X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fancient.itely;h=cb360294059a546cb99483e9217cf11849f444e3;hb=4244c3a9fbf1f3ff2e20e665f92516d35b61de53;hp=714584210af7d2dc7026a1b7561b71287cc19820;hpb=a1267e20afa61258ce3031f07d916e0e66ac6582;p=lilypond.git

diff --git a/Documentation/notation/ancient.itely b/Documentation/notation/ancient.itely
index 714584210a..cb36029405 100644
--- a/Documentation/notation/ancient.itely
+++ b/Documentation/notation/ancient.itely
@@ -682,7 +682,7 @@ mensural notation or coloratio sections in white mensural notation.
 Because note head style does not influence flag count, in
 this style a semiminima should be notated as @code{a8*2}, not
 @code{a4}, otherwise it will look like a minima.
-The multiplier can be different if coloratio is used e.g. to notate
+The multiplier can be different if coloratio is used, e.g., to notate
 triplets.
 
 Use @code{semipetrucci} style to draw half-colored
@@ -1471,7 +1471,7 @@ with any of the following commands:
 @funindex \linea
 @code{\linea}.
 
-@item Ligatures, properly speaking (i.e. notes joined together), are
+@item Ligatures, properly speaking (i.e., notes joined together), are
 produced by placing one of the joining commands @code{\pes} or
 @code{\flexa}, for upwards and downwards movement, respectively,
 @emph{between} the notes to be joined.
@@ -1525,7 +1525,7 @@ Liquescent neumes
 
 Another main category of notes in Gregorian chant is the so-called
 liquescent neumes.  They are used under certain circumstances at
-the end of a syllable which ends in a @q{liquescent} letter, i.e.
+the end of a syllable which ends in a @q{liquescent} letter, i.e.,
 the sounding consonants that can hold a tone (the nasals, l, r, v,
 j, and their diphthong equivalents).  Thus, the liquescent neumes
 are never used alone (although some of them can be produced), and
@@ -1554,7 +1554,7 @@ with the corresponding modifier, @code{\quilisma},
 Virtually, within the ligature delimiters @code{\[} and @code{\]},
 any number of heads may be accumulated to form a single ligature,
 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
-@code{\inclinatum}, etc. may be mixed in as desired.  The use of
+@code{\inclinatum}, etc., may be mixed in as desired.  The use of
 the set of rules that underlies the construction of the ligatures
 in the above table is accordingly extrapolated.  This way,
 infinitely many different ligatures can be created.
@@ -2535,7 +2535,7 @@ Music Glossary:
 Notation Reference:
 @ref{Accidentals},
 @ref{Automatic accidentals},
-@ref{The Feta font}
+@ref{The Emmentaler font}
 
 @node Kievan bar line
 @unnumberedsubsubsec Kievan bar line
@@ -2551,8 +2551,10 @@ It can be invoked as @code{\bar "k"}.
 @end lilypond
 
 @seealso
+Notation Reference:
 @ref{Bars},
-@ref{The Feta font}
+@ref{The Emmentaler font}
+
 
 @node Kievan melismata
 @unnumberedsubsubsec Kievan melismata
@@ -2637,7 +2639,7 @@ typical scenarios are outlined, with suggestions of solutions.
 These involve:
 
 @itemize
-@item how to make incipits (i.e. prefatory material to indicate
+@item how to make incipits (i.e., prefatory material to indicate
 what the original has looked like) to modern transcriptions of
 mensural music;
 @item how to achieve the @emph{Mensurstriche} layout frequently
@@ -2697,7 +2699,7 @@ produced.  If no instrument name is required then use
 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
 for bar lines that are drawn between the staves of a system but
 not through the staves themselves.  It is a common way to preserve
-the rhythmic appearance of the original, i.e. not having to break
+the rhythmic appearance of the original, i.e., not having to break
 syncopated notes at bar lines, while still providing the
 orientation aids that bar lines give.
 
@@ -2835,7 +2837,7 @@ verba = \lyricmode {
 @end lilypond
 
 Another common situation is transcription of neumatic or
-melismatic chants, i.e. chants with a varying number of notes
+melismatic chants, i.e., chants with a varying number of notes
 to each syllable.  In this case, one would want to set the
 syllable groups clearly apart, usually also the subdivisions of a
 longer melisma.  One way to achieve this is to use a fixed