Merge branch 'master' of ssh://kainhofer@git.sv.gnu.org/srv/git/lilypond into dev...

[lilypond.git] / Documentation / user / pitches.itely

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index 03d19802757048c1627c0b6c12cae94618f69d57..43a4f7e299164eef8f13816a14d79945ab11c4b7 100644 (file)
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -498,7 +498,7 @@ the octave correction.
 The octave of notes may also be checked with the
 @code{\octave}@tie{}@var{controlpitch} command.  @var{controlpitch} is
 specified in absolute mode.  This checks that the interval between the
-previous note and the @var{controlpitch} is within a fourth (i.e. the
+previous note and the @var{controlpitch} is within a fourth (i.e., the
 normal calculation of relative mode).  If this check fails, a warning
 is printed, but the previous note is not changed.  Future notes are
 relative to the @var{controlpitch}.
@@ -512,7 +512,7 @@ relative to the @var{controlpitch}.
 @end lilypond
 
 Compare the two bars below.  The first and third @code{\octave}
-check fail, but the second one does not fail.
+checks fail, but the second one does not fail.
 
 @lilypond[verbatim,quote,ragged-right,fragment]
 \relative c'' {
@@ -570,7 +570,7 @@ automatically transposed as well.
 }
 @end lilypond
 
-If a part written in C (normal concert pitch) is to be played on
+If a part written in C (normal @notation{concert pitch}) is to be played on
 the A clarinet (for which an A is notated as a C and thus sounds a
 minor third lower than notated), the appropriate part will be
 produced with:
@@ -760,7 +760,7 @@ Further supported clefs are described under @ref{Ancient clefs}.
 
 By adding @code{_8} or @code{^8} to the clef name, the clef is
 transposed one octave down or up, respectively, and @code{_15} and
-@code{^15} transposes by two octaves.  The argument @var{clefname}
+@code{^15} transpose by two octaves.  The argument @var{clefname}
 must be enclosed in quotes when it contains underscores or digits.
 
 @cindex choral tenor clef
@@ -776,7 +776,7 @@ c2 c
 @snippets
 
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{clefs-commonly-tweaked-properties.ly}
+{tweaking-clef-properties.ly}
 
 
 @seealso
@@ -950,7 +950,7 @@ playing in unison.
   \new Staff = "Vln" {
     \relative c'' {
       \set Staff.instrumentName = "Vln"
-      \set Staff.midiInstrument="violin"
+      \set Staff.midiInstrument = "violin"
       % strictly speaking not necessary, but a good reminder
       \transposition c'
 
@@ -960,8 +960,8 @@ playing in unison.
   }
   \new Staff = "clarinet" {
     \relative c'' {
-      \set Staff.instrumentName = \markup {Cl (B\flat)}
-      \set Staff.midiInstrument="clarinet"
+      \set Staff.instrumentName = \markup { Cl (B\flat) }
+      \set Staff.midiInstrument = "clarinet"
       \transposition bes
 
       % not concert pitch
@@ -982,7 +982,8 @@ clarinet.
 \transposition a
 c d e f
 \textLengthOn
-r1^\markup{Switch to B\flat clarinet}
+s1*0^\markup { Switch to B\flat clarinet }
+R1
 
 \key bes \major
 \transposition bes
@@ -1111,7 +1112,7 @@ both staves.
 @item default
 This is the default typesetting behavior.  It corresponds to
 eighteenth-century common practice: accidentals are remembered to
-the end of the measure in which they occur and only on their own
+the end of the measure in which they occur and only in their own
 octave.  Thus, in the example below, no natural signs are printed
 before the@tie{}@code{b} in the second measure or the
 last@tie{}@code{c}:
@@ -1163,7 +1164,7 @@ musicB = {
 @end lilypond
 
 @item voice
-The normal behavior is to remember the accidentals on Staff-level.
+The normal behavior is to remember the accidentals at @code{Staff}-level.
 In this style, however, accidentals are typeset individually for
 each voice.  Apart from that, the rule is similar to
 @code{default}.
@@ -1479,8 +1480,8 @@ musicB = {
 This rule reflects twentieth-century practice for piano notation.
 Its behavior is very similar to @code{modern} style, but here
 accidentals also get canceled across the staves in the same
-GrandStaff or PianoStaff, hence all the cancellations of the final
-notes.
+@code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
+of the final notes.
 
 This accidental style applies to the current @code{GrandStaff} or
 @code{PianoStaff} by default.
@@ -1648,7 +1649,7 @@ musicB = {
 
 This is the opposite of @code{no-reset}: Accidentals are not
 remembered at all -- and hence all accidentals are typeset
-relative to the key signature, regardless of what was before in
+relative to the key signature, regardless of what came before in
 the music:
 
 @lilypond[quote,ragged-right]
@@ -1755,12 +1756,13 @@ printed if they are not part of the key signature.
 \layout {
   \context {
     \Voice
-    \consists Ambitus_engraver
+    \consists "Ambitus_engraver"
   }
 }
 
 \relative c'' {
-  aes c e2 cis,2
+  aes c e2
+  cis,1
 }
 @end lilypond
 
@@ -1768,10 +1770,10 @@ printed if they are not part of the key signature.
 @snippets
 
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{adding-ambiti-per-voice.ly}
+{adding-ambitus-per-voice.ly}
 
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{ambiti-multiple-voices.ly}
+{ambitus-with-multiple-voices.ly}
 
 
 @seealso
@@ -1928,9 +1930,11 @@ Shape note heads can be produced by setting @code{\aikenHeads} or
 
 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
 \aikenHeads
-c8 d4 e8 a2 g1
+c8 d4 e8 a2
+g1
 \sacredHarpHeads
-c,8 d4 e8 a2 g1
+c,8 d4 e8 a2
+g1
 @end lilypond
 
 Shapes are typeset according to the step in the scale, where
@@ -1945,7 +1949,7 @@ the base of the scale is determined by the @code{\key} command.
 @snippets
 
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{applying-notehead-styles-depending-on-the-step-of-the-scale.ly}
+{applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
 
 @noindent
 To see all note head styles, see @ref{Note head styles}.
@@ -1973,15 +1977,15 @@ rhythm.  Such note heads can be created:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Voice \with {
-  \consists Pitch_squash_engraver
+  \consists "Pitch_squash_engraver"
 } \transpose c c' {
   e8 e g a a16( bes) a8 g
   \improvisationOn
-  e8
-  ~e2~e8 f4 fis8
-  ~fis2
+  e8 ~
+  e2 ~ e8 f4 f8 ~
+  f2
   \improvisationOff
-  a16(bes) a8 g e
+  a16( bes) a8 g e
 }
 @end lilypond