\longa_"longa" r\breve_"breve"
   r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
   r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
@@ -2814,7 +2814,7 @@ half.  Another dot adds yet a fourth of the duration.
 
 @lilypond[fragment]
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   \time 4/4
   g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
   g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
@@ -2827,7 +2827,7 @@ dotted notes are also frequently used.
 
 @lilypond[fragment]
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   \time 4/4
   \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
   \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
@@ -2835,7 +2835,7 @@ dotted notes are also frequently used.
 @end lilypond
 
 @lilypond[fragment]
-\notes\relative c'' {
+\relative c'' {
   \time 3/4
   \times 3/2 {g4_"duplets" g} |
   g4 g g \bar "||"
@@ -2879,12 +2879,12 @@ the upper note is played first.
 <<
   \context Staff = sa {
 %        \override Score.TextScript   #'font-style = #'large
-    \notes\relative c'' {
+    \relative c'' {
       c2._"pre-1850"  b4\trill | c1 \bar "||"
       c2._"post-1850" b4\trill | c1 \bar "||"
     }
   }
-  \notes\relative c'' {
+  \relative c'' {
     c2. c32 b c b c b c b | c1
     c2. b32 c b c \times 4/5 { b c b c b } | c1
   }
@@ -2898,13 +2898,13 @@ Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
 <<
   \context Staff = sa {
 %        \override Score.TextScript   #'font-style = #'large
-    \notes\relative c'' {
+    \relative c'' {
       a4_"turn" b\turn c2 \bar "||"
       g4_"mordent" a b\mordent a \bar "||"
       e'4_"prall" d\prall c2 \bar "||"
     }
   }
-  \notes\relative c'' {
+  \relative c'' {
     a4 c16[ b a b] c2
     g4 a  b16-[ a b8] a4
     e'4 e32[ d e d ~ d8] c2
@@ -3153,7 +3153,7 @@ with the same @aref{key signature}.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c' {
+\relative c' {
   \key es \major
   es1_"e flat major" f g as bes c d es
   \bar "||"
@@ -3163,7 +3163,7 @@ with the same @aref{key signature}.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c' {
+\relative c' {
   \key es \major
   c1_"c minor" d es f g a! b! c \bar "||"
 }
@@ -3182,7 +3182,7 @@ FI: toisto.
 @lilypond[fragment]
 \key g \major
 \time 4/4
-\notes\relative c'' {
+\relative c'' {
   \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
 }
 @end lilypond
@@ -3275,8 +3275,8 @@ sub@-do@-mi@-nant (S) and V = dominant (D).
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\set minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
+\oldaddlyrics
+\context Staff \relative c' {
   c1 d e f g a b c
 }
 \context Lyrics \lyrics {
@@ -3334,7 +3334,7 @@ semitone.  An octave may be divided into 12@w{ }semitones.
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' { g1 gis s a bes s b! c }
+\relative c'' { g1 gis s a bes s b! c }
 @end lilypond
 
 @aitem{seventh}
@@ -3494,10 +3494,10 @@ FI: sonaattimuoto.
 A form used frequently for single movements of the @aref{sonata},
 @aref{symphony}, quartet, etc.  A movement written in sonata form
 falls into three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}.  In the exposition the composer introduces his musical
-ideas, consisting of a number of themes; in the development section he
-"develops" this material, and in the recapitulation he repeats the exposition,
-with certain modifications, however.  The exposition contains a number of themes
+@emph{recapitulation}.  In the exposition the composer introduces some musical
+ideas, consisting of a number of themes; in the development section the composer
+"develops" this material, and in the recapitulation the composer repeats the exposition,
+with certain modificationsr.  The exposition contains a number of themes
 which fall into two groups, often called first and second subject.  Other
 melodies occurring in each group are considered as continuations of these
 two.  The second theme is in another key, normally in the key of the
@@ -3533,7 +3533,7 @@ note head.
 @lilypond[fragment]
 \key d \major
 \time 4/4
-\notes\relative c'' {
+\relative c'' {
   \partial 8 a8 |
   d4-\staccato cis-\staccato b-\staccato cis-\staccato |
   d2. \bar "||"
@@ -3572,7 +3572,7 @@ whole note.  @aref{beam}.
 \set Score.autoBeaming = ##f
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   g2_"1/2" g' s16
   g,4_"1/4" g' s16
   g,8_"1/8" g' s16
@@ -3698,7 +3698,7 @@ the underlaying (normal) pulse and the actual (abnormal) rhythm.
 
 @lilypond[fragment]
 \time 4/4
-\notes\relative c' {
+\relative c' {
   \partial 4
   d8 dis |
   e c'4 e,8 c'4 e,8 c' ( |  c2)
@@ -3836,7 +3836,7 @@ with figures designating the chief @aref{interval}s and
 
 @lilypond[fragment]
 \context GrandStaff <<
-  \context Staff = lh \notes\relative c'' {
+  \context Staff = lh \relative c'' {
     \time 4/4
     \key es \major
     \clef treble
@@ -3848,8 +3848,8 @@ with figures designating the chief @aref{interval}s and
         < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
     >>
   }
-  \addlyrics
-    \context Staff = rh \notes\relative c' {
+  \oldaddlyrics
+    \context Staff = rh \relative c' {
     \clef bass
     \key es \major
     es8 c d bes c as bes16 as g f | es4
@@ -3878,7 +3878,7 @@ uniting them into a single sound equal to the combined durations.
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' { g2 ~ g4. }
+\relative c'' { g2 ~ g4. }
 @end lilypond
 
 @aitem{time signature}
@@ -3936,7 +3936,7 @@ relative pitches.
 @lilypond[fragment]
 \context Staff {
   \time 3/4
-  \notes\relative c'' {
+  \relative c'' {
     \key g \major
     d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
   }
@@ -3984,7 +3984,7 @@ a @aref{chord}, usually in the distance of a third
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c' {
+\relative c' {
   e2:32_"a"
   f:32 [ e8:16 f:16 g:16 a:16 ] s4
   \repeat "tremolo" 8 { e32_"b" g }
@@ -4106,7 +4106,7 @@ line.  @aref{measure}, @aref{meter}.
 @lilypond[fragment]
 \key f \major
 \time 4/4
-\notes\relative c' {
+\relative c' {
   \partial 4 f4 | bes4. a8 bes4 c |
   bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
 @end lilypond