X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fbasic-notation.itely;h=40b089878f186c945e10f375a8f6acbef1135e43;hb=199e97714242780f3694a2e501c917c54ad64a53;hp=1e1a59a874a8223096009f74da8a39edb5e342c2;hpb=e42585017a01fd02f6353b994cf0c87b03a7bb2e;p=lilypond.git

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index 1e1a59a874..40b089878f 100644
--- a/Documentation/user/basic-notation.itely
+++ b/Documentation/user/basic-notation.itely
@@ -1,5 +1,12 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely
+@ignore
+    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+    When revising a translation, copy the HEAD committish of the
+    version that you are working on.  See TRANSLATION for details.
+@end ignore
+
 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update
@@ -13,7 +20,7 @@ This chapter explains how to use basic notation features.
 @menu
 * Pitches::                     
 * Rhythms::                     
-* Multiple notes at once::      
+* Polyphony::                   
 * Staff notation::              
 * Connecting notes::            
 * Expressive marks::            
@@ -32,7 +39,7 @@ This section discusses how to specify the pitch of notes.
 * Accidentals::                 
 * Cautionary accidentals::      
 * Micro tones::                 
-* Notes names in other languages::  
+* Note names in other languages::  
 * Relative octaves::            
 * Octave check::                
 * Transpose::                   
@@ -68,9 +75,9 @@ c1
 @funindex ,
 
 The optional octave specification takes the form of a series of
-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters.  Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+single quote (@samp{'}) characters or a series of comma
+(@samp{,}) characters.  Each @samp{'} raises the pitch by one
+octave; each @samp{,} lowers the pitch by an octave.
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 \clef treble
@@ -117,11 +124,11 @@ suffix; a natural pitch is shown as a simple note name
 a4 aes a2
 @end lilypond
 
-The input @code{d e f} is interpreted as ``print a D-natural,
-E-natural, and an F-natural,'' regardless of the key
+The input @code{d e f} is interpreted as @q{print a D-natural,
+E-natural, and an F-natural,} regardless of the key
 signature.  For more information about the distinction between
 musical content and the presentation of that content, see
-@ref{More about pitches}.
+@ref{Accidentals and key signatures}.
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative]
 \key d \major
@@ -167,7 +174,7 @@ print them manually.  A reminder accidental
 can be forced by adding an exclamation mark @code{!}
 after the pitch.  A cautionary accidental
 (i.e., an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch.  These extra accidentals
+question mark @samp{?} after the pitch.  These extra accidentals
 can be used to produce natural signs, too.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
@@ -205,8 +212,8 @@ three-quarter flats, so LilyPond's symbol does not conform to any
 standard.
 
 
-@node Notes names in other languages
-@subsection Notes names in other languages
+@node Note names in other languages
+@subsection Note names in other languages
 
 There are predefined sets of note names for various other languages.
 To use them, include the language specific init file.  For
@@ -214,24 +221,60 @@ example, add @code{\include "english.ly"} to the top of the input
 file.  The available language files
 and the note names they define are
 
-@c  what about micro-tunes, double-sharps, and double-flats?  add
-@c  more columns to the table?
-@c  Oh, and should this be made into a multitable?
+@c  Should this be made into a multitable?
 @cindex note names, other languages
 @example
-                        Note Names               sharp       flat
-nederlands.ly  c   d   e   f   g   a   bes b   -is         -es
-english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat
-                                               -x (double)
-deutsch.ly     c   d   e   f   g   a   b   h   -is         -es
-norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es
-svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess
-italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b
-catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b
-espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b
+                        Note Names               sharp       flat     double        double
+                                                                       sharp        flat
+
+nederlands.ly  c   d   e   f   g   a   bes b   -is         -es       -isis         -eses
+english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat  -ss/-x/       -ff/
+                                                                     -sharpsharp   -flatflat
+deutsch.ly     c   d   e   f   g   a   b   h   -is         -es       -isis         -eses
+norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es  -ississ/-isis -essess/-eses
+svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess      -ississ       -essess
+italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b        -dd           -bb
+catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b        -dd/-ss       -bb
+espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b        -ss           -bb
+@end example
+
+@noindent
+Note that in Dutch, German, Norwegian, and Swedish, the flat
+alterations of @samp{a} like for example @code{aes} and @code{aeses}
+are usually contracted to @code{as} and @code{ases} (or more commonly
+@code{asas}). Sometimes only these contracted names are defined in the
+corresponding language files (this also applies to the suffixes for
+quartertones below).
+
+@noindent
+Some music uses microtones whose alterations are fractions of a
+@q{regular} sharp or flat. The note names for quartertones defined in
+the various language files are listed in the following table. Here the
+prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
+half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
+special names have been defined yet.
+@c What about Turkish Maquam music and similar microtonal systems?
+@c
+@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code 
+@c is actually misleading since the alteration is in fact one and a half
+@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
+
+@example
+                        Note Names             semi-   semi-  sesqui-  sesqui-
+                                               sharp   flat    sharp    flat
+
+nederlands.ly  c   d   e   f   g   a   bes b   -ih     -eh    -isih    -eseh
+english.ly     c   d   e   f   g   a   bf  b   -qs     -qf    -tqs     -tqf
+deutsch.ly     c   d   e   f   g   a   b   h   -ih     -eh    -isih    -eseh
+norsk.ly       c   d   e   f   g   a   b   h   
+svenska.ly     c   d   e   f   g   a   b   h   
+italiano.ly    do  re  mi  fa  sol la  sib si  -sd     -sb    -dsd     -bsb
+catalan.ly     do  re  mi  fa  sol la  sib si  
+espanol.ly     do  re  mi  fa  sol la  sib si  
 @end example
 
 
+
 @node Relative octaves
 @subsection Relative octaves
 
@@ -422,7 +465,7 @@ mus = { \key d \major cis d fis g }
 
 @code{\transpose} may also be used to input written notes for a
 transposing instrument.  Pitches are normally entered into LilyPond
-in C (or ``concert pitch''), but they may be entered in another
+in C (or @q{concert pitch}), but they may be entered in another
 key.  For example, when entering music for a B-flat trumpet which
 begins on concert D, one would write
 
@@ -443,7 +486,7 @@ existing music with another @code{transpose}
 
 Program reference: @internalsref{TransposedMusic}.
 
-Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
+Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
 
 
 @refbugs
@@ -499,8 +542,8 @@ Program reference: @internalsref{Rest}.
 @funindex \skip
 @funindex s
 
-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
+An invisible rest (also called a @q{skip}) can be entered like a note
+with note name @samp{s} or with @code{\skip @var{duration}}
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 a4 a4 s4 a4 \skip 1 a4
@@ -616,7 +659,7 @@ duration.  The default for the first note is a quarter note.
 
 @funindex .
 
-To obtain dotted note lengths, simply add a dot (`@code{.}') to
+To obtain dotted note lengths, simply add a dot (@samp{.}) to
 the number.  Double-dotted notes are produced in a similar way.
 
 @lilypond[quote,ragged-right,fragment,verbatim]
@@ -719,6 +762,49 @@ To avoid printing tuplet numbers, use
 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
 @end lilypond
 
+Use the @code{\tweak} function to override nested tuplets beginning at the
+same music moment.  In this example, @code{\tweak} specifies fraction
+text for the
+outer @code{TupletNumber} and denominator text for the @code{TupletNumber}
+of the first of the three inner tuplets.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+  \tweak #'text #tuplet-number::calc-fraction-text
+  \times 4/3 {
+     \tweak #'text #tuplet-number::calc-denominator-text
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+  }
+}
+@end lilypond
+
+Here @code{\tweak} and @code{\override} work together to specify
+@code{TupletBracket} direction.  The first @code{\tweak} positions
+the @code{TupletBracket} of the outer
+tuplet above the staff.  The second @code{\tweak} positions the
+@code{TupletBracket} of the first of the three inner tuplets below the
+staff.  Note that this pair of @code{\tweak} functions affects only
+the outer tuplet and the first of the three inner tuplets because only
+those two tuplets begin at the same music moment.  We use @code{\override}
+in the usual way to position the @code{TupletBrackets} of
+the second and third of the inner tuplets below the staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+  \tweak #'text #tuplet-number::calc-fraction-text
+  \tweak #'direction #up
+  \times 4/3 {
+     \tweak #'direction #down
+     \times 2/3 { c'8[ c'8 c'8] }
+     \override TupletBracket #'direction = #down
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+  }
+}
+@end lilypond
+
 Tuplet brackets can be made to run to prefatory matter or
 the next note
 
@@ -745,19 +831,19 @@ the next note
 Program reference: @internalsref{TupletBracket},
 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
 
-Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
-
 
 
 @node Scaling durations
 @subsection Scaling durations
 
 You can alter the length of duration by a fraction @var{N/M}
-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}).  This
-will not affect the appearance of the notes or rests produced.
+appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).  This
+will not affect the appearance of the notes or rests produced.  These
+may be combined such as @samp{*M*N}.
 
 In the following example, the first three notes take up exactly two
 beats, but no triplet bracket is printed.
+
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \time 2/4
 a4*2/3 gis4*2/3 a4*2/3
@@ -768,7 +854,7 @@ b16*4 c4
 
 @seealso
 
-This manual: @ref{Tuplets}
+This manual: @ref{Tuplets}.
 
 
 @node Bar check
@@ -779,7 +865,7 @@ This manual: @ref{Tuplets}
 @funindex |
 
 Bar checks help detect errors in the durations.  A bar check is
-entered using the bar symbol, `@code{|}'.  Whenever it is encountered
+entered using the bar symbol, @samp{|}.  Whenever it is encountered
 during interpretation, it should fall on a measure boundary.  If it
 does not, a warning is printed.  In the next example, the second bar
 check will signal an error
@@ -855,7 +941,7 @@ is off.
 
 If you want to allow line breaking on the bar lines where
 @internalsref{Completion_heads_engraver} splits notes, you must
-also remove @internalsref{Forbid_line_breaks_engraver}.
+also remove @internalsref{Forbid_line_break_engraver}.
 
 
 @refbugs
@@ -870,15 +956,11 @@ rests.
 
 @seealso
 
-Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
-
-@noindent
-
 Program reference: @internalsref{Completion_heads_engraver}.
 
 
-@node Multiple notes at once
-@section Multiple notes at once
+@node Polyphony
+@section Polyphony
 
 Polyphony in music refers to having more than one voice occurring in
 a piece of music.  Polyphony in LilyPond refers to having more than
@@ -962,7 +1044,7 @@ them simultaneously, separating the voices with @code{\\}
 @end lilypond
 
 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called ``layers'' in other notation packages}
+voices are sometimes called @q{layers} in other notation packages}
 @cindex layers
 to be instantiated.  They bear the names @code{"1"}, @code{"2"}, etc.  In
 each of these contexts, vertical direction of slurs, stems, etc., is set
@@ -972,7 +1054,7 @@ These voices are all separate from the voice that contains the notes just
 outside the @code{<< \\ >>} construct.  This should be noted when making
 changes at the voice level.  This also means that slurs and ties cannot go
 into or out of a @code{<< \\ >>} construct.  Conversely, parallel voices
-from separate @code{<< \\ >>} constructs on the same staff are the the
+from separate @code{<< \\ >>} constructs on the same staff are the
 same voice.  Here is the same example, with different noteheads for each
 voice.  Note that the change to the note-head style in the main voice does
 not affect
@@ -1012,6 +1094,7 @@ to the note immediately preceding it.
 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
 @code{noteA}.
 
+
 @node Explicitly instantiating voices
 @subsection Explicitly instantiating voices
 
@@ -1114,13 +1197,29 @@ the music.
 }
 @end lilypond
 
+In some instances of complex polyphonic music, you may need additional
+voices to avoid collisions between notes.  Additional voices are added
+by defining an identifier, as shown below:
+
+@lilypond[quote,verbatim,ragged-right,relative=2]
+voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
+
+\relative c''' <<
+  { \voiceOne g4 ~  \stemDown g32[ f( es d c b a b64 )g] } \\
+  { \voiceThree  b4} \\
+  { \voiceFive d,} \\
+  { \voiceTwo g,}
+>>
+@end lilypond
+
 
 @node Collision Resolution
 @subsection Collision Resolution
 
 Normally, note heads with a different number of dots are not merged, but
 when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are merged
+the @internalsref{NoteCollision} object, they are merged:
+
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Voice << {
   g8 g8
@@ -1131,7 +1230,8 @@ the @internalsref{NoteCollision} object, they are merged
 @end lilypond
 
 Similarly, you can merge half note heads with eighth notes, by setting
-@code{merge-differently-headed}
+@code{merge-differently-headed}:
+
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \new Voice << {
   c8 c4.
@@ -1151,6 +1251,30 @@ for example
 \new Voice << c''4 \\ r4 >>
 @end lilypond
 
+If three or more notes line up in the same column,
+@code{merge-differently-headed} cannot
+successfully complete the merge of the two notes that should be merged.
+To allow the merge to work properly, apply a @code{\shift} to the note that
+should not be merged.  In the first measure of following example,
+@code{merge-differently-headed} does not work (the half-note head is
+solid).  In the second measure, @code{\shiftOn} is applied to move the
+top @code{g} out of the column, and @code{merge-differently-headed}
+works properly.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\override Staff.NoteCollision #'merge-differently-headed = ##t
+<<
+  { d=''2 g2 } \\
+  { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
+  { \voiceFour e,,2 e'2}
+>>
+<<
+  { d'=''2 \shiftOn g2 } \\ 
+  { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
+  { \voiceFour e,,2 e'2}
+>>
+@end lilypond
+
 
 @refcommands
 
@@ -1172,8 +1296,9 @@ for example
 @funindex \shiftOnnn
 @code{\shiftOnnn},
 @funindex \shiftOff
-@code{\shiftOff}: these commands specify in what chords of the current
-voice should be shifted.  The outer voices (normally: voice one and
+@code{\shiftOff}: these commands specify the
+degree to which chords of the current voice should be shifted.
+The outer voices (normally: voice one and
 two) have @code{\shiftOff}, while the inner voices (three and four)
 have @code{\shiftOn}.  @code{\shiftOnn} and @code{\shiftOnnn} define
 further shift levels.
@@ -1200,13 +1325,6 @@ be used to override typesetting decisions.
 Program reference: the objects responsible for resolving collisions are
 @internalsref{NoteCollision} and @internalsref{RestCollision}.
 
-Examples:
-@inputfileref{input/@/regression,collision@/-dots@/.ly},
-@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
-@inputfileref{input/@/regression,collision@/-heads@/.ly},
-@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
-@inputfileref{input/@/regression,collisions@/.ly}.
-
 
 @refbugs
 
@@ -1377,7 +1495,7 @@ command
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get
 @var{pitch}-major or @var{pitch}-minor, respectively.  You may also
-use the standard mode names (also called ``church modes''): @code{\ionian},
+use the standard mode names (also called @q{church modes}): @code{\ionian},
 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
 @code{\phrygian}, and @code{\dorian}.
 
@@ -1387,7 +1505,7 @@ can be specified by setting this property directly.
 
 Accidentals and key signatures often confuse new users, because
 unaltered notes get natural signs depending on the key signature.  For
-more information, see @ref{Accidentals} or @ref{More about pitches}.
+more information, see @ref{Accidentals}, or @ref{Accidentals and key signatures}.
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 \key g \major
@@ -1453,7 +1571,7 @@ property.  Setting it to @code{#'()} uses fraction style for 4/4 and
 @end lilypond
 
 There are many more options for its layout.  See @ref{Ancient time
-signatures} for more examples.
+signatures}, for more examples.
 
 @code{\time} sets the property @code{timeSignatureFraction},
 @code{beatLength} and @code{measureLength} in the @code{Timing}
@@ -1494,7 +1612,7 @@ measure is subdivided in 2, 2, 2 and 3.  This is passed to
 Program reference: @internalsref{TimeSignature}, and
 @internalsref{Timing_translator}.
 
-Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
+Examples: @lsr{contemporary,compound-time-signature.ly}.
 
 
 @refbugs
@@ -1537,7 +1655,7 @@ This is internally translated into
 The property @code{measurePosition} contains a rational number
 indicating how much of the measure has passed at this point.  Note
 that this is a negative number; @code{\partial 4} is internally
-translated to mean ``there is a quarter note left in the bar''.
+translated to mean @qq{there is a quarter note left in the bar.}
 
 
 @refbugs
@@ -1598,7 +1716,7 @@ point (without increasing the bar number counter).
 In scores with many staves, a @code{\bar} command in one staff is
 automatically applied to all staves.  The resulting bar lines are
 connected between different staves of a @code{StaffGroup},
-@code{PianoStaff}, or @code{ChoirStaff}.
+@code{PianoStaff}, or @code{GrandStaff}.
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 <<
@@ -1755,7 +1873,7 @@ in every context, and that type is determined by the property
 System start delimiters may be deeply nested,
 
 @lilypond[quote,ragged-right,verbatim]
-\new StaffGroup 
+\new StaffGroup
 \relative <<
   \set StaffGroup.systemStartDelimiterHierarchy
     = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
@@ -1774,14 +1892,14 @@ System start delimiters may be deeply nested,
 @cindex adjusting staff symbol
 
 Notes, dynamic signs, etc., are grouped
-with a set of horizontal lines, called a staff (plural `staves').  In
+with a set of horizontal lines, called a staff (plural @q{staves}).  In
 LilyPond, these lines are drawn using a separate layout object called
 @code{staff symbol}.
 
 The staff symbol may be tuned in the number, thickness and distance
 of lines, using properties.  This is demonstrated in the example files
-@inputfileref{input/@/test,staff@/-lines@/.ly},
-@inputfileref{input/@/test,staff@/-size@/.ly}.
+@lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
+@lsr{staff,changing-the-staff-size.ly}.
 
 In addition, staves may be started and stopped at will. This is done
 with @code{\startStaff} and @code{\stopStaff}.
@@ -1812,10 +1930,7 @@ sections. An example is shown here
 
 Program reference: @internalsref{StaffSymbol}.
 
-Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
-@inputfileref{input/@/test@/,ossia.ly},
-@inputfileref{input/@/test,staff@/-size@/.ly},
-@inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
+Examples: @lsrdir{staff}
 
 
 @node Writing music in parallel
@@ -1907,7 +2022,7 @@ This section deals with notation that affects groups of notes.
 A tie connects two adjacent note heads of the same pitch.  The tie in
 effect extends the length of a note.  Ties should not be confused with
 slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing.  A tie is entered using the tilde symbol `@code{~}'
+musical phrasing.  A tie is entered using the tilde symbol @samp{~}
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 e' ~ e' <c' e' g'> ~ <c' e' g'>
@@ -2007,12 +2122,6 @@ In this manual: @ref{Automatic note splitting}.
 
 Program reference: @internalsref{Tie}.
 
-Examples:
-@inputfileref{input/@/regression,tie-arpeggio.ly}
-@inputfileref{input/@/regression,tie-manual.ly}
-
-
-
 
 @refbugs
 
@@ -2141,7 +2250,7 @@ Program reference:
 @internalsref{LaissezVibrerTieColumn}
 
 Example files:
-@inputfileref{input/regression,laissez-vibrer-tie.ly}
+@lsr{connecting,laissez-vibrer-ties.ly}
 
 
 @node Automatic beams
@@ -2155,7 +2264,7 @@ LilyPond inserts beams automatically
 
 When these automatic decisions are not good enough, beaming can be
 entered explicitly.  It is also possible to define beaming patterns
-that differ from the defaults.  See @ref{Setting automatic beam behavior}
+that differ from the defaults.  See @ref{Setting automatic beam behavior},
 for details.
 
 Individual notes may be marked with @code{\noBeam} to prevent them
@@ -2229,9 +2338,10 @@ For more information about @code{make-moment}, see
 @ref{Time administration}.
 
 Line breaks are normally forbidden when beams cross bar lines.  This
-behavior can be changed by setting @code{allowBeamBreak}.
+behavior can be changed by setting @code{breakable}.
+
+@funindex breakable
 
-@funindex allowBeamBreak
 @cindex beams and line breaks
 @cindex beams, kneed
 @cindex kneed beams
@@ -2241,7 +2351,8 @@ behavior can be changed by setting @code{allowBeamBreak}.
 @refbugs
 
 Kneed beams are inserted automatically when a large gap is detected
-between the note heads.  This behavior can be tuned through the object.
+between the note heads.  This behavior can be tuned through the
+@code{auto-knee-gap} object.
 
 Automatically kneed cross-staff beams cannot be used together with
 hidden staves.  See @ref{Hiding staves}.
@@ -2285,7 +2396,7 @@ c4 \grace c16 c4
 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
 @code{\grace} command does not start a slur.
 
-Internally, timing for grace notes is done using a second, `grace'
+Internally, timing for grace notes is done using a second, @q{grace}
 timing.  Every point in time consists of two rational numbers: one
 denotes the logical time, one denotes the grace timing.  The above
 example is shown here with timing tuples
@@ -2331,12 +2442,12 @@ following the main note.
 c1 \afterGrace d1 { c16[ d] } c4
 @end lilypond
 
-This will put the grace notes after a ``space'' lasting 3/4 of the
+This will put the grace notes after a @q{space} lasting 3/4 of the
 length of the main note.  The fraction 3/4 can be changed by setting
 @code{afterGraceFraction}, ie.
 
 @example
-afterGraceFraction = #(cons 7 8)
+#(define afterGraceFraction (cons 7 8))
 @end example
 
 @noindent
@@ -2629,7 +2740,7 @@ very close to note heads in monophonic music,
 
 Program reference: @internalsref{Fingering}.
 
-Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
+Examples: @lsr{expressive,fingering-chords.ly}
 
 
 @node Dynamics
@@ -2749,6 +2860,9 @@ a'2\< a a a\!\mf
 To create new dynamic marks or text that should be aligned
 with dynamics, see @ref{New dynamic marks}.
 
+Vertical positioning of dynamics is handled by
+@internalsref{DynamicLineSpanner}.
+
 
 @commonprop
 
@@ -2824,7 +2938,7 @@ d4
 
 Program reference: @internalsref{BreathingSign}.
 
-Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
+Examples: @lsr{expressive,breathing-sign.ly}
 
 
 @node Trills
@@ -2890,7 +3004,9 @@ c2\glissando c,
 
 Program reference: @internalsref{Glissando}.
 
-Example files: @file{input/@/regression/@/glissando@/.ly}.
+Example files:
+@lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
+
 
 
 @refbugs
@@ -3082,18 +3198,13 @@ c1
 \alternative { {d2 d} {f f,} }
 @end lilypond
 
-In the following example, the first ending is not a complete
-bar (it only had 3 beats).  The beginning of the second ending
-contains the 4th beat from the first ending.  This ``extra''
-beat in the second ending is due to the first time ending,
-and has nothing to do with the @code{\partial} at the
-beginning of the example.
+Repeats with upbeats may be created.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Staff {
-  \partial 4
-  \repeat volta 4 { e | c2 d2 | e2 f2 | }
-  \alternative { { g4 g g } { a | a a a a | b2. } }
+  \partial 4 e |
+  \repeat volta 4 { c2 d2 | e2 f2 | }
+  \alternative { { g4 g g e } { a a a a | b2. } }
 }
 @end lilypond
 
@@ -3122,14 +3233,24 @@ bracket only lasts one measure, which is a duration of 3/4.
 }
 @end lilypond
 
+If you want to start a repeat at the beginning of a line and have a
+double bar at the end of the previous line, use
+@example
+@dots{} \bar "||:" \break 
+\repeat volta 2 @{ @dots{} 
+@end example
+see @ref{Bar lines} for more information.
 
 @seealso
 
 Examples:
 
 Brackets for the repeat are normally only printed over the topmost
-staff.  This can be adjusted by setting the @code{voltaOnThisStaff}
-property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
+staff.  This can be adjusted by moving @code{Volta_engraver} to the
+Staff context where you want the brackets to appear;
+see @ref{Modifying context plug-ins} and
+
+@lsr{repeats,volta@/-multi@/-staff@/.ly}.
 
 
 @refbugs
@@ -3237,9 +3358,8 @@ c4 c4
 
 Program reference: @internalsref{VoltaBracket},
 @internalsref{RepeatedMusic},
-@internalsref{VoltaRepeatedMusic},
-@internalsref{UnfoldedRepeatedMusic}, and
-@internalsref{FoldedRepeatedMusic}.
+@internalsref{VoltaRepeatedMusic}, and
+@internalsref{UnfoldedRepeatedMusic}.
 
 
 @node Tremolo repeats
@@ -3273,9 +3393,6 @@ In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
 
 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
 
-Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
-@inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
-
 
 @node Tremolo subdivisions
 @subsection Tremolo subdivisions
@@ -3284,7 +3401,7 @@ Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
 @funindex tremoloFlags
 
 Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{number}]' after the note.  The number indicates the
+@q{@code{:}[@var{number}]} after the note.  The number indicates the
 duration of the subdivision, and it must be at least 8.  A
 @var{length} value of 8 gives one line across the note stem.  If the
 length is omitted, the last value (stored in @code{tremoloFlags}) is