X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;ds=sidebyside;f=Documentation%2Flearning%2Ffundamental.itely;h=8d6d0060d17fae07f2fb9a729486257e0ac0bc5d;hb=bb994e1c15cd048c12ab3d777e90b447bbf37b16;hp=ff1c900315296e0ec2b313faaae81484b8cdb7de;hpb=f25b23eb6fbbf83489dfac39f1908ab13a75b4b9;p=lilypond.git

diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely
index ff1c900315..8d6d0060d1 100644
--- a/Documentation/learning/fundamental.itely
+++ b/Documentation/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.17.11"
 
 @node Fundamental concepts
 @chapter Fundamental concepts
@@ -57,7 +57,7 @@ A basic example of a LilyPond input file is
 \header @{ @}
 
 \score @{
-  @var{...compound music expression...}  % all the music goes here!
+  @var{ @dots{} compound music expression @dots{} }  % all the music goes here!
   \layout @{ @}
   \midi @{ @}
 @}
@@ -133,13 +133,13 @@ note to a huge compound expression like
 @example
 @{
   \new StaffGroup <<
-    @var{...insert the whole score of a Wagner opera in here...}
+    @var{ @dots{} insert the whole score of a Wagner opera in here @dots{} }
   >>
 @}
 @end example
 
 @noindent
-Since everything is inside @code{@{ ... @}}, it counts
+Since everything is inside @code{@{ @dots{} @}}, it counts
 as one music expression.
 
 As we saw previously, the @code{\score} block can contain other
@@ -301,12 +301,12 @@ Here we have given names to the staves -- @qq{singer} and
 to cultivate so that you can see at a glance what each stave is
 for.
 
-Remember that we use @code{<< ... >>} instead of @code{@{ ... @}} to
+Remember that we use @code{<< @dots{} >>} instead of @code{@{ @dots{} @}} to
 show simultaneous music.  This causes the vocal part and piano part
-to appear one above the other in the score.  The @code{<< ... >>}
+to appear one above the other in the score.  The @code{<< @dots{} >>}
 construct would not be necessary for the Singer staff in the example
 above if it were going to contain only one sequential music
-expression, but @code{<< ... >>} rather than braces is necessary if
+expression, but @code{<< @dots{} >>} rather than braces is necessary if
 the music in the Staff is to contain two or more simultaneous
 expressions, e.g. two simultaneous Voices, or a Voice with lyrics.
 We're going to have a voice with lyrics, so angle brackets are
@@ -484,27 +484,27 @@ constructs.
 @multitable @columnfractions .3 .7
 @headitem Bracket Type
   @tab Function
-@item @code{@{ .. @}}
+@item @code{@{ @dots{} @}}
   @tab Encloses a sequential segment of music
-@item @code{< .. >}
+@item @code{< @dots{} >}
   @tab Encloses the notes of a chord
-@item @code{<< .. >>}
+@item @code{<< @dots{} >>}
   @tab Encloses simultaneous music expressions
-@item @code{( .. )}
+@item @code{( @dots{} )}
   @tab Marks the start and end of a slur
-@item @code{\( .. \)}
+@item @code{\( @dots{} \)}
   @tab Marks the start and end of a phrasing slur
-@item @code{[ .. ]}
+@item @code{[ @dots{} ]}
   @tab Marks the start and end of a manual beam
 @end multitable
 
 To these we should add other constructs which generate lines
 between or across notes: ties (marked by a tilde, @code{~}),
-tuplets written as @code{\times x/y @{..@}}, and grace notes
-written as @code{\grace@{..@}}.
+tuplets written as @code{\tuplet x/y @{ @dots{} @}}, and grace notes
+written as @code{\grace @{ @dots{} @}}.
 
 Outside LilyPond, the conventional use of brackets requires the
-different types to be properly nested, like this, @code{<< [ @{ ( .. )
+different types to be properly nested, like this, @code{<< [ @{ ( @dots{} )
 @} ] >>}, with the closing brackets being encountered in exactly the
 opposite order to the opening brackets.  This @strong{is} a
 requirement for the three types of bracket described by the word
@@ -532,10 +532,10 @@ extending into a tuplet, a tie crossing two tuplets, and a
 phrasing slur extending out of a tuplet (lines 3 and 4).
 
 @lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \times 2/3 { r16 e'8] }
-g,16( a \times 2/3 { b16 d) e }
-g,8[( a \times 2/3 { b8 d) e~] } |
-\times 4/5 { e32\( a, b d e } a4.\)
+r16[ g \tuplet 3/2 { r16 e'8] }
+g,16( a \tuplet 3/2 { b16 d) e }
+g,8[( a \tuplet 3/2 { b8 d) e~] } |
+\tuplet 5/4 { e32\( a, b d e } a4.\)
 @end lilypond
 
 
@@ -593,7 +593,7 @@ this example of four chords:
 @end lilypond
 
 This can be expressed using just the single angle bracket chord
-symbols, @code{< ... >}, and for this just a single voice is
+symbols, @code{< @dots{} >}, and for this just a single voice is
 needed.  But suppose the F-sharp were actually an eighth-note
 followed by an eighth-note G, a passing note on the way to the A?
 Now we have two notes which start at the same time but have
@@ -610,8 +610,8 @@ Let us see how this is done in LilyPond input syntax.
 @funindex \\
 
 The easiest way to enter fragments with more than one voice on a
-staff is to enter each voice as a sequence (with @code{@{...@}}),
-and combine them simultaneously with angle brackets, @code{<<...>>}.
+staff is to enter each voice as a sequence (with @code{@{ @dots{} @}}),
+and combine them simultaneously with angle brackets, @code{<< @dots{} >>}.
 The fragments must also be separated with double backward slashes,
 @code{\\}, to place them in separate voices.  Without these, the
 notes would be entered into a single voice, which would usually
@@ -689,7 +689,7 @@ of slurs, stems, ties, dynamics etc., is set appropriately.
 @end lilypond
 
 These voices are all separate from the main voice that contains
-the notes just outside the @code{<< .. >>} construct.  Let's call
+the notes just outside the @code{<< @dots{} >>} construct.  Let's call
 this the @emph{simultaneous construct}.  Slurs and ties may only
 connect notes within the same voice, so slurs and ties cannot go
 into or out of a simultaneous construct.  Conversely,
@@ -775,13 +775,13 @@ voices are widely separated, is to place a @code{\relative}
 command at the start of each voice:
 
 @example
-\relative c' @{ noteA ... @}
+\relative c' @{ noteA @dots{} @}
 <<
-  \relative c'' @{ < noteB noteC > ... @}
+  \relative c'' @{ < noteB noteC > @dots{} @}
 \\
-  \relative g' @{ noteD ... @}
+  \relative g' @{ noteD @dots{} @}
 >>
-\relative c' @{ noteE ... @}
+\relative c' @{ noteE @dots{} @}
 @end example
 
 Let us finally analyze the voices in a more complex piece of music.
@@ -1546,7 +1546,7 @@ use in the section on lyrics, see @ref{Voices and vocals}.
 
 
 @seealso
-Notation Reference: @ruser{Creating contexts}.
+Notation Reference: @ruser{Creating and referencing contexts}.
 
 
 @node Engravers explained
@@ -1842,7 +1842,7 @@ The default value of context properties may be set at the time the
 context is created.  Sometimes this is a clearer way of setting a
 property value if it is to remain fixed for the duration of
 the context.  When a context is created with a @code{\new}
-command it may be followed immediately by a @code{\with @{ .. @}}
+command it may be followed immediately by a @code{\with @{ @dots{} @}}
 block in which the default property values are set.  For example,
 if we wish to suppress the printing of extra naturals for the
 duration of a staff we would write:
@@ -2325,7 +2325,7 @@ celloMusic = \relative c {
 
 @seealso
 The starting templates can be found in the @q{Templates} appendix,
-see @ref{Single staff}.
+see @ref{Single staff templates}.
 
 
 @node Four-part SATB vocal score
@@ -2437,8 +2437,8 @@ lower = \relative c, {
 @end lilypond
 
 None of the templates provides this layout exactly.  The nearest is
-@q{SATB vocal score and automatic piano reduction} -- see
-@ref{Vocal ensembles} -- but we need to change the layout and add a piano
+@ref{SATB vocal score and automatic piano reduction} -- but we need
+to change the layout and add a piano
 accompaniment which is not derived automatically from the vocal parts.
 The variables holding the music and words for the vocal parts are
 fine, but we shall need to add variables for the piano reduction.
@@ -2778,12 +2778,12 @@ see what errors it generates.
 @end example
 
 It is not necessary to use the simultaneous construct
-@code{<< .. >>} for the manual two staff and the pedal organ staff,
+@code{<< @dots{} >>} for the manual two staff and the pedal organ staff,
 since they contain only one music expression, but it does no harm,
 and always using angle brackets after @code{\new Staff} is a good
 habit to cultivate in case there are multiple voices.  The opposite
 is true for Voices: these should habitually be followed by braces
-@code{@{ .. @}} in case your music is coded in several variables
+@code{@{ @dots{} @}} in case your music is coded in several variables
 which need to run consecutively.
 
 Let's add this structure to the score block, and adjust the indenting.