X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fbasic-notation.itely;h=ad2cc92492fd2833b46cbfa6467986f8f239f2ba;hb=3113ee98e4d0c3753a2f7b60fffe5dfa47384935;hp=e19e01ef24f2e6ecbf3942440e2b79e70a65a561;hpb=9755f17b5141ae25e1ad683c445a4505702f0b1f;p=lilypond.git

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index e19e01ef24..ad2cc92492 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
@@ -64,8 +71,8 @@ c1
 c1
 @end lilypond
 
-@findex '
-@findex ,
+@funindex '
+@funindex ,
 
 The optional octave specification takes the form of a series of
 single quote (`@code{'}') characters or a series of comma
@@ -92,20 +99,21 @@ octave specifications (@code{'} and @code{,}).  See
 @cindex note names, default
 
 A sharp is formed by adding @code{-is} to the end of a pitch name and
-a flat is formed by adding @code{-es}
+a flat is formed by adding @code{-es}.  Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses} to a note name.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 a2 ais a aes
+a2 aisis a aeses
 @end lilypond
 
-Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} to a note name.  These
-are the Dutch note names.  In Dutch, @code{aes} is contracted to
+@noindent
+These are the Dutch note names.  In Dutch, @code{aes} is contracted to
 @code{as}, but both forms are accepted.  Similarly, both
 @code{es} and @code{ees} are accepted
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a2 aisis a aeses
+a2 as e es
 @end lilypond
 
 A natural will cancel the effect of an accidental or key signature.
@@ -116,6 +124,18 @@ 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
+signature.  For more information about the distinction between
+musical content and the presentation of that content, see
+@ref{More about pitches}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+\key d \major
+d e f g
+d e fis g
+@end lilypond
+
 
 @commonprop
 
@@ -144,10 +164,10 @@ Program reference: @internalsref{LedgerLineSpanner},
 @cindex accidental, cautionary
 @cindex accidental, parenthesized
 @cindex reminder accidental
-@findex ?
+@funindex ?
 @cindex cautionary accidental
 @cindex parenthesized accidental
-@findex !
+@funindex !
 
 Normally accidentals are printed automatically, but you may also
 print them manually.  A reminder accidental
@@ -202,7 +222,7 @@ 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 clumns to the table?
+@c  more columns to the table?
 @c  Oh, and should this be made into a multitable?
 @cindex note names, other languages
 @example
@@ -270,6 +290,7 @@ Here is the relative mode shown in action
 @end lilypond
 
 Octave changing marks are used for intervals greater than a fourth
+
 @lilypond[quote,ragged-right,fragment,verbatim]
 \relative c'' {
   c g c f, c' a, e''
@@ -287,7 +308,7 @@ to determine the first note of the next chord
 }
 @end lilypond
 
-The pitch after the @code{\relative} contains a note name.
+The pitch after @code{\relative} contains a note name.
 
 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.  To use
@@ -321,11 +342,13 @@ There is also an octave check that produces no visible output.  The syntax
 @end example
 
 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in @code{\relative} mode.  If not, a warning is printed, and the
+quotes) in @code{\relative} mode compared to the note given in the
+@code{\relative} command.  If not, a warning is printed, and the
 octave is corrected.  The @var{pitch} is not printed as a note.
 
 In the example below, the first check passes without incident, since
-the @code{e} (in relative mode) is within a fifth of @code{a'}.  However,
+the @code{e} (in @code{relative} mode) is within a fifth of
+@code{a'}.  However,
 the second check produces a warning, since the @code{e} is not within
 a fifth of @code{b'}.  The warning message is printed, and the octave
 is adjusted so that the following notes are in the correct octave
@@ -360,7 +383,7 @@ the output of the piece.
 
 @cindex Transpose
 @cindex Transposition of pitches
-@findex \transpose
+@funindex \transpose
 
 A music expression can be transposed with @code{\transpose}.  The
 syntax is
@@ -414,7 +437,7 @@ begins on concert D, one would write
 \transpose c bes @{ e4 @dots{} @}
 @end example
 
-To print this music in B-flat again (i.e. producing a trumpet part,
+To print this music in B-flat again (i.e., producing a trumpet part,
 instead of a concert pitch conductor's score) you would wrap the
 existing music with another @code{transpose}
 
@@ -427,12 +450,14 @@ existing music with another @code{transpose}
 
 Program reference: @internalsref{TransposedMusic}.
 
+Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
+
 
 @refbugs
 
 If you want to use both @code{\transpose} and @code{\relative},
 you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect music that appears inside a
+@code{\relative} will have no effect on music that appears inside a
 @code{\transpose}.
 
 
@@ -440,8 +465,8 @@ you must put @code{\transpose} outside of @code{\relative}, since
 @subsection Rests
 @cindex Rests
 
-@findex \rest
-@findex r
+@funindex \rest
+@funindex r
 
 Rests are entered like notes with the note name @code{r}
 
@@ -478,8 +503,8 @@ Program reference: @internalsref{Rest}.
 @cindex Skip
 @cindex Invisible rest
 @cindex Space note
-@findex \skip
-@findex s
+@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}}
@@ -538,16 +563,16 @@ This section discusses rhythms, durations, and bars.
 @subsection Durations
 
 @cindex duration
-@findex \longa
-@findex \breve
-@findex \maxima
+@funindex \longa
+@funindex \breve
+@funindex \maxima
 
 In Note, Chord, and Lyrics mode, durations are designated by numbers and
 dots: durations are entered as their reciprocal values.  For example, a
 quarter note is entered using a @code{4} (since it is a 1/4 note), while
 a half note is entered using a @code{2} (since it is a 1/2 note).  For
-notes longer than a whole you must use the variables @code{\longa} and
-@code{\breve}
+notes longer than a whole you must use the @code{\longa} and
+@code{\breve} commands
 
 @example
 c'\breve
@@ -568,6 +593,11 @@ r1 r2 r4 r8 r16 r32 r64 r64
   }
   \layout {
     ragged-right = ##t
+    indent=0\mm
+    \context {
+      \Score
+        \remove "Bar_number_engraver"
+    }
     \context {
       \Staff
         \remove "Clef_engraver"
@@ -591,7 +621,7 @@ duration.  The default for the first note is a quarter note.
 @node Augmentation dots
 @subsection Augmentation dots
 
-@findex .
+@funindex .
 
 To obtain dotted note lengths, simply add a dot (`@code{.}') to
 the number.  Double-dotted notes are produced in a similar way.
@@ -606,11 +636,11 @@ Dots are normally moved up to avoid staff lines, except in polyphonic
 situations.  The following commands may be used to force a particular
 direction manually
 
-@findex \dotsUp
+@funindex \dotsUp
 @code{\dotsUp},
-@findex \dotsDown
+@funindex \dotsDown
 @code{\dotsDown},
-@findex \dotsNeutral
+@funindex \dotsNeutral
 @code{\dotsNeutral}.
 
 @seealso
@@ -623,7 +653,7 @@ Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
 
 @cindex tuplets
 @cindex triplets
-@findex \times
+@funindex \times
 
 Tuplets are made out of a music expression by multiplying all durations
 with a fraction
@@ -646,7 +676,7 @@ g'4 \times 2/3 {c'4 c' c'} d'4 d'4
 Tuplets may be nested, for example,
 
 @lilypond[fragment,ragged-right,verbatim,relative=2]
-\set tupletNumberFormatFunction = #fraction-tuplet-formatter
+\override TupletNumber #'text = #tuplet-number::calc-fraction-text
 \times 4/6 {
   a4 a
   \times 3/5 { a a a a a }
@@ -655,17 +685,17 @@ Tuplets may be nested, for example,
 
 @refcommands
 
-@findex \tupletUp
+@funindex \tupletUp
 @code{\tupletUp},
-@findex \tupletDown
+@funindex \tupletDown
 @code{\tupletDown},
-@findex \tupletNeutral
+@funindex \tupletNeutral
 @code{\tupletNeutral}.
 
 
 @commonprop
 
-@findex tupletNumberFormatFunction
+@funindex tupletNumberFormatFunction
 @cindex tuplet formatting
 
 The property @code{tupletSpannerDuration} specifies how long each
@@ -683,11 +713,10 @@ used once
 For more information about @code{make-moment}, see
 @ref{Time administration}.
 
-The format of the number is determined by the property
-@code{tupletNumberFormatFunction}.  The default prints only the
-denominator, but if it is set to the Scheme function
-@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
-instead.
+The format of the number is determined by the property @code{text} in
+@code{TupletNumber}.  The default prints only the denominator, but if
+it is set to the function @code{tuplet-number::calc-fraction-text},
+@var{num}:@var{den} will be printed instead.
 
 To avoid printing tuplet numbers, use
 
@@ -697,6 +726,26 @@ To avoid printing tuplet numbers, use
 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
 @end lilypond
 
+Tuplet brackets can be made to run to prefatory matter or
+the next note
+
+@lilypond[ragged-right]
+\new RhythmicStaff {
+  \set tupletFullLength = ##t
+  \time 4/4
+  \times 4/5 {
+    c4 c1
+  }
+  \set tupletFullLengthNote = ##t
+  \time 2/4
+  \times 2/3 {
+    c4 c c 
+  }
+  \time 3/4
+  c4 
+}
+@end lilypond
+
 
 @seealso
 
@@ -733,8 +782,8 @@ This manual: @ref{Tuplets}
 @subsection Bar check
 
 @cindex Bar check
-@findex barCheckSynchronize
-@findex |
+@funindex barCheckSynchronize
+@funindex |
 
 Bar checks help detect errors in the durations.  A bar check is
 entered using the bar symbol, `@code{|}'.  Whenever it is encountered
@@ -759,8 +808,8 @@ durations.  Incorrect durations often completely garble up the score,
 especially if the score is polyphonic, so a good place to start correcting
 input is by scanning for failed bar checks and incorrect durations.
 
-@findex |
-@findex pipeSymbol
+@funindex |
+@funindex pipeSymbol
 
 It is also possible to redefine the meaning of @code{|}.  This is done
 by assigning a music expression to @code{pipeSymbol},
@@ -811,6 +860,10 @@ ties.  One of its uses is to debug complex scores: if the measures are
 not entirely filled, then the ties exactly show how much each measure
 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}.
+
 
 @refbugs
 
@@ -852,8 +905,8 @@ one voice on the same staff.
 
 @cindex Chords
 
-A chord is formed by a enclosing a set of pitches in @code{<} and
-@code{>}.  A chord may be followed by a duration, and a set of
+A chord is formed by a enclosing a set of pitches between @code{<}
+and @code{>}.  A chord may be followed by a duration, and a set of
 articulations, just like simple notes
 
 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
@@ -872,11 +925,11 @@ made invisible.
 
 @refcommands
 
-@findex \stemUp
+@funindex \stemUp
 @code{\stemUp},
-@findex \stemDown
+@funindex \stemDown
 @code{\stemDown},
-@findex \stemNeutral
+@funindex \stemNeutral
 @code{\stemNeutral}.
 
 
@@ -902,7 +955,7 @@ 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, separating the voices with @code{\\}
 
-@findex \\
+@funindex \\
 
 @lilypond[quote,verbatim,fragment]
 \new Staff \relative c' {
@@ -935,6 +988,8 @@ second
 voice in the first @code{<< \\ >>} construct is effective in the second
 @code{<< \\ >>}, and the voice is tied across the two constructs.
 
+@cindex note heads, styles
+
 @lilypond[quote,verbatim,fragment]
 \new Staff \relative c' {
   \override NoteHead #'style = #'cross
@@ -1092,6 +1147,10 @@ Similarly, you can merge half note heads with eighth notes, by setting
 c8 c4. } \\ { c2 c2 } >>
 @end lilypond
 
+@noindent
+@code{merge-differently-headed} and @code{merge-differently-dotted}
+only apply to opposing stem directions (ie. Voice 1 & 2).
+
 LilyPond also vertically shifts rests that are opposite of a stem,
 for example
 
@@ -1102,24 +1161,24 @@ for example
 
 @refcommands
 
-@findex \oneVoice
+@funindex \oneVoice
 @code{\oneVoice},
-@findex \voiceOne
+@funindex \voiceOne
 @code{\voiceOne},
-@findex \voiceTwo
+@funindex \voiceTwo
 @code{\voiceTwo},
-@findex \voiceThree
+@funindex \voiceThree
 @code{\voiceThree},
-@findex \voiceFour
+@funindex \voiceFour
 @code{\voiceFour}.
 
-@findex \shiftOn
+@funindex \shiftOn
 @code{\shiftOn},
-@findex \shiftOnn
+@funindex \shiftOnn
 @code{\shiftOnn},
-@findex \shiftOnnn
+@funindex \shiftOnnn
 @code{\shiftOnnn},
-@findex \shiftOff
+@funindex \shiftOff
 @code{\shiftOff}: these commands specify in what 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)
@@ -1193,7 +1252,7 @@ such as key signatures, clefs and time signatures.
 @node Clef
 @subsection Clef
 
-@findex \clef
+@funindex \clef
 
 The clef indicates which lines of the staff correspond to which
 pitches.  The clef is set with the @code{\clef} command
@@ -1289,6 +1348,8 @@ possibilities when setting properties manually.
 
 @seealso
 
+Manual: @ref{Grace notes}.
+
 Program reference: @internalsref{Clef}.
 
 
@@ -1296,7 +1357,7 @@ Program reference: @internalsref{Clef}.
 @subsection Key signature
 
 @cindex Key signature
-@findex \key
+@funindex \key
 
 The key signature indicates the tonality in which a piece is played.  It
 is denoted by a set of alterations (flats or sharps) at the start of the
@@ -1309,16 +1370,16 @@ command
 @code{\key} @var{pitch} @var{type}
 @end example
 
-@findex \minor
-@findex \major
-@findex \minor
-@findex \ionian
-@findex \locrian
-@findex \aeolian
-@findex \mixolydian
-@findex \lydian
-@findex \phrygian
-@findex \dorian
+@funindex \minor
+@funindex \major
+@funindex \minor
+@funindex \ionian
+@funindex \locrian
+@funindex \aeolian
+@funindex \mixolydian
+@funindex \lydian
+@funindex \phrygian
+@funindex \dorian
 @cindex church modes
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get
@@ -1333,7 +1394,13 @@ 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{More about pitches}.
+more information, see @ref{Accidentals} or @ref{More about pitches}.
+
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+\key g \major
+f1
+fis
+@end lilypond
 
 
 @commonprop
@@ -1366,7 +1433,7 @@ Program reference: @internalsref{KeyCancellation},
 
 @cindex Time signature
 @cindex meter
-@findex \time
+@funindex \time
 
 Time signature indicates the metrum of a piece: a regular pattern of
 strong and weak beats.  It is denoted by a fraction at the start of the
@@ -1451,7 +1518,7 @@ Automatic beaming does not use the measure grouping specified with
 @cindex partial measure
 @cindex measure, partial
 @cindex shorten measures
-@findex \partial
+@funindex \partial
 
 Partial measures, such as an anacrusis or upbeat, are entered using the
 
@@ -1465,6 +1532,9 @@ The syntax for this command is
 \partial @var{duration}
 @end example
 
+where @code{duration} is the rhythmic length to be added before
+the next bar.
+
 This is internally translated into
 
 @example
@@ -1472,7 +1542,9 @@ This is internally translated into
 @end example
 
 The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point.
+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''.
 
 
 @refbugs
@@ -1488,12 +1560,16 @@ g4
 a2 g2
 @end lilypond
 
+@code{\partial} is only intended to be used at the beginning of a
+piece.  If you use it after the beginning, some odd warnings may
+occur.
+
 
 @node Bar lines
 @subsection Bar lines
 
 @cindex Bar lines
-@findex \bar
+@funindex \bar
 @cindex measure lines
 @cindex repeat bars
 
@@ -1524,11 +1600,12 @@ To allow a line break where there is no visible bar line, use
 
 @noindent
 This will insert an invisible bar line and allow line breaks at this
-point.
+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 StaffGroup
+connected between different staves of a @code{StaffGroup},
+@code{PianoStaff}, or @code{ChoirStaff}.
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 <<
@@ -1547,9 +1624,9 @@ connected between different staves of a StaffGroup
 
 @commonprop
 
-@findex whichBar
-@findex repeatCommands
-@findex defaultBarType
+@funindex whichBar
+@funindex repeatCommands
+@funindex defaultBarType
 
 The command @code{\bar }@var{bartype} is a short cut for doing
 @code{\set Timing.whichBar = }@var{bartype}.  Whenever @code{whichBar}
@@ -1572,15 +1649,13 @@ In this manual: @ref{Repeats}, @ref{System start delimiters}.
 Program reference: @internalsref{BarLine} (created at
 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
 
-Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
-
 
 @node Unmetered music
 @subsection Unmetered music
 
 @cindex cadenza
-@findex \cadenzaOn
-@findex \cadenzaOff
+@funindex \cadenzaOn
+@funindex \cadenzaOff
 
 Bar lines and bar numbers are calculated automatically.  For unmetered
 music (cadenzas, for example), this is not desirable.  To turn off
@@ -1599,8 +1674,9 @@ d4 e d c
 
 @refbugs
 
-LilyPond will only insert page breaks at a barline.  Unless the unmetered
-music ends before the end of the staff line, you will need to insert
+LilyPond will only insert line breaks and page breaks at a
+barline.  Unless the unmetered music ends before the end of
+the staff line, you will need to insert
 invisible bar lines
 
 @example
@@ -1608,7 +1684,7 @@ invisible bar lines
 @end example
 
 @noindent
-to indicate where line breaks can occur.
+to indicate where breaks can occur.
 
 
 @node System start delimiters
@@ -1678,7 +1754,25 @@ The bar lines at the start of each system are
 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
 @internalsref{SystemStartBracket}.  Only one of these types is created
 in every context, and that type is determined by the property
-@code{systemStartDelimiter}.
+@internalsref{systemStartDelimiter}.
+
+
+@commonprop
+
+System start delimiters may be deeply nested,
+
+@lilypond[quote,ragged-right,verbatim]
+\new StaffGroup 
+\relative <<
+  \set StaffGroup.systemStartDelimiterHierarchy
+    = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
+>>
+@end lilypond
 
 
 @node Staff symbol
@@ -1689,7 +1783,7 @@ in every context, and that type is determined by the property
 Notes, dynamic signs, etc., are grouped
 with a set of horizontal lines, called a staff (plural `staves').  In
 LilyPond, these lines are drawn using a separate layout object called
-staff symbol.
+@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
@@ -1710,8 +1804,7 @@ b b
 @end lilypond
 
 In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
-shown here
+sections. An example is shown here
 
 @cindex ossia
 
@@ -1753,6 +1846,47 @@ Music for multiple parts can be interleaved
 >>
 @end lilypond
 
+This works quite well for piano music
+
+@lilypond[quote,verbatim]
+music = {
+  \key c \major
+  \time 4/4
+  \parallelMusic #'(voiceA voiceB voiceC voiceD) {
+    % Bar 1
+    r8  g'16[ c''] e''[ g' c'' e''] r8  g'16[ c''] e''[ g' c''
+e''] |
+    c'2                                 c'2 |
+    r8  a16[ d'] f'[ a d' f']       r8  a16[ d'] f'[ a d' f'] |
+    c2                                  c2 |
+
+    % Bar 2
+    a'8 b'      c'' d''    e'' f''    g'' a'' |
+    d'4         d'         d'         d' |
+    c16 d e f   d e f g    e f g a    f g a b |
+    a,4         a,4        a,4        a,4 |
+
+    % Bar 3 ...
+  }
+}
+
+\score {
+  \new PianoStaff <<
+    \music
+    \new Staff <<
+      \voiceA \\
+      \voiceB
+    >>
+    \new Staff {
+      \clef bass
+      <<
+        \voiceC \\
+        \voiceD
+      >>
+    }
+  >>
+}
+@end lilypond
 
 
 @node Connecting notes
@@ -1775,7 +1909,7 @@ This section deals with notation that affects groups of notes.
 @subsection Ties
 
 @cindex tie
-@findex ~
+@funindex ~
 
 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
@@ -1787,7 +1921,12 @@ e' ~ e' <c' e' g'> ~ <c' e' g'>
 @end lilypond
 
 When a tie is applied to a chord, all note heads whose pitches match
-are connected.  When no note heads match, no ties will be created.
+are connected.  When no note heads match, no ties will be created.  Chords
+may be partially tied by placing the tie inside the chord,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+<c~ e g~ b> <c e g b>
+@end lilypond
 
 A tie is just a way of extending a note duration, similar to the
 augmentation dot.  The following example shows two ways of notating
@@ -1813,6 +1952,8 @@ automatic note splitting (see @ref{Automatic note splitting}).  This
 mechanism automatically splits long notes, and ties them across bar
 lines.
 
+@funindex \repeatTie
+
 When a second alternative of a repeat starts with a tied note, you
 have to repeat the tie. This can be achieved with @code{\repeatTie},
 
@@ -1830,27 +1971,40 @@ notes need not be consecutive.  This can be achieved by setting the
 @code{tieWaitForNote} property to true. The same feature is also useful,
 for example, to tie a tremolo to a chord. For example,
 
-@lilypond[fragment,verbatim,relative=1,ragged-right]
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
 \set tieWaitForNote = ##t
 \grace { c16[~ e~ g]~ } <c, e g>2
 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
+e8~ c~ a~ f~ <e' c a f>2
+@end lilypond
+
+Ties may be engraved manually by changing the @code{tie-configuration}
+property.  The first number indicates the distance from the center
+of the staff in staff-spaces, and the second number indicates the
+direction (1=up, -1=down).
+
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
+<c e g>2~ <c e g> |
+\override TieColumn #'tie-configuration =
+  #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
+<c e g>~ <c e g> |
 @end lilypond
 
 
 @refcommands
 
 
-@findex \tieUp
+@funindex \tieUp
 @code{\tieUp},
-@findex \tieDown
+@funindex \tieDown
 @code{\tieDown},
-@findex \tieNeutral
+@funindex \tieNeutral
 @code{\tieNeutral},
-@findex \tieDotted
+@funindex \tieDotted
 @code{\tieDotted},
-@findex \tieDashed
+@funindex \tieDashed
 @code{\tieDashed},
-@findex \tieSolid
+@funindex \tieSolid
 @code{\tieSolid}.
 
 
@@ -1871,6 +2025,9 @@ Examples:
 
 Switching staves when a tie is active will not produce a slanted tie.
 
+Changing clefs or octavations during a tie is not really
+well-defined.  In these cases, a slur may be preferable.
+
 
 @node Slurs
 @subsection Slurs
@@ -1915,17 +2072,17 @@ be achieved in LilyPond by setting @code{doubleSlurs},
 
 @refcommands
 
-@findex \slurUp
+@funindex \slurUp
 @code{\slurUp},
-@findex \slurDown
+@funindex \slurDown
 @code{\slurDown},
-@findex \slurNeutral
+@funindex \slurNeutral
 @code{\slurNeutral},
-@findex \slurDashed
+@funindex \slurDashed
 @code{\slurDashed},
-@findex \slurDotted
+@funindex \slurDotted
 @code{\slurDotted},
-@findex \slurSolid
+@funindex \slurSolid
 @code{\slurSolid}.
 
 @seealso
@@ -1958,11 +2115,11 @@ You cannot have simultaneous phrasing slurs.
 
 @refcommands
 
-@findex \phrasingSlurUp
+@funindex \phrasingSlurUp
 @code{\phrasingSlurUp},
-@findex \phrasingSlurDown
+@funindex \phrasingSlurDown
 @code{\phrasingSlurDown},
-@findex \phrasingSlurNeutral
+@funindex \phrasingSlurNeutral
 @code{\phrasingSlurNeutral}.
 
 
@@ -2025,8 +2182,8 @@ Program reference: @internalsref{Beam}.
 @subsection Manual beams
 
 @cindex beams, manual
-@findex ]
-@findex [
+@funindex ]
+@funindex [
 
 In some cases it may be necessary to override the automatic beaming
 algorithm.  For example, the autobeamer will not put beams over rests
@@ -2042,8 +2199,8 @@ and end point with @code{[} and @code{]}
 
 @commonprop
 
-@findex stemLeftBeamCount
-@findex stemRightBeamCount
+@funindex stemLeftBeamCount
+@funindex stemRightBeamCount
 
 Normally, beaming patterns within a beam are determined automatically.
 If necessary, the properties @code{stemLeftBeamCount} and
@@ -2072,7 +2229,7 @@ c16[ c c c c c c c]
 \set Score.beatLength = #(ly:make-moment 1 8)
 c16[ c c c c c c c]
 @end lilypond
-@findex subdivideBeams
+@funindex subdivideBeams
 
 @noindent
 For more information about @code{make-moment}, see
@@ -2081,7 +2238,7 @@ For more information about @code{make-moment}, see
 Line breaks are normally forbidden when beams cross bar lines.  This
 behavior can be changed by setting @code{allowBeamBreak}.
 
-@findex allowBeamBreak
+@funindex allowBeamBreak
 @cindex beams and line breaks
 @cindex beams, kneed
 @cindex kneed beams
@@ -2103,7 +2260,7 @@ texts and accidentals.
 @node Grace notes
 @subsection Grace notes
 
-@findex \grace
+@funindex \grace
 @cindex ornaments
 @cindex grace notes
 @cindex appoggiatura
@@ -2171,7 +2328,7 @@ every eighth grace note
    \new Staff { c4 \grace { g8[ b] } c4 } >>
 @end lilypond
 
-@findex \afterGrace
+@funindex \afterGrace
 
 If you want to end a note with a grace, use the @code{\afterGrace}
 command.  It takes two arguments: the main note, and the grace notes
@@ -2210,6 +2367,7 @@ A @code{\grace} section will introduce special typesetting settings,
 for example, to produce smaller type, and set directions.  Hence, when
 introducing layout tweaks, they should be inside the grace section,
 for example,
+
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Voice {
   \acciaccatura {
@@ -2226,8 +2384,8 @@ The overrides should also be reverted inside the grace section.
 
 The layout of grace sections can be changed throughout the music using
 the function @code{add-grace-property}.  The following example
-undefines the Stem direction for this grace, so stems do not always
-point up.
+undefines the @code{Stem} direction for this grace, so
+that stems do not always point up.
 
 @example
 \new Staff @{
@@ -2247,6 +2405,30 @@ Another option is to change the variables @code{startGraceMusic},
 The slash through the stem in acciaccaturas can be obtained
 in other situations by @code{\override Stem  #'stroke-style = #"grace"}.
 
+
+@commonprop
+
+Grace notes may be forced to use floating spacing,
+
+@lilypond[relative=2,ragged-right]
+<<
+  \override Score.SpacingSpanner #'strict-grace-spacing = ##t
+  \new Staff {
+     c'4
+     \afterGrace
+     c'4
+     { c'16[ c'8 c'16] }
+     c'4
+  }  
+  \new Staff {
+     c'16[ c'16 c'16 c'16]
+     c'16[ c'16 c'16 c'16]
+     c'4
+  }
+>>
+@end lilypond
+
+
 @seealso
 
 Program reference: @internalsref{GraceMusic}.
@@ -2295,6 +2477,7 @@ notes and rhythms.
 * Trills::                      
 * Glissando::                   
 * Arpeggio::                    
+* Falls and doits::             
 @end menu
 
 
@@ -2460,23 +2643,23 @@ Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
 @subsection Dynamics
 
 @cindex Dynamics
-@findex \pppp
-@findex \ppp
-@findex \pp
-@findex \p
-@findex \mp
-@findex \mf
-@findex \f
-@findex \ff
-@findex \fff
-@findex \ffff
-@findex \fp
-@findex \sf
-@findex \sff
-@findex \sp
-@findex \spp
-@findex \sfz
-@findex \rfz
+@funindex \pppp
+@funindex \ppp
+@funindex \pp
+@funindex \p
+@funindex \mp
+@funindex \mf
+@funindex \f
+@funindex \ff
+@funindex \fff
+@funindex \ffff
+@funindex \fp
+@funindex \sf
+@funindex \sff
+@funindex \sp
+@funindex \spp
+@funindex \sfz
+@funindex \rfz
 
 Absolute dynamic marks are specified using a command after a note
 @code{c4\ff}.  The available dynamic marks are @code{\ppppp},
@@ -2490,9 +2673,9 @@ c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
 @end lilypond
 
-@findex \<
-@findex \>
-@findex \!
+@funindex \<
+@funindex \>
+@funindex \!
 
 A crescendo mark is started with @code{\<} and terminated with
 @code{\!} or an absolute dynamic.  A decrescendo is started with
@@ -2507,8 +2690,16 @@ c\< c\! d\> e\!
 @end lilypond
 
 @noindent
-A hairpin starts at the left edge of the beginning note and ends on the
-right edge of the ending note.
+A hairpin normally starts at the left edge of the beginning note
+and ends on the right edge of the ending note.  If the ending
+note falls on the downbeat, the hairpin ends on the immediately
+preceding barline. This may be modified by setting the
+@code{hairpinToBarline} property,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\set hairpinToBarline = ##f
+c4\< c2. c4\!
+@end lilypond
 
 In some situations the @code{\espressivo} articulation mark may
 be suitable to indicate a crescendo and decrescendo on the one note,
@@ -2522,14 +2713,27 @@ in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
 example
 
 @example
-\override Staff.Hairpin #'minimum-length = #5
+\override Voice.Hairpin #'minimum-length = #5
 @end example
 
+@cindex al niente
+@cindex niente, al
+
+Hairpins may be printed with a circled tip (al niente notation) by
+setting the @code{circled-tip} property,
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\override Hairpin #'circled-tip = ##t
+c2\< c\!
+c4\> c\< c2\!
+@end lilypond
+
+
 @cindex crescendo
 @cindex decrescendo
 @cindex diminuendo
 
-You can also use a text saying @emph{cresc.} instead of hairpins
+You can also use text saying @emph{cresc.} instead of hairpins
 
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \setTextCresc
@@ -2574,7 +2778,8 @@ new line are not printed.  To change this behavior, use
 \override Score.Hairpin #'after-line-breaking = ##t
 @end example
 
-Text style dynamic changes (such as cresc. and dim.) are printed with a
+Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
+are printed with a
 dashed line showing their extent.  To surpress printing this line, use
 
 @example
@@ -2584,11 +2789,11 @@ dashed line showing their extent.  To surpress printing this line, use
 
 @refcommands
 
-@findex \dynamicUp
+@funindex \dynamicUp
 @code{\dynamicUp},
-@findex \dynamicDown
+@funindex \dynamicDown
 @code{\dynamicDown},
-@findex \dynamicNeutral
+@funindex \dynamicNeutral
 @code{\dynamicNeutral}.
 
 
@@ -2649,7 +2854,7 @@ Long running trills are made with @code{\startTrillSpan} and
 Trills that should be executed on an explicitly specified pitch can be
 typeset with the command @code{pitchedTrill},
 
-@lilypond[ragged-right,verbatim,fragment,relative=1]
+@lilypond[ragged-right,verbatim,fragment,relative=1,quote]
 \pitchedTrill c4\startTrillSpan fis
 f\stopTrillSpan
 @end lilypond
@@ -2661,9 +2866,9 @@ is printed as a stemless note head in parentheses.
 @refcommands
 
 @code{\startTrillSpan},
-@findex \startTrillSpan
+@funindex \startTrillSpan
 @code{\stopTrillSpan}.
-@findex \stopTrillSpan
+@funindex \stopTrillSpan
 
 
 @seealso
@@ -2675,7 +2880,7 @@ Program reference: @internalsref{TrillSpanner}.
 @subsection Glissando
 
 @cindex Glissando
-@findex \glissando
+@funindex \glissando
 
 A glissando is a smooth change in pitch.  It is denoted by a line or a
 wavy line between two notes.  It is requested by attaching
@@ -2705,7 +2910,7 @@ Printing text over the line (such as @emph{gliss.}) is not supported.
 
 @cindex Arpeggio
 @cindex broken chord
-@findex \arpeggio
+@funindex \arpeggio
 
 You can specify an arpeggio sign (also known as broken chord) on a
 chord by attaching an @code{\arpeggio} to a chord
@@ -2753,13 +2958,13 @@ in both staves and set
 @refcommands
 
 @code{\arpeggio},
-@findex \arpeggioUp
+@funindex \arpeggioUp
 @code{\arpeggioUp},
-@findex \arpeggioDown
+@funindex \arpeggioDown
 @code{\arpeggioDown},
-@findex \arpeggioNeutral
+@funindex \arpeggioNeutral
 @code{\arpeggioNeutral},
-@findex \arpeggioBracket
+@funindex \arpeggioBracket
 @code{\arpeggioBracket}.
 
 
@@ -2776,7 +2981,17 @@ It is not possible to mix connected arpeggios and unconnected
 arpeggios in one @internalsref{PianoStaff} at the same point in time.
 
 
+@node Falls and doits
+@subsection Falls and doits
+
+Falls and doits can be added to notes using the @code{\bendAfter}
+command,
 
+@lilypond[fragment,ragged-right,relative=2]
+\override Score.SpacingSpanner #'shortest-duration-space = #3.0
+c4-\bendAfter #+5
+c4-\bendAfter #-3
+@end lilypond
 
 
 @node Repeats
@@ -2800,7 +3015,7 @@ for repetitions.
 @subsection Repeat types
 
 @cindex repeats
-@findex \repeat
+@funindex \repeat
 
 The following types of repetition are supported
 
@@ -2816,12 +3031,6 @@ printed, left to right with brackets.  This is the standard notation
 for repeats with alternatives.  These are not played in MIDI output by
 default.
 
-@ignore
-@item fold
-Alternative endings are written stacked.  This has limited use but may be
-used to typeset two lines of lyrics in songs with repeats, see
-@inputfileref{input,star-spangled-banner@/.ly}.
-@end ignore
 
 @item tremolo
 Make tremolo beams.  These are not played in MIDI output by default.
@@ -2829,7 +3038,7 @@ Make tremolo beams.  These are not played in MIDI output by default.
 @item percent
 Make beat or measure repeats.  These look like percent signs.  These
 are not played in MIDI output by default.  Percent repeats must be
-declared within a Voice context.
+declared within a @code{Voice} context.
 
 @end table
 
@@ -2837,6 +3046,10 @@ declared within a Voice context.
 @node Repeat syntax
 @subsection Repeat syntax
 
+@cindex volta
+@cindex prima volta
+@cindex seconda volta
+
 LilyPond has one syntactic construct for specifying different types of
 repeats.  The syntax is
 
@@ -2845,7 +3058,7 @@ repeats.  The syntax is
 @end example
 
 If you have alternative endings, you may add
-@findex \alternative
+@funindex \alternative
 @example
 \alternative @{
   @var{alternative1}
@@ -2861,6 +3074,7 @@ give enough alternatives for all of the repeats, the first alternative
 is assumed to be played more than once.
 
 Standard repeats are used like this
+
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 c1
 \repeat volta 2 { c4 d e f }
@@ -2868,14 +3082,15 @@ c1
 @end lilypond
 
 With alternative endings
+
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 c1
 \repeat volta 2 {c4 d e f}
 \alternative { {d2 d} {f f,} }
 @end lilypond
 
-In this example, the first ending is not a complete bar (it
-only had 3 beats).  The beginning of the second ending
+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
@@ -2889,6 +3104,16 @@ beginning of the example.
 }
 @end lilypond
 
+@funindex \repeatTie
+
+Ties may be added to a second ending,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 {c4 d e f ~ }
+\alternative { {f2 d} {f\repeatTie f,} }
+@end lilypond
+
 It is possible to shorten volta brackets
 by setting @code{voltaSpannerDuration}.  In the next example, the
 bracket only lasts one measure, which is a duration of 3/4.
@@ -2933,20 +3158,22 @@ having the @code{\alternative} belong to the inner @code{\repeat}.
 For clarity, it is advisable to use braces in such situations.
 
 Timing information is not remembered at the start of an alternative,
-so after a repeat timing information must be reset by hand, for
-example by setting @code{Score.measurePosition} or entering
+so after a repeat timing information must be reset by hand; for
+example, by setting @code{Score.measurePosition} or entering
 @code{\partial}.  Similarly, slurs or ties are also not repeated.
 
+Volta brackets are not vertically aligned.
+
 
 @node Repeats and MIDI
 @subsection Repeats and MIDI
 
 @cindex expanding repeats
-@findex \unfoldRepeats
+@funindex \unfoldRepeats
 
 With a little bit of tweaking, all types of repeats can be present
 in the MIDI output.  This is achieved by applying the
-@code{\unfoldRepeats} music function.  This functions changes all
+@code{\unfoldRepeats} music function.  This function changes all
 repeats to unfold repeats.
 
 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
@@ -2962,8 +3189,8 @@ repeats to unfold repeats.
 \bar "|."
 @end lilypond
 
-When creating a score file using @code{\unfoldRepeats} for midi, then
-it is necessary to make two @code{\score} blocks.  One for MIDI (with
+When creating a score file using @code{\unfoldRepeats} for MIDI,
+it is necessary to make two @code{\score} blocks: one for MIDI (with
 unfolded repeats) and one for notation (with volta, tremolo, and
 percent repeats).  For example,
 
@@ -2982,7 +3209,7 @@ percent repeats).  For example,
 @node Manual repeat commands
 @subsection Manual repeat commands
 
-@findex repeatCommands
+@funindex repeatCommands
 
 The property @code{repeatCommands} can be used to control the layout of
 repeats.  Its value is a Scheme list of repeat commands.
@@ -3061,7 +3288,7 @@ Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
 @subsection Tremolo subdivisions
 
 @cindex tremolo marks
-@findex tremoloFlags
+@funindex tremoloFlags
 
 Tremolo marks can be printed on a single note by adding
 `@code{:}[@var{number}]' after the note.  The number indicates the
@@ -3118,10 +3345,10 @@ on the @code{countPercentRepeats} property,
 
 
 
-Isolated percents can also be printed. This is done by putting a multi
-measure rest with a different print function,
+Isolated percents can also be printed. This is done by putting a
+multi-measure rest with a different print function,
 
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,quote]
 \override MultiMeasureRest #'stencil
   = #ly:multi-measure-rest::percent
 R1