X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Frhythms.itely;h=a393f1346c2a71c087bac8abfc951598b0644a08;hb=8659a99f233f5c4684292728e7ad4206669b35b0;hp=05d71edc49b49d4ea995d033dc0c190bc7f286ab;hpb=a1267e20afa61258ce3031f07d916e0e66ac6582;p=lilypond.git

diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 05d71edc49..a393f1346c 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -186,7 +186,7 @@ Internals Reference:
 @c Deliberately duplicated in Durations and Rests.  -gp
 There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited:
-rests from 128th to maxima (8 x whole) may be printed.
+rests from 128th to maxima (8× whole) may be printed.
 
 
 @node Tuplets
@@ -443,7 +443,7 @@ used when note values cross larger subdivisions of the measure:
 
 @lilypond[verbatim,quote]
 \relative {
-  r8 c'~ 2 r4 |
+  r8 c'4.~ 4 r4 |
   r8^"not" c2~ 8 r4
 }
 @end lilypond
@@ -713,7 +713,7 @@ Internals Reference:
 @c Deliberately duplicated in Durations and Rests.  -gp
 There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited: there
-are rests from 128th to maxima (8 x whole).
+are rests from 128th to maxima (8× whole).
 
 
 @node Invisible rests
@@ -981,7 +981,7 @@ Internals Reference:
 @cindex multi-measure rests and fingerings
 
 @knownissues
-Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
+Fingerings over multi-measure rests (e.g., @code{R1*10-4}) may result
 in the fingering numeral colliding with the bar counter
 numeral.
 
@@ -1489,7 +1489,7 @@ Internal Reference:
 @funindex \cadenzaOff
 
 In metered music bar lines are inserted and bar numbers are calculated
-automatically. In unmetered music (i.e. cadenzas), this is not
+automatically. In unmetered music (i.e., cadenzas), this is not
 desirable and can be @q{switched off} using the command
 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
 using @code{\cadenzaOff}.
@@ -1715,7 +1715,7 @@ These are created using the @code{\compoundMeter} function.  The syntax
 for this is:
 
 @example
-\compoundMeter #'@code{(list of lists)}
+\compoundMeter #'(list of lists)
 @end example
 
 The simplest construction is a single list, where the @emph{last} number
@@ -1864,7 +1864,7 @@ For consistency with previous behavior, notes and rests with
 duration longer than a measure, such as @code{c1*2}, are split into
 notes without any scale factor, @code{@{ c1 c1 @}}.  The property
 @code{completionFactor} controls this behavior, and setting it to
-@code{#f} cause split notes and rest to have the scale factor
+@code{#f} cause split notes and rests to have the scale factor
 of the input durations.
 
 
@@ -1929,6 +1929,22 @@ be done with the @code{Pitch_squash_engraver} and
 >>
 @end lilypond
 
+Music containing chords can also be used as input to @code{RhythmicStaff}
+and for use with the @code{Pitch_squash_engraver} if the chords are first
+reduced to single notes with the @code{\reduceChords} music function:
+
+@lilypond[quote,verbatim]
+\new RhythmicStaff {
+  \time 4/4
+  \reduceChords {
+    <c>2
+    <e>2
+    <c e g>2
+    <c e g>4
+    <c e g>4
+  }
+}
+@end lilypond
 
 @predefined
 @code{\improvisationOn},
@@ -2666,7 +2682,7 @@ all notes end before the end of a measure.
 
 @warning{An incorrect duration can cause line breaks to be
 inhibited, leading to a line of highly compressed music or
-music which flows off the page.}
+music that flows off the page.}
 
 @cindex line breaks
 @cindex bar lines, invisible
@@ -2758,7 +2774,7 @@ However, as such ticks are typically used in Gregorian chant, it is
 preferable to use @code{\divisioMinima} there instead, described in
 the section @ref{Divisiones} in Gregorian chant.
 
-Lilypond supports kievan notation and provides a special kievan
+LilyPond supports kievan notation and provides a special kievan
 bar line:
 @lilypond[quote,fragment,verbatim]
 f'1 \bar "k"
@@ -2941,7 +2957,7 @@ for defining span bars correctly aligned to the main bar lines:
 @end lilypond
 
 If additional elements are needed, LilyPond provides a simple
-way to define them.  For more informations on modifying or adding
+way to define them.  For more information on modifying or adding
 bar lines, see file @file{scm/bar-line.scm}.
 
 In scores with many staves, a @code{\bar} command in one staff is
@@ -3279,9 +3295,9 @@ produces a boxed number.
 @end lilypond
 
 The file @file{scm/translation-functions.scm} contains the
-definitions of @code{format-mark-numbers} (the default format),
-@code{format-mark-box-numbers}, @code{format-mark-letters} and
-@code{format-mark-box-letters}.  These can be used as inspiration
+definitions of @code{format-mark-letters} (the default format),
+@code{format-mark-box-letters}, @code{format-mark-numbers} and
+@code{format-mark-box-numbers}.  These can be used as inspiration
 for other formatting functions.
 
 You may use @code{format-mark-barnumbers},
@@ -3326,7 +3342,7 @@ Music glyphs (such as the segno sign) may be printed inside a
 @end lilypond
 
 @noindent
-See @ref{The Feta font}, for a list of symbols which may be
+See @ref{The Emmentaler font}, for a list of symbols which may be
 printed with @code{\musicglyph}.
 
 For common tweaks to the positioning of rehearsal marks, see
@@ -3340,7 +3356,7 @@ other formatting functions.
 
 @seealso
 Notation Reference:
-@ref{The Feta font},
+@ref{The Emmentaler font},
 @ref{Formatting text},
 @ref{Aligning objects}.
 
@@ -3432,11 +3448,23 @@ notes following the main note.
 \relative { c''1 \afterGrace d1 { c16[ d] } c1 }
 @end lilypond
 
-This will put the grace notes after a space lasting 3/4 of the
-length of the main note.  The default fraction 3/4 can be changed by
-setting @code{afterGraceFraction}.  The following example shows
-the results from setting the space at the default,  at 15/16, and
-finally at 1/2 of the main note.
+This will place the grace notes @emph{after} the start of the main
+note.  The point of time where the grace notes are placed is a
+given fraction of the main note's duration.  The default setting
+of
+
+@example
+afterGraceFraction = 3/4
+@end example
+
+@noindent
+may be redefined at top level.  Individual @code{\afterGrace}
+commands may have the fraction specified right after the command
+itself instead.
+
+The following example shows the results from setting with the
+default space, setting it at @code{15/16}, and finally at
+@code{1/2} of the main note.
 
 @lilypond[quote,verbatim]
 <<
@@ -3444,19 +3472,17 @@ finally at 1/2 of the main note.
     c''1 \afterGrace d1 { c16[ d] } c1
   }
   \new Staff \relative {
-    #(define afterGraceFraction (cons 15 16))
-    c''1 \afterGrace d1 { c16[ d] } c1
+    c''1 \afterGrace 15/16 d1 { c16[ d] } c1
   }
   \new Staff \relative {
-    #(define afterGraceFraction (cons 1 2))
-    c''1 \afterGrace d1 { c16[ d] } c1
+    c''1 \afterGrace 1/2 d1 { c16[ d] } c1
   }
 >>
 @end lilypond
 
-The space between the main note and the grace note may also be
-specified using spacers.  The following example places the grace
-note after a space lasting 7/8 of the main note.
+The effect of @code{\afterGrace} can also be achieved using
+spacers.  The following example places the grace note after a
+space lasting 7/8 of the main note.
 
 @lilypond[quote,verbatim]
 \new Voice \relative {
@@ -3717,10 +3743,10 @@ The next bar line then falls at 9/8 rather than 5/4.
 @end lilypond
 
 @noindent
-As the example illustrates, @code{ly:make-moment n m} constructs a
+As the example illustrates, @code{ly:make-moment n/m} constructs a
 duration of n/m of a whole note.  For example,
-@code{ly:make-moment 1 8} is an eighth note duration and
-@code{ly:make-moment 7 16} is the duration of seven sixteenths
+@code{ly:make-moment 1/8} is an eighth note duration and
+@code{ly:make-moment 7/16} is the duration of seven sixteenths
 notes.
 
 @seealso