X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Flearning%2Ffundamental.itely;h=380bc500de284a179dd4f6629249d41196335aa7;hb=94dc452301cc0d1e9983f5aeb784884f7fe8c964;hp=46776919af5d68eeacb40969905c404f64c9392d;hpb=d3f5ef1663963358c4901195143c529e5915b320;p=lilypond.git

diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely
index 46776919af..380bc500de 100644
--- a/Documentation/learning/fundamental.itely
+++ b/Documentation/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.12.0"
+@c \version "2.17.18"
 
 @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
@@ -191,7 +191,7 @@ You may code multiple @code{\score} blocks.  Each will be
 treated as a separate score, but they will be all combined into
 a single output file.  A @code{\book} command is not necessary
 -- one will be implicitly created.  However, if you would like
-separate output files from one @code{.ly} file then the
+separate output files from one @file{.ly} file then the
 @code{\book} command should be used to separate the different
 sections: each @code{\book} block will produce a
 separate output file.
@@ -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
@@ -520,8 +520,8 @@ So, for example, a phrasing slur can start before a manually
 inserted beam and end before the end of the beam -- not very
 musical, perhaps, but possible:
 
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
- { g8\( a b[ c b\) a] g4 }
+@lilypond[quote,verbatim,ragged-right,relative=2]
+g8\( a b[ c b\) a] g4
 @end lilypond
 
 In general, different kinds of brackets, bracket-like constructs,
@@ -531,13 +531,11 @@ a slur extending into a tuplet (line 2), a beam and a slur
 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,fragment,ragged-right]
-{
-  r16[ g \times 2/3 { r16 e'8] }
-  g16( a \times 2/3 { b16 d) e' }
-  g8[( a \times 2/3 { b8 d') e'~] } |
-  \times 4/5 { e'32\( a b d' e' } a'4.\)
-}
+@lilypond[quote,verbatim,ragged-right,relative=1]
+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
 
 
@@ -580,22 +578,22 @@ In fact, a Voice layer or context is the only one which can contain
 music.  If a Voice context is not explicitly declared one is created
 automatically, as we saw at the beginning of this chapter.  Some
 instruments such as an Oboe can play only one note at a time.  Music
-written for such instruments is monophonic and requires just a single
-voice.  Instruments which can play more than one note at a time like
-the piano will often require multiple voices to encode the different
-concurrent notes and rhythms they are capable of playing.
+written for such instruments requires just a single voice.  Instruments
+which can play more than one note at a time like the piano will often
+require multiple voices to encode the different concurrent notes and
+rhythms they are capable of playing.
 
 A single voice can contain many notes in a chord, of course,
 so when exactly are multiple voices needed?  Look first at
 this example of four chords:
 
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+@lilypond[quote,verbatim,ragged-right,relative=1]
 \key g \major
 <d g>4 <d fis> <d a'> <d g>
 @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
@@ -612,19 +610,19 @@ 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
 cause errors.  This technique is particularly suited to pieces of
-music which are largely monophonic with occasional short sections
+music which are largely homophonic with occasional short sections
 of polyphony.
 
 Here's how we split the chords above into two voices and add both
 the passing note and a slur:
 
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,ragged-right,relative=2]
 \key g \major
 %    Voice "1"               Voice "2"
 << { g4 fis8( g) a4 g } \\ { d4 d d d }  >>
@@ -634,7 +632,7 @@ Notice how the stems of the second voice now point down.
 
 Here's another simple example:
 
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,ragged-right,relative=2]
 \key d \minor
 %    Voice "1"             Voice "2"
 << { r4 g g4. a8 }    \\ { d,2 d4 g }       >> |
@@ -648,7 +646,7 @@ can help the legibility of the code, but if there are many
 notes in each bar it may be better to split out each voice
 separately, like this:
 
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+@lilypond[quote,verbatim,ragged-right,relative=2]
 \key d \minor
 << {
   % Voice "1"
@@ -674,10 +672,13 @@ used to encode three or more voices by adding more back-slash
 separators.
 
 The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.
-In each of these contexts, the vertical direction of slurs,
-stems, ties, dynamics etc., is set appropriately.
+The first contexts set the @emph{outer} voices, the highest
+voice in context @code{"1"} and the lowest voice in context
+@code{"2"}.  The inner voices go in contexts @code{"3"} and
+@code{"4"}.  In each of these contexts, the vertical direction
+of slurs, stems, ties, dynamics etc., is set appropriately.
 
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim]
 \new Staff \relative c' {
   % Main voice
   c16 d e f
@@ -688,7 +689,7 @@ 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,
@@ -748,7 +749,7 @@ used here) reverts the style back to the default.
 We shall see later how commands like these may be created by the
 user.
 See @ref{Visibility and color of objects} and
-@ref{Using variables for tweaks}.
+@ref{Using variables for layout adjustments}.
 
 @cindex polyphony and relative note entry
 @cindex relative note entry and polyphony
@@ -774,13 +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.
@@ -799,16 +800,19 @@ later sections.
   <<  % Voice one
     { c2 aes4. bes8 }
   \\  % Voice two
-    { aes2 f4 fes }
-  \\  % No voice three
-  \\  % Voice four
     {
       % Ignore these for now - they are explained in Ch 4
-      \once \override NoteColumn #'force-hshift = #0
-      <ees c>2
-      \once \override NoteColumn #'force-hshift = #0.5
+      \once \override NoteColumn.ignore-collision = ##t
+      <ees, c>2
+      \once \override NoteColumn.force-hshift = #0.5
       des2
     }
+  \\  % No voice three
+  \\  % Voice four
+    {
+      \override NoteColumn.force-hshift = #0
+      aes'2 f4 fes
+    }
   >> |
   <c ees aes c>1 |
 }
@@ -847,16 +851,17 @@ not understand.
     }
   \\  % Voice two
     { \voiceTwoStyle
-      aes2 f4 fes
+      % Ignore these for now - they are explained in Ch 4
+      \once \override NoteColumn.ignore-collision = ##t
+      <ees, c>2
+      \once \override NoteColumn.force-hshift = #0.5
+      des2
     }
   \\  % No Voice three (we want stems down)
   \\  % Voice four
     { \voiceThreeStyle
-      % Ignore these for now - they are explained in Ch 4
-      \once \override NoteColumn #'force-hshift = #0
-      <ees c>2
-      \once \override NoteColumn #'force-hshift = #0.5
-      des2
+      \override NoteColumn.force-hshift = #0
+      aes'2 f4 fes
     }
   >> |
   <c ees aes c>1 |
@@ -869,11 +874,11 @@ shall see, this encounters some difficulties.  We begin as
 we have learnt, using the @code{<< \\  >>} construct to
 enter the music of the first bar in three voices:
 
-@lilypond[quote,verbatim,fragment,ragged-right]
+@lilypond[quote,verbatim,ragged-right]
 \new Staff \relative c'' {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des }
+    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -892,35 +897,35 @@ of music.  We can correct this by skipping voice three
 and placing the music in voice four.  This is done by simply
 adding another pair of @code{\\}.
 
-@lilypond[quote,verbatim,fragment,ragged-right]
+@lilypond[quote,verbatim,ragged-right]
 \new Staff \relative c'' {
   \key aes \major
   <<  % Voice one
     { c2 aes4. bes8 }
   \\  % Voice two
-    { aes2 f4 fes }
+    { <ees, c>2 des }
   \\  % Omit Voice three
   \\  % Voice four
-    { <ees c>2 des }
+    { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
 @end lilypond
 
 @noindent
-We see that this fixes the stem direction, but exposes a problem
-sometimes encountered with multiple voices -- the stems of the notes
-in one voice can collide with the note heads in other voices.  In
-laying out the notes, LilyPond allows the notes or chords from two
-voices to occupy the same vertical note column provided the stems are
-in opposite directions, but the notes from the third and fourth voices
-are displaced, if necessary, to avoid the note heads colliding.  This
-usually works well, but in this example the notes of the lowest voice
-are clearly not well placed by default.  LilyPond provides several ways
-to adjust the horizontal placing of notes.  We are not quite ready yet
-to see how to correct this, so we shall leave this problem until a
-later section --- see the @code{force-hshift} property in @ref{Fixing
-overlapping notation}.
+We see that this fixes the stem direction, but the horizontal
+placement of notes is not what we want.  LilyPond shifts the
+inner notes when they or their stems would collide with outer
+voices, but this is not appropriate for piano music.  In other
+situations, the shifts LilyPond applies might fail to clear
+the collisions.  LilyPond provides several ways to adjust the
+horizontal placing of notes.  We are not quite ready yet to see
+how to correct this, so we shall leave this problem until a
+later section --- see the @code{force-hshift} property in
+@ref{Fixing overlapping notation}.
+
+@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
+created @q{across} voices.}
 
 
 @seealso
@@ -945,7 +950,7 @@ Notation Reference: @ruser{Multiple voices}.
 
 Voice contexts can also be created manually
 inside a @code{<< >>} block to create polyphonic music, using
-@code{\voiceOne} ... @code{\voiceFour} to indicate the required
+@code{\voiceOne} @dots{} @code{\voiceFour} to indicate the required
 directions of stems, slurs, etc.  In longer scores this method
 is clearer, as it permits the voices to be separated and to be
 given more descriptive names.
@@ -1022,22 +1027,21 @@ markup, ties, slurs, and dynamics:
 }
 @end lilypond
 
-Now let's look at three different ways to notate the same passage
-of polyphonic music, each of which is advantageous in different
+Now let's look at three different ways to notate the same passage of
+polyphonic music, each of which is advantageous in different
 circumstances, using the example from the previous section.
 
-An expression that appears directly inside a @code{<< >>} belongs
-to the main voice (but, note, @strong{not} in a @code{<< \\ >>}
-construct).  This is useful when extra voices appear while the
-main voice is playing.  Here is a more correct rendition of our
-example.  The red diamond-shaped notes
-demonstrate that the main melody is now in a single voice context,
+An expression that appears directly inside a @code{<< >>} belongs to the
+main voice (but, note, @strong{not} in a @code{<< \\ >>} construct).
+This is useful when extra voices appear while the main voice is playing.
+Here is a more correct rendition of our example.  The red diamond-shaped
+notes demonstrate that the main melody is now in a single voice context,
 permitting a phrasing slur to be drawn over them.
 
 @lilypond[quote,ragged-right,verbatim]
 \new Staff \relative c' {
   \voiceOneStyle
-  % The following notes are monophonic
+  % This section is homophonic
   c16^( d e f
   % Start simultaneous section of three voices
   <<
@@ -1192,7 +1196,7 @@ explicitly link
 the lyrics to the notes with @code{\lyricsto@{@}}, using the
 name assigned to the Voice.
 
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim]
 <<
   \new Voice = "one" {
     \relative c'' {
@@ -1366,7 +1370,7 @@ appear explicitly in the input file must be added to the
 output.  For example, compare the input and output of the
 following example:
 
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
 cis4 cis2. | a4 a2. |
 @end lilypond
 
@@ -1542,7 +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
@@ -1713,7 +1717,7 @@ is specified, no error message is produced, but the expected
 action will not take place.  For example, the
 @code{instrumentName} clearly lives in the @code{Staff} context, since
 it is the staff that is to be named.
-In this example the first staff is labelled, but not the second,
+In this example the first staff is labeled, but not the second,
 because we omitted the context name.
 
 @lilypond[quote,verbatim,ragged-right]
@@ -1764,11 +1768,11 @@ So this turns off extra naturals in one staff:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff \relative c'' {
-    ais2 aes
+    aeses2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
-    ais2 aes
+    aeses2 aes
   }
 >>
 @end lilypond
@@ -1779,18 +1783,18 @@ and this turns them off in all staves:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff \relative c'' {
-    ais2 aes
+    aeses2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
-    ais2 aes
+    aeses2 aes
   }
 >>
 @end lilypond
 
-As another example, if @code{clefOctavation} is set in
+As another example, if @code{clefTransposition} is set in
 the @code{Score} context this immediately changes the value
-of the octavation in all current staves and sets a new default
+of the transposition in all current staves and sets a new default
 value which will be applied to all staves.
 
 The opposite command, @code{\unset}, effectively removes the
@@ -1807,7 +1811,7 @@ font size, which affects the size of the note heads (among
 other things) several times.  The change is from the default
 value, not the most recently set value.
 
-@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
+@lilypond[quote,verbatim,ragged-right,relative=1]
 c4 d
 % make note heads smaller
 \set fontSize = #-4
@@ -1838,7 +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:
@@ -1854,12 +1858,12 @@ like this:
 <<
   \new Staff {
     \relative c'' {
-      gis4 ges aes ais
+      gisis4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
     \relative c'' {
-      gis4 ges aes ais
+      gisis4 gis aeses aes
     }
   }
 >>
@@ -1897,7 +1901,7 @@ throughout the @code{\score} or @code{\book} block in which the
 \score {
   \new Staff {
     \relative c'' {
-      cis4 e d ces
+      cisis4 e d cis
     }
   }
   \layout {
@@ -1917,12 +1921,12 @@ within the score:
   <<
     \new Staff {
       \relative c'' {
-        gis4 ges aes ais
+        gisis4 gis aeses aes
       }
     }
     \new Staff {
       \relative c'' {
-        gis4 ges aes ais
+        gisis4 gis aeses aes
       }
     }
   >>
@@ -1982,7 +1986,7 @@ produced by the @code{Staff_symbol_engraver}.
 
 @lilypond[quote,verbatim,ragged-right]
 \new Staff \with {
-  \remove Staff_symbol_engraver
+  \remove "Staff_symbol_engraver"
 }
 \relative c' {
   c4 d
@@ -2013,7 +2017,7 @@ range from that voice only:
 @lilypond[quote,verbatim,ragged-right]
 \new Staff <<
   \new Voice \with {
-    \consists Ambitus_engraver
+    \consists "Ambitus_engraver"
   } {
     \relative c'' {
       \voiceOne
@@ -2036,7 +2040,7 @@ the notes in all the voices on that staff:
 
 @lilypond[quote,verbatim,ragged-right]
 \new Staff \with {
-  \consists Ambitus_engraver
+  \consists "Ambitus_engraver"
 }
 <<
   \new Voice {
@@ -2095,7 +2099,7 @@ staff in a four-staff score, we could write
   \layout {
     \context {
       \Staff
-      \consists Ambitus_engraver
+      \consists "Ambitus_engraver"
     }
   }
 }
@@ -2107,11 +2111,16 @@ for all contexts of a particular type by including the
 @code{\set} command in a @code{\context} block in the
 same way.
 
-
 @seealso
 Notation Reference: @ruser{Modifying context plug-ins},
 @ruser{Changing context default settings}.
 
+@knownissues
+The @code{Stem_engraver} and @code{Beam_engraver} attach their
+objects to note heads.  If the @code{Note_heads_engraver} is removed
+no note heads are produced and therefore no stems or beams are created
+either.
+
 
 @node Extending the templates
 @section Extending the templates
@@ -2316,7 +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
@@ -2428,8 +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.
@@ -2769,12 +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.
@@ -2837,19 +2846,19 @@ the pedal staff should behave similarly.
 @cindex grobs
 
 Stretchability of staves can be controlled with the
-@code{next-staff-spacing} property of the @code{VerticalAxisGroup}
-@q{graphical object} (commonly called @q{grob}s within the lilypond
-documentation) -- don't worry about the details right now; this is
-fully explained later.  For the curious, have a look at
-@ruser{Overview of modifying properties}.  Currently, it is not
-possible to modify the @code{stretchability} sub-property only, we
-thus have to copy the other sub-properties also.  Again, for the
-curious, you can find the default values in file
-@file{scm/@/define-grobs@/.scm} by looking up the definition of the
-@code{VerticalAxisGroup} grob.  The value for @code{stretchability}
-is taken from the definition of the @code{PianoStaff} context (in
-file @file{ly/@/engraver-init@/.ly}) so that the values are
-identical.
+@code{staff-staff-spacing} property of the
+@code{VerticalAxisGroup} @q{graphical object} (commonly called
+@q{grob}s within the lilypond documentation) -- don't worry about
+the details right now; this is fully explained later.  For the
+curious, have a look at @ruser{Overview of modifying properties}.
+In this case, we want to modify the @code{stretchability}
+sub-property only. Again, for the curious, you can find the
+default values for the staff-staff-spacing property
+in file @file{scm/define-grobs.scm} by looking up the definition
+of the @code{VerticalAxisGroup} grob.  The value for
+@code{stretchability} is taken from the definition of the
+@code{PianoStaff} context (in file @file{ly/engraver-init.ly})
+so that the values are identical.
 
 @example
 \score @{
@@ -2868,11 +2877,7 @@ identical.
         @}
       >>  % end ManualOne Staff context
       \new Staff = "ManualTwo" \with @{
-        \override VerticalAxisGroup
-          #'next-staff-spacing = #'((space . 9)
-                                    (minimum-distance . 8)
-                                    (padding . 1)
-                                    (stretchability . 5))
+        \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
       @} <<
         \keyTime
         \clef "bass"
@@ -2912,7 +2917,7 @@ ManualOneVoiceTwoMusic = \relative c' {
 }
 ManualTwoMusic = \relative c' {
   c16 b c8~ c16 b c g a8 g~ g16 g aes ees |
-  f16 ees f d g aes g f ees d e8~ ees16 f ees d |
+  f16 ees f d g aes g f ees d ees8~ ees16 f ees d |
 }
 PedalOrganMusic = \relative c {
   r8 c16 d ees d ees8~ ees16 a, b g c b c8 |
@@ -2935,11 +2940,7 @@ PedalOrganMusic = \relative c {
         }
       >>  % end ManualOne Staff context
       \new Staff = "ManualTwo" \with {
-        \override VerticalAxisGroup
-          #'next-staff-spacing = #'((space . 9)
-                                    (minimum-distance . 8)
-                                    (padding . 1)
-                                    (stretchability . 5))
+        \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
       } <<
         \keyTime
         \clef "bass"
@@ -3006,7 +3007,7 @@ macros, or user-defined commands) for tweaks:
 @lilypond[quote,verbatim,ragged-right]
 dolce = \markup { \italic \bold dolce }
 
-padText = { \once \override TextScript #'padding = #5.0 }
+padText = { \once \override TextScript.padding = #5.0 }
 fthenp =_\markup {
   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
 }
@@ -3039,7 +3040,7 @@ the last line.
 violin = \relative c'' @{
   \repeat volta 2 @{
     c4._\markup @{ \italic \bold dolce @} b8 a8 g a b |
-    \once \override TextScript #'padding = #5.0
+    \once \override TextScript.padding = #5.0
     c4.^"hi there!" d8 e' f g d |
     c,4.\markup @{
       \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p
@@ -3066,7 +3067,7 @@ padText =
      (parser location padding)
      (number?)
    #{
-     \once \override TextScript #'padding = $padding
+     \once \override TextScript.padding = #padding
    #})
 
 \relative c''' {
@@ -3084,7 +3085,7 @@ LilyPond input syntax changes (see
 you have a single definition (such as @code{\dolce}) for all your
 input files (see @ref{Style sheets}), then if the syntax changes, you
 only need to update your single @code{\dolce} definition,
-instead of making changes throughout every @code{.ly} file.
+instead of making changes throughout every @file{.ly} file.
 
 
 @node Scores and parts