Expand 's to is.

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

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 0f331a7248771b7a71ffc7b3d64aa9773e21a5ce..2a39da5bf17aa2de77044f0cd52da8c5ffeb3314 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -209,17 +209,6 @@ see @ref{Time signature}.
 
 @c cheesy title to avoid clash with chapter name.
 
-@c FIXME: let's not be so casual about Emacs and VIM, but rather
-@c instruct (how) to use them; let advanced user figure-out what
-@c commands to type?
-
-@c
-@c We don't have enough space to explain either VIM
-@c or Emacs non-advanced users, and I fear that both editors will only
-@c confuse newbies. I vote for keeping the material in footnotes.
-@c 
-@c --hwn 
-
 In the last section we explained what kind of things you could enter
 in a LilyPond file.  In this section we will explain what commands to
 run and how to view or print the output.  If you have not used
@@ -524,7 +513,7 @@ previous one.  For example, @samp{c f} goes up while @samp{c g} goes
 down
 
 To use relative mode, add @code{\relative} before the piece of
-music. The first note is taken relative to the middle C
+music.  The first note is taken relative to the middle C
 @c no , for this sentence
 (i.e. @code{c'})
 
@@ -643,8 +632,8 @@ for complex music like polyphonic scores.
 Note that this example only has one staff, whereas
 the previous example had three seperate staves.  That is because this
 example begins with a single note.  To determine the number of staves,
-LilyPond looks at the first element.  If it's a single note, there's one
-staff; if there's a simultaneous expression, there's more than one staff.
+LilyPond looks at the first element.  If it is a single note, there is one
+staff; if there is a simultaneous expression, there is more than one staff.
 
 @lilypond[fragment,quote,verbatim,relative=2] 
 {
@@ -759,7 +748,7 @@ c-3 e-5 b-2 a-1
 
 Articulations and fingerings are usually placed automatically, but you
 can specify a direction using @samp{^} (up) or @samp{_} (down).  You can
-also use multiple articulations on the same note.  In most cases, it's
+also use multiple articulations on the same note.  In most cases, it is
 best to let LilyPond determine the articulation directions.
 
 @lilypond[fragment,quote,verbatim,relative=2]
@@ -931,7 +920,7 @@ ignored while parsing, so it has no effect on the printed output.
 There are two types of comments.  The percent symbol @samp{%}
 introduces a line comment; after  @code{%} the rest of the line   is
 ignored.  A block comments marks a whole section of music
-input. Anything that is enclosed in @code{%@{} and @code{%@}} is
+input.  Anything that is enclosed in @code{%@{} and @code{%@}} is
 ignored.  The following fragment shows possible uses for comments
 
 @example
@@ -950,7 +939,7 @@ c4 c g' g a a g2
 @c  FIXME
 @c   This is good info, but I wouldn't call it a comment.  IMO it should
 @c   be moved somewhere else.  I don't know exactly where yet, but I'll
-@c   resolve it soon.  -GP
+@c   resolve it soon.  -gp
 
 @cindex versioning
 
@@ -959,7 +948,7 @@ statement marks for which version of LilyPond the file was written.
 To mark a file for version 2.1.17, use
 
 @example
-\version "2.1.17"
+\version "2.3.16"
 @end example
 
 @noindent
@@ -1058,19 +1047,19 @@ In popular music, it is common to denote accompaniment with chord names.
 Such chords can be entered like notes,
 
 @lilypond[quote,verbatim,raggedright]
-\chords { c2 f4. g8 }
+\chordmode { c2 f4. g8 }
 @end lilypond
 
 @noindent
 Now each pitch is read as the root of a chord instead of a note.
-This mode is switched on with @code{\chords}
+This mode is switched on with @code{\chordmode}
 
 
 Other chords can be created by adding modifiers after a colon.  The
 following example shows a few common modifiers
 
 @lilypond[quote,verbatim]
-\chords { c2 f4:m g4:maj7 gis1:dim7 }
+\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
 @end lilypond
 
 For lead sheets, chords are not printed on staves, but as names on a
@@ -1079,7 +1068,7 @@ line of themselves.  Hence, we have to override the context with
 context
 
 @lilypond[quote,verbatim]
-\new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+\chordmode { c2 f4.:m g4.:maj7 gis8:dim7 }
 @end lilypond
 
 @cindex lead sheet
@@ -1088,7 +1077,7 @@ a lead sheet, for example,
 
 @example
 <<
-  \new ChordNames \chords @{ @emph{chords} @}
+  \chordmode @{ @emph{chords} @}
   @emph{the melody}
   \addlyrics @{ @emph{the text} @}
 >>
@@ -1097,7 +1086,7 @@ a lead sheet, for example,
 
 @lilypond[quote,raggedright]
 <<
-  \new ChordNames \chords { r2 c:sus4 f } 
+  \chordmode { r2 c:sus4 f } 
   \relative {
     r4 c' \times 2/3 { f g g }
     \times 2/3 { g4( a2) }
@@ -1279,9 +1268,9 @@ technical manual, in @ref{Input variables and Scheme}.
 @node An orchestral part
 @section An orchestral part
 
-In orchestral music, all notes are printed twice. Once in a part for
+In orchestral music, all notes are printed twice.  Once in a part for
 the musicians, and once in a full score for the conductor.  Identifiers can
-be used to avoid double work. The music is entered once, and stored in
+be used to avoid double work.  The music is entered once, and stored in
 a variable.  The contents of that variable is then used to generate
 both the part and the score.
 
@@ -1320,7 +1309,7 @@ The line
 substitutes the contents of @file{horn-music.ly} at this position in
 the file, so @code{hornNotes} is defined afterwards.  The command
 @code{\transpose f@tie{}c'} indicates that the argument, being
-@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
+@code{\hornNotes}, should be transposed by a fifth downwards.  Sounding
 @samp{f} is denoted by notated @code{c'}, which corresponds with
 tuning of a normal French Horn in@tie{}F.  The transposition can be seen
 in the following output