X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fpitches.itely;h=615191a0f852602e8b53fc0520047e00f16b2791;hb=db1b4bee7d0792351e368e776f197b1bca7050cb;hp=3e4e69e30a10f28f14b9768476bb6a56573a8142;hpb=fb48408d6e0c1b46f818dc56a218da5e88ef4ed3;p=lilypond.git

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index 3e4e69e30a..615191a0f8 100644
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -6,7 +6,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.11.38"
+@c \version "2.11.51"
 
 
 @node Pitches
@@ -47,19 +47,21 @@ mode.  In most cases, relative mode will be more convenient.
 @cindex pitches
 @cindex absolute
 @cindex absolute octave specification
+@cindex absolute octave entry
 
 A pitch name is specified using lowercase letters@tie{}@code{a}
 through@tie{}@code{g}.  The note names @code{c} to @code{b} are
 engraved in the octave below middle C.
 
 @c don't use c' here.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
 \clef bass
 c d e f
 g a b c
 d e f g
 @end lilypond
 
+@cindex octave changing mark
 @funindex '
 @funindex ,
 
@@ -68,7 +70,7 @@ or comma@tie{}(@code{,}) character.  Each@tie{}@code{'} raises the
 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
 octave.
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
 \clef treble
 c' c'' e' g
 d'' d' d c
@@ -83,13 +85,14 @@ Music Glossary:
 @rglos{Pitch names}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 
 @node Relative octave entry
 @unnumberedsubsubsec Relative octave entry
 
 @cindex relative
+@cindex relative octave entry
 @cindex relative octave specification
 @funindex \relative
 
@@ -111,18 +114,20 @@ pitch inside @var{musicexpr} is calculated as follows:
 
 @itemize
 @item
-If no octave changing mark is used on a pitch, its octave is calculated
-so that the interval with the previous note is less than a fifth.  This
-interval is determined without considering accidentals.
+If no octave changing mark is used on a pitch, its octave is
+calculated so that the interval with the previous note is less
+than a fifth.  This interval is determined without considering
+accidentals.
 
 @item
-An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
-respectively raise or lower a pitch by an extra octave, relative to
-the pitch calculated without an octave mark.
+An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
+added to respectively raise or lower a pitch by an extra octave,
+relative to the pitch calculated without an octave mark.
 
 @item
-Multiple octave changing marks can be used.  For example, @code{''}@tie{}and
-@code{,,}@tie{} will alter the pitch by two octaves.
+Multiple octave changing marks can be used.  For example,
+@code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
+octaves.
 
 @item
 The pitch of the first note is relative to
@@ -134,7 +139,7 @@ absolute octave mode, and it is recommended that it be a octave of
 
 Here is the relative mode shown in action:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c {
   \clef bass
   c d e f
@@ -146,7 +151,7 @@ Here is the relative mode shown in action:
 Octave changing marks are used for intervals greater than a
 fourth:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   c g c f,
   c' a, e'' c
@@ -156,7 +161,7 @@ fourth:
 A note sequence without a single octave mark can nevertheless span
 large intervals:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c {
   c f b e
   a d g c
@@ -166,15 +171,14 @@ large intervals:
 If the preceding item is a chord, the first note of the chord is
 used as the reference point for the octave placement of a
 following note or chord.  Inside chords, the next note is always
-relative to the preceding one.
+relative to the preceding one.  Examine the next example
+carefully, paying attention to the @code{c} notes.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c' {
   c
   <c e g>
-  % the C is now an octave higher
   <c' e g'>
-  % the C returns to the original pitch
   <c, e, g''>
 }
 @end lilypond
@@ -187,7 +191,7 @@ double-augmented fourth is considered a smaller interval than a
 double-diminished fifth, regardless of the number of semitones
 that each interval contains.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   c2 fis
   c2 ges
@@ -208,12 +212,14 @@ Notation Reference:
 @ref{Octave checks}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{RelativeOctaveMusic}.
+@rinternals{RelativeOctaveMusic}.
 
 
+@cindex relative octave entry and transposition
+@cindex transposition and relative octave entry
 @funindex \transpose
 @funindex \chordmode
 @funindex \relative
@@ -257,15 +263,16 @@ see @rlearning{Accidentals and key signatures}.}
 @cindex double flat
 @cindex flat, double
 @cindex natural sign
+@cindex natural pitch
 
-A @notation{sharp} pitch is made by adding @code{is} to the note name,
-and a @notation{flat} pitch by adding @code{es}.  As you might expect,
-a @notation{double sharp} or @notation{double flat} is made by adding
-@code{isis} or @code{eses}.  This syntax is derived from Dutch note
-naming conventions.  To use other names for accidentals, see
-@ref{Note names in other languages}.
+A @notation{sharp} pitch is made by adding @code{is} to the note
+name, and a @notation{flat} pitch by adding @code{es}.  As you
+might expect, a @notation{double sharp} or @notation{double flat}
+is made by adding @code{isis} or @code{eses}.  This syntax is
+derived from Dutch note naming conventions.  To use other names
+for accidentals, see @ref{Note names in other languages}.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 ais1 aes aisis aeses
 @end lilypond
 
@@ -274,7 +281,7 @@ signature.  However, naturals are not encoded into the note name
 syntax with a suffix; a natural pitch is shown as a simple note
 name:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 a4 aes a2
 @end lilypond
 
@@ -284,7 +291,7 @@ a4 aes a2
 Quarter tones may be added; the following is a series of Cs with
 increasing pitches:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 ceseh1 ces ceh c cih cis cisih
 @end lilypond
 
@@ -307,14 +314,17 @@ be obtained by adding the question mark@tie{}@code{?} after the
 pitch.  These extra accidentals can also be used to produce
 natural signs.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 cis cis cis! cis? c c c! c?
 @end lilypond
 
+@cindex accidental on tied note
+@cindex tied note, accidental
+
 Accidentals on tied notes are only printed at the beginning of a
 new system:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 cis1 ~ cis ~
 \break
 cis
@@ -323,7 +333,7 @@ cis
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {preventing-extra-naturals-from-being-automatically-added.ly}
 
 @seealso
@@ -334,25 +344,28 @@ Music Glossary:
 @rglos{double sharp},
 @rglos{double flat},
 @rglos{Pitch names},
-@rglos{quarter-tone}.
+@rglos{quarter tone}.
 
 Learning Manual:
 @rlearning{Accidentals and key signatures}.
 
 Notation Reference:
 @ref{Automatic accidentals},
-@ref{Musica ficta accidentals},
+@ref{Annotational accidentals},
 @ref{Note names in other languages}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{Accidental_engraver}, 
-@internalsref{Accidental},
-@internalsref{AccidentalCautionary},
-@internalsref{accidental-interface}.
+@rinternals{Accidental_engraver}, 
+@rinternals{Accidental},
+@rinternals{AccidentalCautionary},
+@rinternals{accidental-interface}.
+
 
+@cindex accidental, quarter-tone
+@cindex quarter-tone accidental
 
 @knownissues
 
@@ -365,14 +378,17 @@ any standard.
 @node Note names in other languages
 @unnumberedsubsubsec Note names in other languages
 
+@cindex note names, other languages
+@cindex pitch names, other languages
+@cindex language, note names in other
+@cindex language, pitch names in other
+
 There are predefined sets of note names for various other
 languages.  To use them, include the language-specific init file.
-For example, to use English notes names, add @code{\include
-"english.ly"} to the top of the input file.  The available
-language files and the note names they define are:
+For example, to use English notes names, add
+@w{@code{\include "english.ly"}} to the top of the input file.
+The available language files and the note names they define are:
 
-@cindex note names, other languages
-@cindex pitch names, other languages
 
 @smallexample
 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
@@ -382,35 +398,38 @@ language files and the note names they define are:
 @item nederlands.ly
   @tab c d e f g a bes b
   @tab -is @tab -es @tab -isis @tab -eses
-@item english.ly
-  @tab c d e f g a bf b
-  @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
-    @tab -ff/-flatflat
-@item deutsch.ly
-  @tab c d e f g a b h
-  @tab -is @tab -es @tab -isis @tab -eses
-@item norsk.ly
-  @tab c d e f g a b h
-  @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
-    @tab -essess/-eses
-@item svenska.ly
-  @tab c d e f g a b h
-  @tab -iss @tab -ess @tab -ississ @tab -essess
-@item suomi.ly
-  @tab c d e f g a b h
-  @tab -is @tab -es @tab -isis @tab -eses
-@item italiano.ly
+@item arabic.ly
   @tab do re mi fa sol la sib si
   @tab -d @tab -b @tab -dd @tab -bb
 @item catalan.ly
   @tab do re mi fa sol la sib si
   @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
+@item deutsch.ly
+  @tab c d e f g a b h
+  @tab -is @tab -es @tab -isis @tab -eses
+@item english.ly
+  @tab c d e f g a bf b
+  @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
+    @tab -ff/-flatflat
 @item espanol.ly
   @tab do re mi fa sol la sib si
   @tab -s @tab -b @tab -ss @tab -bb
+@item italiano.ly
+  @tab do re mi fa sol la sib si
+  @tab -d @tab -b @tab -dd @tab -bb
+@item norsk.ly
+  @tab c d e f g a b h
+  @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
+    @tab -essess/-eses
 @item portugues.ly
   @tab do re mi fa sol la sib si
   @tab -s @tab -b @tab -ss @tab -bb
+@item suomi.ly
+  @tab c d e f g a b h
+  @tab -is @tab -es @tab -isis @tab -eses
+@item svenska.ly
+  @tab c d e f g a b h
+  @tab -iss @tab -ess @tab -ississ @tab -essess
 @item vlaams.ly
   @tab do re mi fa sol la sib si
   @tab -k @tab -b @tab -kk @tab -bb
@@ -424,11 +443,17 @@ are accepted in LilyPond.  Similarly, both @code{es} and
 @code{eeses}@tie{}/@tie{}@code{eses}.  Sometimes only these
 contracted names are defined in the corresponding language files.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 a2 as e es a ases e eses
 @end lilypond
 
 
+@cindex microtones
+@cindex semi-sharp
+@cindex semi-flat
+@cindex sesqui-sharp
+@cindex sesqui-flat
+
 Some music uses microtones whose alterations are fractions of a
 @q{normal} sharp or flat.  The note names for quarter-tones
 defined in the various language files are listed in the following
@@ -445,12 +470,15 @@ languages, no special names have been defined yet.
 @item nederlands.ly
   @tab c d e f g a bes b
   @tab -ih @tab -eh @tab -isih @tab -eseh
-@item english.ly
-  @tab c d e f g a bf b
-  @tab -qs @tab -qf @tab -tqs @tab -tqf
+@item arabic.ly
+  @tab do re mi fa sol la sib si
+  @tab -sd @tab -sb @tab -dsd @tab -bsb
 @item deutsch.ly
   @tab c d e f g a b h
   @tab -ih @tab -eh @tab -isih @tab -eseh
+@item english.ly
+  @tab c d e f g a bf b
+  @tab -qs @tab -qf @tab -tqs @tab -tqf
 @item italiano.ly
   @tab do re mi fa sol la sib si
   @tab -sd @tab -sb @tab -dsd @tab -bsb
@@ -467,7 +495,7 @@ Music Glossary:
 @rglos{Pitch names}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 
 @node Changing multiple pitches
@@ -485,21 +513,23 @@ This section discusses how to modify pitches.
 
 @cindex octave correction
 @cindex octave check
+@cindex control pitch
 @funindex =
-@funindex \octave
+@funindex \octaveCheck
+@funindex controlpitch
 
 In relative mode, it is easy to forget an octave changing mark.
 Octave checks make such errors easier to find by displaying a
 warning and correcting the octave if a note is found in an
 unexpected octave.
 
-To check the octave of a note, specify the absolute
-octave after the @code{=}@tie{}symbol.  This example will generate
-a warning (and change the pitch) because the second note is the
-absolute octave @code{d''} instead of @code{d'} as indicated by
-the octave correction.
+To check the octave of a note, specify the absolute octave after
+the @code{=}@tie{}symbol.  This example will generate a warning
+(and change the pitch) because the second note is the absolute
+octave @code{d''} instead of @code{d'} as indicated by the octave
+correction.
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
 \relative c'' {
   c2 d='4 d
   e2 f
@@ -507,34 +537,35 @@ the octave correction.
 @end lilypond
 
 The octave of notes may also be checked with the
-@code{\octave}@tie{}@var{controlpitch} command.  @var{controlpitch} is
-specified in absolute mode.  This checks that the interval between the
-previous note and the @var{controlpitch} is within a fourth (i.e., the
-normal calculation of relative mode).  If this check fails, a warning
-is printed, but the previous note is not changed.  Future notes are
+@code{\octaveCheck}@tie{}@var{controlpitch} command.
+@var{controlpitch} is specified in absolute mode.  This checks
+that the interval between the previous note and the
+@var{controlpitch} is within a fourth (i.e., the normal
+calculation of relative mode).  If this check fails, a warning is
+printed, but the previous note is not changed.  Future notes are
 relative to the @var{controlpitch}.
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
 \relative c'' {
   c2 d
-  \octave c'
+  \octaveCheck c'
   e2 f
 }
 @end lilypond
 
-Compare the two bars below.  The first and third @code{\octave}
+Compare the two bars below.  The first and third @code{\octaveCheck}
 checks fail, but the second one does not fail.
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
 \relative c'' {
   c4 f g f
 
   c4
-  \octave c'
+  \octaveCheck c'
   f
-  \octave c'
+  \octaveCheck c'
   g
-  \octave c'
+  \octaveCheck c'
   f
 }
 @end lilypond
@@ -543,18 +574,22 @@ checks fail, but the second one does not fail.
 @seealso
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{RelativeOctaveCheck}.
+@rinternals{RelativeOctaveCheck}.
 
 
 @node Transpose
 @unnumberedsubsubsec Transpose
 
 @cindex transpose
+@cindex transposing
 @cindex transposition
 @cindex transposition of pitches
+@cindex transposition of notes
+@cindex pitches, transposition of
+@cindex notes, transposition of
 @funindex \transpose
 
 A music expression can be transposed with @code{\transpose}.  The
@@ -575,7 +610,7 @@ Consider a piece written in the key of D-major.  It can be
 transposed up to E-major; note that the key signature is
 automatically transposed as well.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \transpose d e {
   \relative c' {
     \key d \major
@@ -584,12 +619,15 @@ automatically transposed as well.
 }
 @end lilypond
 
-If a part written in C (normal @notation{concert pitch}) is to be played on
-the A clarinet (for which an A is notated as a C and thus sounds a
-minor third lower than notated), the appropriate part will be
-produced with:
+@cindex transposing instruments
+@cindex instruments, transposing
+
+If a part written in C (normal @notation{concert pitch}) is to be
+played on the A clarinet (for which an A is notated as a C and
+thus sounds a minor third lower than notated), the appropriate
+part will be produced with:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \transpose a c' {
   \relative c' {
     \key c \major
@@ -599,25 +637,26 @@ produced with:
 @end lilypond
 
 @noindent
-Note that we specify @code{\key c \major} explicitly.  If we do
-not specify a key signature, the notes will be transposed but no
-key signature will be printed.
+Note that we specify @w{@code{\key c \major}} explicitly.  If we
+do not specify a key signature, the notes will be transposed but
+no key signature will be printed.
 
 @code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose
-up a semitone.  The first version will print sharps and the notes
-will remain on the same scale step, the second version will print
-flats on the scale step above.
+@w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
+transpose up a semitone.  The first version will print sharps and
+the notes will remain on the same scale step, the second version
+will print flats on the scale step above.
 
-@lilypond[verbatim,quote,ragged-right]
-mus = \relative c' { c d e f }
+@lilypond[verbatim,quote]
+music = \relative c' { c d e f }
 \new Staff {
-  \transpose c cis { \mus }
-  \transpose c des { \mus }
+  \transpose c cis { \music }
+  \transpose c des { \music }
 }
 @end lilypond
 
 @cindex transposing instruments
+@cindex instruments, transposing
 
 @code{\transpose} may also be used in a different way, to input
 written notes for a transposing instrument.  The previous examples
@@ -649,7 +688,7 @@ see @ref{Instrument transpositions}.
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
 
 
@@ -659,10 +698,10 @@ Notation Reference:
 @ref{Instrument transpositions}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{TransposedMusic}.
+@rinternals{TransposedMusic}.
 
 @funindex \transpose
 @funindex \chordmode
@@ -670,7 +709,6 @@ Internals Reference:
 
 @knownissues
 
-
 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.
 To use relative mode within transposed music, an additional
@@ -728,10 +766,9 @@ This section discusses how to alter the output of pitches.
 @cindex clef, varbaritone 
 @cindex subbass clef, subbass 
 
-The clef is set with the @code{\clef} @var{clefname} command.
-Middle C is shown in every example.
+The clef may be altered.  Middle C is shown in every example.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,relative=1]
 \clef treble
 c2 c
 \clef alto
@@ -744,7 +781,7 @@ c2 c
 
 Other clefs include:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,relative=1]
 \clef french
 c2 c
 \clef soprano
@@ -771,15 +808,17 @@ Further supported clefs are described under @ref{Ancient clefs}.
 @cindex transposing clefs
 @cindex clef, transposing
 @cindex octave transposition
-
-By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively, and @code{_15} and
-@code{^15} transpose by two octaves.  The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits.
-
 @cindex choral tenor clef
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
+clef is transposed one octave down or up, respectively,
+and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
+The clef name must be enclosed in quotes when it contains
+underscores or digits.
+
+@lilypond[verbatim,quote,relative=2]
+\clef treble
+c2 c
 \clef "treble_8"
 c2 c
 \clef "bass^15"
@@ -789,7 +828,7 @@ c2 c
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {tweaking-clef-properties.ly}
 
 
@@ -799,13 +838,13 @@ Notation Reference:
 @ref{Ancient clefs}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{Clef_engraver},
-@internalsref{Clef},
-@internalsref{OctavateEight},
-@internalsref{clef-interface}.
+@rinternals{Clef_engraver},
+@rinternals{Clef},
+@rinternals{OctavateEight},
+@rinternals{clef-interface}.
 
 
 @node Key signature
@@ -824,8 +863,7 @@ see @rlearning{Accidentals and key signatures}.}
 
 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 staff.  Setting or changing the key signature
-is done with the @code{\key} command:
+at the start of the staff.  The key signature may be altered:
 
 @example
 \key @var{pitch} @var{mode}
@@ -842,6 +880,15 @@ is done with the @code{\key} command:
 @funindex \dorian
 @cindex church modes
 @cindex modes
+@cindex major
+@cindex minor
+@cindex ionian
+@cindex locrian
+@cindex aeolian
+@cindex mixolydian
+@cindex lydian
+@cindex phrygian
+@cindex dorian
 
 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
 key signature of @var{pitch}-major or @var{pitch}-minor,
@@ -850,7 +897,7 @@ called @notation{church modes}: @code{\ionian}, @code{\dorian},
 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
 @code{\aeolian}, and @code{\locrian}.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 \key g \major
 fis1
 f
@@ -860,10 +907,10 @@ fis
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {non-traditional-key-signatures.ly}
 
 
@@ -877,16 +924,16 @@ Learning Manual:
 @rlearning{Accidentals and key signatures}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{KeyChangeEvent},
-@internalsref{Key_engraver},
-@internalsref{Key_performer},
-@internalsref{KeyCancellation},
-@internalsref{KeySignature},
-@internalsref{key-cancellation-interface},
-@internalsref{key-signature-interface}.
+@rinternals{KeyChangeEvent},
+@rinternals{Key_engraver},
+@rinternals{Key_performer},
+@rinternals{KeyCancellation},
+@rinternals{KeySignature},
+@rinternals{key-cancellation-interface},
+@rinternals{key-signature-interface}.
 
 
 @node Ottava brackets
@@ -897,25 +944,26 @@ Internals Reference:
 @cindex 8va
 @cindex 8ve
 @cindex octavation
+@funindex set-octavation
 
 @notation{Ottava brackets} introduce an extra transposition of an
 octave for the staff:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 a'2 b
-#(set-octavation 1)
+\ottava #1
 a b
-#(set-octavation 0)
+\ottava #0
 a b
 @end lilypond
 
-The @code{set-octavation} function also takes -1 (for 8va bassa),
+The @code{ottava} function also takes -1 (for 8va bassa),
 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
 
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {ottava-text.ly}
 
 
@@ -925,12 +973,12 @@ Music Glossary:
 @rglos{octavation}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{Ottava_spanner_engraver},
-@internalsref{OttavaBracket},
-@internalsref{ottava-bracket-interface}.
+@rinternals{Ottava_spanner_engraver},
+@rinternals{OttavaBracket},
+@rinternals{ottava-bracket-interface}.
 
 
 
@@ -941,6 +989,7 @@ Internals Reference:
 @cindex transposition, instrument
 @cindex transposing instrument
 @cindex MIDI
+@cindex MIDI transposition
 @funindex \transposition
 
 When typesetting scores that involve transposing instruments, some
@@ -948,8 +997,8 @@ parts can be typeset in a different pitch than the
 @notation{concert pitch}.  In these cases, the key of the
 @notation{transposing instrument} should be specified; otherwise
 the MIDI output and cues in other parts will produce incorrect
-pitches.  For more information about quotations, see @ref{Quoting
-other voices}.
+pitches.  For more information about quotations, see
+@ref{Quoting other voices}.
 
 @example
 \transposition @var{pitch}
@@ -960,7 +1009,7 @@ the real sound heard when a@tie{}@code{c'} written on the staff is
 played by the transposing instrument.  This pitch is entered in
 absolute mode, so an instrument that produces a real sound which
 is one tone higher than the printed music should use
-@code{\transposition d'}.  @code{\transposition} should
+@w{@code{\transposition d'}}.  @code{\transposition} should
 @emph{only} be used if the pitches are @emph{not} being entered in
 concert pitch.
 
@@ -969,13 +1018,13 @@ parts have been entered using the notes and key as they appear in
 each part of the conductor's score.  The two instruments are
 playing in unison.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \new GrandStaff <<
-  \new Staff = "Vln" {
+  \new Staff = "violin" {
     \relative c'' {
       \set Staff.instrumentName = "Vln"
       \set Staff.midiInstrument = "violin"
-      % strictly speaking not necessary, but a good reminder
+      % not strictly necessary, but a good reminder
       \transposition c'
 
       \key c \major
@@ -988,7 +1037,6 @@ playing in unison.
       \set Staff.midiInstrument = "clarinet"
       \transposition bes
 
-      % not concert pitch
       \key d \major
       a4( d8) r d r d4
     }
@@ -1000,7 +1048,7 @@ The @code{\transposition} may be changed during a piece.  For
 example, a clarinetist may switch from an A clarinet to a B-flat
 clarinet.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 \set Staff.instrumentName = "Cl (A)"
 \key a \major
 \transposition a
@@ -1025,7 +1073,7 @@ Notation Reference:
 @ref{Quoting other voices}, @ref{Transpose}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 
 @node Automatic accidentals
@@ -1038,10 +1086,11 @@ Snippets:
 @cindex automatic accidentals
 @cindex default accidental style
 @funindex set-accidental-style
+@funindex voice
 
 There are many different conventions on how to typeset
 accidentals.  LilyPond provides a function to specify which
-accidental style to use.  This function is called as follows
+accidental style to use.  This function is called as follows:
 
 @example
 \new Staff <<
@@ -1055,7 +1104,7 @@ default (with the exception of the styles @code{piano} and
 @code{piano-cautionary}, which are explained below).  Optionally,
 the function can take a second argument that determines in which
 scope the style should be changed.  For example, to use the same
-style in all staves of the current @code{StaffGroup}, use
+style in all staves of the current @code{StaffGroup}, use:
 
 @example
 #(set-accidental-style 'voice 'StaffGroup)
@@ -1064,7 +1113,9 @@ style in all staves of the current @code{StaffGroup}, use
 The following accidental styles are supported.  To demonstrate
 each style, we use the following example:
 
-@lilypond[verbatim,quote,ragged-right]
+@funindex default
+
+@lilypond[verbatim,quote]
 musicA = {
   <<
     \relative c' {
@@ -1099,12 +1150,10 @@ musicB = {
 \new PianoStaff {
   <<
     \context Staff = "up" {
-      %%% change the next line as desired:
       #(set-accidental-style 'default)
       \musicA
     }
     \context Staff = "down" {
-      %%% change the next line as desired:
       #(set-accidental-style 'default)
       \musicB
     }
@@ -1115,6 +1164,7 @@ musicB = {
 Note that the last lines of this example can be replaced by the
 following, as long as the same accidental style should be used in
 both staves.
+
 @example
 \new PianoStaff @{
   <<
@@ -1134,6 +1184,11 @@ both staves.
 @c don't use verbatim in this table.
 @table @code
 @item default
+
+@cindex default accidental style
+@cindex accidental style, default
+@funindex default
+
 This is the default typesetting behavior.  It corresponds to
 eighteenth-century common practice: accidentals are remembered to
 the end of the measure in which they occur and only in their own
@@ -1141,7 +1196,7 @@ octave.  Thus, in the example below, no natural signs are printed
 before the@tie{}@code{b} in the second measure or the
 last@tie{}@code{c}:
 
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1188,10 +1243,19 @@ musicB = {
 @end lilypond
 
 @item voice
-The normal behavior is to remember the accidentals at @code{Staff}-level.
-In this style, however, accidentals are typeset individually for
-each voice.  Apart from that, the rule is similar to
-@code{default}.
+
+@cindex accidental style, voice
+@cindex voice accidental style
+@cindex accidental style, modern
+@cindex modern accidental style
+@cindex accidental style, modern-cautionary
+@cindex modern-cautionary accidental style
+@funindex voice
+
+The normal behavior is to remember the accidentals at
+@code{Staff}-level.  In this style, however, accidentals are
+typeset individually for each voice.  Apart from that, the rule is
+similar to @code{default}.
 
 As a result, accidentals from one voice do not get canceled in
 other voices, which is often an unwanted result: in the following
@@ -1203,7 +1267,7 @@ individual musicians.  If the staff is to be used by one musician
 @code{modern-cautionary} should be used instead.
 
 
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1250,9 +1314,10 @@ musicB = {
 @end lilypond
 
 @item modern
+
 @cindex accidentals, modern style
 @cindex modern style accidentals
-@funindex modern style accidentals
+@funindex modern
 
 This rule corresponds to the common practice in the twentieth
 century.  It prints the same accidentals as @code{default}, with
@@ -1263,7 +1328,7 @@ for notes in other octaves.  Hence the naturals before
 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
 the upper staff:
 
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1310,6 +1375,7 @@ musicB = {
 @end lilypond
 
 @item modern-cautionary
+
 @cindex accidentals, modern cautionary style
 @cindex modern accidental style
 @cindex modern cautionary accidental style
@@ -1324,8 +1390,7 @@ parentheses, but they can also be printed in reduced size by
 defining the @code{cautionary-style} property of
 @code{AccidentalSuggestion}.
 
-
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1372,6 +1437,7 @@ musicB = {
 @end lilypond
 
 @item modern-voice
+
 @cindex accidental style, modern
 @cindex accidentals, modern
 @cindex accidentals, multivoice
@@ -1389,8 +1455,7 @@ previous cancellation was in a different voice, and
 the@tie{}@code{d} in the lower staff is canceled because of the
 accidental in a different voice in the previous measure:
 
-
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1440,15 +1505,16 @@ musicB = {
 @cindex accidental style, modern voice cautionary
 @cindex accidental style, voice, modern cautionary
 @funindex modern-voice-cautionary
+
 @item modern-voice-cautionary
 
 This rule is the same as @code{modern-voice}, but with the extra
-accidentals (the ones not typeset by @code{voice}) typeset
-as cautionaries.  Even though all accidentals typeset by
-@code{default} @emph{are} typeset with this rule,
-some of them are typeset as cautionaries.
+accidentals (the ones not typeset by @code{voice}) typeset as
+cautionaries.  Even though all accidentals typeset by
+@code{default} @emph{are} typeset with this rule, some of them are
+typeset as cautionaries.
 
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1495,21 +1561,23 @@ musicB = {
 @end lilypond
 
 @item piano
+
 @cindex accidental style, piano
 @cindex accidentals, piano
 @cindex piano accidental style
 @cindex piano accidentals
+@funindex piano
 
 This rule reflects twentieth-century practice for piano notation.
 Its behavior is very similar to @code{modern} style, but here
 accidentals also get canceled across the staves in the same
-@code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
-of the final notes.
+@code{GrandStaff} or @code{PianoStaff}, hence all the
+cancellations of the final notes.
 
 This accidental style applies to the current @code{GrandStaff} or
 @code{PianoStaff} by default.
 
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1555,7 +1623,8 @@ musicB = {
 @end lilypond
 
 @item piano-cautionary
-@funindex #(set-accidental-style 'piano-cautionary)
+
+@funindex piano-cautionary 
 @cindex accidentals, piano cautionary
 @cindex cautionary accidentals, piano
 @cindex piano cautionary accidentals
@@ -1563,10 +1632,10 @@ musicB = {
 @cindex cautionary accidental style, piano
 @cindex piano cautionary accidental style
 
-Same as @code{#(set-accidental-style 'piano)} but with the extra
-accidentals typeset as cautionaries.
+This is the same as @code{piano} but with the extra accidentals
+typeset as cautionaries.
 
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1612,14 +1681,15 @@ musicB = {
 @end lilypond
 
 @item no-reset
-@funindex no-reset accidental style
+
+@funindex no-reset
 @cindex accidental style, no reset
 @cindex no reset accidental style
 
 This is the same as @code{default} but with accidentals lasting
 @q{forever} and not only within the same measure:
 
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1666,7 +1736,8 @@ musicB = {
 @end lilypond
 
 @item forget
-@funindex forget accidental style
+
+@funindex forget
 @cindex forget accidental style
 @cindex accidental style, forget
 
@@ -1675,7 +1746,7 @@ remembered at all -- and hence all accidentals are typeset
 relative to the key signature, regardless of what came before in
 the music:
 
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 musicA = {
   <<
     \relative c' {
@@ -1724,24 +1795,24 @@ musicB = {
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
 
 
 @seealso
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{Accidental},
-@internalsref{Accidental_engraver},
-@internalsref{GrandStaff} and
-@internalsref{PianoStaff},
-@internalsref{Staff},
-@internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement},
-@internalsref{accidental-suggestion-interface}.
+@rinternals{Accidental},
+@rinternals{Accidental_engraver},
+@rinternals{GrandStaff} and
+@rinternals{PianoStaff},
+@rinternals{Staff},
+@rinternals{AccidentalSuggestion},
+@rinternals{AccidentalPlacement},
+@rinternals{accidental-suggestion-interface}.
 
 
 @cindex accidentals and simultaneous notes
@@ -1779,7 +1850,7 @@ clef.  The range is graphically specified by two note heads that
 represent the lowest and highest pitches.  Accidentals are only
 printed if they are not part of the key signature.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \layout {
   \context {
     \Voice
@@ -1796,10 +1867,10 @@ printed if they are not part of the key signature.
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {adding-ambitus-per-voice.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {ambitus-with-multiple-voices.ly}
 
 
@@ -1809,17 +1880,17 @@ Music Glossary:
 @rglos{ambitus}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{Ambitus_engraver},
-@internalsref{Voice},
-@internalsref{Staff},
-@internalsref{Ambitus},
-@internalsref{AmbitusAccidental},
-@internalsref{AmbitusLine},
-@internalsref{AmbitusNoteHead},
-@internalsref{ambitus-interface}.
+@rinternals{Ambitus_engraver},
+@rinternals{Voice},
+@rinternals{Staff},
+@rinternals{Ambitus},
+@rinternals{AmbitusAccidental},
+@rinternals{AmbitusLine},
+@rinternals{AmbitusNoteHead},
+@rinternals{ambitus-interface}.
 
 
 @knownissues
@@ -1855,48 +1926,54 @@ This section suggests ways of altering note heads.
 @cindex parlato note heads
 @cindex harmonic note heads
 @cindex guitar note heads
+@cindex note head styles
+@cindex styles, note heads
+@funindex cross
 
-Different note heads are used by various instruments for various
-meanings -- crosses are used for @q{parlato} with vocalists,
-stopped notes on guitar; diamonds are used for harmonics on string
-instruments, etc.  There is a shorthand (@code{\harmonic}) for
-diamond shapes; the other note head styles are produced by
-tweaking the property:
+Note heads may be altered:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-c4 d
+@lilypond[verbatim,quote,relative=2]
+c4 b a b
 \override NoteHead #'style = #'cross
-e f
+c4 b a b
 \revert NoteHead #'style
-e d <c f\harmonic> <d a'\harmonic>
+c4 d e f
+@end lilypond
+
+There is a shorthand for diamond shapes which can only be used
+inside chords:
+
+@lilypond[verbatim,quote,relative=2]
+<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
 @end lilypond
 
 @noindent
 To see all note head styles, see @ref{Note head styles}.
 
-
 @seealso
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Notation Reference:
-@ref{Note head styles}.
+@ref{Note head styles},
+@ref{Chorded notes}.
 
 Internals Reference:
-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{Ledger_line_engraver},
-@internalsref{NoteHead},
-@internalsref{LedgerLineSpanner},
-@internalsref{note-head-interface},
-@internalsref{ledger-line-spanner-interface}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{Ledger_line_engraver},
+@rinternals{NoteHead},
+@rinternals{LedgerLineSpanner},
+@rinternals{note-head-interface},
+@rinternals{ledger-line-spanner-interface}.
 
 
 @node Easy notation note heads
 @unnumberedsubsubsec Easy notation note heads
 
 @cindex note heads, practice
+@cindex practice note heads
 @cindex note heads, easy notation
 @cindex easy notation
 @cindex Hal Leonard
@@ -1906,9 +1983,11 @@ Internals Reference:
 @cindex note heads, easy play
 
 The @q{easy play} note head includes a note name inside the head.
-It is used in music for beginners.
+It is used in music for beginners.  To make the letters readable,
+it should be printed in a large font size.  To print with a larger
+font, see @ref{Setting the staff size}.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 #(set-global-staff-size 26)
 \relative c' {
   \easyHeadsOn
@@ -1919,12 +1998,6 @@ It is used in music for beginners.
 }
 @end lilypond
 
-The command @code{\easyHeadsOn} overrides settings for the
-@code{NoteHead} object.  These settings can be reverted with the command
-@code{\easyHeadsOff}. To make the letters readable, it has to be printed
-in a large font size.  To print with a larger font, see @ref{Setting the
-staff size}.
-
 @predefined
 
 @funindex \easyHeadsOn
@@ -1937,13 +2010,13 @@ Notation Reference:
 @ref{Setting the staff size}.
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{NoteHead},
-@internalsref{note-head-interface}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
 
 
 @node Shape note heads
@@ -1956,28 +2029,23 @@ Internals Reference:
 @cindex Aiken shape note heads
 @cindex sacred harp note heads
 @funindex \key
-@funindex shapeNoteStyles
 @funindex \aikenHeads
 @funindex \sacredHarpHeads
 
 In shape note head notation, the shape of the note head
 corresponds to the harmonic function of a note in the scale.  This
 notation was popular in nineteenth-century American song books.
+Shape note heads can be produced:
 
-Shape note heads can be produced by setting @code{\aikenHeads} or
-@code{\sacredHarpHeads}, depending on the style desired.
-
-@lilypond[verbatim,fragment,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,relative=2]
 \aikenHeads
-c8 d4 e8 a2
-g1
+c, d e f g a b c
 \sacredHarpHeads
-c,8 d4 e8 a2
-g1
+c, d e f g a b c
 @end lilypond
 
-Shapes are typeset according to the step in the scale, where
-the base of the scale is determined by the @code{\key} command.
+Shapes are typeset according to the step in the scale, where the
+base of the scale is determined by the @code{\key} command.
 
 @predefined
 
@@ -1987,7 +2055,7 @@ the base of the scale is determined by the @code{\key} command.
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
 
 @noindent
@@ -1996,16 +2064,16 @@ To see all note head styles, see @ref{Note head styles}.
 @seealso
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Notation Reference:
 @ref{Note head styles}.
 
 Internals Reference:
-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{NoteHead},
-@internalsref{note-head-interface}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
 
 
 @node Improvisation
@@ -2020,10 +2088,10 @@ Improvisation is sometimes denoted with slashed note heads, where
 the performer may choose any pitch but should play the specified
 rhythm.  Such note heads can be created:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote,relative=2]
 \new Voice \with {
   \consists "Pitch_squash_engraver"
-} \transpose c c' {
+} {
   e8 e g a a16( bes) a8 g
   \improvisationOn
   e8 ~
@@ -2045,11 +2113,11 @@ rhythm.  Such note heads can be created:
 @seealso
 
 Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
 
 Internals Reference:
-@internalsref{Pitch_squash_engraver},
-@internalsref{Voice},
-@internalsref{RhythmicStaff}.
+@rinternals{Pitch_squash_engraver},
+@rinternals{Voice},
+@rinternals{RhythmicStaff}.