X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Ffundamental.itely;h=f9f9343f5f4e141663235d1ad910b329aca6ac1f;hb=e44f9f849d05d3169088f71f4960923b1da826c3;hp=fff4abeded9c55bbfc686e174b437248d92ee3f7;hpb=3b36c3f2f8099d3ccb68b1216791a7f89f7568e2;p=lilypond.git

diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely
index fff4abeded..f9f9343f5f 100644
--- a/Documentation/user/fundamental.itely
+++ b/Documentation/user/fundamental.itely
@@ -40,7 +40,7 @@ description of the input format, see @ruser{File structure}.
 A basic example of a lilypond input file is
 
 @example
-\version "2.11.23"
+\version @w{"@version{}"}
 \score @{
   @var{...compound music expression...}  % all the music goes here!
   \header @{ @}
@@ -53,7 +53,7 @@ A basic example of a lilypond input file is
 There are many variations of this basic pattern, but this
 example serves as a useful starting place.
 
-Up to this point none of the examples you have seen have used a
+Up to this point none of the examples you have seen has used a
 @code{\score@{@}} command.  This is because LilyPond automatically
 adds the extra commands which are needed when you give it simple 
 input.  LilyPond treats input like this:
@@ -90,7 +90,7 @@ command, leaving the others to default.
 
 A @code{\score} block must always contain just one music 
 expression, and
-this must appear first within the @code{\score @{..@}} block.
+this must appear immediately after the @code{\score} command.
 Remember that a music expression could be anything from a single
 note to a huge compound expression like
 
@@ -106,8 +106,8 @@ note to a huge compound expression like
 Since everything is inside @code{@{ ... @}}, it counts
 as one music expression.
 
-As we saw previously, the @code{\score} can contain other things,
-such as
+As we saw previously, the @code{\score} block can contain other 
+things, such as
 
 @example
 \score @{
@@ -121,7 +121,7 @@ such as
 @noindent
 Some people put some of those commands outside the @code{\score}
 block -- for example, @code{\header} is often placed above the
-@code{\score}.  That's just another shorthand that LilyPond
+@code{\score} command.  That's just another shorthand that LilyPond
 accepts.
 
 Two more commands you have not previously seen are
@@ -131,9 +131,13 @@ MIDI output respectively.  They are described fully in the
 Notation Reference -- @ruser{Score layout} and
 @ruser{Creating MIDI files}.
 
-The @code{\book} command allows
-several @code{\score} blocks to be combined into one output.
-If there are several @code{\book} blocks each one produces a
+You may code multiple @code{\score} blocks.  Each will be
+treated as a separate score, but they will be all combined into
+a single output file.  A @code{\book} command is not necessary
+-- one will be implicitly created.  However, if you would like
+separate output files from one @code{.ly} file then the
+@code{\book} command should be used to separate the different
+sections: each @code{\book} block will produce a
 separate output file.  For details see @ruser{Multiple scores
 in a book}.
 
@@ -187,7 +191,7 @@ We didn't skip over it at all.  The big mystery is simply that
 there @emph{is} no mystery.  This line explains it all:
 
 @quotation
-@emph{A @code{\score} must begin with a compound music expression.}
+@emph{A @code{\score} block must begin with a compound music expression.}
 @end quotation
 
 @noindent
@@ -216,43 +220,42 @@ it.  We @emph{do} need a singer and a piano, though.
 
 @example
 \score @{
-  @{
-    <<
-      \new Staff = "singer" <<
-      >>
-      \new PianoStaff = piano <<
-      >>
+  <<
+    \new Staff = "singer" <<
     >>
-  @}
+    \new PianoStaff = piano <<
+    >>
+  >>
   \layout @{ @}
 @}
 @end example
 
-Remember that we use @code{<<} and @code{>>} to show simultaneous
+Remember that we use @code{<< ... >>} instead of
+@code{@{ ... @}} to show simultaneous
 music.  And we definitely want to show the vocal part and piano
 part at the same time, not one after the other!  However, the
-@code{<< .. >>} construct is not really necessary for the Singer
+@code{<< ... >>} construct is not really necessary for the Singer
 staff, as it contains only one music expression, but Staves often
-do require simultaneous Voices within them, so using @code{<< .. >>}
-rather than braces is a good habit to adopt.
+do require simultaneous Voices within them, so using 
+@code{<< ... >>}
+rather than braces is a good habit to adopt. We'll add some real
+music later; for now let's just put in some dummy notes and lyrics.
 
-@example
-\score @{
-  @{
-    <<
-      \new Staff = "singer" <<
-        \new Voice = "vocal" @{ @}
-        \addlyrics @{ @}
-      >>
-      \new PianoStaff = "piano" <<
-        \new Staff = "upper" @{ @}
-        \new Staff = "lower" @{ @}
-      >>
+@lilypond[verbatim,quote,ragged-right]
+\score {
+  <<
+    \new Staff = "singer" <<
+      \new Voice = "vocal" { c'1 }
+      \addlyrics { And }
     >>
-  @}
-  \layout @{ @}
-@}
-@end example
+    \new PianoStaff = "piano" <<
+      \new Staff = "upper" { c'1 }
+      \new Staff = "lower" { c'1 }
+    >>
+  >>
+  \layout { }
+}
+@end lilypond
 
 Now we have a lot more details.  We have the singer's staff: it
 contains a @code{Voice} (in LilyPond, this term refers to a set of
@@ -266,35 +269,40 @@ braces next to @code{\new Voice = vocal}, we could start writing
 
 @example
 \relative c'' @{
-  a4 b c d
+  r4 d8\noBeam g, c4 r
 @}
 @end example
 
 But if we did that, the @code{\score} section would get pretty
 long, and it would be harder to understand what was happening.  So
-let's use variables instead.
+let's use variables instead.  These were introduced at the end
+of the previous section, remember?  So, adding a few notes, we 
+now have a piece of real music:
 
-@example
-melody = \relative c'' @{ @}
-text   = \lyricmode @{ @}
-upper  = \relative c'' @{ @}
-lower  = \relative c @{ @}
-\score @{
-  @{
-    <<
-      \new Staff = "singer" <<
-        \new Voice = "vocal" @{ \melody @}
-        \addlyrics @{ \text @}
-      >>
-      \new PianoStaff = "piano" <<
-        \new Staff = "upper" @{ \upper @}
-        \new Staff = "lower" @{ \lower @}
-      >>
+@lilypond[verbatim,quote,ragged-right]
+melody = \relative c'' { r4 d8\noBeam g, c4 r }
+text   = \lyricmode { And God said, }
+upper  = \relative c'' { <g d g,>2~ <g d g,> }
+lower  = \relative c { b2 e2 }
+
+\score {
+  <<
+    \new Staff = "singer" <<
+      \new Voice = "vocal" { \melody }
+      \addlyrics { \text }
     >>
-  @}
-  \layout @{ @}
-@}
-@end example
+    \new PianoStaff = "piano" <<
+      \new Staff = "upper" { \upper }
+      \new Staff = "lower" {
+        \clef "bass"
+        \lower
+      }
+    >>
+  >>
+  \layout { }
+}
+@end lilypond
+
 
 Be careful about the difference between notes, which are introduced
 with @code{\relative}, and lyrics, which are introduced with
@@ -362,9 +370,9 @@ as follows:
 
 This example uses @code{\with}, which will be explained more 
 fully later.  It is a means of modifying the default behaviour
-of a Staff.  Here it says that the new staff should be placed
-above the staff called @qq{main} instead of the default position
-which is below.
+of a single Staff.  Here it says that the new staff should be 
+placed above the staff called @qq{main} instead of the default 
+position which is below.
 
 Ossia are often written without clef and without
 time signature and are usually in a smaller font.
@@ -482,89 +490,60 @@ encode the different concurrent notes and rhythms they are
 capable of playing.  
 
 A single voice can contain many notes in a chord, of course,
-so when exactly are multiple voices needed? 
-Let us analyse a short piece of music to see how many voices
-are required.  Here are the notes from the first two bars
-of the second of Chopin's Deux Nocturnes, Op 32.
-
-@c The following should appear as music without code
-@lilypond[quote,ragged-right]
-\new Staff \relative c'' {
-  \key aes \major
-  <<
-    { \voiceOne
-      c2 aes4. bes8 } \\
-    { \voiceTwo
-      aes2 f4 fes } \\
-    { \voiceFour
-      \once \override NoteColumn #'force-hshift = #0 <ees c>2
-      \once \override NoteColumn #'force-hshift = #0.5 des2 }
-  >> |
-  <c ees aes c>1 |
-}
-@end lilypond
-
-The direction of the stems is often used to indicate the
-continuity of two simultaneous melodic lines.  Here the
-stems of the highest notes are all pointing up and the
-stems of the lower notes are all pointing down.
-This is the first indication that more than one voice
-is required.
+so when exactly are multiple voices needed?  Look first at
+this example of four chords:
 
-But the real need for multiple voices arises when notes
-which start at the same time have different durations.
-Look at the notes which start at beat three in the first 
-bar.  The a-flat is a dotted quarter note, the f is a
-quarter note and the d-flat is a half note.  These 
-cannot be written as a chord as all the notes in a chord
-must have the same duration.  Neither can they be written
-as sequential notes, as they must start at the same time.
-This section of the bar requires three voices, and the
-normal practice would be to write the whole bar as three
-voices, as shown here, where we have used different note heads
-and colors for the three voices.
-
-@c The following should appear as music without code
-@c The three voice styles should be defined in -init
-@lilypond[quote,ragged-right]
-\new Staff \relative c'' {
-  \key aes \major
-  <<
-    { \voiceOne
-      \voiceOneStyle 
-      c2 aes4. bes8 } \\
-    { \voiceTwo
-      \voiceTwoStyle
-      aes2 f4 fes } \\
-    { \voiceFour
-      \voiceThreeStyle
-      \once \override NoteColumn #'force-hshift = #0 <ees c>2
-      \once \override NoteColumn #'force-hshift = #0.5 des2 }
-  >> |
-  <c ees aes c>1 |
-}
+@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+\key g \major
+<d g>4 <d fis> <d a'> <d g>
 @end lilypond
 
-Let us see how this is done.
-
+This can be expressed using just the single angle bracket chord 
+symbols, @code{< ... >}, and for this just a single voice is 
+needed.  But suppose the F-sharp were actually an eighth-note
+followed by an eighth-note G, a passing note on the way to the A?
+Now we have two notes which start at the same time but have
+different durations: the quarter-note D and the eighth-note
+F-sharp.  How are these to be coded?  They cannot be written as
+a chord because all the notes in a chord must have the same
+duration.  And they cannot be written as two separate notes
+as they need to start at the same time.  This is when two
+voices are required.
+
+Let us see how this is done in LilyPond input syntax.
+
+@funindex << \\ >>
 @funindex \\
 
 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 with angle brackets, @code{<<...>>}.
-The fragments must also be separated with double backward slashes, 
-@code{\\}, to place them in separate voices.  Without these, the 
-notes would be entered into a single voice, which would usually 
+The fragments must also be separated with double backward slashes,
+@code{\\}, to place them in separate voices.  Without these, the
+notes would be entered into a single voice, which would usually
 cause errors.  This technique is particularly suited to pieces of
 music which are largely monophonic with occasional short sections
-of polyphony.  Here's a simple example:
+of polyphony.  
+
+Here's how we split the chords above into two voices and add both
+the passing note and a slur:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\key g \major
+%    Voice "1"                  Voice "2"
+<< { g4 fis8( g) a4 g }    \\ { d4 d d d }  >> |
+@end lilypond
+
+Notice how the stems of the second voice now point down.
+
+Here's another simple example:
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \key d \minor
 %    Voice "1"             Voice "2"
 << { r4 g g4. a8 }    \\ { d,2 d4 g }       >> |
 << { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
-<< { a2. r4 }         \\ { fis2. s4 }       >>
+<< { a2. r4 }         \\ { fis2. s4 }       >> |
 @end lilypond
 
 It is not necessary to use a separate @code{<< \\ >>} construct
@@ -593,8 +572,8 @@ This example has just two voices, but the same contruct may be
 used to encode three or more voices by adding more back-slash
 separators.
 
-The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.  
-In each of these contexts, the vertical direction of slurs, 
+The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.
+In each of these contexts, the vertical direction of slurs,
 stems, ties, dynamics etc., is set appropriately.
 
 @lilypond[quote,verbatim,fragment]
@@ -616,8 +595,8 @@ parallel voices from separate simultaneous constructs on the same
 staff are the same voice.  Other voice-related properties also
 carry across simultaneous constructs.  Here is the same example,
 with different colors and note heads for each voice.  Note that
-changes in one Voice do not affect other voices, but they do
-persist in the same Voice later.  Note also that tied notes may be
+changes in one voice do not affect other voices, but they do
+persist in the same voice later.  Note also that tied notes may be
 split across the same voices in two constructs, shown here in the
 blue triangle voice.
 
@@ -626,20 +605,22 @@ blue triangle voice.
   % Main voice
   c16 d e f
   << % Bar 1
-    { 
+    {
       \voiceOneStyle
       g4 f e
     }
   \\
-    { 
+    {
       \voiceTwoStyle
       r8 e4 d c8 ~
     }
   >>
   << % Bar 2
-    { d2 e2 }  % Voice 1 continues
+     % Voice 1 continues
+    { d2 e2 }
   \\
-    { c8 b16 a b8 g ~ g2 }  % Voice 2 continues
+     % Voice 2 continues
+    { c8 b16 a b8 g ~ g2 }
   \\
     {
       \voiceThreeStyle
@@ -652,17 +633,17 @@ blue triangle voice.
 The commands @code{\voiceXXXStyle} are mainly intended for use in
 educational documents such as this one.  They modify the color
 of the note head, the stem and the beams, and the style of the
- note head, so that the voices may be easily distinguished.
+note head, so that the voices may be easily distinguished.
 Voice one is set to red diamonds, voice two to blue triangles,
 voice three to green crossed circles, and voice four (not used
-here) to magenta crosses.  We shall see later how commands like 
-these may be created by the user.  
+here) to magenta crosses.  We shall see later how commands like
+these may be created by the user.
 See @ref{Visibility and color of objects}
 TODO Add link to using variables for tweaks
 
 Polyphony does not change the relationship of notes within a
-@code{\relative @{ @}} block.  Each note is still calculated 
-relative to the note immediately preceding it, or to the first 
+@code{\relative @{ @}} block.  Each note is still calculated
+relative to the note immediately preceding it, or to the first
 note of the preceding chord.  So in
 
 @example
@@ -676,16 +657,112 @@ note of the preceding chord.  So in
 @code{noteC}.                                                 @*
 @code{noteE} is relative to @code{noteD}, not @code{noteA}
 
-We are now in a position to return to the first example from
-the Chopin Nocturne to see how this might be encoded.  As we
+An alternative way, which may be clearer if the notes in the
+voices are widely separated, is to place a @code{\relative}
+command at the start of each voice:
+
+@example
+\relative c' @{ noteA ... @}
+<<
+  \relative c'' @{ < noteB noteC > ... @}
+\\
+  \relative g' @{ noteD ... @}
+>>
+\relative c' @{ noteE ... @}
+@end example
+
+Let us finally analyse the voices in a more complex piece of 
+music.  Here are
+the notes from the first two bars of the second of Chopin's
+Deux Nocturnes, Op 32.  This example will be used at later
+stages in this and the next chapter to illustrate several
+techniques for producing notation, so please ignore for now
+anything in the underlying code which looks mysterious and
+concentrate just on the music and the voices -- the
+complications will all be explained in later sections.
+
+@c The following should appear as music without code
+@lilypond[quote,ragged-right]
+\new Staff \relative c'' {
+  \key aes \major
+  << % Voice one
+    { c2 aes4. bes8 }
+  \\ % Voice two
+    { aes2 f4 fes }
+  \\ % No voice three
+  \\ % Voice four
+    {
+      % Ignore these for now - they are explained in Ch 4
+      \once \override NoteColumn #'force-hshift = #0
+      <ees c>2
+      \once \override NoteColumn #'force-hshift = #0.5
+      des2
+    }
+  >> |
+  <c ees aes c>1 |
+}
+@end lilypond
+
+The direction of the stems is often used to indicate the
+continuity of two simultaneous melodic lines.  Here the
+stems of the highest notes are all pointing up and the
+stems of the lower notes are all pointing down.
+This is the first indication that more than one voice
+is required.
+
+But the real need for multiple voices arises when notes
+which start at the same time have different durations.
+Look at the notes which start at beat three in the first
+bar.  The A-flat is a dotted quarter note, the F is a
+quarter note and the D-flat is a half note.  These
+cannot be written as a chord as all the notes in a chord
+must have the same duration.  Neither can they be written
+as sequential notes, as they must start at the same time.
+This section of the bar requires three voices, and the
+normal practice would be to write the whole bar as three
+voices, as shown below, where we have used different note heads
+and colors for the three voices.  Again, the code behind this
+example will be explained later, so ignore anything you do
+not understand.
+
+@c The following should appear as music without code
+@c The three voice styles should be defined in -init
+@lilypond[quote,ragged-right]
+\new Staff \relative c'' {
+  \key aes \major
+  <<
+    { % Voice one
+      \voiceOneStyle
+      c2 aes4. bes8 
+    }
+  \\  % Voice two
+    { \voiceTwoStyle
+      aes2 f4 fes 
+    }
+  \\  % No Voice three (we want stems down)
+  \\  % Voice four
+    { \voiceThreeStyle
+      % Ignore these for now - they are explained in Ch 4
+      \once \override NoteColumn #'force-hshift = #0
+      <ees c>2
+      \once \override NoteColumn #'force-hshift = #0.5
+      des2 
+    }
+  >> |
+  <c ees aes c>1 |
+}
+@end lilypond
+
+
+Let us try to encode this music from scratch.  As we
 shall see, this encounters some difficulties.  We begin as
-we have learnt, using the @code{<< \\  >>} construct to 
+we have learnt, using the @code{<< \\  >>} construct to
 enter the music of the first bar in three voices:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
 \new Staff \relative c'' {
   \key aes \major
-  << 
+  <<
     { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 }
   >>
   <c ees aes c>1
@@ -694,51 +771,54 @@ enter the music of the first bar in three voices:
 
 @cindex stem down
 @cindex stem up
-@funindex \voiceOne
-@funindex \voiceTwo
-@funindex \voiceThree
-@funindex \voiceFour
 
 The stem directions are automatically assigned with the
 odd-numbered voices taking upward stems and the even-numbered
 voices downward ones.  The stems for voices 1 and 2 are right,
 but the stems in voice 3 should go down in this particular piece
-of music.  We can correct this
-by telling LilyPond that this third voice is really a fourth
-voice, with stems going down, using the @code{\voiceFour} 
-command.  There are also corresponding @code{\voiceOne},
-@code{\voiceTwo}, and @code{\voiceThree} 
-commands.  This results in the following:
+of music.  We can correct this simply by missing out voice three
+and placing the music in voice four:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
 \new Staff \relative c'' {
   \key aes \major
-  << 
-    { c2 aes4. bes8 } \\ 
-    { aes2 f4 fes   } \\ 
-    { \voiceFour <ees c>2 des2 }
+  << % Voice one
+    { c2 aes4. bes8 }
+  \\ % Voice two
+    { aes2 f4 fes   }
+  \\ % Omit Voice three
+  \\ % Voice four
+    { <ees c>2 des2 }
   >> |
   <c ees aes c>1 |
 }
 @end lilypond
 
 @noindent
-and exposes a problem commonly encountered with multiple
-voices: the stems of notes can collide with note heads
+We see that this fixes the stem direction, but exposes a 
+problem sometimes encountered with multiple voices -- the 
+stems of the notes in one voice can collide with the note heads
 in other voices.  In laying out the notes, LilyPond allows the
 notes or chords from two voices to occupy the same vertical
 note column provided the stems are in opposite directions, but
-the notes from a third voice are displaced to avoid the stems
-colliding.  This often works well, but in this example the
-notes of the third voice are clearly not well placed by default.
+the notes from the third and fourth voices are displaced to if
+necessary to avoid the note heads
+colliding.  This usually works well, but in this example the
+notes of the lowest voice are clearly not well placed by default.
 LilyPond provides several ways to adjust the horizontal placing
 of notes.  We are not quite ready yet to see how to correct this,
-so we shall leave this problem until a later section 
-(see @ref{Fixing overlapping notation} )
+so we shall leave this problem until a later section
+(see the force-hshift property in @ref{Fixing overlapping 
+notation} )
 
 @node Explicitly instantiating voices
 @subsection Explicitly instantiating voices
 
+@funindex \voiceOne
+@funindex \voiceTwo
+@funindex \voiceThree
+@funindex \voiceFour
+
 Voice contexts can also be created manually
 inside a @code{<< >>} block to create polyphonic music, using
 @code{\voiceOne} ... @code{\voiceFour} to indicate the required
@@ -770,12 +850,12 @@ is equivalent to
 Both of the above would produce
 
 @c The following example should not display the code
-FIXME: weird compiling bug!  Leave for gp.
-@c @lilypond{ragged-right,quote]
-@c \relative c' {
-@c %  << { e4 f g a } \\ { c,4 d e f } >>
-@c }
-@c @end lilypond
+@lilypond[ragged-right,quote]
+\new Staff <<
+  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+>>
+@end lilypond
 
 The @code{\voiceXXX} commands set the direction of stems, slurs,
 ties, articulations, text annotations, augmentation dots of dotted
@@ -1008,6 +1088,7 @@ SopTwoLyrics = \lyricmode {
     >>
     \new Staff <<
       \new Voice = "SopTwo" {
+        \global
         \SopTwoMusic
       }
       \new Lyrics \lyricsto "SopTwo" {
@@ -1056,7 +1137,7 @@ VerseFour  = \lyricmode {
     >>
     \new Staff <<
       \clef "bass"
-      \new Voice = "Tenor" { \voiceOne \TenorMusic }
+      \new Voice = "Tenor" { \voiceOne \TimeKey \TenorMusic }
       \new Voice = "Bass"  { \voiceTwo \BassMusic  }
     >>
   >>
@@ -1114,7 +1195,7 @@ For example: a @code{Staff} context can contain many
 contain many @code{Staff} contexts.
 
 @quotation
-@image{context-example,5cm,,}
+@sourceimage{context-example,5cm,,}
 @end quotation
 
 Each context has the responsibility for enforcing some notation rules,
@@ -1143,11 +1224,9 @@ In addition to the @code{Score,} @code{Staff} and
 the score and staff levels to control staff groups, such as the
 @code{PianoStaff} and @code{ChoirStaff} contexts.  There
 are also alternative staff and voice contexts, and contexts for
-lyrics, percussion, fret boards, figured bass, etc.  A complete
-list is shown in the Notation Reference.
-TODO: Add link
+lyrics, percussion, fret boards, figured bass, etc.
 
-The names of all context types are formed from one or more 
+The names of all context types are formed from one or more
 words, each word being capitalised and joined immediately to the 
 preceding word with no hyphen or underscore, e.g., 
 @code{GregorianTranscriptionStaff}.
@@ -1358,11 +1437,11 @@ because we omitted the context name.
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff \relative c'' {
-    \set Staff.instrumentName = "Soprano"
+    \set Staff.instrumentName = #"Soprano"
     c4 c
  }
   \new Staff \relative c' {
-  \set instrumentName = "Alto"  % Wrong!
+  \set instrumentName = #"Alto"  % Wrong!
   d4 d 
  }
 >>
@@ -1391,8 +1470,8 @@ if it is set in the @code{Staff} context, but
 some properties can be set in more than one context.
 For example, the property @code{extraNatural} is by
 default set to ##t (true) for all staves.  
-If it is set to ##f (false) in the @code{Staff} context 
-it applies just to the accidentals on that staff.  
+If it is set to ##f (false) in one particular @code{Staff} 
+context it applies just to the accidentals on that staff.
 If it is set to false in the @code{Score} context
 it applies to all staves.
 
@@ -1433,7 +1512,8 @@ in the input file and will take effect from the time they are
 encountered until the end of the score or until the property is 
 @code{\set} or @code{\unset} again.  Let's try changing the 
 font size, which affects the size of the note heads (among 
-other things) several times.
+other things) several times.  The change is from the default
+value, not the current value.
 
 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
 c4 
@@ -1464,18 +1544,29 @@ Context properties may also be set at the time the context is
 created.  Sometimes this is a clearer way of specifying a 
 property value if it is to remain fixed for the duration of
 the context.  When a context is created with a @code{\new}
-command it may be immediately followed by a 
+command it may be followed immediately by a 
 @code{\with @{ .. @}} block in which the property values are
 set.  For example, if we wish to suppress the printing of
 extra naturals for the duration of a staff we would write:
 
+@example
+\new Staff \with @{ extraNatural = ##f @}
+@end example
+
+@noindent
+like this:
+
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \with {
-  extraNatural = ##f
-}
-\relative c' {
-  gis ges aes ais
-}
+<<
+  \new Staff
+  \relative c'' {
+    gis ges aes ais
+  }
+  \new Staff \with { extraNatural = ##f }
+  \relative c'' {
+    gis ges aes ais
+  }
+>>
 @end lilypond
 
 In effect this overrides the default value of the property.  It
@@ -1496,15 +1587,17 @@ of which is responsible for producing a particular part of the
 output, like bar lines, staves, note heads, stems, etc.  If an
 engraver is removed from a context it can no longer produce its
 output.  This is a crude way of modifying the output, but it
-can sometimes be useful.  
+can sometimes be useful.
+
+@subsubheading Changing a single context
 
-To remove an engraver we can use the @code{\with} command placed
-immediately after the context creation command, as in the 
-previous section.
+To remove an engraver from a single context we use the
+@code{\with} command placed immediately after the context creation 
+command, as in the previous section.
 
-As an 
-illustration let's repeat an example from the previous 
-section with the staff lines removed.  Remember that the 
+As an
+illustration let's repeat an example from the previous
+section with the staff lines removed.  Remember that the
 staff lines are produced by the Staff_symbol_engraver.
 
 @lilypond[quote,verbatim,ragged-right]
@@ -1524,8 +1617,8 @@ staff lines are produced by the Staff_symbol_engraver.
 
 @cindex ambitus engraver
 
-Engravers can also be added to contexts.  The command
-to do this is 
+Engravers can also be added to individual contexts.  
+The command to do this is
 
 @code{\consists @emph{Engraver_name}},
 
@@ -1577,6 +1670,47 @@ the notes in all the voices on that staff:
 >>
 @end lilypond
 
+@subsubheading Changing all contexts of the same type
+
+The examples above show how to remove or add engravers to
+individual contexts.  It is also possible to remove or add 
+engravers to every context of a specific type by placing the
+commands in the appropriate context in a @code{\layout}
+block.  For example, If we wanted to show ambiti for every
+staff in a four-staff score we could write
+
+@lilypond[quote,verbatim,ragged-right]
+\score {
+  <<
+    \new Staff <<
+      \relative c'' { c a b g }
+    >>
+    \new Staff <<
+      \relative c' { c a b g }
+    >>
+    \new Staff <<
+      \clef "G_8"
+      \relative c' { c a b g }
+    >>
+    \new Staff <<
+      \clef "bass"
+      \relative c { c a b g }
+    >>
+  >>
+  \layout {
+    \context {
+      \Staff
+      \consists Ambitus_engraver
+    }
+  }
+}
+@end lilypond
+
+@noindent
+The default values of context properties may also be set
+for all contexts of a particular type by including the
+@code{\set} command in a @code{\context} block in the
+same way.
 
 @node Extending the templates
 @section Extending the templates
@@ -1605,12 +1739,11 @@ cello.  In this case, we would start with @q{Notes and lyrics} (for the
 soprano part).
 
 @example
-\version "2.11.23"
+\version @w{"@version{}"}
 melody = \relative c' @{
   \clef treble
   \key c \major
   \time 4/4
-
   a4 b c d
 @}
 
@@ -1634,12 +1767,11 @@ text = \lyricmode @{
 Now we want to add a cello part.  Let's look at the @q{Notes only} example:
 
 @example
-\version "2.11.23"
+\version @w{"@version{}"}
 melody = \relative c' @{
   \clef treble
   \key c \major
   \time 4/4
-
   a4 b c d
 @}
 
@@ -1650,32 +1782,33 @@ melody = \relative c' @{
 @}
 @end example
 
-We don't need two @code{\version} commands.  We'll need the @code{melody}
-section.  We don't want two @code{\score} sections -- if we had two
-@code{\score}s, we'd get the two parts separately.  We want them together,
-as a duet.  Within the @code{\score} section, we don't need two
-@code{\layout} or @code{\midi}.
-
-If we simply cut and paste the @code{melody} section, we would end up with
-two @code{melody} sections.  So let's rename them.  We'll call the section
-for the soprano @code{sopranoMusic} and the section for the cello
-@code{celloMusic}.  While we're doing this, let's rename @code{text}
-to be @code{sopranoLyrics}.  Remember to rename both instances of all
-these names -- both the initial definition (the
-@code{melody = relative c' @{ } part) and the name's use (in the
+We don't need two @code{\version} commands.  We'll need the 
+@code{melody} section.  We don't want two @code{\score} sections
+-- if we had two @code{\score}s, we'd get the two parts separately.
+We want them together, as a duet.  Within the @code{\score} 
+section, we don't need two @code{\layout} or @code{\midi}.
+
+If we simply cut and paste the @code{melody} section, we would 
+end up with two @code{melody} definitions.  This would not generate
+an error, but the second one would be used for both melodies.
+So let's rename them to make them distinct.  We'll call the 
+section for the soprano @code{sopranoMusic} and the section for
+the cello @code{celloMusic}.  While we're doing this, let's rename
+@code{text} to be @code{sopranoLyrics}.  Remember to rename both
+instances of all these names -- both the initial definition (the
+@code{melody = \relative c' @{ } part) and the name's use (in the
 @code{\score} section).
 
-While we're doing this, let's change the cello part's staff -- celli
-normally use bass clef.  We'll also give the cello some different
-notes.
+While we're doing this, let's change the cello part's staff -- 
+celli normally use bass clef.  We'll also give the cello some 
+different notes.
 
 @example
-\version "2.11.23"
+\version @w{"@version{}"}
 sopranoMusic = \relative c' @{
   \clef treble
   \key c \major
   \time 4/4
-
   a4 b c d
 @}
 
@@ -1687,7 +1820,6 @@ celloMusic = \relative c @{
   \clef bass
   \key c \major
   \time 4/4
-
   d4 g fis8 e d4
 @}
 
@@ -1741,12 +1873,11 @@ This looks a bit messy; the indentation is messed up now.  That is
 easily fixed.  Here's the complete soprano and cello template.
 
 @lilypond[quote,verbatim,ragged-right]
-\version "2.11.23"
+\version "2.11.38"
 sopranoMusic = \relative c' {
   \clef treble
   \key c \major
   \time 4/4
-
   a4 b c d
 }
 
@@ -1758,7 +1889,6 @@ celloMusic = \relative c {
   \clef bass
   \key c \major
   \time 4/4
-
   d4 g fis8 e d4
 }
 
@@ -1782,7 +1912,7 @@ celloMusic = \relative c {
 @node Four-part SATB vocal score
 @subsection Four-part SATB vocal score
 
-Most vocal scores of music written for four-part mixed choir 
+Most vocal scores of music written for four-part mixed choir
 with orchestral accompaniment such as Mendelssohn's Elijah or
 Handel's Messiah have the choral music and words on four
 staves, one for each of SATB, with a piano reduction of the
@@ -1791,7 +1921,6 @@ from Handel's Messiah:
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\version "2.11.23"
 global = { \key d \major \time 4/4 }
 sopMusic = \relative c'' {
   \clef "treble"
@@ -1802,7 +1931,7 @@ sopWords = \lyricmode {
 }
 altoMusic = \relative a' {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopWords
 tenorMusic = \relative c' {
@@ -1965,7 +2094,7 @@ Combining all these together and adding the music
 for the three bars of the example above gives:
 
 @lilypond[quote,verbatim,ragged-right]
-\version "2.11.23"
+\version "2.11.38"
 global = { \key d \major \time 4/4 }
 sopMusic = \relative c'' {
   \clef "treble"
@@ -2063,7 +2192,7 @@ music definitions and one to define the time signature
 and key:
 
 @example
-\version "2.11.23"
+\version @w{"@version{}"}
 \header @{
   title = "Jesu, meine Freude"
   composer = "J S Bach"
@@ -2172,7 +2301,7 @@ may vary.  All that remains now
 is to add the music, and combine all the parts together.
 
 @lilypond[quote,verbatim,ragged-right]
-\version "2.11.23"
+\version "2.11.38"
 \header {
   title = "Jesu, meine Freude"
   composer = "J S Bach"
@@ -2220,3 +2349,7 @@ PedalOrganMusic = \relative c {
 
 
 
+
+
+
+