X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Frhythms.itely;h=a393f1346c2a71c087bac8abfc951598b0644a08;hb=a307b1d69dff09d4d9a75c53a20a02ec7545d282;hp=d3263d4f6a43f93d6e6c50e1f78868aa80bb13e0;hpb=b4eb7a4a61c9ec5ed2b14a90fc6c14a2f3caacb3;p=lilypond.git

diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index d3263d4f6a..a393f1346c 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -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
@@ -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},
@@ -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"
@@ -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 {