X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Frefman.itely;h=a46c14eaee71902342c24871da184d523d87db5f;hb=d182d030b396d66a84efa13d947fbbdfb7240874;hp=ea338517a1b0256f555108d0c32ef8a247a15958;hpb=af51453530b95aee167fe02ee3f4cb0c8dcd1fe2;p=lilypond.git

diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely
index ea338517a1..20f2dd6b06 100644
--- a/Documentation/user/refman.itely
+++ b/Documentation/user/refman.itely
@@ -1,318 +1,528 @@
-@c Note:
+@c Note: -*-texinfo-*-
 @c
-@c A menu is needed before every deeper *section nesting of @nodes
-@c Run M-x texinfo-all-menus-update
-@c to automagically fill in these menus
-@c before saving changes
+@c A menu is needed before every deeper *section nesting of @node's; run
+@c     M-x texinfo-all-menus-update
+@c to automagically fill in these menus before saving changes
+
+@c FIXME: singular vs. plural:  Beams/Beam
+
+
+@macro refbugs
+@strong{BUGS}
+
+@end macro
+
+
+@c .{Reference Manual}
 
-@c_{Reference Manual}
 @node Reference Manual
 @chapter Reference Manual
+
+@html
+<!--- @@WEB-TITLE@@=Reference Manual --->
+@end html
+
+This document describes GNU LilyPond and its input format. The last
+revision of this document was made for LilyPond 1.4.1.  It supposes a
+passing familiarity with how LilyPond input works. New users are
+encouraged to study the tutorial first.
+
+
 @menu
-* Overview::                    
-* Music constructs::            
-* Modifying music::             
 * Note entry::                  
-* Note specification::          
-* Music notation::              
-* Lyrics entry::                
-* Chord entry::                 
-* Page layout::                 
+* Easier music entry::          
+* Staff notation::              
+* Polyphony::                   
+* Beaming::                     
+* Accidentals::                 
+* Expressive marks::            
+* Ornaments::                   
+* Repeats::                     
+* Rhythmic music::              
+* Piano music::                 
+* Tablatures::                  
+* Chords::                      
+* Writing parts::               
+* Ancient notation ::           
+* Tuning output::               
+* Global layout::               
 * Sound::                       
-* Music entry::                 
-* Engravers::                   
-* Lexer innards::               
-* Unsorted::                    
 @end menu
 
-@c_ {Overview}
-@node Overview
-@section Overview
+@c FIXME: Note entry vs Music entry at top level menu is confusing.
+@c . {Note entry}
+@node Note entry
+@section Note entry
+@cindex Note entry
+
+The most basic forms of music are notes.  Notes on their own don't
+form valid input, but for the sake of brevity we omit @code{\score}
+blocks and @code{\paper} declarations.
 
-This document
-describes the the GNU LilyPond input format This format represents a
-piece of music in an elegant way, but contains enough information for
-both automatic typesetting and automatic performances.
 
-This document has been revised for LilyPond 1.3.125
+@menu
+* Notes::                       
+* Pitches::                     
+* Chromatic alterations::       
+* Rests::                       
+* Skips::                       
+* Durations::                   
+* Ties::                        
+* Automatic note splitting ::   
+* Tuplets::                     
+* Easy Notation note heads ::   
+@end menu
 
-[todo: ]
+@c . {Notes}
+@node Notes
+@subsection Notes
 
-There are two things to note here. The format contains musical
-concepts like pitches and durations, instead of symbols and positions:
-the input format tries to capture the meaning of @emph{music}, and not
-notation.  Second, the format tries to be @emph{context-free}:
-a note will sound the same regardless of the current time signature,
-the key, etc.
 
-The purpose of LilyPond is explained informally by the term `music
-typesetter'.  This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions.  All
-symbols and their placement is @emph{generated} from a high-level musical
-description.  In other words,  LilyPond would be best
-described by `music compiler' or `music to notation compiler'.
+A note is printed by specifying its pitch, and then its duration.
+@lilypond[fragment,verbatim]
+  cis'4 d'8 e'16 c'16
+@end lilypond
 
-LilyPond input can be classified  into three types:
-@itemize @bullet
-  @item musical expressions: a musical expression is some combination of
-rest, notes, lyrics
-  @item output definitions: recipes for translating those musical
-expressions into performances (MIDI) or graphics (eg. PostScript).
+@c .  {Pitches}
+@node Pitches
+@subsection Pitches
 
-  @item declarations: by declaring and naming musical expressions, you
-can enter and edit them in manageable chunks.
-@end itemize
+@cindex Pitch names
+@cindex Note specification
+@cindex pitches
+@cindex entering notes
 
+The verbose syntax for pitch specification is
 
-@c_ {Music constructs}
-@node Music constructs
-@section Music constructs
-@cindex Music constructs
-@menu
-* Music expressions::           
-* Sequential music::            
-* Simultanious music::          
-* Compound music expressions::  
-* Grace music::                 
-* Explicit atomic music::       
-@end menu
+@cindex @code{\pitch}
+@example
+  \pitch @var{scmpitch}
+@end example
+
+@var{scmpitch} is a pitch scheme object.
+
+In Note and Chord mode, pitches may be designated by names.  The default
+names are the Dutch note names.  The notes are specified by the letters
+@code{a} through @code{g} (where the octave is formed by notes ranging
+from @code{c} to @code{b}).  The pitch @code{c} is an octave below
+middle C and the letters span the octave above that C.
 
-@c_  {Music expressions}
-@node Music expressions
-@subsection Music expressions
+@cindex note names, Dutch
 
-@cindex music expressions
+In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
+name and a flat is formed by adding @code{-es}. Double sharps and double
+flats are obtained by adding @code{-isis} or @code{-eses}.  @code{aes}
+and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
+both forms are accepted.
 
-Music in LilyPond is entered as a music expression.  Notes, rests,
-lyric syllables are music expressions (the atomic
-expressions),
-@cindex atomic music expressions
-and you can combine music expressions to form new ones.  This example
-forms a compound expressions out of the quarter @code{c} note and a
-@code{d} note:
+LilyPond has predefined sets of note names for various other languages.
+To use them, simply include the language specific init file.  For
+example: @code{\include "english.ly"}.  The available language files and
+the names they define are:
 
 @example 
-\sequential @{ c4 d4 @} 
+                        Note Names               sharp       flat
+nederlands.ly  c   d   e   f   g   a   bes b   -is         -es
+english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat
+deutsch.ly     c   d   e   f   g   a   b   h   -is         -es
+norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es
+svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess
+italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b
+catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b 
+espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b 
+
 @end example 
 
-The meaning of this compound expression is to play the @code{c}
-first, and then the @code{d} (as opposed to playing them
-simultaneously, for instance).
+@cindex @code{'}
+@cindex @code{,}
 
-Atomic music expression are discussed in
-subsection @ref{Atomic music expressions}.  Compound music expressions are
-discussed in subsection @ref{Compound music expressions}.
 
 
-@c_  {Sequential music}
-@node Sequential music
-@subsection Sequential music
-@cindex Sequential music
-@cindex @code{\sequential}
-@cindex sequential music
+The optional octave specification takes the form of a series of
+single quote (`@code{'}') characters or a series of comma
+(`@code{,}') characters.  Each @code{'} raises the pitch by one
+octave; each @code{,} lowers the pitch by an octave.
 
-@example
-  \sequential @code{@{} @var{musicexprlist} @code{@}}
-@end example
+@lilypond[fragment,verbatim,center]
+  c' c'' es' g' as' gisis' ais'  
+@end lilypond
 
-This means that list should be played or written in sequence, i.e.,
-the second after the first, the third after the second.  The duration
-of sequential music is the the sum of the durations of the elements. 
-There is a shorthand, which leaves out the keyword:
+@node Chromatic alterations
+@subsection Chromatic alterations
 
-@example
-@cindex @code{<}
-@cindex @code{>}
+Normally, accidentals are printed automatically, but you may force
+accidentals in the following ways: A reminder accidental
+@cindex reminder accidental
+@cindex @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch.  A
+cautionary accidental,
+@cindex cautionary accidental
+@cindex parenthesized accidental
+i.e., an accidental within parentheses can be obtained by adding the
+question mark `@code{?}' after the pitch.
 
-  @code{@{} @var{musicexprlist} @code{@}}
-@end example
+The automatic production of accidentals can be tuned in many
+ways. Refer to @ref{Accidentals} for more information.
 
-@c_  {Simultanious music}
-@node Simultanious music
-@subsection Simultanious music
-@cindex Simultanious music
-@cindex @code{\simultaneous}
+@c .  {Rests}
+@node  Rests
+@subsection Rests
+@cindex Rests
 
-@example
-  \simultaneous @code{@{} @var{musicexprlist} @code{@}}
-@end example
+A rest is entered like a note, with note name `@code{r}':
 
-It constructs a music expression where all of its arguments start at
-the same moment.  The duration is the maximum of the durations of the
-elements.  The following shorthand is a common idiom:
+@lilypond[singleline,verbatim]
+r1 r2 r4 r8
+@end lilypond
 
-@example
-  @code{<} @var{musicexprlist} @code{>}
-@end example
+Whole bar rests centered in the bar are specified using @code{R}, see
+@ref{Multi measure rests}. See also @seeinternals{Rest}.
 
-If you try to use a chord as the first thing in your score, you might
-get multiple staffs instead of a chord.
+For polyphonic music, it can be convenient to specify the rest position
+directly. You can do that by entering a note, with the keyword
+@code{\rest} appended, e.g. Rest collisions will leave these rests alone.
 
-@lilypond[verbatim,center]
-  \score {
-    \notes <c''4 e''>
-    \paper {
-      linewidth = -1.;
-    }
-  }
+@lilypond[singleline,verbatim]
+a'4\rest d'4\rest
 @end lilypond
 
-This happens because the chord is interpreted by a score context.
-Each time a note is encountered a default Voice context (along with a
-Staff context) is created.  The solution is to explicitly instantiate
-a Voice context:
 
-@lilypond[verbatim,center]
-  \score {
-    \notes\context Voice <c''4 e''>
-    \paper {
-      linewidth = -1.;
+@c .  {Skips}
+@c FIXME: naming.
+@node Skips
+@subsection Skips
+@cindex Skip
+@cindex Invisible rest
+@cindex Space note
+
+An invisible rest, or skip, can be entered like a note with note name
+@code{s}, or with @code{\skip @var{duration}}:
+
+@lilypond[singleline,verbatim]
+a2 s4 a4 \skip 1 a4 
+@end lilypond
+
+The @code{s} syntax  is only available in Note mode and Chord mode. 
+In other situations, you should use the @code{\skip} command, and it is
+only available in Note mode and Chord mode.
+
+@c FIXME: in lyrics mode, we have " " and _
+
+In Lyrics mode, you can use `@code{" "}' and `@code{_}':
+@lilypond[singleline,verbatim]
+<
+  \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
+  \notes\relative c'' { a2 a4 a a2 a4 a }
+>
+@end lilypond
+
+The unabbreviated `@code{\skip} @var{duration}' also works outside of
+note mode:
+
+@lilypond[singleline,verbatim]
+\score {
+  \context Staff <
+    { \time 4/8 \skip 2 \time 4/4 } 
+    \notes\relative c'' { a2 a1 }
+  >
+}
+@end lilypond
+
+The skip command is merely a empty musical placeholder. It does not
+produce any output, not even transparent output.
+
+
+@c .  {Durations}
+@node Durations
+@subsection Durations
+
+
+@cindex duration
+@cindex @code{\duration}
+
+
+In Note, Chord, and Lyrics mode, durations may be designated by numbers
+and dots: durations are entered as their reciprocal values.  For notes
+longer than a whole you must use identifiers.
+
+@example 
+ c'\breve  
+c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 
+r\longa r\breve  
+r1 r2 r4 r8 r16 r32 r64 r64 
+@end example 
+
+
+@lilypond[]
+\score {
+  \notes \relative c'' {
+    a\breve  \autoBeamOff
+    a1 a2 a4 a8 a16 a32 a64 a64 
+    r\longa r\breve  
+    r1 r2 r4 r8 r16 r32 r64 r64 
+  }
+  \paper {
+    \translator {
+      \StaffContext
+        \remove "Clef_engraver"
+        \remove "Staff_symbol_engraver"
+        \remove "Time_signature_engraver"
+        \consists "Pitch_squash_engraver"
     }
   }
+}
 @end lilypond
 
-@c_  {Compound music expressions}
-@node Compound music expressions
-@subsection Compound music expressions
 
-@cindex Compound music expressions
-
-Music expressions are compound data structures.  You can nest music
-expressions any way you like.  This simple example shows how three
-chords can be expressed in two different ways:
+If the duration is omitted then it is set to the previous duration
+entered.  At the start of parsing a quarter note is assumed.  The
+duration can be followed by dots (`@code{.}')  to obtain dotted note
+lengths.
+@cindex @code{.}
 
 @lilypond[fragment,verbatim,center]
-  \notes \context Staff {
-    <a c'> <b  d' > <c' e'>
-    < { a b  c' } { c' d' e' } >
-  }
+  a'4. b'4.. c'8.
+@end lilypond
+@cindex @code{r}
+@cindex @code{s}
 
+You can alter the length of duration by a fraction @var{N/M} by
+appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
+will not affect the appearance of the notes or rests produced.
+
+Durations can also be produced through GUILE extension mechanism. 
+@lilypond[verbatim,fragment]
+ c\duration #(make-duration 2 1)
 @end lilypond
 
-@cindex @code{\context}
-@cindex context selection
 
-@example
-  \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
-@end example
+@refbugs
 
-Interpret @var{musicexpr} within a context of type @var{contexttype}. 
-If the context does not exist, it will be created.  The new context
-can optionally be given a name.  
+Dot placement for chords is not perfect.  In some cases, dots overlap:
+@lilypond[]
+ \context Voice { <f,4. c'' d e f> }
+@end lilypond
 
 
-@c_  {Grace music} <-> Grace notes
-@node Grace music
-@subsection Grace music
-@cindex Grace music
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@cindex @code{graceAlignPosition}
+@node Ties
+@subsection Ties
 
-@example
-  \grace @var{musicexpr}
-@end example
+@cindex Tie
+@cindex ties
+@cindex @code{~}
 
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
+A tie connects two adjacent note heads of the same pitch.  The tie in
+effect extends the length of a note. A tie is entered with @code{~}.
 
-You cannot have the grace note after the main note, in terms of
-duration, and main notes, but you can typeset the grace notes to the
-right of the main note using the property
-@code{graceAlignPosition}.
-@cindex @code{flagStyle}
+@lilypond[fragment,verbatim,center]
+  e' ~ e' <c' e' g'> ~ <c' e' g'>
+@end lilypond
 
-When grace music is interpreted, a score-within-a-score is set up:
-@var{musicexpr} has its own time bookkeeping, and you could (for
-example) have a separate time signature within grace notes.  While in
-this score-within-a-score, you can create notes, beams, slurs, etc.
-Unbeamed eighth notes and shorter by default have a slash through the
-stem.  This behavior can be controlled with the
-@code{flagStyle} property.
+When ties are used with chords, all note heads whose pitches match are
+connected.  Ties are indicated using the tilde symbol `@code{~}'.  If
+you try to tie together chords which have no common pitches then no
+ties will be created.
 
-@quotation
-@lilypond[fragment,verbatim]
-\relative c'' {
-  \grace c8 c4 \grace { [c16 c16] } c4
-  \grace { \property Grace.flagStyle = "" c16 } c4
-}
+If you want less  ties created for a chord, you can  set
+@code{Voice.sparseTies} to true. In this case, a single tie is used
+for every tied chord.
+@lilypond[fragment,verbatim,center]
+  \property Voice.sparseTies = ##t
+  <c' e' g'> ~ <c' e' g'>
+@end lilypond
 
+In its meaning a tie is just a way of extending a note duration, similar
+to the augmentation dot: the following example are two ways of notating
+exactly the same concept.
+@c
+@lilypond[fragment, singleline]
+\time 3/4 c'2. c'2 ~ c'4
 @end lilypond
-@end quotation
-@cindex @code{\grace}
+Ties should not be confused with slurs, which indicate articulation,
+and phrasing slurs, which indicate musical phrasing.
 
-At present, nesting @code{\grace} notes is not supported. The following
-may cause run-time errors:
-@example
-  @code{\grace @{ \grace c32 c16 @} c4}
-@end example
-Since the meaning of such a construct is unclear, we don't consider
-this a loss.  Similarly, juxtaposing two @code{\grace} sections is
-syntactically valid, but makes no sense and may cause runtime errors.
+See also  @seeinternals{Tie}.
 
-Ending a staff or score with grace notes may also generate a run-time
-error, since there will be no main note to attach the grace notes to.
 
-The present implementation is not robust and generally kludgy. We expect
-it to change after LilyPond 1.4
+@refbugs
 
+At present, the tie is represented as a separate event, temporally
+located in between the notes.  Tieing only a subset of the note heads
+of a chord is not supported in a simple way.  It can be achieved by
+moving the tie-engraver into the Thread context and turning on and off
+ties per Thread.
 
-@c_  {Explicit atomic music}
-@node Explicit atomic music
-@subsection Explicit atomic music
-@cindex Explicit atomic music
+Switching staffs when a tie is active will not work.
 
+@node Automatic note splitting 
+@subsection Automatic note splitting
+@c FIXME: This subsection doesn't belong in @ref{Note entry}.
 
-@cindex pitch
+There is a facility for automatically converting long notes to  tied
+notes. This is done by replacing the @code{Note_heads_engraver} by the
+@code{Completion_heads_engraver}. 
 
-The syntax for pitch specification is
+@lilypond[verbatim,center]
+\score{
+  \notes\relative c'{ \time 2/4
+  c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 
+  }
+  \paper{ \translator{
+      \ThreadContext
+      \remove "Note_heads_engraver"
+      \consists "Completion_heads_engraver"
+  } } }
+@end lilypond
 
-@cindex @code{\pitch}
-@example
-  \pitch @var{scmpitch}
-@end example
+This engraver splits all running notes at the bar line, and inserts
+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.
 
-@var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
+@refbugs
 
-In Note and Chord mode, pitches may be designated by names.  See
-section @ref{Other languages} for pitch names in different languages.
+Not all durations (especially those containing tuplets) can be
+represented exactly; the engraver will not insert tuplets. 
 
-@cindex duration
-@cindex @code{\duration}
+@node Tuplets
+@subsection Tuplets
+
+@cindex tuplets
+@cindex triplets
+@cindex @code{\times}
+
+Tuplets are made out of a music expression by multiplying all duration
+with a fraction.
 
-The syntax for duration specification is
+@cindex @code{\times}
 @example
- \duration @var{scmduration}
+  \times @var{fraction} @var{musicexpr}
 @end example
 
-In Note, Chord, and Lyrics mode, durations may be designated by
-numbers and dots.  
+The duration of @var{musicexpr} will be multiplied by the fraction. 
+In print, the fraction's denominator will be printed over the notes,
+optionally with a bracket.  The most common tuplet is the triplet in
+which 3 notes have the length of 2, so the notes are 2/3 of
+their written length:
+
+@lilypond[fragment,verbatim,center]
+  g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@end lilypond
+
+The property @code{tupletSpannerDuration} specifies how long each bracket
+should last.  With this, you can make lots of tuplets while typing
+@code{\times} only once, thus  saving typing work.
+
+@lilypond[fragment,  relative, singleline, verbatim]
+\property Voice.tupletSpannerDuration = #(make-moment 1 4)
+\times 2/3 { c'8 c c c c c }
+@end lilypond
+
+The format of the number is determined by the property
+@code{tupletNumberFormatFunction}. The default prints only the
+denominator, but if you set it to the Scheme function
+@code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
+instead.
+
+
+@cindex @code{tupletNumberFormatFunction}
+@cindex tuplet formatting 
+
+See also @seeinternals{TupletBracket}.
+
+@refbugs
+
+Nested tuplets are not formatted automatically. In this case, outer
+tuplet brackets should be moved automatically.
 
+@node Easy Notation note heads 
+@subsection Easy Notation note heads
 
+@cindex easy notation
+@cindex Hal Leonard
 
+A entirely different type of note head is the "easyplay" note head: a
+note head that includes a note name.  It is used in some publications by
+Hal-Leonard Inc.  music publishers.
 
-@c_ {Modifying music}
-@node Modifying music
-@section Modifying music
-@cindex Modifying music
+@lilypond[singleline,verbatim,26pt]
+\score {
+  \notes { c'2 e'4 f' | g'1 }
+  \paper { \translator { \EasyNotation } } 
+}
+@end lilypond
+
+Note that @code{EasyNotation} overrides a @internalsref{Score} context.  You
+probably will want to print it with magnification or a large font size to make it more
+readable.
+
+
+@cindex Xdvi
+@cindex ghostscript
+
+If you view the result with Xdvi, then staff lines will show through
+the letters.  Printing the PostScript file obtained with ly2dvi does
+produce the correct result.
+
+
+@node Easier music entry
+@section Easier music entry
+@cindex Music entry
 @menu
-* Relative::                    
-* Transpose::                   
-* Repeat::                      
-* Times ::                      
-* Apply::                       
-* Transform::                   
+* Graphical interfaces::        
+* Relative octaves::            
+* Bar check::                   
+* Point and click::             
+* Skipping corrected music::    
 @end menu
-@c_  {Relative}
-@node Relative
-@subsection Relative
+
+When entering music with LilyPond, it is easy to introduce errors. This
+section deals with tricks and features that help you enter music, and
+find and correct mistakes.
+
+@node Graphical interfaces
+@subsection Graphical interfaces
+
+@cindex GUI
+@cindex graphical interface
+@cindex sequencer
+@cindex RoseGarden
+@cindex Denemo
+@cindex NoteEdit
+@cindex MIDI
+
+One way to avoid entering notes using the keyboard is to use a
+graphical user interface.  The following programs are known to have
+a lilypond export option:
+
+@itemize @bullet
+@item
+@uref{http://denemo.sourceforge.net/, Denemo} was once intended as
+a LilyPond graphical user interface.  It run on Gnome/GTK.
+@item
+@uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html, Noteedit}
+ is a graphical score editor that runs under KDE/Qt.
+@item
+@uref{http://rosegarden.sf.net/, RoseGarden}
+ was the inspiration for naming LilyPond.  Nowadays it has been
+rewritten from scratch and supports LilyPond export as of version
+0.1.6.
+@end itemize
+
+Another option is to enter the music using your favorite MIDI
+sequencer, and then import it using midi2ly. midi2ly is described in
+@ref{Invoking midi2ly}.
+
+@c .  {Relative}
+@node Relative octaves
+@subsection Relative octaves
 @cindex Relative
 @cindex relative octave specification
 
-It is easy to get confused by octave changing marks and accidentally
-putting a pitch in the wrong octave.  A much better way of entering a
-note's octave is `the relative octave' mode.
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch in
+the wrong octave and hard to find such an error.  To prevent these
+errors, LilyPond features octave entry.
 
 @cindex @code{\relative}
 @example
@@ -321,32 +531,31 @@ note's octave is `the relative octave' mode.
 
 The octave of notes that appear in @var{musicexpr} are calculated as
 follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or
-less.@footnote{The interval is determined without regarding
-accidentals.  A @code{fisis} following a @code{ceses} will be put above
-the @code{ceses}.}  The octave changing marks @code{'} and @code{,}
-can then be added to raise or lower the pitch by an extra octave. 
-Upon entering relative mode, an absolute starting pitch must be
-specified that will act as the predecessor of the first note of
-@var{musicexpr}.
-
-Entering scales is straightforward in relative mode.
-
-@lilypond[fragment,verbatim,center]
-  \relative c' {
-    c d e f g a b c c,
+between this and the last note is always taken to be a fourth or less
+(This distance is determined without regarding alterations; a
+@code{fisis} following a @code{ceses} will be put above the
+@code{ceses})
+
+The octave changing marks @code{'} and @code{,} can be added to raise or
+lower the pitch by an extra octave.  Upon entering relative mode, an
+absolute starting pitch must be specified that will act as the
+predecessor of the first note of @var{musicexpr}.
+
+Entering music that changes octave frequently  is easy in relative mode.
+@lilypond[fragment,singleline,verbatim,center]
+  \relative c'' {
+    b c d c b c bes a 
   }
 @end lilypond
 
 And octave changing marks are used for intervals greater than a fourth.
-
 @lilypond[fragment,verbatim,center]
   \relative c'' {
     c g c f, c' a, e'' }
 @end lilypond
 
 If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord.  But other notes
+to determine the first note of the next chord. However, other notes
 within the second chord are determined by looking at the immediately
 preceding note.
 
@@ -359,799 +568,1479 @@ preceding note.
 @end lilypond 
 @cindex @code{\notes}
 
-The pitch after the @code{\relative} contains a notename.  To parse
-the pitch as a notename, you have to be in note mode, so there must
+The pitch after the @code{\relative} contains a note name.  To parse
+the pitch as a note name, you have to be in note mode, so there must
 be a surrounding @code{\notes} keyword (which is not
 shown here).
 
-The relative conversion will not affect @code{\transpose} or
-@code{\relative} sections in its argument.  If you want to use
-relative within transposed music, you must place an additional
-@code{\relative} inside the @code{\transpose}.
+The relative conversion will not affect @code{\transpose},
+@code{\chords} or @code{\relative} sections in its argument.  If you
+want to use relative within transposed music, you must place an
+additional @code{\relative} inside the @code{\transpose}.
 
-It is strongly recommended to use relative pitch mode: less work,
-less error-prone, and more readable.
 
-@c_  {Transpose}
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
+@c . {Bar check}
+@node Bar check
+@subsection Bar check
+@cindex Bar check
 
-A music expression can be transposed with @code{\transpose}.  The syntax
-is
-@example
-  \transpose @var{pitch} @var{musicexpr}
-@end example
+@cindex bar check
+@cindex @code{barCheckSynchronize}
+@cindex @code{|}
 
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
 
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone.  The first version will print sharps and the second version
-will print flats.
+Whenever a bar check is encountered during interpretation, a warning
+message is issued if it doesn't fall at a measure boundary.  This can
+help you find errors in the input.  Depending on the value of
+@code{barCheckSynchronize}, the beginning of the measure will be
+relocated, so this can also be used to shorten measures.
 
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
-  \clef "F";
-  { \key e \major; c d e f }
-  \clef "G";
-  \transpose des'' { \key e \major; c d e f }
-  \transpose cis'' { \key e \major; c d e f }
-}
+A bar check is entered using the bar symbol, @code{|}:
+@example
+  \time 3/4 c2 e4 | g2.
+@end example
 
-@end lilypond
-@end quotation
 
-If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first.  @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
 
-@c_  {Repeat}
-@node Repeat
-@subsection Repeat
-@cindex Repeat
-@cindex repeats
+@cindex skipTypesetting
 
-@ref{Volta}
-[TODO: document #'repeatCommands.]
+Failed bar checks are most often caused by entering incorrect
+durations. Incorrect durations often completely garble up the score,
+especially if it is polyphonic, so you should start correcting the score
+by scanning for failed bar checks and incorrect durations.  To speed up
+this process, you can use @code{skipTypesetting} (See @ref{Skipping
+corrected music})). 
 
-@cindex @code{\repeat}
+@c .  {Point and click}
+@node Point and click
+@subsection Point and click
+@cindex poind and click
 
-In order to specify repeats, use the @code{\repeat}
-keyword.  Since repeats look and sound differently when played or
-printed, there are a few different variants of repeats.
+Point and click lets you find notes in the input by clicking on them in
+the Xdvi window. This makes it very easy to find input that causes some
+error in the sheet music.
 
-@table @asis
-@item unfolded  
-Repeated music is fully written (played) out.  Useful for MIDI
-output.
+To use it, you need the following software
+@itemize @bullet
+@item A dvi viewer that supports src specials.
+@itemize @bullet
+@item Xdvi, version 22.36 or newer.  Available from
+@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
+
+  Note that most @TeX{} distributions ship with xdvik, which is always
+  a few versions behind the official Xdvi. To find out which xdvi you
+  are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
+@item KDVI.  A dvi viewer for KDE.  You need KDVI from KDE 3.0 or
+newer.  Enablle the menu Settings -> Inverse search. 
+@end itemize
+@item An editor with a client/server interface (or a lightweight GUI editor).
+@itemize @bullet
+@item Emacs. Emacs is an extensible text-editor.  It is available from
+@uref{http://www.gnu.org/software/emacs/}.  You need version 21 to use
+column location.
+@item XEmacs. Xemacs is very similar to emacs.
+@item NEdit.  NEdit runs under Windows, and Unix.
+  It is available from @uref{http://www.nedit.org}.
+@item GVim.  GVim is a GUI variant of VIM, the popular VI
+clone.  It is available from @uref{http://www.vim.org}.
+@end itemize
+@end itemize
 
-@item volta  
-This is the normal notation: Repeats are not written out, but
-alternative endings (voltas) are printed, left to right.
 
-@item folded  
-Alternative endings are written stacked.  Which is unfortunately not
-practical for anything right now.
+Xdvi must be configured to find the @TeX{} fonts and music
+fonts. Refer to the Xdvi documentation for more information.
 
-@item tremolo
-Make tremolo beams.
-@end table  
+To use point-and-click, add one of these lines to the top of your .ly
+file.
+@example
+#(set! point-and-click line-location)
+@end example
+@cindex line-location
 
-The syntax for repeats is
+When viewing, Control-Mousebutton 1 will take you to the originating
+spot in the @file{.ly} file.  Control-Mousebutton 2 will show all
+clickable boxes.
 
+If you correct large files with point-and-click, be sure to start
+correcting at the end of the file. When you start at the top, and
+insert one line, all following locations will be off by a line.
+
+@cindex Emacs
+For using point-and-click with emacs,  add the following
+In your emacs startup file (usually @file{~/.emacs}), 
 @example
-  \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+(server-start)
 @end example
 
-If you have alternative endings, you may add
+Make sure that the environment variable @var{XEDITOR} is set to
+@example
+emacsclient --no-wait +%l %f
+@end example
+@cindex @var{XEDITOR}
+If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
+your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
+
+For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or use this
+argument with xdvi's @code{-editor} option.
+@cindex NEdit
+For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
+use this argument with xdvi's @code{-editor} option.
+
+If can also make your editor jump to the exact location of the note
+you clicked. This is only supported on Emacs. Users of version 20 must
+apply the patch @file{emacsclient.patch}. Users of version 21 must
+apply @file{server.el.patch} (version 21.2 and earlier).  At the top
+of the @code{ly} file, replace the @code{set!} line with the following
+line,
+@example
+#(set! point-and-click line-column-location)
+@end example
+@cindex line-colomn-location
+and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
+
+@refbugs
+
+When you convert the @TeX{} file to PostScript using @code{dvips}, it
+will complain about not finding @code{src:X:Y} files. These complaints
+are harmless, and can be ignored.
+
+@node Skipping corrected music
+@subsection Skipping corrected music
+
+The property @code{Score.skipTypesetting} can be used to switch on and
+off typesetting completely during the interpretation phase. When
+typesetting is switched off, the music is processed much more quickly.
+You can use this to skip over the parts of a score that you have already
+checked for errors. 
+
+@lilypond[fragment,singleline,verbatim]
+\relative c'' { c8 d
+\property Score.skipTypesetting = ##t
+  e f g a g c, f e d
+\property Score.skipTypesetting = ##f
+c d b bes a g c2 } 
+@end lilypond
 
-@cindex @code{\alternative}
+
+
+
+@node Staff notation
+@section Staff notation
+
+This section deals with music notation that occurs on staff level,
+such as keys, clefs and time signatures.
+
+@cindex Staff notation
+
+@menu
+* Staff symbol::
+* Key signature::               
+* Clef::                        
+* Time signature::              
+* Unmetered music::             
+* Bar lines::                   
+@end menu
+
+@node Staff symbol
+@subsection Staff symbol
+
+
+@cindex adjusting staff symbol
+@cindex StaffSymbol, using \property
+@cindex staff lines, setting number of
+
+
+The lines of the staff symbol are formed by the
+@internalsref{StaffSymbol} grob.  This grob is created at the moment
+that their context is created.  You can not change the appearance of
+the staff symbol by using @code{\override} or @code{\set}.  At the
+moment that @code{\property Staff} is interpreted, a Staff context is
+made, and the StaffSymbol is created before any @code{\override} is
+effective. You can deal with this either overriding properties in a
+@code{\translator} definition, or by using @code{\outputproperty}.
+
+
+@refbugs
+
+If you end a staff half way a piece, the staff symbol may not end
+exactly on the barline.
+
+
+@c .  {Key}
+@node Key signature
+@subsection Key signature
+@cindex Key
+
+@cindex @code{\key}
+
+Setting or changing the key signature is done with the @code{\key}
+command.
 @example
- \alternative @code{@{} @var{alternative1}
-            @var{alternative2}
-            @var{alternative3} @dots{} @code{@}}
+  @code{\key} @var{pitch} @var{type}
 @end example
 
-where each @var{alternative} is a Music expression.
+@cindex @code{\minor}
+@cindex @code{\major}
+@cindex @code{\minor}
+@cindex @code{\ionian}
+@cindex @code{\locrian}
+@cindex @code{\aeolian}
+@cindex @code{\mixolydian}
+@cindex @code{\lydian}
+@cindex @code{\phrygian}
+@cindex @code{\dorian}
+
+Here, @var{type} should be @code{\major} or @code{\minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively.
+The standard mode names @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian} are also defined.
 
-Normal notation repeats are used like this:
+This command sets the context property @code{Staff.keySignature}. 
+Non-standard key signatures can be specified by setting this property
+directly.
+
+The printed signature is a @internalsref{KeySignature} grob, typically
+created in @internalsref{Staff} context.
+
+@cindex @code{keySignature}
 
-@quotation
+@c .  {Clef}
+@node Clef
+@subsection Clef
+@cindex @code{\clef}
 
+The clef can be set or changed with the @code{\clef} command:
 @lilypond[fragment,verbatim]
-  c'1
-  \repeat volta 2 { c'4 d' e' f' }
-  \repeat volta 2 { f' e' d' c' }
+  \key f\major  c''2 \clef alto g'2
+@end lilypond
+
+Supported clef-names include 
+@c Moved standard clefs to the top /MB
+@table @code
+@item treble, violin, G, G2
+G clef on 2nd line
+@item alto, C
+ C clef on 3rd line
+@item tenor
+ C clef on 4th line
+@item bass, F
+ F clef on 4th line
+@item french
+ G clef on 1st line, so-called French violin clef
+@item soprano
+ C clef on 1st line
+@item mezzosoprano
+ C clef on 2nd line
+@item baritone
+ C clef on 5th line
+@item varbaritone
+ F clef on 3rd line
+@item subbass
+ F clef on 5th line
+@item percussion
+ percussion clef
+@end table
+
+By adding @code{_8} or @code{^8} to the clef name, the clef is
+transposed one octave down or up, respectively.  Note that you have to
+enclose @var{clefname} in quotes if you use underscores or digits in the
+name. For example,
+@example
+	\clef "G_8"
+@end example
+
+The grob for this symbol is @internalsref{Clef}. 
+
+
+This command is equivalent to setting @code{clefGlyph},
+@code{clefPosition} (which controls the Y position of the clef),
+@code{centralCPosition} and @code{clefOctavation}. A clef is created
+when any of these properties are changed.
+
 
+@c .  {Time signature}
+@node Time signature
+@subsection Time signature
+@cindex Time signature
+@cindex meter
+@cindex @code{\time}
+
+The time signature is set or changed by the @code{\time}
+command.
+@lilypond[fragment,verbatim]
+ \time 2/4 c'2 \time 3/4 c'2. 
 @end lilypond
-@end quotation
 
-With alternative endings:
+The actual symbol that's printed can be customized with the @code{style}
+property. Setting it to @code{#'()} uses fraction style for 4/4 and
+2/2 time.
+
 
-@quotation
+The grob for this symbol is @internalsref{TimeSignature}.  There are
+many more options for its layout. They are selected through the
+@code{style} grob property. See @file{input/test/time.ly} for more
+examples.
+
+This command sets the property @code{timeSignatureFraction},
+@code{beatLength} and @code{measureLength}.  The property
+@code{timeSignatureFraction} determine where bar lines should be
+inserted, and how automatic beams should be generated.  Changing the
+value of @code{timeSignatureFraction} also causes a time signature
+symbol to be printed.
+
+@c .   {Partial}
+@subsection Partial
+@cindex Partial
+@cindex anacrusis
+@cindex upbeat
+@cindex partial measure
+@cindex measure, partial
+@cindex shorten measures
+@cindex @code{\partial}
 
+Partial measures, for example in upbeats, are entered using the
+@code{\partial} command:
 @lilypond[fragment,verbatim]
-  c'1
-  \repeat volta 2 {c'4 d' e' f'} 
-  \alternative { {d'2 d'} {f' f} }
+\partial 4* 5/16  c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
+@end lilypond
 
+The syntax for this command is 
+@example
+  \partial @var{duration} 
+@end example
+This is  internally translated into
+@example
+  \property Score.measurePosition = -@var{length of duration}
+@end example
+@cindex @code{|}
+The property @code{measurePosition} contains a rational number
+indicating how much of the measure has passed at this point.
+
+
+@node Unmetered music
+@subsection Unmetered music
+
+Bar lines and bar numbers are calculated automatically. For unmetered
+music (e.g. cadenzas), this is not desirable.  The commands
+@code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
+timing information:
+
+@lilypond[fragment,relative,singleline,verbatim]
+c'2.
+\cadenzaOn
+c2
+\cadenzaOff
+c4 c4 c4 
 @end lilypond
-@end quotation
 
-Folded repeats look like this:@footnote{Folded repeats offer little
-more over simultaneous music.  However, it is to be expected that
-more functionality -- especially for the MIDI backend -- will be
-implemented.}
+The property @code{Score.timing} can be used to switch off this
+automatic timing
 
-@quotation
+@c .   {Bar lines}
+@node Bar lines
+@subsection Bar lines
+@cindex Bar lines
 
-@lilypond[fragment,verbatim]
-  c'1
-  \repeat fold 2 {c'4 d' e' f'} 
-  \alternative { {d'2 d'} {f' f} }
+@cindex @code{\bar}
+@cindex measure lines
+@cindex repeat bars
 
+Bar lines are inserted automatically, but if you need a special type
+of barline, you can force one using the @code{\bar} command:
+@lilypond[fragment,verbatim] c4 \bar "|:" c4
 @end lilypond
-@end quotation
 
-@quotation
+The following bar types are available
+@lilypond[fragment,  relative, singleline, verbatim]
+c4
+\bar "|" c
+\bar "" c
+\bar "|:" c
+\bar "||" c
+\bar ":|" c
+\bar ".|" c
+\bar ".|." c
+\bar "|." 
+@end lilypond
 
-@lilypond[fragment,verbatim]
-\context Staff {
-  \relative c' {
-    \partial 4;
-    \repeat volta 2 { e | c2 d2 | e2 f2 | }
-    \alternative { { g4 g g } { a | a a a a | b1 } }
-  }
+You are encouraged to use @code{\repeat} for repetitions.  See
+@ref{Repeats}.
+
+In scores with many staffs, the barlines are automatically placed at
+top level, and they are connected between different staffs of a
+@internalsref{StaffGroup}:
+@lilypond[fragment, verbatim]
+< \context StaffGroup <
+  \context Staff = up { e'4 d'
+     \bar "||"
+     f' e' }
+  \context Staff = down { \clef bass c4 g e g } >
+\context Staff = pedal { \clef bass c2 c2 } >
+@end lilypond
+
+The grobs that are created at @internalsref{Staff} level. The name is
+@internalsref{BarLine}.
+
+The command @code{\bar @var{bartype}} is a short cut for
+doing  @code{\property Score.whichBar = @var{bartype}}
+Whenever @code{whichBar} is set to a string, a bar line of that type is
+created.  @code{whichBar} is usually set automatically: at the start of
+a measure it is set to @code{defaultBarType}. The contents of
+@code{repeatCommands} is used to override default measure bars.
+
+@code{whichBar} can also be set directly, using @code{\property} or
+@code{\bar  }.  These settings take precedence over the automatic
+@code{whichBar} settings. 
+
+
+@cindex Bar_line_engraver
+@cindex whichBar
+@cindex repeatCommands
+@cindex defaultBarType
+
+
+
+@c .   {Polyphony}
+@node Polyphony
+@section Polyphony
+@cindex polyphony
+
+The easiest way to enter such fragments with more than one voice on a
+staff is to split chords using the separator @code{\\}.  You can use
+it for small, short-lived voices (make a chord of voices) or for
+single chords:
+
+@lilypond[verbatim,fragment]
+\context Voice = VA \relative c'' {
+ c4 < { f d e  } \\ { b c2 } > c4 < g' \\ b, \\  f \\ d >
 }
+@end lilypond
+
+The separator causes @internalsref{Voice} contexts to be instantiated,
+bearing the names @code{"1"}, @code{"2"}, etc.
+
+Sometimes, it is necessary to instantiate these contexts by hand: For
+Instantiate a separate Voice context for each part, and use
+@code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
+and horizontal shift for each part.
+@c
 
+@lilypond[singleline, verbatim]
+\relative c''
+\context Staff < \context Voice = VA { \voiceOne cis2 b  }
+  \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 } 
+  \context Voice = VC { \voiceTwo fis4~  fis4 f ~ f  } >
 @end lilypond
-@end quotation
 
-If you don't give enough alternatives for all of the repeats, then
-the first alternative is assumed to be repeated often enough to equal
-the specified number of repeats.
+The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
+ties, slurs and stems, and set shift directions.
+
+If you want more than four voices, you can also manually set
+horizontal shifts and stem directions, as is shown  in the following example:
+@lilypond[fragment, verbatim]
+  \context Staff \notes\relative c''<
+       \context Voice=one {
+       \shiftOff \stemUp e4
+       }
+       \context Voice=two {
+          \shiftOn \stemUp cis
+       }
+       \context Voice=three {
+         \shiftOnn \stemUp ais
+       }
+       \context Voice=four {
+          \shiftOnnn \stemUp fis
+       }
+  >
+@end lilypond
 
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
-  \relative c' {
-    \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
-    \alternative { { g4 g g }
-                   {\partial 1; e4 e e } 
-                   {\partial 1; a a a a | b1 } }
-  }
-}
+
+Normally, note heads with a different number of dots are not merged, but
+if you set the grob property @code{merge-differently-dotted}, they are:
+@lilypond[verbatim,fragment,singleline]
+\context Voice < {
+     g'8 g'8 
+     \property Staff.NoteCollision \override
+        #'merge-differently-dotted = ##t
+     g'8 g'8
+  } \\ { [g'8. f16] [g'8. f'16] } 
+  >
 @end lilypond
-@end quotation
 
-As you can see, LilyPond doesn't remember the timing information, nor
-are slurs or ties repeated. We hope to fix this after 1.4. 
+Similarly, you can merge half note heads with eighth notes, by setting
+@code{merge-differently-headed}:
+@lilypond[fragment, relative=2,verbatim]
+\context Voice < {
+    c8 c4.
+    \property Staff.NoteCollision
+      \override #'merge-differently-headed = ##t
+    c8 c4. } \\ { c2 c2 } >
+@end lilypond
 
-It is possible to nest @code{\repeat}.  This is not entirely
-supported: the notes will come be in the right places, but the repeat
-bars will not.
+LilyPond also vertically shifts rests that are opposite of a stem. 
 
-To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
-@cindex tremolo beams
-To create tremolo beams on a single note, simply attach
-`@code{:}@var{length}' to the note itself.
+@lilypond[singleline,fragment,verbatim]
+\context Voice < c''4 \\  r4 >
+@end lilypond
 
-@lilypond[verbatim,center]
-\score { 
-  \context Voice \notes\relative c' {
-    \repeat "tremolo" 8 { c16 d16 }
-    \repeat "tremolo" 4 { c16 d16 }    
-    \repeat "tremolo" 2 { c16 d16 }    
+See also @internalsref{NoteCollision} and @internalsref{RestCollision}
+
+@refbugs
+
+Resolving collisions is a very intricate subject, and LilyPond only
+handles a few situations. When it can not cope, you are advised to use
+@code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
+rests to override typesetting decisions.
+
+@node Beaming
+@section Beaming
+
+Beams are used to group short notes into chunks that are aligned with
+the metrum. They are inserted automatically in most cases.
+
+@lilypond[fragment,verbatim, relative=2]
+\time 2/4 c8 c c c \time 6/8 c c c c8. c16  c8
+@end lilypond
+
+If you're not satisfied with the automatic beaming, you can enter the
+beams explicitly. If you have beaming patterns that differ from the
+defaults, you can also set the patterns for automatic beamer.
+
+See also @internalsref{Beam}.
+
+@c .    {Manual beams}
+@cindex Automatic beams
+@subsection Manual beams
+@cindex beams, manual
+@cindex @code{]}
+@cindex @code{[}
+
+In some cases it may be necessary to override LilyPond's automatic
+beaming algorithm.  For example, the auto beamer will not beam over
+rests or bar lines, If you want that, specify the begin and end point
+manually using a @code{[} before the first beamed note and a @code{]}
+after the last note:
+
+@lilypond[fragment,relative,verbatim]
+  \context Staff {
+    r4 [r8 g' a r8] r8 [g | a] r8
   }
-  \paper {
-    linewidth = 40*\staffspace;
-  }  
-}
 @end lilypond
-@cindex @code{__}
 
-@lilypond[fragment,verbatim,center]
+@cindex @code{stemLeftBeamCount}
+
+Normally, beaming patterns within a beam are determined automatically.
+When this mechanism fouls up, the properties
+@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
+be used to control the beam subdivision on a stem.  If you set either
+property, its value will be used only once, and then it is erased.
 
-  c'4:32
+@lilypond[fragment,relative,verbatim]
+  \context Staff {
+    [f8 r16 f g a]
+    [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
+  }
 @end lilypond
+@cindex @code{stemRightBeamCount}
+
+
+The property @code{subdivideBeams} can be set in order to subdivide
+all 16th or shorter beams at beat positions.  This accomplishes the
+same effect as twiddling with @code{stemLeftBeamCount} and
+@code{stemRightBeamCount}, but it take less typing.
 
-@c_  {Times}
-@node Times 
-@subsection Times
-@cindex Times 
-@ref{Tuplets}
-Tuplets are made out of a music expression by multiplying their
-duration with a fraction.
 
-@cindex @code{\times}
 @example
-  \times @var{fraction} @var{musicexpr}
+[c16 c c c c c c c]
+\property Voice.subdivideBeams = ##t
+[c16 c c c c c c c]
+[c32 c c c c c c c c c c c c c c c]
+\property Score.beatLength = #(make-moment 1 8)
+[c32 c c c c c c c c c c c c c c c]
 @end example
+@lilypond[]
+\score {
+    \notes \relative c' {
+        [c16 c c c c c c c]
+        \property Voice.subdivideBeams = ##t
+        [c16 c c c c c c c]
+        [c32 c c c c c c c c c c c c c c c]
+        \property Score.beatLength = #(make-moment 1 8)
+        [c32 c c c c c c c c c c c c c c c]
+    }
+}
+@end lilypond
+@cindex subdivideBeams
 
-The duration of @var{musicexpr} will be multiplied by the fraction. 
-In print, the fraction's denominator will be printed over the notes,
-optionally with a bracket.  The most common tuplet is the triplet in
-which 3 notes have the length of 2, so the notes are 2/3 of
-their written length:
+Kneed beams are inserted automatically, when a large gap between two
+adjacent beamed notes is detected. This behavior can be tuned through
+the grob property @code{auto-knee-gap}.
 
-@lilypond[fragment,verbatim,center]
-  g'4 \times 2/3 {c'4 c' c'} d'4 d'4
-@end lilypond
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
+@cindex hara kiri
 
 
-@c_  {Apply}
-@node Apply
-@subsection Apply
-@cindex Apply
-Apply allows a Scheme-function to operate directly on the internal
-representation of music.
-@example
-        \apply #@var{func} @var{music}
-@end example
-The function takes two arguments, being a function and an musical
-argument for that function. The function should return a music
-expression.
+@c TODO -> why this ref? Document? 
+@cindex @code{neutral-direction}
 
-This example replaces the text string of a script. It also shows a dump
-of the music it processes.
-@lilypond[verbatim]
-#(define (testfunc x)
-        (if (eq? (ly-get-mus-property x 'text) "foo")
-                (ly-set-mus-property x 'text "bar"))
-        ;; recurse
-        (ly-set-mus-property x 'elements
-          (map testfunc (ly-get-mus-property x 'elements)))
-        (display x)
-        x        
-)
-\score { \notes
-  \apply #testfunc { c4_"foo" }
-} 
-@end lilypond
-
-For more information on what is possible, see the @ref{Tricks} and the
-automatically generated documentation.
-
-@c_  {Transform}
-@node Transform
-@subsection Transform
-@cindex Transform
-
-
-@c_ {Note entry}
-@node Note entry
-@section Note entry
-@cindex Note entry
+@refbugs
+
+Auto knee beams can not be used together with hara kiri staffs.
+
+[TODO from bugs]
+
+The Automatic beamer does not put @strong{unfinished} beams on the
+last notes of a score.
+
+Formatting of ties is a difficult subject. LilyPond often does not
+give optimal results.
 
 @menu
-* Notes mode::                  
-* Pitch names::                 
+* Setting automatic beam behavior ::  
 @end menu
 
-@c_  {Notes mode}
-@node Notes mode
-@subsection Notes mode
+@ignore
+@no de Beam typography
+@sub section Beam typography
 
-@cindex note mode
+One of the strong points of LilyPond is how beams are formatted. Beams
+are quantized, meaning that the left and right endpoints beams start
+exactly on staff lines. Without quantization, small wedges of white
+space appear between the beam and staff line, and this looks untidy.
 
-@cindex @code{\notes}
-Note mode is introduced by the keyword
-@code{\notes}.  In Note mode, words can only
-contain alphabetic characters.  If @code{word} is encountered,
-LilyPond first checks for a notename of @code{word}.  If no
-notename is found, then @code{word} is treated as a string.
+Beams are also slope-damped: melodies that go up or down should also
+have beams that go up or down, but the slope of the beams should be
+less than the slope of the notes themselves.
 
-Since combinations of numbers and dots are used for indicating
-durations, it is not possible to enter real numbers in this mode.
+Some beams should be horizontal. These are so-called concave beams. 
 
+[TODO: some pictures.]
+@end ignore
 
-@cindex Notes mode
+@c .    {Automatic beams}
+@node Setting automatic beam behavior 
+@subsection Setting automatic beam behavior 
 
-@c_  {Pitch names}
-@node Pitch names
-@subsection Pitch names
-@cindex Pitch names
-@node Note specification
-@section Note specification
-@cindex Note specification
+@cindex @code{autoBeamSettings}
+@cindex @code{(end * * * *)}
+@cindex @code{(begin * * * *)}
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
 
-@cindex pitches
-@cindex entering notes
+In normal time signatures, automatic beams can start on any note but can
+only end in a few positions within the measure: beams can end on a beat,
+or at durations specified by the properties in
+@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
+are defined in @file{scm/auto-beam.scm}.
 
-A note specification has the form
+The value of @code{autoBeamSettings} is changed using
+@code{\override} and unset using @code{\revert}:
+@example
+\property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
+\property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
+@end example
+Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
+whether the rule applies to begin or end-points.  The quantity
+@var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
+*}' designates notes of any length), @var{N}/@var{M} refers to a time
+signature (wildcards, `@code{* *}' may be entered to designate all time
+signatures).
+
+For example, if you want automatic beams to end on every quarter note,
+you can use the following:
+@example
+\property Voice.autoBeamSettings \override
+    #'(end * * * *) = #(make-moment 1 4)
+@end example
+Since the duration of a quarter note is 1/4 of a whole note, it is
+entered as @code{(make-moment 1 4)}.
 
+The same syntax can be used to specify beam starting points. In this
+example, automatic beams can only end on a dotted quarter note. 
 @example
-  @var{pitch}[@var{octavespec}][!][?][@var{duration}]
+\property Voice.autoBeamSettings \override
+    #'(end * * * *) = #(make-moment 3 8)
+@end example
+In 4/4 time signature, this means that automatic beams could end only on
+3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
+3/8 has passed within the measure).
+
+You can also restrict rules to specific time signatures. A rule that
+should only be applied in @var{N}/@var{M} time signature is formed by
+replacing the second asterisks by @var{N} and @var{M}. For example, a
+rule for 6/8 time exclusively looks like
+@example
+\property Voice.autoBeamSettings \override
+    #'(begin * * 6 8) =  ... 
 @end example
 
-The pitch of the note is specified by the note's name.
+If you want a rule to apply to certain types of beams, you can use the
+first pair of asterisks. Beams are classified according to the shortest
+note they contain. For a beam ending rule that only applies to beams
+with 32nd notes (and no shorter notes), you would use @code{(end 1
+32 * *)}.
 
+@c not true
+@c Automatic beams can not be put on the last note in a score.
 
-The default names are the Dutch note names.  The notes are specified
-by the letters @code{c} through @code{b}, where @code{c} is an
-octave below middle C and the letters span the octave above that C. 
-In Dutch,
-@cindex note names, Dutch
-a sharp is formed by adding @code{-is} to the end of a pitch name.  A
-flat is formed by adding @code{-es}. Double sharps and double flats are
-obtained by adding @code{-isis} or @code{-eses}.  @code{aes} and
-@code{ees} are contracted to @code{as} and @code{es} in Dutch, but both
-forms will be accepted.
+If a score ends while an automatic beam has not been ended and is still
+accepting notes, this last beam will not be typeset at all.
 
-LilyPond has predefined sets of notenames for various other languages.
-To use them, simply include the language specific init file.  For
-example: @code{\include "english.ly"}.  The available language files and
-the names they define are:
+@cindex automatic beam generation
+@cindex autobeam
+@cindex @code{Voice.autoBeaming}
+@cindex lyrics
+
+For melodies that have lyrics, you may want to switch off 
+automatic beaming. This is done by setting @code{Voice.autoBeaming} to
+@code{#f}. 
 
-@example 
-                        Note Names               sharp       flat
-nederlands.ly  c   d   e   f   g   a   bes b   -is         -es
-english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat
-deutsch.ly     c   d   e   f   g   a   b   h   -is         -es
-norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es
-svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess
-italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b
-catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b 
-@end example 
-@cindex @code{'}
-@cindex @code{,}
 
-Pitch names can be redefined using the @code{\pitchnames} command, see
-@ref{Pitch names}.
+@refbugs
 
+It is not possible to specify beaming parameters for beams with mixed
+durations, that differ from the beaming parameters of all separate
+durations, i.e., you'll have to specify manual beams to get:
+@lilypond[fragment,singleline,relative]
+  \property Voice.autoBeamSettings
+  \override #'(end * * * *) = #(make-moment 3 8)
+  \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
+@end lilypond
 
+It is not possible to specify beaming parameters that act differently in
+different parts of a measure. This means that it is not possible to use
+automatic beaming in irregular meters such as @code{5/8}.
 
+@node Accidentals
+@section Accidentals
+@cindex Accidentals
+This section describes how to change the way that LilyPond automatically
+inserts accidentals before the running notes.
 
-The optional octave specification takes the form of a series of
-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters.  Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+@menu
+* Using the predefined accidental macros::  
+* Defining your own accidental typesettings::  
+@end menu
 
-@lilypond[fragment,verbatim,center]
-  c' d' e' f' g' a' b' c''
+@node Using the predefined accidental macros
+@subsection Using the predefined accidental macros
+The constructs for describing the accidental typesetting rules are
+quite hairy, so non-experts should stick to the macros defined in
+@file{ly/property-init.ly}.
+@cindex @file{property-init.ly}
+
+The macros operate on the ``Current'' context (see @ref{Context properties}). This
+means that the macros shuold normally be invoked right after the
+creation of the context in which the accidental typesetting described
+by the macro is to take effect. I.e. if you want to use
+piano-accidentals in a pianostaff then you issue
+@code{\pianoAccidentals} first thing after the creation of the piano
+staff:
+@example
+\score @{
+    \notes \relative c'' <
+        \context Staff = sa @{ cis4 d e2 @}
+        \context GrandStaff <
+            \pianoAccidentals
+            \context Staff = sb @{ cis4 d e2 @}
+            \context Staff = sc @{ es2 c @}
+        >
+        \context Staff = sd @{ es2 c @}
+    >
+@}
+@end example
+@lilypond[singleline]
+\score {
+    \notes \relative c'' <
+        \context Staff = sa { cis4 d e2 }
+        \context GrandStaff <
+            \pianoAccidentals
+            \context Staff = sb { cis4 d e2 }
+            \context Staff = sc { es2 c }
+        >
+        \context Staff = sd { es2 c }
+    >
+    \paper {
+        \translator {
+            \StaffContext
+            minimumVerticalExtent = #'(-4.0 . 4.0)
+        }
+    }
+}
 @end lilypond
 
-@lilypond[fragment,verbatim,center]
-  cis' dis' eis' fis' gis' ais' bis'
+The macros are:
+@table @code
+@item \defaultAccidentals
+      @cindex @code{\defaultAccidentals}
+      This is the default typesetting behaviour. It should correspond
+      to 18th century common practice: Accidentals are
+      remembered to the end of the measure in which they occur and
+      only on their own octave.
+
+@item \voiceAccidentals
+      @cindex @code{\voiceAccidentals}
+      The normal behaviour is to remember the accidentals on
+      Staff-level.
+      This macro, however, typesets accidentals individually for each
+      voice.
+      Apart from that the rule is similar to
+      @code{\defaultAccidentals}.
+
+      Warning: This leads to some weird and often unwanted results
+      because accidentals from one voice DO NOT get cancelled in other
+      voices:
+@lilypond[singleline,relative,fragment,verbatim]
+    \context Staff <
+        \voiceAccidentals
+        \context Voice=va { \voiceOne es g }
+        \context Voice=vb { \voiceTwo c, e }
+    >
+@end lilypond
+      Hence you should only use @code{\voiceAccidentals}
+      if the voices are to be read solely by
+      individual musicians. if the staff should be readable also
+      by one musician/conductor then you should use
+      @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
+      instead.
+
+@item \modernAccidentals
+      @cindex @code{\modernAccidentals}
+      This rule should correspond to the common practice in the 20th
+      century.
+      The rule is a bit more complex than @code{\defaultAccidentals}:
+      You get all the same accidentals, but temporary
+      accidentals also get cancelled in other octaves. Further more,
+      in the same octave, they also get cancelled in the following measure:
+@lilypond[singleline,fragment,verbatim]
+      \modernAccidentals
+      cis' c'' cis'2 | c'' c'
 @end lilypond
 
-@lilypond[fragment,verbatim,center]
-  ces' des' es' fes' ges' as' bes'
+@item \modernCautionaries
+      @cindex @code{\modernCautionaries}
+     This rule is similar to @code{\modernAccidentals}, but the
+     ``extra'' accidentals (the ones not typeset by
+     @code{\defaultAccidentals}) are typeset as cautionary accidentals
+     (i.e. in reduced size):
+@lilypond[singleline,fragment,verbatim]
+      \modernCautionaries
+      cis' c'' cis'2 | c'' c'
 @end lilypond
 
-@lilypond[fragment,verbatim,center]
-  cisis' eisis' gisis' aisis' beses'
+@item \modernVoiceAccidentals
+      @cindex @code{\modernVoiceAccidentals}
+      Multivoice accidentals to be read both by musicians playing one voice
+      and musicians playing all voices.
+
+      Accidentals are typeset for each voice, but they ARE cancelled
+      across voices in the same @internalsref{Staff}.
+
+@item \modernVoiceCautionaries
+      @cindex @code{\modernVoiceCautionaries}
+      The same as @code{\modernVoiceAccidentals}, but with the
+      extra accidentals (the ones not typeset by
+      @code{\voiceAccidentals}) typeset as cautionaries.
+      Notice that even though all accidentals typeset by
+      @code{\defaultAccidentals} ARE typeset by this macro then some
+      of them are typeset as cautionaries.
+
+@item \pianoAccidentals
+      @cindex @code{\pianoAccidentals}
+      20th century practice for piano notation. Very similar to
+      @code{\modernAccidentals} but accidentals also get cancelled
+      across the staves in the same @internalsref{GrandStaff} or
+      @internalsref{PianoStaff}.
+
+@item \pianoCautionaries
+      @cindex @code{\pianoCautionaries}
+      As @code{\pianoAccidentals} but with the extra accidentals
+      typeset as cationaries.
+
+@item \noResetKey
+      @cindex @code{\noResetKey}
+      Same as @code{\defaultAccidentals} but with accidentals lasting
+      ``forever'' and not only until the next measure:
+@lilypond[singleline,fragment,verbatim,relative]
+      \noResetKey
+      c1 cis cis c
 @end lilypond
 
-@lilypond[fragment,verbatim,center]
-  ceses' eses' geses' ases' beses'
+@item \forgetAccidentals
+      @cindex @code{\forgetAccidentals}
+      This is sort of the opposite of @code{\noResetKey}: Accidentals
+      are not remembered at all - and hence all accidentals are
+      typeset relative to the key signature, regardless of what was
+      before in the music:
+@lilypond[singleline,fragment,verbatim,relative]
+      \forgetAccidentals
+      \key d\major c4 c cis cis d d dis dis
 @end lilypond
+@end table
 
-LilyPond will determine what accidentals to typeset depending on the key
-and context, so alteration refer to what note is heard, not to whether
-accidentals are printed.  A reminder accidental
-@cindex reminder accidental
-@cindex @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch.
-A cautionary accidental,
-@cindex cautionary accidental
+@node Defining your own accidental typesettings
+@subsection Defining your own accidental typesettings
 
-i.e., an accidental within parentheses can be obtained by adding the
-question mark `@code{?}' after the pitch.
+This section must be considered gurus-only, and hence it must be
+sufficient with a short description of the system and a reference to
+the internal documentation.
 
-@lilypond[fragment,verbatim,center]
-  cis' d' e' cis'  c'? d' e' c'!
+The idea of the algorithm is to try several different rules and then
+use the rule that gives the highest number of accidentals.
+Each rule cosists of
+@table @asis
+@item Context:
+      In which context is the rule applied. I.e. if context is
+      @internalsref{Score} then all staves share accidentals, and if
+      context is @internalsref{Staff} then all voices in the same
+      staff share accidentals, but staves don't - like normally.
+@item Octavation:
+      Whether the accidental changes all octaves or only the current
+      octave.
+@item Lazyness:
+      Over how many barlines the accidental lasts.
+      If lazyness is @code{-1} then the accidental is forget
+      immidiately, and if lazyness is @code{#t} then the accidental
+      lasts forever.
+@end table
+
+As described in the internal documentation of
+@reng{Accidental_engraver}, the properties @code{autoAccidentals} and
+@code{autoCautionaries} contain lists of rule descriptions. Notice
+that the contexts must be listed from in to out - that is
+@internalsref{Thread} before @internalsref{Voice},
+@internalsref{Voice} before @internalsref{Staff}, etc. 
+see the macros in @file{ly/property-init.ly} for examples of how the
+properties are set.
+
+@refbugs
+
+Currently the simultaneous notes are considered to be entered in
+sequential mode. This means that in a chord the accidentals are
+typeset as if the notes in the chord happened one at a time - in the
+order in which they appear in the input file.
+
+Of course this is only a problem when you have simultainous notes
+which accidentals should depend on each other.
+Notice that the problem only occurs when using non-default accidentals
+- as the default accidentals only depend on other accidentals on the
+same staff and same pitch and hence cannot depend on other
+simultainous notes.
+
+This example shows two examples of the same music giving different
+accidentals depending on the order in which the notes occur in the
+input file:
+
+@lilypond[singleline,fragment,verbatim]
+\property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
+cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r | 
 @end lilypond
 
+The only solution is to manually insert the problematic
+accidentals using @code{!} and @code{?}.
+
+@node Expressive marks
+@section Expressive marks
 
-@c_  {Rests}
+@c .   {Slurs}
 @menu
-* Rests::                       
-* Durations::                   
-* Multi measure rests::         
-* Skip::                        
+* Slurs ::                      
+* Phrasing slurs::              
+* Breath marks::                
+* Tempo::                       
+* Text spanners::               
 @end menu
 
-@node  Rests
-@subsection Rests
-@cindex Rests
+@node Slurs 
+@subsection Slurs
+@cindex Slurs
 
-Rests are entered like notes, with note name `@code{r}'.
-There is also a note name
-`@code{s}', which produces a space of the specified
-duration.
+A slur indicates that notes are to be played bound or @emph{legato}.
+They are entered using parentheses:
+@lilypond[fragment,verbatim,center]
+  f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@end lilypond
 
+See also @seeinternals{Slur}.
 
-@c_  {Durations}
-@node Durations
-@subsection Durations
-@cindex Durations
+Slurs avoid crossing stems, and are generally attached to note heads.
+However, in some situations with beams, slurs may be attached to stem
+ends.  If you want to override this layout you can do this through the
+grob-property @code{attachment} of @internalsref{Slur} in
+@internalsref{Voice} context It's value is a pair of symbols, specifying
+the attachment type of the left and right end points.
 
-Durations are entered as their reciprocal values.  For notes longer
-than a whole note, use identifiers.
-
-@quotation
+@lilypond[fragment,relative,verbatim]
+  \slurUp
+  \property Voice.Stem \set #'length = #5.5
+  g'8(g)g4
+  \property Voice.Slur \set #'attachment = #'(stem . stem)
+  g8(g)g4
+@end lilypond
 
-@example 
-c'\longa c'\breve  
-c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 
-r\longa r\breve  
-r1 r2 r4 r8 r16 r32 r64 r64 
-@end example 
+If a slur would strike through a stem or beam, the slur will be moved
+away upward or downward. If this happens, attaching the slur to the
+stems might look better:
 
+@lilypond[fragment,relative,verbatim]
+  \stemUp \slurUp
+  d32( d'4 )d8..
+  \property Voice.Slur \set #'attachment = #'(stem . stem)
+  d,32( d'4 )d8..
+@end lilypond
 
-@lilypond[]
-\score {
-  \notes \relative c'' {
-    a\longa a\breve  \autoBeamOff
-    a1 a2 a4 a8 a16 a32 a64 a64 
-    r\longa r\breve  
-    r1 r2 r4 r8 r16 r32 r64 r64 
-  }
-  \paper {
-    \translator {
-      \StaffContext
-        \remove "Clef_engraver";
-        \remove "Staff_symbol_engraver";
-        \remove "Time_signature_engraver";
-        \consists "Pitch_squash_engraver";
-    }
-  }
-}
+@ignore
+Similarly, the curvature of a slur is adjusted to stay clear of note
+heads and stems.  When that would increase the curvature too much, the
+slur is reverted to its default shape.  The threshold for this
+decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
+It is loosely related to the enclosed area between the slur and the
+notes.  Usually, the default setting works well, but in some cases you
+may prefer a curved slur when LilyPond decides for a vertically moved
+one.  You can indicate this preference by increasing the
+@code{beautiful} value:
+
+@lilyp ond[verbatim,singleline,relative]
+  \stemDown \slurUp
+  c16( a' f' a a f a, )c,
+  c( a' f' a a f d, )c
+  \property Voice.Slur \override #'beautiful = #5.0
+  c( a' f' a a f d, )c
 @end lilypond
-@end quotation
+@end ignore
 
-As you  can see, the longa is not printed. To get a longa note head, you
-have to use a different style of note heads. See [TODO].
+@refbugs
 
-@cindex @code{.}
+Producing nice slurs is a difficult problem, and LilyPond currently
+uses a simple, empiric method to produce slurs. In some cases, the
+results of this method are ugly.
+
+@ignore
+This is reflected by the
+@code{beautiful} property, which it is an arbitrary parameter in the
+slur formatter.  Useful values can only be determined by trial and
+error.
+@end ignore
 
+@cindex Adjusting slurs
 
-If the duration is omitted then it is set equal to the previous duration
-entered.  At the start of parsing there is no previous duration, so then
-a quarter note is assumed.  The duration can be followed by a dot
-(`@code{.}')  to obtain dotted note lengths.
+@node Phrasing slurs
+@subsection Phrasing slurs
 
+@cindex phrasing slurs
+@cindex phrasing marks
 
+A phrasing slur (or phrasing mark) connects chords and is used to
+indicate a musical sentence. It is started using @code{\(} and @code{\)}
+respectively.
 
-@lilypond[fragment,verbatim,center]
-  a'4. b'4.
+@lilypond[fragment,verbatim,center,relative]
+  \time 6/4 c' \(  d () e f () e  \) d
 @end lilypond
-@cindex @code{r}
-@cindex @code{s}
 
-You can alter the length of duration by writing `@code{*}@var{fraction}'
-after it.  This will not affect the appearance of note heads or rests.
+Typographically, the phrasing slur behaves almost exactly like a normal
+slur. See also  @seeinternals{PhrasingSlur}.
 
-@c_  {Multi measure rests}
-@node  Multi measure rests
-@subsection Multi measure rests
-@cindex Multi measure rests
 
-@cindex @code{R}
+@node Breath marks
+@subsection Breath marks
 
-Multi_measure_rest are entered using `@code{R}'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
-rests, or it can be printed as a single multimeasure rest This expansion
-is controlled by the property @code{Score.skipBars}. If this is set to true,
-Lily will not expand empty measures, and the multimeasure rests
-automatically adds the appropriate number.
+Breath marks are entered using @code{\breathe}.  See also
+@seeinternals{BreathingSign}.
 
-@lilypond[fragment]
- \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17  R2.*4
+@lilypond[fragment,relative]
+c'4 \breathe d4
 @end lilypond
 
-Note that there is currently no way to condense multiple rests into a
-single multimeasure rest.
 
-@c_  {Skip}
-@node Skip
-@subsection Skip
-@cindex Skip
+@c .  {Tempo}
+@node Tempo
+@subsection Tempo
+@cindex Tempo
+@cindex beats per minute
+@cindex metronome marking
+
+Metronome settings can be entered as follows:
+
+@cindex @code{\tempo}
+@example
+  \tempo @var{duration} = @var{perminute} 
+@end example
+
+For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
+per minute.
+  
+@refbugs
+  
+The tempo setting is not printed, but is only used in the MIDI
+output. You can trick lily into producing a metronome mark,
+though. Details are in @ref{Text markup}.
+  
+
 
+@node Text spanners
+@subsection Text spanners
+@cindex Text spanners
 
+Some textual indications, e.g. rallentando or accelerando, often extend
+over many measures. This is indicated by following the text with a
+dotted line.  You can create such texts using text spanners. The syntax
+is as follows:
 @example
-  \skip @var{duration} @code{;}
+\spanrequest \start "text"
+\spanrequest \stop "text"
 @end example
-@cindex @code{\skip}
+LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
+in @internalsref{Voice} context).  The string to be printed, as well as the
+style is set through grob properties.
+
+An application---or rather, a hack---is to fake octavation indications.
+@lilypond[fragment,relative,verbatim]
+ \relative c' {  a''' b c a
+  \property Voice.TextSpanner \set #'type = #'dotted-line
+  \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
+  \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
+  \property Staff.centralCPosition = #-13
+  a\spanrequest \start "text" b c a \spanrequest \stop "text" }
+@end lilypond
 
-Skips the amount of time specified by @var{duration}.  If no other
-music is played, a gap will be left for the skipped time with no
-notes printed.  It works in Note Mode or Lyrics Mode.  In Note mode,
-this has the same effect as the spacer rest.
 
+@c .  {Ornaments}
+@node Ornaments
+@section Ornaments
+@cindex Ornaments
+@menu
+* Articulations::               
+* Text scripts::                
+* Grace notes::                 
+* Glissando ::                  
+* Dynamics::                    
+@end menu
 
+@c .   {Articulation}
+@node Articulations
+@subsection Articulations
+@cindex Articulations
 
+@cindex articulations
+@cindex scripts
+@cindex ornaments
 
+A variety of symbols can appear above and below notes to indicate
+different characteristics of the performance. They are added to a note
+by adding a dash and the the character signifying the
+articulation. They are demonstrated here.
+@lilypond[singleline]
+  \score {
+    \notes \context Voice {
+      \property Voice.TextScript \set #'font-family = #'typewriter
+      \property Voice.TextScript \set #'font-shape = #'upright
+      c''4-._"c-."      s4
+      c''4--_"c-{}-"    s4
+      c''4-+_"c-+"      s4
+      c''4-|_"c-|"      s4
+      c''4->_"c->"      s4
+      c''4-^_"c-\\^{ }" s4
+    }
+  }
+@end lilypond
 
-@c_ {Music notation}
-@node Music notation
-@section Music notation
-@cindex Music notation
-@menu
-* Key::                         
-* Clef::                        
-* Time signature::              
-* Spanners::                    
-* Ornaments::                   
-* Bar check::                   
-@end menu
+The script is automatically placed, but if you need to force
+directions, you can use @code{_} to force them down, or @code{^} to
+put them up:
+@lilypond[fragment, verbatim]
+  c''4^^ c''4_^
+@end lilypond
 
-@c_  {Key}
-@node Key
-@subsection Key
-@cindex Key
 
-@cindex @code{\key}
+Other symbols can be added using the syntax
+@var{note}@code{-\}@var{name}. Again, they can be forced up or down
+using @code{^} and @code{_}.
+
+@cindex accent      
+@cindex marcato      
+@cindex staccatissimo
+@cindex fermata 
+@cindex stopped     
+@cindex staccato     
+@cindex tenuto        
+@cindex upbow
+@cindex downbow
+@cindex foot marks
+@cindex organ pedal marks
+@cindex turn         
+@cindex open          
+@cindex flageolet
+@cindex reverseturn 
+@cindex trill        
+@cindex prall         
+@cindex mordent
+@cindex prallprall  
+@cindex prallmordent 
+@cindex prall, up
+@cindex prall, down
+@cindex mordent
+@cindex thumb marking
+@cindex segno         
+@cindex coda
 
-@example
-  @code{\key} @var{pitch} @var{type} @code{;}
-@end example
-@cindex @code{\minor}
-@cindex @code{\major}
-@cindex @code{\minor}
-@cindex @code{\ionian}
-@cindex @code{\locrian}
-@cindex @code{\aeolian}
-@cindex @code{\mixolydian}
-@cindex @code{\lydian}
-@cindex @code{\phrygian}
-@cindex @code{\dorian}
+@lilypond[]
+  \score {
+    <
+      \property Score.LyricText \override #'font-family =#'typewriter
+      \property Score.LyricText \override #'font-shape = #'upright
+      \context Staff \notes {
+        c''-\accent      c''-\marcato      c''-\staccatissimo c''^\fermata 
+        c''-\stopped     c''-\staccato     c''-\tenuto        c''-\upbow
+        c''-\downbow     c''^\lheel        c''-\rheel         c''^\ltoe
+        c''-\rtoe        c''-\turn         c''-\open          c''-\flageolet
+        c''-\reverseturn c''-\trill        c''-\prall         c''-\mordent
+        c''-\prallprall  c''-\prallmordent c''-\upprall       c''-\downprall
+        c''-\upmordent   c''-\downmordent  c''-\pralldown     c''-\prallup
+        c''-\lineprall   c''-\thumb        c''-\segno         c''-\coda
+      }
+      \context Lyrics \lyrics {
+        accent__      marcato__      staccatissimo__ fermata
+        stopped__     staccato__     tenuto__        upbow
+        downbow__     lheel__        rheel__         ltoe
+        rtoe__        turn__         open__          flageolet
+        reverseturn__ trill__        prall__         mordent
+        prallprall__  prallmordent__ uprall__        downprall
+        upmordent__   downmordent__  pralldown__  prallup__
+        lineprall__   thumb__       segno__        coda
+      }
+    >
+    \paper {
+      linewidth = 5.875\in
+      indent    = 0.0
+    }
+  }
+@end lilypond
 
-Change the key signature.  @var{type} should be @code{\major} or
-@code{\minor} to get @var{pitch}-major or @var{pitch}-minor,
-respectively.  The second argument is optional; the default is major
-keys.  The @var{\context} argument can also be given as an integer,
-which tells the number of semitones that should be added to the pitch
-given in the subsequent @code{\key} commands to get the corresponding
-major key, e.g., @code{\minor} is defined as 3.  The standard mode names
-@code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
-@code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
 
+@cindex fingering
 
-@c_  {Clef}
-@node Clef
-@subsection Clef
-@cindex Clef
+Fingering instructions can also be entered in this shorthand. For
+finger changes, use markup texts:
+@c
+@lilypond[verbatim, singleline, fragment]
+      c'4-1 c'4-2 c'4-3 c'4-4
+      c^#'(finger "2-3")
+@end lilypond
 
 
-@c_   {Clef changes}
-@subsubsection Clef changes
-@cindex @code{\clef}
-@example
-  \clef @var{clefname} @code{;}
-@end example
+@cindex @code{\script}
+@cindex scripts
+@cindex superscript
+@cindex subscript
 
-Short-cut for
+See also @seeinternals{Script} and @seeinternals{Fingering}.
 
-@example
-  \property Clef.clefGlyph = @var{symbol associated with clefname} 
-  \property Clef.clefPosition = @var{clef Y-position for clefname}
-  \property Clef.clefOctavation = @var{extra pitch of clefname}
-@end example
+@refbugs
 
-Supported clef-names include 
+All of these note ornaments appear in the printed output but have no
+effect on the MIDI rendering of the music.
 
-[todo]
+Unfortunately, there is no support for adding fingering instructions or 
+ornaments to individual note heads. Some hacks exist, though. See
+@file{input/test/script-horizontal.ly}.
 
 
-@c_  {Time signature}
-@node Time signature
-@subsection Time signature
-@cindex Time signature
-@cindex meter
-@cindex @code{\time}
+@c .  {Text scripts}
+@node Text scripts
+@subsection Text scripts
+@cindex Text scripts
 
-@example
-  \time @var{numerator}@code{/}@var{denominator} @code{;}
-@end example
+In addition, it is possible to place arbitrary strings of text or markup
+text (see @ref{Text markup}) above or below notes by using a string:
+@code{c^"text"}. 
 
-A short-cut for doing
-@example
-     \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
-@end example
+By default, these indications do not influence the note spacing, but
+by using the command @code{\fatText}, the widths will be taken into
+account.
+@c
+@lilypond[fragment,singleline,verbatim] \relative c' {
+c4^"longtext" \fatText c4_"longlongtext" c4 }
+@end lilypond
 
-See the documentation of @code{timeSignatureFraction}
+It is possible to use @TeX{} commands in the strings, but this should be
+avoided because it makes it impossible for LilyPond to compute the
+exact length of the string, which may lead to collisions.  Also, @TeX{}
+commands won't work with direct PostScript output.
+@c (see @ref{PostScript output}).
 
+Text scripts are created in form of @internalsref{TextScript} grobs, in
+@internalsref{Voice} context. 
 
-@c_   {Partial}
-@subsubsection Partial
-@cindex Partial
-@cindex anacrusis
-@cindex upstep
-@cindex partial measure
-@cindex measure, partial
-@cindex shorten measures
-@cindex @code{\partial}
-@example
-  \partial @var{duration} @code{;}
-@end example
+@ref{Text markup} describes how to change the font or access
+special symbols in text scripts.
 
-Short cut for 
 
-@example
-  \property Score.measurePosition = @var{length of duration}
-@end example
-@cindex @code{|}
+@c .   {Grace notes}
+@node Grace notes
+@subsection Grace notes
 
-See the documentation of @code{measurePosition}.
 
 
+@cindex @code{\grace}
+@cindex ornaments
+@cindex grace notes
 
-@c_  {Spanners}
-@node Spanners
-@subsection Spanners
-@cindex Spanners
+Grace notes are ornaments  are written out ornaments
+@lilypond[relative=2,verbatim,ifragment] 
+  c4  \grace c16  c4 \grace { [c16 d16] } c4 
+@end lilypond
 
-@menu
-* Beam::                        
-* Slur::                        
-* Tie::                         
-* Tuplet::                      
-* Volta::                       
-* Crescendo and Decrescendo::   
-* Text spanner::                
-* Ottava::                      
-* Span requests::               
-@end menu
-@c_   {Beam}
-@node Beam
-@subsubsection Beam
-@cindex Beam
-@c_    {Automatic beams}
-@unnumberedsubsubsec Automatic beams
+In normal notation, grace notes are supposed to take up no logical
+time in a measure. Such an idea is practical for normal notation, but
+is not strict enough to put it into a program. The model that LilyPond
+uses for grace notes internally is that all timing is done in two
+steps:
 
-@cindex automatic beam generation
-@cindex autobeam
+Every point in musical time consists of two rational numbers: one
+denotes the logical time, one denotes the grace timing. The above
+example is shown here with timing tuples.
 
-@cindex @code{Voice.noAutoBeaming}
+@lilypond[]
+\score { \notes \relative c''{ 
+  c4^"(0,0)"  \grace c16_" "_"(1/4,-1/16)"  c4^"(1/4,0)"  \grace {
+  [c16_"(2/4,-1/8)"  d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
+  }
+\paper {  linewidth = 8.\cm }
+}
+@end lilypond
 
-By default, LilyPond will generate beams automatically.  This feature
-can be disabled by setting the @code{Voice.noAutoBeaming} property to
-true.  It can be overridden for specific cases by specifying explicit
-beams.
+The advantage of this approach is that you can use almost any lilypond
+construction together with grace notes, for example slurs and clef
+changes may appear halfway in between grace notes:
 
-@cindex @code{Voice.autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
+@lilypond[relative=2,verbatim,fragment] 
+  c4  \grace { [ c16 c, \clef bass c, b(] }  )c4 
+@end lilypond
 
-A large number of Voice properties are used to decide how to generate
-beams.  Their default values appear in @file{scm/auto-beam.scm}.  In
-general, beams can begin anywhere, but their ending location is
-significant.  Beams can end on a beat, or at durations specified by the
-properties in
-@code{Voice.autoBeamSettings}.
-To end beams every quarter note, for example, you could set the property
-@code{(end * * * *)}  to @code{(make-moment 1
-4)}.  To end beams at every three eighth notes you would set
-it to @code{(make-moment 1 8)}.
-The same syntax can be used to specify beam
-starting points using
-@code{(begin * * * *)}, eg:
-@quotation
-@example
-\property Voice.autoBeamSettings \override
-    #'(end * * * *) = #(make-moment 1 4)
-\property Voice.autoBeamSettings \override
-    #'(begin * * * *) = #(make-moment 1 8)
-@end example
-@end quotation
+The placement of these grace notes is synchronized between different
+staffs, using this grace timing.
 
-To allow different settings for different time signatures, instead of
-the first two asterisks @code{* *} you can specify a time signature; use
-@code{(end N M * *)} to restrict the definition to
-`@var{N}@code{/}@var{M}' time.  For example, to specify beams ending
-only for 6/8 time you would use the property @code{(end 6 8 * *)}.
+@lilypond[relative=2,verbatim,fragment] 
+< \context Staff = SA { e4 \grace { c16 d e f } e4 }
+  \context Staff = SB { c4 \grace { g8 b } c4 } >
+@end lilypond
 
-To allow different endings for notes of different durations, instead of
-th last two asterisks you can specify a duration; use @code{(end * * N
-M)} to restrict the definition to beams that contain notes of
-`@var{N}@code{/}@var{M}' duration.
 
-For example, to specify beam endings for beams that contain 32nd notes,
-you would use @code{(end * * 1 32)}.
+Unbeamed eighth notes and shorter by default have a slash through the
+stem. This can be controlled with grob property @code{flag-style} of
+@internalsref{Stem}. The change in formatting is accomplished by
+inserting @code{\startGraceMusic} before handling the grace notes, and
+@code{\stopGraceMusic} after finishing the grace notes. You can add to
+these definitions to globally change grace note formatting. The
+standard definitions are in @file{ly/grace-init.ly}.
 
 
+@lilypond[fragment,verbatim]
+\relative c'' \context Voice {
+  \grace c8 c4 \grace { [c16 c16] } c4
+  \grace { 
+    \property Voice.Stem \override #'flag-style = #'() 
+    c16 
+    \property Voice.Stem \revert #'flag-style
+  } c4
+}
+@end lilypond
 
-@c_    {Manual beams}
-@cindex Automatic beams
-@unnumberedsubsubsec Manual beams
+If you want to end a note with a grace note, then the standard trick
+is to put the grace notes before a phantom ``space note'', e.g.
+@lilypond[fragment,verbatim, relative=2]
+\context Voice {
+    < { d1^\trill ( }
+     { s2 \grace { [c16 d] } } >
+   )c4
+}
+@end lilypond
 
-@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
 
-FIXME
-Beaming can be generated automatically; see section @ref{Automatic Beaming}.
+@refbugs
 
-A beam is specified by surrounding the beamed notes with brackets
-`@code{[}' and `@code{]}'.  
+Grace note synchronization can also lead to surprises. Staff notation,
+such as key signatures, barlines, etc. are also synchronized. Take
+care when you mix staffs with grace notes and staffs without.
 
-@lilypond[fragment,verbatim,center]
-  [a'8 a'] [a'16 a' a' a']
-  [a'16 <a' c''> c'' <a' c''>]
-  \times 2/3 { [e'8 f' g'] }
+@lilypond[relative=2,verbatim,fragment]
+< \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
+  \context Staff = SB { c4 \bar "|:"  d4 } >
 @end lilypond
 
+Grace sections should only be used within sequential music
+expressions.  Nesting, juxtaposing, or ending sequential music with a
+grace section is not supported, and might produce crashes or other
+errors.
 
-@cindex @code{-}@code{-}
-
-
-@c_    {Adjusting beams}
-@unnumberedsubsubsec Adjusting beams
-@cindex Adjusting beams
+@menu
+* Glissando ::                  
+* Dynamics::                    
+@end menu
 
 
-@c_   {Slur}
 
-@node Slur
-@subsubsection Slur
-@cindex Slur
+@c .   {Glissando}
+@node Glissando 
+@subsection Glissando
+@cindex Glissando 
 
-@cindex slur
+@cindex @code{\glissando}
 
-Slurs connects chords and try to avoid crossing stems.  A slur is
-started with @code{(} and stopped with @code{)}.  The
-starting @code{(} appears to the right of the first note in
-the slur.  The terminal @code{)} appears to the left of the
-first note in the slur.  This makes it possible to put a note in
-slurs from both sides:
+A glissando line can be requested by attaching a @code{\glissando} to
+a note:
 
-@lilypond[fragment,verbatim,center]
-  f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@lilypond[fragment,relative,verbatim]
+  c'-\glissando c'
 @end lilypond
 
+@refbugs
 
+Printing of an additional text (such as @emph{gliss.}) must be done
+manually. See also @seeinternals{Glissando}.
 
-@c_    {Adjusting slurs}
-@unnumberedsubsubsec Adjusting slurs
-@c_   {Tie}
-@cindex Adusting slurs
-@node Tie
-@subsubsection Tie
 
-@cindex Tie
-@cindex ties
-@cindex @code{~}
-
-A tie connects two adjacent note heads of the same pitch.  When used
-with chords, it connects all of the note heads whose pitches match.
-Ties are indicated using the tilde symbol `@code{~}'.
-If you try to tie together chords which have no common pitches, a
-warning message will appear and no ties will be created.
 
-@lilypond[fragment,verbatim,center]
-  e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end lilypond
+@c .   {Dynamics}
+@node Dynamics
+@subsection Dynamics
+@cindex Dynamics
 
-[sparseTies]
 
 
-@c_   {Tuplet}
-@node Tuplet
-@subsubsection Tuplet
-@cindex Tuplet
+@cindex @code{\ppp}
+@cindex @code{\pp}
+@cindex @code{\p}
+@cindex @code{\mp}
+@cindex @code{\mf}
+@cindex @code{\f}
+@cindex @code{\ff}
+@cindex @code{\fff}
+@cindex @code{\ffff}
+@cindex @code{\fp}
+@cindex @code{\sf}
+@cindex @code{\sff}
+@cindex @code{\sp}
+@cindex @code{\spp}
+@cindex @code{\sfz}
+@cindex @code{\rfz}
 
-See @ref{Times}.
 
-@c_   {Volta}
-@node Volta
-@subsubsection Volta
-@cindex Volta
+Absolute dynamic marks are specified using an identifier after a
+note: @code{c4-\ff}.  The available dynamic marks are: @code{\ppp},
+@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
+@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
 
-See @ref{Repeat}.
+@lilypond[verbatim,singleline,fragment,relative]
+  c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+  c2\sf c\rfz
+@end lilypond
 
-@c_   {Crescendo and Decrescendo}
-@node Crescendo and Decrescendo
-@subsubsection Crescendo and Decrescendo
-@cindex Crescendo and Decrescendo
-@cindex crescendo
 @cindex @code{\cr}
 @cindex @code{\rc}
 @cindex @code{\decr}
@@ -1161,781 +2050,965 @@ See @ref{Repeat}.
 @cindex @code{\"!}
 
 
-
 A crescendo mark is started with @code{\cr} and terminated with
-@code{\rc}, the textual reverse of @code{cr}.  A decrescendo mark is
+@code{\rc} (the textual reverse of @code{cr}).  A decrescendo mark is
 started with @code{\decr} and terminated with @code{\rced}.  There are
 also shorthands for these marks.  A crescendo can be started with
 @code{\<} and a decrescendo can be started with @code{\>}.  Either one
 can be terminated with @code{\!}.  Note that @code{\!}  must go before
 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
 after the last note.  Because these marks are bound to notes, if you
-want to get several marks during one note, you must use spacer notes.
+want several marks during one note, you have to use spacer notes.
 
 @lilypond[fragment,verbatim,center]
   c'' \< \! c''   d'' \decr e'' \rced 
-  < f''1 { s4 \< \! s2 \> \! s4 } >
+  < f''1 { s4 s4 \< \! s4 \> \! s4 } >
 @end lilypond
 
-[todo: text cr] 
+You can also use a text saying @emph{cresc.} instead of hairpins. Here
+is an example how to do it:
 
+@lilypond[fragment,relative=2,verbatim]
+  c4 \cresc c4 \endcresc c4
+@end lilypond
 
-@c_   {Text spanner}
-@node Text spanner
-@subsubsection Text spanner
-@cindex Text spanner
 
-Have crescendo set a text spanner instead of hairpin
+@cindex crescendo
+@cindex decrescendo
 
+You can also supply your own texts:
 @lilypond[fragment,relative,verbatim]
   \context Voice {
-    \property Voice.crescendoText = "cresc."
+    \property Voice.crescendoText = "cresc. poco"
     \property Voice.crescendoSpanner = #'dashed-line
-    a''2\mf\< a a \!a 
+    a'2\mf\< a a \!a 
   }
 @end lilypond
 
-@c_   {Ottava}
-@node Ottava
-@subsubsection Ottava
-@cindex Ottava
-@unnumberedsubsubsec Ottava
-
-@lilypond[fragment,relative,verbatim]
-  a'''' b c a
-  \property Voice.TextSpanner \set #'type = #'dotted-line
-  \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
-  \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
-  \property Staff.centralCPosition = #-13
-  a\spanrequest \start "text" b c a \spanrequest \stop "text"
-@end lilypond
+@cindex diminuendo
 
+Dynamics are grobs of @internalsref{DynamicText} and
+@internalsref{Hairpin}. Vertical positioning of these symbols is
+handled by the @internalsref{DynamicLineSpanner} grob.  If you want to
+adjust padding or vertical direction of the dynamics, you must set
+properties for the @internalsref{DynamicLineSpanner} grob. Predefined
+identifiers to set the vertical direction are \dynamicUp and
+\dynamicDown.
 
+@cindex direction, of dynamics
+@cindex @code{\dynamicDown}
+@cindex @code{\dynamicUp}
 
-@c_    {Text crescendo and decrescendo}
-@unnumberedsubsubsec Text crescendo and decrescendo
+@c .  {Repeats}
+@node Repeats
+@section Repeats
 
-TODO
 
-@c_   {Span requests}
-@node Span requests
-@subsubsection Span requests
-@cindex Span requests
+@cindex repeats
+@cindex @code{\repeat}
 
-@cindex @code{\spanrequest}
+To specify repeats, use the @code{\repeat} keyword.  Since repeats
+should work differently when played or printed, there are a few
+different variants of repeats.
 
-@example
-  \spanrequest @var{startstop} @var{type}
-@end example
-@cindex @code{\start}
-@cindex @code{\stop}
+@table @code
+@item unfold
+Repeated music is fully written (played) out.  Useful for MIDI
+output, and entering repetitive music.
 
-Define a spanning request. The @var{startstop} parameter is either -1
-(@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
-describes what should be started.  Supported types are @code{crescendo},
-@code{decrescendo}, @code{beam}, @code{slur}.  This is an internal
-command.  Users should use the shorthands which are defined in the
-initialization file @file{spanners.ly}.
+@item volta
+This is the normal notation: Repeats are not written out, but
+alternative endings (voltas) are printed, left to right.
 
-You can attach a (general) span request to a note using
+@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
+@file{input/star-spangled-banner.ly}.
 
-@lilypond[fragment,verbatim,center]
-  c'4-\spanrequest \start "slur"
-  c'4-\spanrequest \stop "slur"
-@end lilypond
+@item tremolo
+Make tremolo beams.
 
-The slur syntax with parentheses is a shorthand for this.
+@item percent
+Make beat or measure repeats. These look like percent signs.
 
+@end table  
 
-@c_  {Ornaments}
-@node Ornaments
-@subsection Ornaments
-@cindex Ornaments
 @menu
-* Articulation::                
-* Text scripts::                
-* Grace notes::                 
-* Stem tremolo::                
-* Arpeggio::                    
-* Glissando ::                  
-* Dynamics::                    
-* Bar lines::                   
-* Breath marks::                
-* Rehearsal marks::             
+* Repeat syntax::               
+* Repeats and MIDI::            
+* Manual repeat commands::      
+* Tremolo repeats::             
+* Tremolo subdivisions::        
+* Measure repeats::             
 @end menu
 
-@c_   {Articulation}
-@node Articulation
-@subsubsection Articulation
-@cindex Articulation
-
-@cindex articulations
-@cindex scripts
-@cindex ornaments
+@node Repeat syntax
+@subsection Repeat syntax
 
-A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance.  These symbols can be
-added to a note with `@var{note}@code{-\}@var{name}'.  Numerous symbols
-are defined in @file{script.ly} and @file{script.scm}.  Symbols can be
-forced to appear above or below the note by writing
-`@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
-respectively.  Here is a chart showing symbols above notes, with the
-name of the corresponding symbol appearing underneath.
+The syntax for repeats is
 
-@lilypond[]
+@example
+  \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+@end example
 
-  \score {
-    < \notes {
-        \property Score.LyricSyllable \override #'font-family =
-#'typewriter
-        \property Score.LyricSyllable \override #'font-shape = #'upright
-        c''-\accent      c''-\marcato      c''-\staccatissimo c''-\fermata 
-        c''-\stopped     c''-\staccato     c''-\tenuto        c''-\upbow
-        c''-\downbow     c''^\lheel        c''-\rheel         c''^\ltoe
-        c''-\rtoe        c''-\turn         c''-\open          c''-\flageolet
-        c''-\reverseturn c''-\trill        c''-\prall         c''-\mordent
-        c''-\prallprall  c''-\prallmordent c''-\upprall       c''-\downprall
-        c''-\thumb       c''-\segno        c''-\coda
-      }
-      \context Lyrics \lyrics {
-        accent__      marcato__      staccatissimo__ fermata
-        stopped__     staccato__     tenuto__        upbow
-        downbow__     lheel__        rheel__         ltoe
-        rtoe__        turn__         open__          flageolet
-        reverseturn__ trill__        prall__         mordent
-        prallprall__  prallmordent__ uprall__        downprall
-        thumb__       segno__        coda
-      }
-    >
-    \paper {
-      linewidth = 5.875\in;          
-      indent    = 0.0;
-    }
-  }
+If you have alternative endings, you may add
+@cindex @code{\alternative}
+@example
+ \alternative @code{@{} @var{alternative1}
+            @var{alternative2}
+            @var{alternative3} @dots{} @code{@}}
+@end example
+where each @var{alternative} is a music expression.
 
+Normal notation repeats are used like this:
+@lilypond[fragment,verbatim]
+  c'1
+  \repeat volta 2 { c'4 d' e' f' }
+  \repeat volta 2 { f' e' d' c' }
 @end lilypond
 
-@c_   {Text scripts}
-@node Text scripts
-@subsubsection Text scripts
-@cindex Text scripts
-
-FIXME: markup
-
-In addition, it is possible to place arbitrary strings of text or
-@TeX{} above or below notes by using a string instead of an
-identifier: @code{c^"text"}.  Fingerings 
-can be placed by simply using digits.  All of these note ornaments
-appear in the printed output but have no effect on the MIDI rendering of
-the music.
-
-@c_    {Fingerings}
-@unnumberedsubsubsec Fingerings
-@cindex Fingerings
-
-To save typing, fingering instructions (digits 0 to 9 are
-supported) and single characters shorthands exist for a few
-common symbols
+With alternative endings:
+@lilypond[fragment,verbatim]
+  c'1
+  \repeat volta 2 {c'4 d' e' f'} 
+  \alternative { {d'2 d'} {f' f} }
+@end lilypond
 
-@lilypond[]
-  \score {
-    \notes \context Voice {
-      \property Voice.TextScript \set #'font-family = #'typewriter
-      \property Voice.TextScript \set #'font-shape = #'upright
-      c''4-._"c-."      s4
-      c''4--_"c-{}-"    s4
-      c''4-+_"c-+"      s4
-      c''4-|_"c-|"      s4
-      c''4->_"c->"      s4
-      c''4-^_"c-\\^{ }" s4
-      c''4-1_"c-1"      s4
-      c''4-2_"c-2"      s4
-      c''4-3_"c-3"      s4
-      c''4-4_"c-4"      s4
-    }
-    \paper {
-      linewidth = 5.875 \in;
-      indent    = 0.0;
-    }
-  }
+Folded repeats look like this:
+
+
+@lilypond[fragment,verbatim]
+  c'1
+  \repeat fold 2 {c'4 d' e' f'} 
+  \alternative { {d'2 d'} {f' f} }
 
 @end lilypond
 
+If you don't give enough alternatives for all of the repeats, then
+the first alternative is assumed to be repeated often enough to equal
+the specified number of repeats.
 
-@cindex @code{\textscript}
+@lilypond[fragment,verbatim]
+\context Staff {
+  \relative c' {
+    \partial 4
+    \repeat volta 4 { e | c2 d2 | e2 f2 | }
+    \alternative { { g4 g g } { a | a a a a | b2. } }
+  }
+}
+@end lilypond
 
-@example
+@node Repeats and MIDI
+@subsection Repeats and MIDI
 
-  \textscript @var{text} @var{style}
-@end example
+@cindex expanding repeats
 
-Defines a text to be printed over or under a note.  @var{style} is a
-string that may be one of @code{roman}, @code{italic}, @code{typewriter}, 
-@code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
+For instructions on how to unfoldi repeats for MIDI output, see
+the example file @file{input/test/unfold-all-repeats.ly}.
 
-You can attach a general textscript request using this syntax:
 
-@quotation
+@refbugs
 
-@example 
-c4-\textscript "6" "finger"
-c4-\textscript "foo" "normal" 
-@end example 
+Notice that timing information is not remembered at the start of an
+alternative, so you have to reset timing information after a repeat,
+e.g. using a bar-check (See @ref{Bar check}), setting
+@code{Score.measurePosition} or entering @code{\partial}.  Slurs or ties
+are also not repeated.
 
-@end quotation
+It is possible to nest @code{\repeat}s, although this probably is only
+meaningful for unfolded repeats.
 
-This is equivalent to @code{c4-6 c4-"foo"}.  
+Folded repeats offer little more over simultaneous music.
 
-@cindex @code{\script}
-@cindex scripts
+@node Manual repeat commands
+@subsection Manual repeat commands
 
-@example
+@cindex @code{repeatCommands}
 
-  \script @var{alias}
-@end example
-@cindex @code{\script}
+The property @code{repeatCommands} can be used to control the layout of
+repeats. Its value is a Scheme list of repeat commands, where each repeat
+command can be
 
-Prints a symbol above or below a note.  The argument is a string which
-points into the script-alias table defined in @file{scm/script.scm}, for
-information on how to add scripts, read the comments in that file.
-Usually the @code{\script} keyword is not used directly.  Various
-helpful identifier definitions appear in @file{script.ly}.
+@table @code
+@item 'start-repeat
+ Print a |: bar line
+@item 'end-repeat
+ Print a :| bar line
+@item (volta . @var{text})
+  Print a volta bracket saying @var{text}.
+@item (volta . #f)
+  Stop a running volta bracket
+@end table
 
+@lilypond[verbatim, fragment]
+ c''4
+    \property Score.repeatCommands = #'((volta "93") end-repeat)
+ c''4 c''4
+    \property Score.repeatCommands = #'((volta #f))
+ c''4 c''4
+@end lilypond
 
 
+Repeats brackets are @internalsref{VoltaBracket} grobs.
 
-@c_   {Grace notes}
-@node Grace notes
-@subsubsection Grace notes
-@cindex Grace notes
+@node Tremolo repeats
+@subsection Tremolo repeats
+@cindex tremolo beams
+
+To place tremolo marks between notes, use @code{\repeat} with tremolo
+style.  
+@lilypond[verbatim,center,singleline]
+\score { 
+  \context Voice \notes\relative c' {
+    \repeat "tremolo" 8 { c16 d16 }
+    \repeat "tremolo" 4 { c16 d16 }    
+    \repeat "tremolo" 2 { c16 d16 }
+    \repeat "tremolo" 4 c16
+  }
+}
+@end lilypond
+
+Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
+@internalsref{StemTremolo}. The single stem tremolo @emph{must} be
+entered without @code{@{} and @code{@}}.  
+
+@refbugs
 
-See @ref{Grace music}.
+Only powers of two and undotted notes are supported repeat counts.
 
-@c_   {Stem tremolo}
-@node Stem tremolo
-@subsubsection Stem tremolo
+@node Tremolo subdivisions
+@subsection Tremolo subdivisions
 @cindex tremolo marks
 @cindex @code{tremoloFlags}
 
-[FIXME: should be \repeat]
-
 Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{length}]' after the note.  The length must be at
-least 8.  A @var{length} value of 8 gives one line across
-the note stem.  If the length is omitted, then the last value is
-used, or the value of the @code{tremoloFlags} property if there was
-no last value.
+`@code{:}[@var{length}]' after the note.  The length must be at least 8.
+A @var{length} value of 8 gives one line across the note stem.  If the
+length is omitted, then then the last value (stored in
+@code{Voice.tremoloFlags}) is used.
 
 @lilypond[verbatim,fragment,center]
-  c'2:8 c':32
+  c'2:8 c':32 | c': c': |
 @end lilypond
 
+@refbugs
 
-@c_   {Arpeggio}
-@node Arpeggio
-@subsubsection Arpeggio
-@cindex Arpeggio
 
-@cindex broken arpeggio
-@cindex @code{\arpeggio}
+Tremolos in this style do not carry over into the MIDI output.
 
-You can specify an @rgrob{Arpeggio} sign on a chord by issuing an
-@c FIXME
-@c @code{\arpeggio} request:
-@code{\arpeggio} request:
 
+@node Measure repeats
+@subsection Measure repeats
 
-@quotation
-@lilypond[fragment,relative,verbatim]
-  \context Voice <c'\arpeggio e g c>
-@end lilypond
-@end quotation
+@cindex percent repeats
+@cindex measure repeats
 
-Typesetting of simultanious chords with arpeggios can be controlled with
-the property @code{PianoStaff.connectArpeggios} @footnote{ FIXME:
-connectArpeggios.  Can't find the English terms for two kinds of
-arpeggio (Dutch: gebroken arpeggio vs doorlopend arpeggio).}  By
-default, LilyPond prints broken arpeggios; when set to true, one
-extended arpeggio sign is printed.
+In the @code{percent} style, a note pattern can be repeated. It is
+printed once, and then the pattern is replaced with a special sign.
+Patterns of a one and two measures are replaced by percent-like signs,
+patterns that divide the measure length are replaced by slashes.
 
-@quotation
-@lilypond[fragment,relative,verbatim]
-  \context PianoStaff <
-    \property PianoStaff.connectArpeggios = ##t
-    \context Staff \context Voice <c''\arpeggio e g c>
-    \context Staff=other \context Voice <c,\arpeggio e g>
-  >  
-@end lilypond
-@end quotation
+@lilypond[verbatim,singleline]
+ \context Voice { \repeat  "percent" 4  { c'4 }
+    \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+}
+@end lilypond   
 
+The signs are represented by these grobs: @internalsref{RepeatSlash} and
+@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
 
-@c_   {Glissando}
-@node Glissando 
-@subsubsection Glissando
-@cindex Glissando 
+@refbugs
 
-@cindex @code{\glissando}
+You can not nest percent repeats, e.g. by filling in the first measure
+with slashes, and repeating that measure with percents.
 
-A @rgrob{Glissando} line can be requested by issuing a
-@c FIXME
-@c @code{\glissando} request:
-@code{\glissando} request:
+@node Rhythmic music
+@section Rhythmic music
 
+Sometimes you might want to show only the rhythm of a melody.  This can
+be done with the rhythmic staff. All pitches of notes on such a staff
+are squashed, and the  staff itself  looks has  a single staff line:
 
-@quotation
 @lilypond[fragment,relative,verbatim]
-  c'' \glissando c'
+  \context RhythmicStaff {
+      \time 4/4
+      c4 e8 f  g2 | r4 g r2 | g1:32 | r1 |
+  }
 @end lilypond
-@end quotation
-
-Printing of the additional text @samp{gliss.} must be done manually.
 
+@menu
+* Percussion staves::           
+@end menu
 
-@c_    {Follow Thread}
-@subsubsection Follow Thread
-@cindex follow thread
-@cindex staff switching
-@cindex cross staff
-
-@c Documented here because it looks like a glissando...
-@cindex @code{followThread}
-A glissando-like line can be printed to connect notes whenever a thread
-switches to another staff.  This is enabled if the property
-@code{PianoStaff.followThread} is set to true:
+@node Percussion staves
+@subsection Percussion staves
+@cindex percussion
+@cindex drums
+To typeset more than one piece of percussion to be played by the same
+musician one typically uses a multiline staff where each staff
+position refers to a specific piece of percussion.
+
+LilyPond is shipped with a bunch of scheme functions which allows you
+to do this fairly easily.
+
+The system is based on the general midi drum-pitches.
+In order to use the drum pitches you include
+@file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
+variable @code{drum-pitch-names} - which definition can be read in
+@file{scm/drums.scm}. You see that each piece of percussion has a full
+name and an abbreviated name - and you may freely select whether to
+refer to the full name or the abbreviation in your music definition.
+
+To typeset the music on a staff you apply the scheme function
+@code{drums->paper} to the percussion music. This function takes a
+list of percussion instrument names, notehead scripts and staff
+positions (that is: pitches relative to the C-clef) and uses this to
+transform the input music by moving the pitch, changing the notehead
+and (optionally) adding a script:
+@lilypond[singleline,verbatim]
+\include "drumpitch-init.ly"
+up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \notes { bassdrum4 snare8 bd r bd sn4 }
+\score {
+    \apply #(drums->paper 'drums) \context Staff <
+        \clef percussion
+        \context Voice = up { \voiceOne \up }
+        \context Voice = down { \voiceTwo \down }
+    >
+}
 
-@quotation
-@lilypond[fragment,relative,verbatim]
-  \context PianoStaff <
-    \property PianoStaff.followThread = ##t
-    \context Staff \context Voice {
-      c'1
-      \translator Staff=two
-      b2 a
-    }
-    \context Staff=two {\clef bass; \skip 1*2;}
-  >  
 @end lilypond
-@end quotation
+In the above example the music was transformed using the list @code{'drums}.
+Currently the following lists are defined in @file{scm/drums.scm}:
+@table @code
+@item 'drums
+To typeset a typical drum kit on a five line staff.
+@lilypond[]
+\include "drumpitch-init.ly"
+nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
+    bd sn ss tomh tommh tomml toml tomfh tomfl }
+mus = \notes  { cymc cyms cymr hh hhc hho hhho hhp cb hc
+    bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
+\score {
+    <
+        \apply #(drums->paper 'drums) \context Staff <
+            \clef percussion
+            \mus
+        >
+        \context Lyrics \nam 
+    >
+    \paper {
+        \translator {
+            \StaffContext
+            \remove Bar_engraver
+            \remove Time_signature_engraver
+            minimumVerticalExtent = #'(-4.0 . 5.0)
+        }
+        \translator {
+            \VoiceContext
+            \remove Stem_engraver
+        }
+   }   
+}
+@end lilypond
+Notice that the scheme supports six different toms.
+If you are using fewer toms then you simply select the toms that produce
+the desired result - i.e. to get toms on the three middle lines you
+use @code{tommh}, @code{tomml} and @code{tomfh}.
+
+Because the general midi contain no rimshots we use the sidestick for
+this purpose instead.
+@item 'timbales
+To typeset timbales on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { timh ssh timl ssl cb }
+mus = \notes  { timh ssh timl ssl cb s16 }
+\score {
+    <
+        \apply #(drums->paper 'timbales) \context Staff <
+            \clef percussion
+            \mus
+        >
+        \context Lyrics \nam 
+    >
+    \paper {
+        \translator {
+            \StaffContext
+            \remove Bar_engraver
+            \remove Time_signature_engraver
+            StaffSymbol \override #'line-count = #2
+            StaffSymbol \override #'staff-space = #2
+            minimumVerticalExtent = #'(-3.0 . 4.0)
+        }
+        \translator {
+            \VoiceContext
+            \remove Stem_engraver
+        }
+
+    }   
+}
+@end lilypond
+@item 'congas
+To typeset congas on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
+mus = \notes  { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+\score {
+    <
+        \apply #(drums->paper 'congas) \context Staff <
+            \clef percussion
+            \mus
+        >
+        \context Lyrics \nam 
+    >
+    \paper {
+        \translator {
+            \StaffContext
+            \remove Bar_engraver
+            \remove Time_signature_engraver
+            StaffSymbol \override #'line-count = #2
+            StaffSymbol \override #'staff-space = #2
+            minimumVerticalExtent = #'(-3.0 . 4.0)
+        }
+        \translator {
+            \VoiceContext
+            \remove Stem_engraver
+        }
+    }   
+}
+@end lilypond
+@item 'bongos
+To typeset bongos on a two line staff.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
+mus = \notes  { boh boho bohm ssh bol bolo bolm ssl s16 }
+\score {
+    <
+        \apply #(drums->paper 'bongos) \context Staff <
+            \clef percussion
+            \mus
+        >
+        \context Lyrics \nam 
+    >
+    \paper {
+        \translator {
+            \StaffContext
+            \remove Bar_engraver
+            \remove Time_signature_engraver
+            StaffSymbol \override #'line-count = #2
+            StaffSymbol \override #'staff-space = #2
+            minimumVerticalExtent = #'(-3.0 . 4.0)
+        }
+        \translator {
+            \VoiceContext
+            \remove Stem_engraver
+        }
+    }   
+}
+@end lilypond
+@item 'percussion
+To typeset all kinds of simple percussion on one line staves.
+@lilypond[singleline]
+\include "drumpitch-init.ly"
+nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
+mus = \notes  { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+\score {
+    <
+        \apply #(drums->paper 'percussion) \context Staff <
+            \clef percussion
+            \mus
+        >
+        \context Lyrics \nam 
+    >
+    \paper {
+        \translator {
+            \StaffContext
+            \remove Bar_engraver
+            \remove Time_signature_engraver
+            StaffSymbol \override #'line-count = #1
+            minimumVerticalExtent = #'(-2.0 . 3.0)
+        }
+        \translator {
+            \VoiceContext
+            \remove Stem_engraver
+        }
+    }   
+}
+@end lilypond
+@end table
 
+If you don't like any of the predefined lists you can define your own
+list at the top of your file:
+
+@lilypond[singleline, verbatim]
+#(define mydrums `(
+        (bassdrum     default   #f        ,(make-pitch -1 2 0))
+        (snare        default   #f        ,(make-pitch 0 1 0))
+        (hihat        cross     #f        ,(make-pitch 0 5 0))
+        (pedalhihat   xcircle   "stopped" ,(make-pitch 0 5 0))
+        (lowtom	      diamond   #f        ,(make-pitch -1 6 0))
+))
+\include "drumpitch-init.ly"
+up = \notes { hh8 hh hh hh hhp4 hhp }
+down = \notes { bd4 sn bd toml8 toml }
+\score {    
+    \apply #(drums->paper 'mydrums) \context Staff <
+        \clef percussion
+        \context Voice = up { \voiceOne \up }
+        \context Voice = down { \voiceTwo \down }
+    >
+}
+@end lilypond
 
+To use a modified existing list instead of building your own from
+scratch you can append your modifications to the start of the existing
+list:
 
-@c_   {Dynamics}
-@node Dynamics
-@subsubsection Dynamics
-@cindex Dynamics
+@example
+#(define mydrums (append `(
+   (bassdrum default #f ,(make-pitch -1 2 0))
+   (lowtom   diamond #f ,(make-pitch -1 6 0))
+) drums ))
+@end example
 
-@unnumberedsubsec Dynamics
+@c FIXME: Too many levels of headers when using subsubsections.
+@c Perhaps junk subsection ``Percussion staves''
+@subsubsection Percussion staves with normal staves
+When you include @file{drumpitch-init.ly} then the default pitches
+are overridden so that you after the inclusion cannot use the common
+dutch pitch names anymore. Hence you might wan't to reinclude
+@file{nederlands.ly} after the drum-pattern-definitions:
+@lilypond[singleline,verbatim]
+\include "drumpitch-init.ly"
+up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \notes { bassdrum4 snare8 bd r bd sn4 }
+\include "nederlands.ly"
+bass = \notes \transpose c, { a4. e8 r e g e }
+\score {
+    <
+        \apply #(drums->paper 'drums) \context Staff = drums <
+            \clef percussion
+            \context Voice = up { \voiceOne \up }
+            \context Voice = down { \voiceTwo \down }
+        >
+        \context Staff = bass { \clef "F_8" \bass }
+    >
+}
+@end lilypond
 
-@cindex @code{\ppp}
-@cindex @code{\pp}
-@cindex @code{\p}
-@cindex @code{\mp}
-@cindex @code{\mf}
-@cindex @code{\f}
-@cindex @code{\ff}
-@cindex @code{\fff}
-@cindex @code{\ffff}
-@cindex @code{\fp}
-@cindex @code{\sf}
-@cindex @code{\sff}
-@cindex @code{\sp}
-@cindex @code{\spp}
-@cindex @code{\sfz}
-@cindex @code{\rfz}
+@subsubsection Percussion midi output
+In order to produce correct midi output you need to produce two score
+blocks - one for the paper and one for the midi.
+To use the percussion channel you set the property @code{instrument}
+to @code{'drums}. Because the drum-pitches themself are similar to the
+general midi pitches all you have to do is to insert the voices with
+none of the scheme functions to get the correct midi output:
 
-Dynamic marks are specified by using an identifier after a note:
-@code{c4-\ff} (the dash is optional for dynamics: `@code{c4 \ff})'.  
-The available dynamic marks are:
-@code{\ppp},
-@code{\pp}, @code{\p}, @code{\mp},
-@code{\mf}, @code{\f}, @code{\ff},
-@code{\fff}, @code{\fff},
-@code{\fp}, @code{\sf},
-@code{\sff}, @code{\sp},
-@code{\spp}, @code{\sfz}, and
-@code{\rfz}.
+@example
+\score @{    
+    \apply #(drums->paper 'mydrums) \context Staff <
+        \clef percussion
+        \context Voice = up @{ \voiceOne \up @}
+        \context Voice = down @{ \voiceTwo \down @}
+    >
+    \paper@{@}
+@}
+\score @{    
+    \context Staff <
+        \property Staff.instrument = #'drums
+        \up \down
+    >
+    \midi@{@}
+@}
+@end example
 
-See also @ref{Crescendo and Decrescendo}
+@refbugs
 
+This scheme is to be considered a temporary implementation. Even
+though the scheme will probably keep on working then the future might
+bring some other way of typesetting drums, and probably
+there will be made no great efforts in keeping things downwards
+compatible.
 
-@c_   {Bar lines}
-@node Bar lines
-@subsubsection Bar lines
-@cindex Bar lines
+@c . {Piano music}
+@node Piano music
+@section Piano music
 
-@cindex @code{\bar}
-@cindex measure lines
-@cindex repeat bars
+Piano music is an odd type of notation. Piano staves are two normal
+staves coupled with a brace.  The staves are largely independent, but
+sometimes voices can cross between the two staves.  The
+@internalsref{PianoStaff} is especially built to handle this cross-staffing
+behavior.  In this section we discuss the @internalsref{PianoStaff} and some
+other pianistic peculiarities.
 
-@example
-  \bar @var{bartype};
-@end example
+@menu
+* Automatic staff changes::     
+* Manual staff switches::       
+* Pedals::                      
+* Arpeggio::                    
+* Voice follower lines::        
+@end menu 
 
-This is a short-cut for doing
-@example
-  \property Score.whichBar = @var{bartype} 
-@end example
 
-You are encouraged to use @code{\repeat} for repetitions.  See
-@ref{Repeat}, @ref{Volta}, and the documentation of @code{whichBar} in
-@ref{(lilypond-internals)LilyPond context properties}.
+@c .   {Automatic staff changes}
+@node Automatic staff changes
+@subsection Automatic staff changes
+@cindex Automatic staff changes
 
+Voices can switch automatically between the top and the bottom
+staff. The syntax for this is
+@example
+        \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
+@end example        
+The autochanger switches on basis of pitch (central C is the turning
+point), and it looks ahead skipping over rests to switch rests in
+advance. Here is a practical example:
+        
+@lilypond[verbatim,singleline]
+\score { \notes \context PianoStaff <
+  \context Staff = "up" {
+    \autochange Staff \context Voice = VA < \relative c' {
+       g4 a  b c d r4 a g } > }
+  \context Staff = "down" {
+       \clef bass
+       s1*2
+} > }
+@end lilypond
+Spacer rests are used to prevent the bottom staff from
+terminating too soon.
 
-[FIXME]
 
-@c_   {Breath marks}
-@node Breath marks
-@subsubsection Breath marks
-@cindex Breath marks
+@node Manual staff switches
+@subsection Manual staff switches
 
-@c_   {Rehearsal marks}
-@node Rehearsal marks
-@subsubsection Rehearsal marks
-@cindex Rehearsal marks
-@cindex mark
-@cindex @code{\mark}
+@cindex manual staff switches
+@cindex staff switch, manual
 
+Voices can be switched between staves manually, using the following command:
 @example
-  \mark @var{unsigned};
-@cindex @code{Mark_engraver}
-  \mark @var{string};
+  \translator Staff = @var{staffname} @var{music}
 @end example
+The string @var{staffname} is the name of the staff. It switches the
+current voice from its current staff to the Staff called
+@var{staffname}. Typically @var{staffname} is @code{"up"} or
+@code{"down"}.
 
-Prints a mark over or under the staff.  
+@c .   {Pedals}
+@node Pedals
+@subsection Pedals
+@cindex Pedals
 
+Piano pedal instruction can be expressed using 
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
 
-@c_  {Bar check}
-@node Bar check
-@subsection Bar check
-@cindex Bar check
-
-@cindex bar check
-@cindex @code{barCheckNoSynchronize}
-@cindex @code{|}
+These identifiers are shorthands for spanner commands of the types
+@internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
 
+@lilypond[fragment,verbatim]
+c''4 \spanrequest \start "Sustain" c''4
+c''4 \spanrequest \stop "Sustain"
+@end lilypond
 
-Bar checks help you find errors in the input: Whenever one is
-encountered during interpretation, a warning message is issued if it
-doesn't fall at a measure boundary.  Depending on the value of
-@code{barCheckNoSynchronize},  the beginning of the measure will be
-relocated, so this can also be used to shorten measures.
+The symbols that are printed can be modified by setting
+@code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
+Sustain, Sostenuto or UnaCorda.  Refer to the generated documentation of
+@rgrob{SustainPedal}, for example, for more information.
 
-A bar check is entered using the bar symbol, @code{|}
+Pedals can also be indicated by a sequence of brackets, by setting the 
+@code{pedal-type} property of SustainPedal grobs: 
 
-This can help you finding errors in the input.
+@lilypond[fragment,verbatim]
+\property Staff.SustainPedal \override #'pedal-type = #'bracket
+c''4 \sustainDown d''4 e''4 a'4
+\sustainUp \sustainDown
+ f'4 g'4 a'4 \sustainUp
+@end lilypond
 
+A third style of pedal notation is a mixture of text and brackets,
+obtained by setting @code{pedal-type} to @code{mixed}:
 
-@c_ {Lyrics entry}
-@node Lyrics entry
-@section Lyrics entry
-@cindex Lyrics entry
+@lilypond[fragment,verbatim]
+\property Staff.SustainPedal \override #'pedal-type = #'mixed
+c''4 \sustainDown d''4 e''4 c'4
+\sustainUp \sustainDown
+ f'4 g'4 a'4 \sustainUp
+@end lilypond
 
-@menu
-* Lyrics mode::                 
-* Printing lyrics::             
-* Lyric hyphen::                
-* Lyric extender::              
-* Addlyrics::                   
-@end menu
+The default '*Ped' style for sustain and damper pedals corresponds to
+@code{\pedal-type = #'text}. However, @code{mixed} is the default style
+for a sostenuto pedal:
 
-@c_  {Lyrics mode}
-@node Lyrics mode
-@subsection Lyrics mode
-@cindex Lyrics mode
-
-@cindex lyric mode
-@cindex @code{\lyrics}
-
-Lyrics mode is introduced by the keyword @code{\lyrics}.  This mode has
-rules that make it easy to include punctuation and diacritical marks in
-words: The purpose of Lyrics mode is that you can enter lyrics in @TeX{}
-format or a standard encoding without needing quotes.  The precise
-definition of this mode is ludicrous, and this will remain so until the
-authors of LilyPond acquire a deeper understanding of character
-encoding, or someone else steps up to fix this.
-
-A word in Lyrics mode begins with: an alphabetic character, @code{_},
-@code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
-through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
-any 8-bit character with ASCII code over 127, or a two-character
-combination of a backslash followed by one of @code{`}, @code{'},
-@code{"}, or @code{^}.
-
-Subsequent characters of a word can be any character that is not a digit
-and not white space.  One important consequence of this is that a word
-can end with `@code{@}}', which may be confusing. However, LilyPond will
-issue a warning.  Any @code{_} character which appears in an unquoted
-word is converted to a space.  This provides a mechanism for introducing
-spaces into words without using quotes.  Quoted words can also be used
-in Lyrics mode to specify words that cannot be written with the above
-rules.  Here are some examples.  Not all of these words are printable by
-@TeX{}.
+@lilypond[fragment,verbatim]
+c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
+@end lilypond
 
-@example 
-Ah!             % a word
-2B_||_!2B       % not a word because it starts with a digit
-``Hello''       % not a word because it starts with `
-_ _ _ _         % 4 words, each one a space 
-@end example 
+For fine-tuning of the appearance of a pedal bracket, the properties
+@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
+@code{PianoPedalBracket} grobs (see the detailed documentation of
+@rgrob{PianoPedalBracket}) can be modified.  For example, the bracket
+may be extended to the end of the note head.
 
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode.
+@lilypond[fragment,verbatim]
+\property Staff.PianoPedalBracket \override
+   #'shorten-pair = #'(0 . -1.0)
+c''4 \sostenutoDown d''4 e''4 c'4
+f'4 g'4 a'4 \sostenutoUp
+@end lilypond
 
-[todo: include short table showing differences] 
 
-@cindex lyrics expressions
 
-Syllables are entered like notes, with pitches replaced by text.  For
-example, @code{Twin-4 kle4 twin-4 kle4} enters four syllables, each
-with quarter note duration.  Note that the hyphen has no special
-meaning for lyrics, and does not introduce special symbols.  See
-section @ref{Lexical modes} for a description of what is interpreted as
-lyrics.
+@c .   {Arpeggio}
+@node Arpeggio
+@subsection Arpeggio
+@cindex Arpeggio
 
-Spaces can be introduced into a lyric either by using quotes
-(@code{"}) or by using an underscore without quotes: @code{He_could4
-not4}.  All unquoted underscores are converted to spaces.  Printing
-lyrics is discussed in section @ref{lyricprint}.
+@cindex broken arpeggio
+@cindex @code{\arpeggio}
 
+You can specify an arpeggio sign on a chord by attaching an
+@code{\arpeggio} to a note of the chord.
 
-@c_  {Printing Lyrics}
-@node Printing lyrics
-@subsection lyricprint
-@cindex lyrics
 
+@lilypond[fragment,relative,verbatim]
+  \context Voice <c\arpeggio e g c>
+@end lilypond
 
-@cindex printing!lyrics
+When an arpeggio crosses staves in piano music, you attach an arpeggio
+to the chords in both staves, and set
+@code{PianoStaff.connectArpeggios}.
 
+@lilypond[fragment,relative,verbatim]
+  \context PianoStaff <
+    \property PianoStaff.connectArpeggios = ##t
+    \context Voice = one  { <c'\arpeggio e g c> }
+    \context Voice = other { \clef bass  <c,,\arpeggio e g>}
+  >  
+@end lilypond
 
-Lyric syllables must be interpreted within a @code{Lyrics} context
+This command creates @internalsref{Arpeggio} grobs.  Cross staff arpeggios
+are @code{PianoStaff.Arpeggio}.
 
-@cindex context!Lyrics
- for printing them.
+To add an arrow head to explicitly specify the direction of the
+arpeggio, you should set the arpeggio grob property
+@code{arpeggio-direction}.
 
-Here is a full example: 
+@lilypond[fragment,relative,verbatim]
+  \context Voice {
+     \property Voice.Arpeggio \set #'arpeggio-direction = #1
+     <c\arpeggio e g c>
+     \property Voice.Arpeggio \set #'arpeggio-direction = #-1
+     <c\arpeggio e g c>
+  }
+@end lilypond
 
-@quotation
-@lilypond[verbatim]
-\score {
-  <
-    \notes \transpose c'' {
-      c d e c | c d e c |
-      e f g2 | e4 f g2 \bar "|.";
-    }
-    \context Lyrics \lyrics { 
-      Va-4 der Ja- cob Va- der Ja- cob
-      Slaapt gij nog?2 Slaapt4 gij nog?2
-    }
-  >
-}
+A square bracket on the left indicates that the player should not
+arpeggiate the chord. To draw these brackets, set the
+@code{molecule-callback} property of @code{Arpeggio} or
+@code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
+@code{\arpeggio} statements within the chords as before.
 
+@lilypond[fragment,relative,verbatim]
+  \context PianoStaff <
+    \property PianoStaff.connectArpeggios = ##t
+    \property PianoStaff.Arpeggio \override
+        #'molecule-callback = \arpeggioBracket
+    \context Voice = one  { <c'\arpeggio e g c> }
+    \context Voice = other { \clef bass  <c,,\arpeggio e g>}
+  >  
 @end lilypond
-@end quotation
 
-You may want a continuous line after the syllables to show melismata. 
-To achieve this effect, add a @code{__} lyric as a separate word
-after the lyric to be extended.  This will create an extender, a line
-that extends over the entire duration of the lyric.  This line will
-run all the way to the start of the next lyric, so you may want to
-shorten it by using a blank lyric (using @code{_}).
 
-@quotation
+@refbugs
 
-@lilypond[verbatim]
-\score {
-  <
-    \notes \relative c'' {
-      a4 () b () c () d | c () d () b () a | c () d () b () a
-    }
-    \context Lyrics \lyrics {
-      foo1 __ | bar2. __ _4 | baz1 __
-    }
-  >
-}
+It is not possible to mix connected arpeggios and unconnected
+arpeggios in one PianoStaff at the same time.
 
-@end lilypond
-@end quotation
 
-     
-If you want to have hyphens centered between syllables (rather than
-attached to the end of the first syllable) you can use the special
-`@code{-}@code{-}' lyric as a separate word between syllables.  This
-will result in a hyphen which length varies depending on the space
-between syllables, and which will be centered between the syllables. 
-For example:
 
-@quotation
+@node  Voice follower lines
+@subsection Voice follower lines
 
-@lilypond[verbatim]
-\score {
-  <
-    \notes \transpose c'' {
-      c d e c | c d e c |
-      e f g2 | e4 f g2 \bar "|.";
-    }
-    \context Lyrics \lyrics {
-      Va4 -- der Ja -- cob | Va -- der Ja -- cob |
-      Slaapt gij nog?2 | Slaapt4 gij nog?2
-    }
-  >
-}
+@cindex follow voice
+@cindex staff switching
+@cindex cross staff
 
-@end lilypond
-@end quotation
+@cindex @code{followVoice}
 
+Whenever a voice switches to another staff a line connecting the notes
+can be printed automatically. This is enabled if the property
+@code{PianoStaff.followVoice} is set to true:
+
+@lilypond[fragment,relative,verbatim]
+  \context PianoStaff <
+    \property PianoStaff.followVoice = ##t
+    \context Staff \context Voice {
+      c1
+      \translator Staff=two
+      b2 a
+    }
+    \context Staff=two {\clef bass \skip 1*2 }
+  >  
+@end lilypond
 
+The associated grob is @internalsref{VoiceFollower}.
 
 
-@c_  {Lyric hyphen}
-@node Lyric hyphen
-@subsection Lyric hyphen
-@cindex Lyric hyphen
+@node Tablatures
+@section Tablatures
 
-The syntax for a spanning hyphen (i.e., a hyphen that will be printed
-between two lyric syllables) is `@code{-}@code{-}'.
+Tablature notation is used music for plucked string instruments.  It
+notates pitches not by using note heads, but by indicating on which
+string and fret a note must be played.  LilyPond offers limited
+support for tablature, by abusing the fingering system.
 
-@c_  {Lyric extender}
-@node Lyric extender
-@subsection Lyric extender
-@cindex Lyric extender
-@cindex extender
-@cindex lyric extender
-@cindex hyphen
+@menu
+* Tablatures basic::            
+* Non-guitar tablatures::       
+* Tablature in addition to normal staff::  
+@end menu
 
-The syntax for an extender mark is @code{__}.  This syntax can only
-be used within lyrics mode.
+@node Tablatures basic
+@subsection Tablatures basic
+@cindex Tablatures basic
 
+Tablature can be typeset with Lilypond by using the
+@internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
+tablature is a recent feature in Lilypond, most of the guitar special
+effects such as hammer, pull, bend are not yet supported.
 
+With the @internalsref{TabStaff}, the string number associated to a note
+is given though the fingering mechanism, e.g. @code{c4-3} for a C
+quarter on the third string. The string 1 is the lowest one, and the
+tuning defaults to the standard guitar tuning (with 6 strings).
 
+@lilypond[fragment,verbatim]
+  \context TabStaff <
+    \notes {
+      \property Staff.Stem \override #'direction = #1
+      
+      a,4-2 c'-5 a-4 e'-6
+      e-3 c'-5 a-4 e'-6
+    }
+  >  
+@end lilypond
 
-@c_  {Addlyrics}
-@node Addlyrics
-@subsection Addlyrics
-@cindex Addlyrics
 
+@node Non-guitar tablatures
+@subsection Non-guitar tablatures
+@cindex Non-guitar tablatures
 
-[explain automatic phrasing]
-@cindex automatic lyric durations
-@cindex @code{\addlyrics}
+There are many ways to customize Lilypond tablatures.
 
-If you have lyrics that are set to a melody, you can import the rhythm
-of that melody into the lyrics using @code{\addlyrics}.  The syntax for
-this is
-@example
-  \addlyrics @var{musicexpr1 musicexpr2}
-@end example
+First you can change the number of strings, by setting the number of
+lines in the @internalsref{TabStaff}.  You can change the strings
+tuning. A string tuning is given as a Scheme list with one integer
+number for each string, the number being the pitch of an open string.
 
-This means that both @var{musicexpr1} and @var{musicexpr2} are
-interpreted, but that every non-command atomic music expression
-(``every syllable'') in @var{musicexpr2} is interpreted using timing
-of @var{musicexpr1}.
-@cindex @code{automaticMelismata}
+Finally, it is possible to change the Scheme function to format the
+tablature note text. The default is @var{fret-number-tablature-format},
+which uses the fret number, but for some instruments that may not use
+this notation, just create your own tablature-format function. This
+function takes three argument: the string number, the string tuning and
+the note pitch.
 
-If the property @code{automaticMelismata} is set in the
-context of @var{musicexpr1}, no lyrics will be put on slurred or tied
-notes.
 
-@quotation
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
-  \property Voice.automaticMelismata = ##t
-  c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics {
- do4 re mi fa }
-@end lilypond
-@end quotation
+@node Tablature in addition to normal staff
+@subsection Tablature in addition to normal staff
+@cindex Tablature in addition to normal staff
 
-You should use a single rhythm melody, and single rhythm lyrics (a
-constant duration is the obvious choice).  If you do not, you will get
-undesired effects when using multiple stanzas:
+It is possible to typeset both tablature and a "normal" staff, as
+commonly done in many parts.
 
-@quotation
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
-  c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics
-< { do4 re mi fa }
-  { do8 re mi fa } >
+A common trick for that is to put the notes in a variables, and to hide
+the fingering information (which correspond to the string number) for
+the standard staff.
 
+@lilypond[verbatim]
+  part = \notes {
+    a,4-2 c'-5 a-4 e'-6
+    e-3 c'-5 a-4 e'-6
+  }
+  \score{
+    \context StaffGroup <
+      \context Staff <
+        % Hide fingering number
+        \property Staff.Fingering \override #'transparent = ##t
+
+        \part
+      >
+      \context TabStaff <
+        \property Staff.Stem \override #'direction = #1
+
+        \part
+      >
+    >
+  }
 @end lilypond
-@end quotation
 
-It is valid (but probably not very useful) to use notes instead of
-lyrics for @var{musicexpr2}.
 
+@c . {Chords}
+@node Chords
+@section Chords
+@cindex Chords
+
+LilyPond has support for both entering and printing chords. 
+@lilypond[verbatim,singleline]
+twoWays = \notes \transpose c'' {
+  \chords {
+    c1 f:sus4 bes/f
+  }
+  <c e g>
+  <f bes c'>
+  <f bes d'>
+  }
+
+\score {
+   < \context ChordNames \twoWays
+     \context Voice \twoWays > }
+@end lilypond
 
+This example also shows that the chord printing routines do not try to
+be intelligent. If you enter @code{f bes d}, it does not interpret
+this as an inversion.
 
-@c_ {Chord entry}
-@node Chord entry
-@section Chord entry
-@cindex Chord entry
+As you can see chords really are a set of pitches. They are internally
+stored as simultaneous music expressions. This means you can enter
+chords by name and print them as notes, enter them as notes and print
+them as chord names, or (the most common case) enter them by name, and
+print them as name.
 
 @menu
 * Chords mode::                 
-* Entering named chords::       
 * Printing named chords::       
 @end menu
 
-@c_  {Chords mode}
+@c .  {Chords mode}
 @node Chords mode
 @subsection Chords mode
 @cindex Chords mode
 
-Chord mode is introduced by the keyword
-@code{\chords}.  It is similar to Note mode, but
-words are also looked up in a chord modifier table (containing
-@code{maj}, @code{dim}, etc).
-
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode.  Dashes
-and carets are used to indicate chord additions and subtractions,
-so scripts can not be entered in Chord mode.
-
-@c_  {Entering named chords}
-@node Entering named chords
-@subsection Entering named chords
-@cindex Chords names
-
-Chord names are a way to generate simultaneous music expressions that
-correspond with traditional chord names.  It can only be used in
-Chord mode (see section @ref{Lexical modes}).
-
-@example
-
-  @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
-@end example
-
-@var{tonic} should be the tonic note of the chord, and @var{duration}
-is the chord duration in the usual notation.  There are two kinds of
-modifiers.  One type is @emph{chord additions}, which are obtained by
-listing intervals separated by dots.  An interval is written by its
-number with an optional @code{+} or @code{-} to indicate raising or
-lowering by half a step.  Chord additions has two effects: It adds
-the specified interval and all lower odd numbered intervals to the
-chord, and it may lower or raise the specified interval.  Intervals
-must be separated by a dot (@code{.}).
-
+Chord mode is a mode where you can input sets of pitches using common
+names.  It is introduced by the keyword @code{\chords}.  It is similar
+to note mode, but words are also looked up in a chord modifier table
+(containing @code{maj}, @code{dim}, etc). Dashes and carets are used
+to indicate chord additions and subtractions, so articulation scripts
+can not be entered in Chord mode.
 
 Throughout these examples, chords have been shifted around the staff
 using @code{\transpose}.
 
-
-@quotation
-
 @lilypond[fragment,verbatim]
 \transpose c'' {
   \chords {
     c1  c:3-       c:7     c:8
-    c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
+    c:9 c:9-.5+.7+ c:3-.5- 
   }
 }
-
 @end lilypond
-@end quotation
 
 @cindex @code{aug}
 @cindex @code{dim}
@@ -1950,17 +3023,13 @@ raises the 5th, `@code{dim}' which lowers the 5th,
 `@code{maj}' which adds a raised 7th, and `@code{sus}'
 which replaces the 5th with a 4th.
 
-@quotation
-
 @lilypond[fragment,verbatim]
 \transpose c'' {
   \chords {
     c1:m c:min7 c:maj c:aug c:dim c:sus
   }
 }
-
 @end lilypond
-@end quotation
  
 
 Chord subtractions are used to eliminate notes from a chord.  The
@@ -1976,11 +3045,10 @@ separated by dots.
 @end lilypond 
 @cindex @code{/}
 
-Chord inversions can be specified by appending `@code{/}' and
-the name of a single note to a chord.  This has the effect of
-lowering the specified note by an octave so it becomes the lowest
-note in the chord.  If the specified note is not in the chord, a
-warning will be printed.
+Chord inversions can be specified by appending `@code{/}' and the name
+of a single note to a chord.  In a chord inversion, the inverted note is
+transposed down until it is the lowest note in the chord.  If the note
+is not in the chord, a warning will be printed.
 
 @lilypond[fragment,verbatim,center]
   \transpose c''' {
@@ -2006,78 +3074,77 @@ so it becomes the lowest note in the chord.
 
 @end lilypond 
 
-The most interesting application is printing  chords using chord names,
-See @ref{Chord names}.
+The formal syntax for named chords is as follows:
+@example
+  @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
+@end example
+
+@var{tonic} should be the tonic note of the chord, and @var{duration} is
+the chord duration in the usual notation.  There are two kinds of
+modifiers.  One type is formed by @emph{chord additions}. Additions are
+obtained by listing intervals separated by dots.  An interval is written
+by its number with an optional @code{+} or @code{-} to indicate raising
+or lowering by half a step.  Chord additions have two effects: they adds
+the specified interval and all lower odd numbered intervals to the
+chord, and they may lower or raise the specified interval.
+
+
+@refbugs
 
-You should not combine @code{\relative} with named chords. [FIXME]
+Implementation details are gory. For example @code{c:4} not only adds
+a fourth, but also removes the third.
 
-@c_  {Printing named chords}
+
+@c .  {Printing named chords}
 @node Printing named chords
 @subsection Printing named chords
 
+@cindex printing chord names
 @cindex chord names
 @cindex chords
 
-@cindex printing!chord names
-@cindex @code{ChordNames}
-@cindex @code{ChordNameVoice}
-
-For displaying printed chord names, use the @code{ChordNames} and
-@code{ChordNameVoice} contexts.  The chords may be entered either using
-the notation described above, or directly using simultaneous music.
+For displaying printed chord names, use the @internalsref{ChordNames} context.
+The chords may be entered either using the notation described above, or
+directly using simultaneous music.
 
-@quotation
-@lilypond[verbatim]
+@lilypond[verbatim,singleline]
 scheme = \notes {
   \chords {a1 b c} <d f g>  <e g b>
 }
 \score {
   \notes<
-    \context ChordNamesVoice \scheme
+    \context ChordNames \scheme
     \context Staff \transpose c'' \scheme
   >
-  \paper { linewidth = -1.; }
 }
 @end lilypond
-@end quotation
 
-You can make the chord changes stand out more by setting property
+You can make the chord changes stand out by setting
 @code{ChordNames.chordChanges} to true.  This will only display chord
-names when there's a change in the chords scheme, but always display the
-chord name after a line break:
+names when there's a change in the chords scheme and at the start of a
+new line.
 
-@c bug
-@quotation
 @lilypond[verbatim]
 scheme = \chords {
-  c1:m \break c:m c:m c:m d
+  c1:m c:m \break c:m c:m d
 }
-
 \score {
   \notes <
-    \context ChordNames \scheme
+    \context ChordNames {
+        \property ChordNames.chordChanges = ##t
+        \scheme }
     \context Staff \transpose c'' \scheme
   >
-  \paper{
-    linewidth = 40 * \staffspace;
-    \translator {
-      \ChordNamesContext
-      chordChanges = ##t
-    }
-  }
+\paper{linewidth= 9.\cm}
 }
 @end lilypond
-@end quotation
-
 
+LilyPond examines chords specified as lists of notes to determine a name
+to give the chord. LilyPond will not try to identify chord inversions or
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
 
-LilyPond examines chords specified as lists of notes to determine a
-name to give the chord. LilyPond will not try to
-identify chord inversions or added base, which may result in strange
-chord names when chords are entered as a list of pitches:
-
-@quotation
-@lilypond[verbatim,center]
+@lilypond[verbatim,center,singleline]
 scheme = \notes {
   <c'1 e' g'>
   <e' g' c''>
@@ -2086,1467 +3153,1410 @@ scheme = \notes {
 
 \score {
   <
-    \context ChordNamesVoice \scheme
-    \context Staff \scheme
-  >
-  \paper { linewidth = -1.; }
-}
-@end lilypond
-@end quotation
-
-To specify chord inversions, append @code{/<notename>}.  To specify an
-added bass note, append @code{/+<notename}:
-
-@quotation
-@lilypond[verbatim,center]
-scheme = \chords {
-  d1 d/a d/+gis
-}
-
-\score {
-  \notes <
     \context ChordNames \scheme
-    \context Staff \transpose c'' \scheme
+    \context Staff \scheme
   >
-  \paper { linewidth = -1.; }
 }
 @end lilypond
-@end quotation
 
-The chord names that LilyPond should print are fully customizable.  The
-code to print chord names is written in Scheme. It can be found in
-@file{scm/chord-name.scm}.  Chord names are based on Banter style
-naming, which is unambiguous and has a logical structure.  Typical
-American style chord names are implemented as a variation on Banter
-names, they can be selected by setting property @code{ChordName.style}
-to @code{american}:
-
-@quotation
-@lilypond[verbatim]
-\include "english.ly"
 
-scheme = \chords {
-  c         % Major triad
-  cs:m      % Minor triad
-  df:m5-    % Diminished triad
-  c:5^3     % Root-fifth chord
-  c:4^3     % Suspended fourth triad
-  c:5+      % Augmented triad
-  c:2^3     % "2" chord
-  c:m5-.7-  % Diminished seventh
-  c:7+      % Major seventh
-  c:7.4^3   % Dominant seventh suspended fourth
-  c:5+.7    % Augmented dominant seventh
-  c:m5-.7   % "Half" diminished seventh
-  c:5-.7    % Dominant seventh flat fifth
-  c:5-.7+   % Major seventh flat fifth
-  c:m7+     % Minor-major seventh
-  c:m7      % Minor seventh
-  c:7       % Dominant seventh
-  c:6       % Major sixth
-  c:m6      % Minor sixth
-  c:9^7     % Major triad w/added ninth
-  c:6.9^7   % Six/Nine chord
-  c:9       % Dominant ninth 
-  c:7+.9    % Major ninth
-  c:m7.9    % Minor ninth
-}
+By default, a chord name system proposed by Harald Banter (See
+@ref{Literature}) is used. The system is very regular and predictable.
+Typical American style chord names may be selected by setting the
+@code{style} property of the @code{ChordNames.ChordName} grob to
+@code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
 
-\score {
-  \notes <
-    \context ChordNames \scheme
-    \context Staff \transpose c'' \scheme
-  >
-  \paper {
-    \translator { 
-      \ChordNamesContext
-      ChordName \override #'word-space = #1 
-      ChordName \override #'style = #'american
-    }
-  }
-}
-@end lilypond
-@end quotation
+Routines that determine the names to be printed are written in Scheme,
+and may be customized by the user.  The code can be found in
+@file{scm/chord-name.scm}.  Here's an example showing the differences in
+chord name styles:
 
-Similarly, Jazz style chord names are implemented as a variation on
-American style names:
-@quotation
-@lilypond[verbatim]
+@c too long?
+@c maybe just junk verbatim option?
+@lilypond[verbatim,singleline]
 scheme = \chords {
-  % major chords
-  c
-  c:6		% 6 = major triad with added sixth
-  c:maj		% triangle = maj
-  c:6.9^7	% 6/9 
-  c:9^7		% add9
-
-  % minor chords
-  c:m		% m = minor triad
-  c:m.6		% m6 = minor triad with added sixth
-  c:m.7+	% m triangle = minor major seventh chord
-  c:3-.6.9^7	% m6/9 
-  c:m.7		% m7
-  c:3-.9	% m9
-  c:3-.9^7	% madd9
-
-  % dominant chords
-  c:7		% 7 = dominant
-  c:7.5+	% +7 = augmented dominant
-  c:7.5-	% 7b5 = hard diminished dominant
-  c:9		% 7(9)
-  c:9-		% 7(b9)
-  c:9+		% 7(#9)
-  c:13^9.11 	% 7(13)
-  c:13-^9.11 	% 7(b13)
-  c:13^11	% 7(9,13)
-  c:13.9-^11	% 7(b9,13)
-  c:13.9+^11	% 7(#9,13)
-  c:13-^11	% 7(9,b13)
-  c:13-.9-^11	% 7(b9,b13)
-  c:13-.9+^11	% 7(#9,b13)
-
-  % half diminished chords
-  c:m5-.7		% slashed o = m7b5
-  c:9.3-.5-	% o/7(pure 9)
-
-  % diminished chords
-  c:m5-.7-	% o = diminished seventh chord
+  c1 c:5^3 c:4^3 c:5+
+  c:m7+ c:m5-.7
+  c:5-.7 c:5+.7
+  c:9^7
 }
 
 \score {
   \notes <
-    \context ChordNames \scheme
+    \context ChordNames = banter \scheme
+    \context ChordNames = american {
+      \property ChordNames.ChordName \override
+        #'style = #'american \scheme }
+    \context ChordNames = jazz {
+      \property ChordNames.ChordName \override
+        #'style = #'jazz \scheme }
     \context Staff \transpose c'' \scheme
   >
-  \paper {
-    \translator { 
-      \ChordNamesContext
-      ChordName \override #'word-space = #1 
-      ChordName \override #'style = #'jazz
-    }
-  }
 }
 @end lilypond
-@end quotation
 
 
+@node Writing parts
+@section Writing parts
 
+Orchestral music involves some special notation, both in the full score,
+as in the individual parts. This section explains how to tackle common
+problems in orchestral music.
 
-@c_ {Page layout}
-@node Page layout
-@section Page layout
-@cindex Page layout
 
+@c .  {Transpose}
 @menu
-* Paper block::                 
-* Paper variables::             
-* Font Size::                   
-* Paper size::                  
-* Line break::                  
-* Page break::                  
+* Rehearsal marks::             
+* Bar numbers::                 
+* Instrument names::            
+* Transpose::                   
+* Multi measure rests::         
+* Automatic part combining::    
+* Hara kiri staves::            
+* Sound output for transposing instruments::  
 @end menu
 
-@c_  {Paper block}
-@node Paper block
-@subsection Paper block
-@cindex Paper block
-
-The most important output definition is the @code{\paper} block, for
-music notation.  The syntax is
-
-@example
-  @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end example
-
-where each of the items is one of
-
-@itemize @bullet
-  @item  An assignment.  The assignment must be terminated by a
-       semicolon.  
-
-  @item  A context definition.  See section @ref{contextdefs} for
-       more information on context definitions.
-
-@ignore
-
-                FIXME
-
-
-  @item
-        
-        A margin shape declaration.  The syntax is
-@cindex @code{\shape}
-       @example
-
-         \shape @var{indent1}@code{,} @var{width1}@code{,}
-                      @var{indent2}@code{,} @var{width2} @dots{} @code{;}
-         @end example
-
-       
-
-       Each pair of @var{indent} and @var{width} values is a dimension
-       specifying how far to indent and how wide to make the line. 
-       The indentation and width of successive lines are specified by
-       the successive pairs of dimensions.  The last pair of
-       dimensions will define the characeristics of all lines beyond
-       those explicitly specified.
-@end ignore
-
-  @item  \stylesheet  declaration.  Its syntax is
-       @example
-        	\stylesheet @var{alist}
-       @end example
-
-        See @file{font.scm} for details of @var{alist}.
-@end itemize
-
-@c_  {Paper variables}
-@node Paper variables
-@subsection Paper variables 
-@cindex Paper variables
-
-The paper block has some variables you may want to use or change:
-
-@table @code
-@cindex @code{indent}
-  @item @code{indent}  
-    The indentation of the first line of music.
-@cindex @code{staffspace}
-
-  @item @code{staffspace}
-    The distance between two staff lines, calculated from the center
-    of the lines.  You should use either this or @code{rulethickness}
-    as a unit for distances you modify.
-  
-@cindex @code{linewidth}
-  @item @code{linewidth}  
-    Sets the width of the lines.  If set to -1.0, a single
-    unjustified line is produced.  If you use this variable, you
-    probably want to define it in staff spaces, ie
-    @example
-        linewidth = 30 * \staffspace;
-    @end example
-@cindex @code{textheight}
-
-  @item @code{textheight}  
-    Sets the total height of the music on each page. Only used by
-    ly2dvi.
-@cindex @code{interscoreline}
-
-  @item @code{interscoreline}  
-    Sets the spacing between the score lines. Defaults to 16 pt.
-@cindex @code{interscorelinefill}
-
-  @item @code{interscorelinefill}  
-    If set to a positive number, the distance between the score 
-    lines will stretch in order to fill the full page. In that
-    case @code{interscoreline} specifies the minimum spacing.
-    Defaults to 0.
-@cindex @code{stafflinethickness}
-
-  @item @code{stafflinethickness}  
-    Determines the thickness of staff lines, and also acts as a scaling
-    parameter for other line thicknesses.
-@end table
-
-
-@c_  {Font size}
-@node Font Size
-@subsection Font size
-@cindex font size
-
-The Feta font provides musical symbols at six different sizes.  These
-fonts are 11 point, 13 point, 16 point, 20 point,
-23 point, and 26 point.  The point size of a font is the
-height of the five lines in a staff when displayed in the font.
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26.  If you include any of
-these files, the identifiers @code{paperEleven}, @code{paperThirteen},
-@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
-@code{paperTwentysix} are defined respectively.  The default
-@code{\paper} block is also set.
-
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{font.scm}.
-
-
-
-@c_  {Paper size}
-@node Paper size
-@subsection Paper size
-@cindex Paper size
+@c .   {Rehearsal marks}
+@node Rehearsal marks
+@subsection Rehearsal marks
+@cindex Rehearsal marks
+@cindex mark
+@cindex @code{\mark}
 
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
+To print a  rehearsal mark, use the @code{\mark} command. 
+@lilypond[fragment,verbatim]
+\relative c'' {
+  c1 \mark "A"
+  c1 \mark \default
+  c1 \mark \default 
+  c1 \mark "12"
+  c1 \mark \default
+  c1
+}
+@end lilypond
 
-To change the paper size, you must first set the
-@code{papersize} variable at top level.  Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}.  After this
-specification, you must set the font as described above.  If you want
-the default font, then use the 20 point font.  The new paper size will
-not take effect if the font is not loaded and selected afterwards.
+As you can see, the mark is incremented automatically if you use
+@code{\mark \default}. The value to use is stored in the property
+@code{rehearsalMark} is used and automatically incremented.  The grob
+is @internalsref{RehearsalMark} in @internalsref{Score} context. See
+@code{input/test/boxed-molecule.ly} if you need boxes around the
+marks.
+
+The @code{\mark} command can also be used to put signs like coda,
+segno and fermatas on a barline.  The trick is to use the text markup
+mechanism to access the fermata symbol.
+@lilypond[fragment,verbatim,relative=1]
+  c1 \mark #'(music "scripts-ufermata") 
+  c1
+@end lilypond
 
+The problem is that marks that occur at a line break are typeset only
+at the beginning of the next line, opposite to what you want for the
+fermata. This can be corrected by the following property setting
 @example
-        papersize = "a4"
-        \include "paper16.ly"
-
-        \score @{
-                ...
-                \paper @{ \paperSixteen @}
-        @}
+\property Score.RehearsalMark \override
+  #'visibility-lambda = #begin-of-line-invisible
 @end example
 
-The file "paper16.ly" will now include a file named @file{a4.ly}, which
-will set the paper variables @code{hsize} and @code{vsize} (used by
-@code{ly2dvi})
-
-
+@cindex fermatas
+@cindex coda
+@cindex segno
+@cindex barlines, putting symbols on 
 
 
+@node Bar numbers
+@subsection Bar numbers
 
 
+@cindex bar numbers
+@cindex measure numbers
+@cindex currentBarNumber
 
-@c_  {Line break}
-@node Line break
-@subsection Line break
-@cindex Line break
-
-
-@cindex @code{\penalty}
-
+Bar numbers are printed by default at the start of the line.  The
+number itself is a property that can be set by modifying the
+@code{currentBarNumber} property, i.e.
 @example
-  \penalty @var{int} @code{;}
+  \property Score.currentBarNumber = #217
 @end example
 
-Discourage or encourage line breaks.  See @ref{Page layout}. 
-
-
-
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that the resulting spacing has low variation, and looks neither cramped
-nor loose.
-
-Occasionally you might want to override the automatic breaks; you can do
-this by specifying @code{\break} (see also @ref{Pre-defined
-Identifiers}). This will force a line break at this point. Do remember
-that line breaks can only occur at places where there are barlines.  If
-you want to have a line break where there is no barline, you can force a
-barline by entering @code{\bar "";}.
+If you want boxed bar numbers, see the example file
+@code{input/test/boxed-molecule.ly}.
 
+See also @seeinternals{BarNumber}.
 
+@refbugs
 
+Printing bar numbers at regular intervals is not implemented.
+Barnumbers can collide with the StaffGroup, if there is one at the
+top. To solve this, You have to twiddle with the
+@internalsref{padding} property of @internalsref{BarNumber} if your
+score starts with a @internalsref{StaffGroup}.
 
-@c_  {Page break}
-@node Page break
-@subsection Page break
-@cindex Page break
+@node Instrument names
+@subsection Instrument names
 
+In scores, the instrument name is printed before the staff. This can
+be done by setting @code{Staff.instrument} and
+@code{Staff.instr}. This will print a string before the start of the
+staff. For the first start, @code{instrument} is used, for the next
+ones @code{instr} is used.
 
-Not implemented, but see @ref{Tricks}
-
-Page breaks are normally computed by @TeX{}, so they are not under direct
-control.  However, you can insert a commands into the .tex output to
-instruct @TeX{} where to break pages. For more details, see  the
-example file @file{input/test/between-systems.ly}
+@lilypond[verbatim,singleline]
+  \property Staff.instrument = "ploink " { c''4 }  
+@end lilypond
 
+You can also use markup texts to construct more complicated instrument
+names:
 
-@cindex page breaks
-@cindex breaking pages
 
+@lilypond[verbatim,singleline]
+#(define text-flat
+  '((font-relative-size . -2 ) (music "accidentals--1")))
 
+\score { \notes {
+  \property Staff.instrument = #`((kern . 0.5) (lines
+    "2 Clarinetti" (columns "     (B" ,text-flat ")")))
+    c'' 4 }
+}
+@end lilypond
 
 
+@refbugs
 
-@c_ {Sound}
-@node Sound
-@section Sound
-@cindex Sound
-@menu
-* MIDI block::                  
-* MIDI instrument names::       
-* Tempo::                       
-@end menu
+When you put a name on a grand staff or piano staff the width of the
+brace is not taken into account. You must add extra spaces to the end of
+the name to avoid a collision.
 
-@c_  {MIDI block}
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
+@node Transpose
+@subsection Transpose
+@cindex Transpose
+@cindex transposition of pitches
+@cindex @code{\transpose}
 
+A music expression can be transposed with @code{\transpose}.  The syntax
+is
+@example
+  \transpose @var{pitch} @var{musicexpr}
+@end example
 
-The MIDI block is analogous to the paper block, but it is somewhat
-simpler.  The @code{\midi} block can contain:
-@cindex MIDI block
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
 
-@itemize @bullet
-  @item  a @code{\tempo} definition
-  @item  context definitions
-@end itemize
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose cis'} or @code{\transpose des'} will transpose up half
+a tone.  The first version will print sharps and the second version
+will print flats.
 
-Assignments in the @code{\midi} block are not allowed.
+@lilypond[singleline, verbatim]
+mus =\notes { \key d \major cis d fis g }
+\score { \notes \context Staff {
+  \clef "F" \mus
+  \clef "G"
+  \transpose g'' \mus
+  \transpose f'' \mus
+}}
+@end lilypond
 
+If you want to use both @code{\transpose} and @code{\relative}, then
+you must use @code{\transpose} first.  @code{\relative} will have no
+effect music that appears inside a @code{\transpose}.
 
+@c .  {Multi measure rests}
+@node  Multi measure rests
+@subsection Multi measure rests
+@cindex Multi measure rests
 
-@cindex context definition
+@cindex @code{R}
 
-Context definitions follow precisely the same syntax as within the
-\paper block.  Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer.ly}.
+Multi measure rests are entered using `@code{R}'. It is specifically
+meant for full bar rests and for entering parts: the rest can expand to
+fill a score with 
+rests, or it can be printed as a single multimeasure rest This expansion
+is controlled by the property @code{Score.skipBars}. If this is set to true,
+Lily will not expand empty measures, and the appropriate number is added
+automatically.
 
+@lilypond[fragment,verbatim]
+ \time 3/4 r2. | R2. | R2.*2
+ \property Score.skipBars = ##t R2.*17  R2.*4
+@end lilypond
 
-@c_  {MIDI instrument names}
-@node MIDI instrument names
-@subsection MIDI instrument names
-@cindex instrument names
-@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
+Notice that the @code{R2.} is printed as a whole rest, centered in the
+measure. 
 
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
-property.  The instrument name should be chosen from the following list.
-If the selected string does not exactly match, then LilyPond uses the
-default piano.
+@cindex whole rests for a full measure 
 
-[FIXME: to appendix ]
+The grob for this object is @internalsref{MultiMeasureRest}.
 
+@refbugs
 
-@example 
-"acoustic grand"            "contrabass"           "lead 7 (fifths)"
-"bright acoustic"           "tremolo strings"      "lead 8 (bass+lead)"
-"electric grand"            "pizzicato strings"    "pad 1 (new age)"
-"honky-tonk"                "orchestral strings"   "pad 2 (warm)"
-"electric piano 1"          "timpani"              "pad 3 (polysynth)"
-"electric piano 2"          "string ensemble 1"    "pad 4 (choir)"
-"harpsichord"               "string ensemble 2"    "pad 5 (bowed)"
-"clav"                      "synthstrings 1"       "pad 6 (metallic)"
-"celesta"                   "synthstrings 2"       "pad 7 (halo)"
-"glockenspiel"              "choir aahs"           "pad 8 (sweep)"
-"music box"                 "voice oohs"           "fx 1 (rain)"
-"vibraphone"                "synth voice"          "fx 2 (soundtrack)"
-"marimba"                   "orchestra hit"        "fx 3 (crystal)"
-"xylophone"                 "trumpet"              "fx 4 (atmosphere)"
-"tubular bells"             "trombone"             "fx 5 (brightness)"
-"dulcimer"                  "tuba"                 "fx 6 (goblins)"
-"drawbar organ"             "muted trumpet"        "fx 7 (echoes)"
-"percussive organ"          "french horn"          "fx 8 (sci-fi)"
-"rock organ"                "brass section"        "sitar"
-"church organ"              "synthbrass 1"         "banjo"
-"reed organ"                "synthbrass 2"         "shamisen"
-"accordion"                 "soprano sax"          "koto"
-"harmonica"                 "alto sax"             "kalimba"
-"concertina"                "tenor sax"            "bagpipe"
-"acoustic guitar (nylon)"   "baritone sax"         "fiddle"
-"acoustic guitar (steel)"   "oboe"                 "shanai"
-"electric guitar (jazz)"    "english horn"         "tinkle bell"
-"electric guitar (clean)"   "bassoon"              "agogo"
-"electric guitar (muted)"   "clarinet"             "steel drums"
-"overdriven guitar"         "piccolo"              "woodblock"
-"distorted guitar"          "flute"                "taiko drum"
-"guitar harmonics"          "recorder"             "melodic tom"
-"acoustic bass"             "pan flute"            "synth drum"
-"electric bass (finger)"    "blown bottle"         "reverse cymbal"
-"electric bass (pick)"      "skakuhachi"           "guitar fret noise"
-"fretless bass"             "whistle"              "breath noise"
-"slap bass 1"               "ocarina"              "seashore"
-"slap bass 2"               "lead 1 (square)"      "bird tweet"
-"synth bass 1"              "lead 2 (sawtooth)"    "telephone ring"
-"synth bass 2"              "lead 3 (calliope)"    "helicopter"
-"violin"                    "lead 4 (chiff)"       "applause"
-"viola"                     "lead 5 (charang)"     "gunshot"
-"cello"                     "lead 6 (voice)" 
-@end example 
+Currently, there is no way to automatically condense multiple rests
+into a single multimeasure rest. Multi measure rests do not take part
+in rest collisions.
 
+@cindex condensing rests
 
+@node Automatic part combining
+@subsection Automatic part combining
+@cindex automatic part combining
+@cindex part combiner
 
 
+Automatic part combining is used to merge two parts of music onto a
+staff in an intelligent way.  It is aimed primarily at typesetting
+orchestral scores.  When the two parts are identical for a period of
+time, only one is shown.  In places where the two parts differ, they
+are typeset as separate voices, and stem directions are set
+automatically.  Also, solo and @emph{a due} parts can be identified
+and marked.
 
-@c_  {Tempo}
-@node Tempo
-@subsection Tempo
-@cindex Tempo
-@cindex beats per minute
-@cindex metronome marking
+The syntax for part combining is
 
-@cindex @code{\tempo}
 @example
-  \tempo @var{duration} = @var{perminute} @code{;}
+  \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
 @end example
+where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
+combined into one context of type @var{context}.  The music expressions
+must be interpreted by contexts whose names should start with @code{one}
+and @code{two}.
+
+The most useful function of the part combiner is to combine parts into
+one voice, as common for wind parts in orchestral scores:
+
+@lilypond[verbatim,singleline,fragment]
+  \context Staff <
+    \context Voice=one \partcombine Voice
+      \context Thread=one \relative c'' {
+        g a () b r
+      }
+      \context Thread=two \relative c'' {
+        g r4 r f
+      }
+  >
+@end lilypond
 
-Used to specify the tempo.  For example, @code{\tempo 4 = 76;} requests
-output with 76 quarter notes per minute.
-
-
-
-
-
-@c_ {Music entry}
-@node Music entry
-@section Music entry
-@cindex Music entry
-@menu
-* Pre-defined Identifiers::     
-* Point and click::             
-@end menu
-
-@c_ {Music entry}
-@node Pre-defined Identifiers
-@subsection Pre-defined Identifiers
-@cindex pre-defined identifiers
-
-
-Various identifiers are defined in the initialization files to
-provide shorthands for some settings.  Most of them are in
-@file{ly/declarations.ly} and @file{ly/property.ly}.
-
-@table @code
-@cindex @code{\break}  
-  @item @code{\break}
-    Force a line break in music by using a large argument for the
-    keyword @code{\penalty}.
-
-@cindex @code{\nobreak}  
-  @item @code{\nobreak}
-    Prevent a line break in music by using a large negative argument
-    for the keyword @code{\penalty}.
-
-@cindex @code{\shiftOff}  
-  @item @code{\shiftOff}
-    Disable horizontal shifting of note heads that collide. 
-
-@cindex @code{\shiftOn}  
-  @item @code{\shiftOn}
-    Enable note heads that collide with other note heads to be
-    shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
-set different shift values.
-
-@cindex @code{\stemBoth}  
-  @item @code{\stemBoth}
-    Allow stems, beams, and slurs to point either upwards or
-    downwards, decided automatically by LilyPond.
-
-@cindex @code{\stemDown}  
-  @item @code{\stemDown}
-    Force stems, beams, and slurs to point down.
-
-@cindex @code{\stemUp}  
-  @item @code{\stemUp}
-    Force stems, beams and slurs to point up.
-
-@end table
-
-
-@c_  {Point and click}
-@node Point and click
-@subsection Point and click
-
-[todo]
-
-@c_ {Engravers}
-@node Engravers
-@section Engravers
-@cindex engravers
-@menu
-* Context definitions::         
-* Notation Contexts::           
-@end menu
+Notice that the first @code{g} appears only once, although it was
+specified twice (once in each part).  Stem, slur and tie directions are
+set automatically, depending whether there is a solo or unisono. The
+first part (with context called @code{one}) always gets up stems, and
+`solo', while the second (called @code{two}) always gets down stems and
+`Solo II'.
+
+If you just want the merging parts, and not the textual markings, you
+may set the property @var{soloADue} to false.
+
+@lilypond[verbatim,singleline,fragment]
+  \context Staff <
+    \property Staff.soloADue = ##f
+    \context Voice=one \partcombine Voice
+      \context Thread=one \relative c'' {
+        b4 a c g
+      }
+      \context Thread=two \relative c'' {
+        d,2 a4 g'
+      }
+  >
+@end lilypond
 
-@c_  {Context definitions}
-@node Context definitions
-@subsection Context definitions
+There are a number of other properties that you can use to tweak the
+behavior of part combining, refer to the automatically generated
+documentation of @reng{Thread_devnull_engraver} and
+@reng{Voice_devnull_engraver}. Look at the documentation of the
+responsible engravers, @code{Thread_devnull_engraver},
+@code{Voice_devnull_engraver} and @code{A2_engraver}.
 
-@cindex context definition
-@cindex translator definition
-@cindex engraver hacking
+@refbugs
 
+In @code{soloADue} mode, when the two voices play the same notes on and
+off, the part combiner may typeset @code{a2} more than once in a
+measure.
 
-A notation contexts is defined by the following information
+@lilypond[fragment,singleline]
+  \context Staff <
+    \context Voice=one \partcombine Voice
+      \context Thread=one \relative c'' {
+        c b c b c a c a
+      }
+      \context Thread=two \relative c'' {
+        b b b b f a f a
+      }
+  >
+@end lilypond
 
-@enumerate 1
-  @item  A name.
+@cindex @code{Thread_devnull_engraver}
+@cindex @code{Voice_engraver}
+@cindex @code{A2_engraver}
 
-  @item  The LilyPond modules that do the actual conversion of music to
-       notation.  Each module is a so-called
-       @emph{engraver}
-@cindex engraver
-.
+@node Hara kiri staves
+@subsection Hara kiri staves
 
-  @item  How these modules should cooperate, i.e. which ``cooperation
-       module'' should be used.  This cooperation module is a special
-       type of engraver.
+In orchestral scores, staff lines that only have rests are usually removed.
+This saves some space.  LilyPond also supports this through the hara
+kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
+the Japanese Samourai warriors.} staff. This staff commits suicide when
+it finds itself to be empty after the line-breaking process.  It will
+not disappear when it contains normal rests, you must use multi measure
+rests.
 
-  @item  What other contexts the context can contain,
+The hara kiri staff is specialized version of the @internalsref{Staff}
+context. It is available as the context identifier
+@code{\HaraKiriStaffContext}.  Observe how the second staff in this
+example disappears in the second line.
 
-  @item  What properties are defined.
-@end enumerate
+@lilypond[verbatim]
+\score  {
+  \notes \relative c' <
+    \context Staff = SA { e4 f g a \break c1 }
+    \context Staff = SB { c4 d e f \break R1 }
+  >
+  \paper {
+    linewidth = 6.\cm 
+    \translator { \HaraKiriStaffContext }
+  }
+}
+@end lilypond
 
-A context definition has this syntax:
 
-@example
+@node Sound output for transposing instruments
+@subsection Sound output for transposing instruments
 
-  \translator @code{@{}
-                      @var{translatorinit} @var{translatormodifierlist}
-                    @code{@}}
-@end example
+When you want to make a MIDI file from a score containing transposed
+and untransposed instruments, you have to instruct LilyPond the pitch
+offset (in semitones) for the transposed instruments. This is done
+using the @code{transposing} property. It does not affect printed
+output.
 
-@var{translatorinit} can be an identifier or of the form
+@cindex @code{transposing}
 
 @example
-
-  \type @var{typename} @code{;}
+        \property Staff.instrument = #"Cl. in B-flat"
+        \property Staff.transposing = #-2
 @end example
 
-@var{typename} is one of
 
-@table @code
-@cindex @code{Engraver_group_engraver}
-  @item @code{Engraver_group_engraver}  
-    The standard cooperation engraver.
-@cindex @code{Score_engraver}
 
-  @item @code{Score_engraver}  
-    This is cooperation module that should be in the top level context.
-@cindex @code{Grace_engraver_group}
+@c . {Custodes}
+@node Ancient notation 
+@section Ancient notation
 
-  @item @code{Grace_engraver_group}  
-    This is a special cooperation module (resembling
-    @code{Score_engraver}) that is used to created an embedded
-    `miniscore'.
-@end table 
+@menu
+* Ancient note heads::          
+* Custodes::                    
+* Ancient clefs ::              
+* Figured bass::                
+@end menu
 
-@var{translatormodifierlist} is a list of items where each item is
-one of
 
-@itemize @bullet
-  @item  @code{\consists} @var{engravername} @code{;}  
-    Add @var{engravername} to the list of modules in this context. 
-  The order of engravers added with @code{\consists} is
-    significant.
-  
-  @item  @code{\consistsend} @var{engravername} @code{;}  
-    Analogous to @code{\consists}, but makes sure that
-    @var{engravername} is always added to the end of the list of
-    engravers.
-
-    Some engraver types need to be at the end of the list; this
-    insures they are put there, and stay there, if a user adds or
-    removes engravers.  This command is usually not needed for
-    end-users.
-    
-  @item  @code{\accepts} @var{contextname} @code{;}  
-    Add @var{contextname} to the list of  context this context can
-    contain.  The first listed context is the context to create by
-    default.
-
-  @item @code{\denies}. The opposite of @code{\accepts}. Added for
-completeness, but is never used in practice.
- 
-  
-  @item  @code{\remove} @var{engravername} @code{;}  
-    Remove a previously added (with @code{\consists}) engraver.
-  
-  @item  @code{\name} @var{contextname} @code{;}  
-    This sets name of the context, e.g. @code{Staff}, @code{Voice}.  If
-    the name is not specified, the translator won't do anything.
+@node Ancient note heads
+@subsection Ancient note heads
 
-  @item  @var{propname} @code{=} @var{value} @code{;}  
-    A property assignment.  It is allowed to use reals for
-    @var{value}.
-@end itemize
+ To get a longa note head, you have to use mensural note heads. This
+is accomplished by setting the @code{style} property of the
+NoteHead grob to @code{mensural}. There is also a note head style
+@code{baroque} which gives mensural note heads for @code{\longa} and
+@code{\breve} but standard note heads for shorter notes.
 
-In the @code{\paper} block, it is also possible to define translator
-identifiers.  Like other block identifiers, the identifier can only
-be used as the very first item of a translator.  In order to define
-such an identifier outside of @code{\score}, you must do
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'mensural
+ \property Voice.NoteHead \set #'font-family = #'ancient
+ a'\longa
+@end lilypond
 
-@quotation
+@node Custodes
+@subsection Custodes
 
-@example 
-\paper @{
-  foo = \translator @{ @dots{} @}
-@}
-\score @{
-  \notes @{
-    @dots{}
-  @}
-  \paper @{
-    \translator @{ \foo @dots{} @}
-  @}
-@} 
-@end example 
+@cindex Custos
+@cindex Custodes
 
-@end quotation
+A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
+staff context symbol that appears at the end of a staff line.  It
+anticipates the pitch of the first note(s) of the following line and
+thus helps the player or singer to manage line breaks during
+performance, thus enhancing readability of a score.
 
+@lilypond[verbatim]
+\score {
+  \notes { c'1 \break
+        \property Staff.Custos \set #'style = #'mensural
+        d' }
+  \paper {
+    \translator {
+      \StaffContext
+      \consists Custos_engraver
+    }
+  }
+}
+@end lilypond
 
-@cindex paper types, engravers, and pre-defined translators
+Custodes were frequently used in music notation until the 17th century.
+There were different appearances for different notation styles.
+Nowadays, they have survived only in special forms of musical notation
+such as via the @emph{editio vaticana} dating back to the beginning of
+the 20th century.
 
-Some pre-defined identifiers can simplify modification of
-translators.  The pre-defined identifiers are:
+For typesetting custodes, just put a @code{Custos_engraver} into the
+@internalsref{Staff} context when declaring the @code{\paper} block.  In this
+block, you can also globally control the appearance of the custos symbol
+by setting the custos @code{style} property.  Currently supported styles
+are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
+@code{mensural}.
 
-@table @code
-@cindex @code{StaffContext}
-  @item @code{StaffContext}  
-    Default Staff context. 
-@cindex @code{RhythmicStaffContext}
+@example
+\paper @{
+  \translator @{
+      \StaffContext
+      \consists Custos_engraver
+      Custos \override #'style = #'mensural
+  @}
+@}
+@end example
 
-  @item @code{RhythmicStaffContext}  
-    Default RhythmicStaff context. 
-@cindex @code{VoiceContext}
+The property can also be set locally, for example in a @code{\notes}
+block:
 
-  @item @code{VoiceContext}  
-    Default Voice context.  
-@cindex @code{ScoreContext}
+@example
+\notes @{
+  \property Staff.Custos \override #'style = #'vaticana
+  c'1 d' e' d' \break c' d' e' d'
+@}
+@end example
 
-  @item @code{ScoreContext}  
-    Default Score context. 
-@cindex @code{ScoreWithNumbers}
+@node Ancient clefs 
+@subsection Ancient clefs
 
-  @item @code{ScoreWithNumbers}  
-    Score context with numbering at the Score level.
-@cindex @code{BarNumberingStaffContext}
+LilyPond supports a variety of clefs, many of them ancient. These can
+be selected from the @code{ancient} font family, by setting
+@code{Staff.clefGlyph}) to one of the following values
 
-  @item @code{BarNumberingStaffContext}  
-    Staff context with numbering at the Staff level.
-@cindex @code{HaraKiriStaffContext}
+@table @code
+@item clefs-C
+ modern style C clef
+@item clefs-F
+ modern style F clef
+@item clefs-G
+ modern style G clef
+@item clefs-vaticana_do
+ Editio Vaticana style do clef
+@item clefs-vaticana_fa
+ Editio Vaticana style fa clef
+@item clefs-medicaea_do
+ Editio Medicaea style do clef
+@item clefs-medicaea_fa
+ Editio Medicaea style fa clef
+@item clefs-mensural1_c
+ modern style mensural C clef
+@item clefs-mensural2_c
+ historic style small mensural C clef
+@item clefs-mensural3_c
+ historic style big mensural C clef
+@item clefs-mensural1_f
+ historic style traditional mensural F clef
+@item clefs-mensural2_f
+ historic style new mensural F clef
+@item clefs-mensural_g
+ historic style mensural G clef
+@item clefs-hufnagel_do
+ historic style hufnagel do clef
+@item clefs-hufnagel_fa
+ historic style hufnagel fa clef
+@item clefs-hufnagel_do_fa
+ historic style hufnagel combined do/fa clef
+@item clefs-percussion
+ modern style percussion clef
+@end table
 
-  @item @code{HaraKiriStaffContext}  
-    Staff context that does not print if it only contains rests. 
-    Useful for orchestral scores.@footnote{Harakiri, also called
-    Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
-@cindex @code{OrchestralPartStaffContext}
+@emph{Modern style} means ``as is typeset in current editions.''
+@emph{Historic style} means ``as was typeset or written in contemporary
+historic editions''.  @emph{Editio XXX style} means ``as is/was printed in
+Editio XXX.''
 
-  @item @code{OrchestralPartStaffContext}
-@cindex @code{OrchestralScoreContext}
+@cindex Vaticana, Editio
+@cindex Medicaea, Editio
+@cindex hufnagel clefs
 
-  @item @code{OrchestralScoreContext}
-@end table
 
-Using these pre-defined values, you can remove or add items to the
-translator:
+@node Figured bass
+@subsection Figured bass
 
-@quotation
+@cindex Basso continuo
 
-@example 
-\paper @{
-  \translator @{
-    \StaffContext
-    \remove Some_engraver;
-    \consists Different_engraver;
-  @}
-@} 
-@end example 
+LilyPond has limited support for figured bass:
 
-@end quotation
+@lilypond[verbatim,fragment]
+<
+ \context FiguredBass
+   \figures {
+	<_! 3+ 5- >4
+	< [4 6] 8 >
+   }
+ \context Voice { c4 g8 }
+>
+@end lilypond
 
-      
+The support for figured bass consists of two parts: there is an input
+mode, introduced by @code{\figures}, where you can enter bass figures
+as numbers, and there is a context called @internalsref{FiguredBass}
+that takes care of making @internalsref{BassFigure} grobs.
 
+In figures input mode, a group of bass figures is delimited by
+@code{<} and @code{>}. The duration is entered after the @code{>}.
+@example
+	<4 6>
+@end example
+@lilypond[fragment]
+\context FiguredBass
+\figures { <4 6> }
+@end lilypond
 
-@c_  {Notation Contexts}
-@node Notation Contexts
-@subsection Notation Contexts
+Accidentals are added to the numbers if you alterate them by
+appending @code{-}, @code{!}  and @code{+}.
 
-@cindex notation contexts
+@example
+  <4- 6+ 7!>
+@end example
+@lilypond[fragment]
+  \context FiguredBass
+\figures { <4- 6+ 7!> }
+@end lilypond
 
-Notation contexts are objects that only exist during a run of
-LilyPond.  During the interpretation phase of LilyPond, the Music
-expression contained in a @code{\score} block is interpreted in time
-order.  This is the order in which humans read, play, and write
-music.
+Spaces or dashes may be inserted by using @code{_}. Brackets are
+introduced with @code{[} and @code{]}.
 
-A context is an object that holds the reading state of the
-expression; it contains information like
+@example
+	< [4 6] 8 [_ 12]>
+@end example
+@lilypond[fragment]
+ \context FiguredBass
+\figures { < [4 6] 8 [_ 12]> }
+@end lilypond
 
-@itemize @bullet
-  @item What notes are playing at this point?
-  @item What symbols will be printed at this point?
-  @item In what style will they printed?
-  @item What is the current key signature, time signature, point within
-       the measure, etc.?
-@end itemize
+Although the support for figured bass may superficially resemble chord
+support, it works much simpler: in figured bass simply stores the
+numbers, and then prints the numbers you entered. There is no
+conversion to pitches, and no realizations of the bass are played in
+the MIDI file.
 
-Contexts are grouped hierarchically: A @code{Voice} context is
-contained in a @code{Staff} context (because a staff can contain
-multiple voices at any point), a @code{Staff} context is contained in
-a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
-these can all contain multiple staffs).
 
-Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called performance contexts.
+@c . {Tuning output}
+@node Tuning output
+@section Tuning output
 
-Contexts are created either manually or automatically.  Initially, the
-top level music expression is interpreted by the top level context (the
-@code{Score} context).  When a atomic music expression (i.e. a note, a
-rest, etc.), a nested set of contexts is created that can process these
-atomic expressions, as in this example:
+LilyPond tries to take as much formatting as possible out of your
+hands. Nevertheless, there are situations where it needs some help, or
+where you want to override its decisions. In this section we discuss
+ways to do just that.
 
-@example
-\score @{ \notes @{ c4 @} @} 
-@end example 
+Formatting is internally done by manipulating so called grobs (graphic
+objects). Each grob carries with it a set of properties (grob
+properties) specific to that object.  For example, a stem grob has
+properties that specify its direction, length and thickness.
 
-The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
-context. When the note @code{c4} itself is interpreted, a set of
-contexts is needed that will accept notes.  The default for this is a
-@code{Voice} context, contained in a @code{Staff} context.  Creation of
-these contexts results in the staff being printed.
+The most direct way of tuning the output is by altering the values of
+these properties. There are two ways of doing that: first, you can
+temporarily change the definition of a certain type of grob, thus
+affecting a whole set of objects.  Second, you can select one specific
+object, and set a grob property in that object.
 
-@cindex context
+@menu
+* Tuning groups of grobs ::     
+* Tuning per grob ::            
+* Font selection::              
+* Text markup::                 
+@end menu
 
-You can also create contexts manually, and you probably have to do so
-if you want to typeset complicated multiple part material.  If a
-`@code{\context} @var{name} @var{musicexpr}' expression is encountered
-during the interpretation phase, the @var{musicexpr} argument will be
-interpreted with a context of type @var{name}.  If you specify a name,
-the specific context with that name is searched.
+@node Tuning groups of grobs 
+@subsection Tuning groups of grobs 
 
-[type vs id]
+@cindex grob description
 
-If a context of the specified type and name can not be found, a new
-one is created.  For example,
 
-@quotation
 
-@lilypond[verbatim]
-\score {
-  \notes \relative c'' {
-    c4 <d4 \context Staff = "another" e4> f
-  }
-}
+A grob definition is a Scheme association list, that is stored in a
+context property.  By assigning to that property (using plain
+@code{\property}), you can change the resulting grobs.
 
+@lilypond[verbatim, fragment]
+c'4 \property Voice.Stem  = #'()
 @end lilypond
-@end quotation
 
-In this example, the @code{c} and @code{d} are printed on the
-default staff.  For the @code{e}, a context Staff called
-@code{another} is specified; since that does not exist, a new
-context is created.  Within @code{another}, a (default) Voice context
-is created for the @code{e4}.  When all music referring to a
-context is finished, the context is ended as well.  So after the
-third quarter, @code{another} is removed.
-
-Almost all music expressions inherit their interpretation context
-from their parent.  In other words, suppose that the syntax for a
-music expression is
+The @code{\property} assignment effectively empties the definition of
+the Stem object. One of the effects is that the recipe of how it should be
+printed is erased, with the effect of rendering it invisible.  The above
+assignment is available as a standard identifier, for the case that you
+find this useful:
 
 @example
-
-  \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
+  \property Voice.Stem = \turnOff
 @end example
 
-When the interpretation of this music expression starts, the context
-for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
-expression.
-
-Lastly, you may wonder, why this:
-
-@quotation
-
-@example 
-\score @{
-  \notes \relative c'' @{
-    c4 d4 e4
-  @}
-@} 
-@end example 
-
-@end quotation
+@cindex \override
+@cindex \revert
+@cindex \set
 
-doesn't result in this:
+This mechanism is fairly crude, since you can only set, but not modify,
+the definition of a grob. For this reason, there is a more advanced
+mechanism.
 
-@lilypond[]
+The definition of a grob is actually a list of default grob
+properties. For example, the definition of the Stem grob (available in
+@file{scm/grob-description.scm}), defines the following values for
+@internalsref{Stem}
 
-  \score {
-    \notes \relative c'' {
-      <c4> <d4> <e4>
-    }
-  }
+@example
+        (thickness . 0.8)
+        (beamed-lengths . (0.0 2.5 2.0 1.5))
+        (Y-extent-callback . ,Stem::height)
+        @var{...}
+@end example
 
+You can add a property on top of the existing definition, or remove a
+property, thus overriding the system defaults:
+@lilypond[verbatim]
+c'4 \property Voice.Stem \override #'thickness = #4.0
+c'4 \property Voice.Stem \revert #'thickness
+c'4
 @end lilypond
+You should balance @code{\override} and @code{\revert}. If that's too
+much work, you can use the @code{\set} shorthand. It performs a revert
+followed by an override. The following example gives exactly the same
+result as the previous one. 
+@lilypond[verbatim]
+c'4 \property Voice.Stem \set #'thickness = #4.0
+c'4 \property Voice.Stem \set #'thickness = #0.8
+c'4
+@end lilypond
+If you use @code{\set}, you must explicitly restore the default.
 
-For the @code{c4}, a default @code{Staff} (with a contained
-@code{Voice}) context is created.  After the @code{c4} ends, no
-music refers to this default staff, so it would be ended, with the
-result shown.  To prevent this inconvenient behavior, the context to
-which the sequential music refers is adjusted during the
-interpretation.  So after the @code{c4} ends, the context of the
-sequential music is also the default @code{Voice} context. 
-The @code{d4} gets interpreted in the same context
-as @code{c4}.
-
-Properties that are set in one context are inherited by all of the
-contained contexts.  This means that a property valid for the
-@code{Voice} context can be set in the @code{Score} context (for
-example) and thus take effect in all @code{Voice} contexts.
-
-Properties can be preset within the @code{\translator} block
-corresponding to the appropriate context.  In this case, the syntax
-is
 
+Formally the syntax for these constructions is
 @example
-  @var{propname} @code{=} @var{value}
+\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \revert @var{symbol}
 @end example
+Here @var{symbol} is a Scheme expression of symbol type, @var{context}
+and @var{grobname} are strings and @var{value} is a Scheme expression.
 
-This assignment happens before interpretation starts, so a
-@code{\property} expression will override any predefined settings.
-
-The property settings are used during the interpretation phase.  They
-are read by the LilyPond modules where interpretation contexts are
-built of.  These modules are called @emph{translators}.  Translators for
-notation are called @emph{engravers}, and translators for sound are
-called @emph{performers}.
-
-
-
-@c_ {Lexer innards}
-@node Lexer innards
-@section Lexer innards
-@cindex Lexer innards
-@menu
-* Top level::                   
-* Identifiers::                 
-* Assignments::                 
-* Lexical details::             
-* Lexical modes::               
-* Ambiguities::                 
-@end menu
 
-@c_  {Top level}
-@node Top level
-@subsection Top level
-@cindex Top level
+If you revert a setting which was not set in the first place, then it
+has no effect. However, if the setting was set as a system default, it
+may remove the default value, and this may give surprising results,
+including crashes.  In other words, @code{\override} and @code{\revert},
+must be carefully balanced.
 
-This section describes what you may enter at top level.
+These are examples of correct nesting of @code{\override}, @code{\set},
+@code{\revert}. 
 
+A clumsy but correct form:
+@example
+  \override \revert \override \revert \override \revert
+@end example
 
-@unnumberedsubsec Score definition
-@cindex score definition
+Shorter version of the same:
+@example 
+  \override \set \set  \revert
+@end example
 
-The output is generated combining a music expression with an output
-definition.  A score block has the following syntax:
+A short form, using only @code{\set}. This requires you to know the
+default value:
+@example
+  \set \set \set \set @var{to default value}
+@end example
 
+If there is no default (i.e. by default, the grob property is unset),
+then you can use
 @example
-  \score @{ @var{musicexpr} @var{outputdefs} @}
+  \set \set \set \revert
 @end example
 
-@var{outputdefs} are zero or more output definitions.  If no output
-definition is supplied, the default @code{\paper} block will be added.
+For the digirati, the grob description is an Scheme association
+list. Since a Scheme list is a singly linked list, we can treat it as a
+stack, and @code{\override} and @code{\revert} are just push and pop
+operations. This pushing and popping is also used for overriding
+automatic beaming settings.
 
+@refbugs
 
-@c_   {Score}
-@subsubsection Score
-@cindex Score
+LilyPond will hang or crash if @var{value} contains cyclic references.
+The backend is not very strict in type-checking grob properties. If you
+@code{\revert} properties that are expected to be set by default,
+LilyPond may crash.
 
-@c_   {Paper}
-@subsubsection Paper
-@cindex Paper
 
-@c_   {Midi}
-@subsubsection Midi
-@cindex Midi
 
-@c_   {Header}
-@subsubsection Header
-@cindex Header
-@cindex @code{\header}
 
-The syntax is
+@node Tuning per grob 
+@subsection Tuning per grob 
 
+@cindex \outputproperty
+
+A second way of tuning grobs is the more arcane @code{\outputproperty}
+feature.  The syntax is as follows:
 @example
-  \header @{ @var{key1} = @var{val1};
-@cindex @code{ly2dvi}
-             @var{key2} = @var{val2}; @dots{} @}
+\outputproperty @var{predicate} @var{symbol} = @var{value}
 @end example
+Here @code{predicate} is a Scheme function taking a grob argument, and
+returning a boolean.  This statement is processed by the
+@code{Output_property_engraver}.  It instructs the engraver to feed all
+grobs that it sees to @var{predicate}. Whenever the predicate returns
+true, the grob property @var{symbol} will be set to @var{value}.
 
+You will need to combine this statement with @code{\context} to select
+the appropriate context to apply this to.
 
-A header describes the file's contents.  It can also appear in a
-@code{\score} block.  Tools like @code{ly2dvi} can use this
-information for generating titles.  Key values that are used by
-@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
-metre, arranger, piece and tagline.
-
-It is customary to put the @code{\header} at the top of the file.
+Here are some random examples. 
 
-@subsubsection Default output
 
-A @code{\midi} or @code{\paper} block at top-level sets the default
+In the following example, all note heads occurring at current staff
+level, are shifted up and right by setting their @code{extra-offset}
+property.
 
-paper block for all scores that lack an explicit paper block.
+@lilypond[fragment,verbatim,singleline]
+\relative c'' { c4
+  \context Staff \outputproperty
+  #(make-type-checker 'note-head-interface)
+  #'extra-offset = #'(0.5 . 0.75)
+  <c8 e g> }
+@end lilypond
 
-@c_  {Identifiers}
-@node Identifiers
-@subsection Identifiers
-@cindex  Identifiers
+@cindex @code{extra-offset}
 
-All of the information in a LilyPond input file, is represented as a
-Scheme value. In addition to normal Scheme data types (such as pair,
-number, boolean, etc.), LilyPond has a number of specialized data types,
+In this example, the predicate checks the @code{text} grob property, to
+shift only the `m.d.' text,  but not the fingering instruction "2".
+@lilypond[verbatim,singleline]
+#(define (make-text-checker text)
+   (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
 
-@itemize @bullet
-@item Input
-@item c++-function
-@item Music: see @ref{Music expressions}
-@item Identifier
-@item Translator_def:
-See section @ref{contextdefs} for more information
-@item Duration
-@item Pitch
-@item Score
-@item Music_output_def
-@item Moment (rational number)
-@end itemize
+\score {    
+  \notes\relative c''' {
+    \property Voice.Stem \set #'direction = #1
+    \outputproperty #(make-text-checker "m.d.")
+      #'extra-offset = #'(-3.5 . -4.5)
+    a^2^"m.d."    
+  }
+}
+@end lilypond
 
-LilyPond also includes some transient object types. Objects of these
-types are built during a LilyPond run, and do not `exist' per se within
-your input file. These objects are created as a result of your input
-file, so you can include commands in the input to manipulate them,
-during a lilypond run.
+@refbugs
 
-@itemize @bullet
-@item Grob: short for Graphical object. See @ref{Grobs}. 
-@item Molecule: device-independent page output object,
-including dimensions.  Produced by some Grob functions
-See @ref{Molecules}
-@item Translator: object that produces audio objects or Grobs. This is
-not yet user accessible.
-@item Font_metric: object representing a font. (See @ref{Font metrics})
-@c  @item Audio_element: (todo,  smobme)
-@end itemize
+If possible, avoid this feature: the semantics are not very clean, and
+the syntax and semantics are up for rewrite.
 
 
-@c_   {Assignments}
-@node Assignments
-@subsection Assignments
-@cindex Assignments
 
-Identifiers allow objects to be assigned to names during the parse
-stage.  To assign an identifier, you use @var{name}@code{=}@var{value}
-and to refer to an identifier, you preceed its name with a backslash:
-`@code{\}@var{name}'.  @var{value} is any valid Scheme value or any of
-the input-types listed above.  Identifier assignments can appear at top
-level in the LilyPond file, but also in @code{\paper} blocks.
 
-Semicolons are forbidden after top level assignments, but mandatory in
-other places. The rules about semicolons and assignments are very
-confusing, but when LilyPond input evolves more towards Scheme, we hope
-that this problem will grow smaller.
+@node Font selection
+@subsection Font selection
 
-An identifier can be created with any string for its name, but you will
-only be able to refer to identifiers whose names begin with a letter,
-being entirely alphanumeric.  It is impossible to refer to an identifier
-whose name is the same as the name of a keyword.
+The most common thing to change about the appearance of fonts is
+their size. The font size of a @internalsref{Voice},
+@internalsref{Staff} or @internalsref{Thread} context, can be easily
+changed by setting the @code{fontSize} property for that context:
+@lilypond[fragment,relative=1]
+  c4 c4 \property Voice.fontSize = #-1
+  f4 g4
+@end lilypond
+ This command will not change the size of variable symbols, such as
+beams or slurs.  You can use this command to get smaller symbol for
+cue notes, but that involves some more subtleties. An elaborate
+example of those is in @file{input/test/cue-notes.ly}.
 
-The right hand side of an identifier assignment is parsed completely
-before the assignment is done, so it is allowed to redefine an
-identifier in terms of its old value, e.g.
+@cindex cue notes
+@cindex font size
+@cindex size
 
+The font used for printing a grob can be selected by setting
+@code{font-name}, e.g.
 @example
-foo = \foo * 2.0
+  \property Staff.TimeSignature
+    \set #'font-name = #"cmr17"
 @end example
+You may use any font which is available to @TeX{}, such as foreign
+fonts or fonts that do not belong to the Computer Modern font family.
+Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
+can also be adjusted with a more fine-grained mechanism.  By setting
+the grob properties described below, you can select a different font.
+All three mechanisms work for every grob that supports
+@code{font-interface}.
 
-When an identifier is referenced, the information it points to is
-copied.  For this reason, an identifier reference must always be the
-first item in a block.
-@example
-\paper  @{
-foo = 1.0
-\paperIdent % wrong and invalid
-@}
+@table @code
+@item font-family
+ A symbol indicating the general class of the typeface.  Supported are
+@code{roman} (Computer Modern), @code{braces} (for piano staff
+braces), @code{music} (the standard music font), @code{ancient} (the
+ancient notation font) @code{dynamic} (font for dynamic signs) and
+@code{typewriter}. 
+  
+@item font-shape
+  A symbol indicating the shape of the font, there are typically several
+  font shapes available for each font family. Choices are @code{italic},
+  @code{caps} and @code{upright} 
+
+@item font-series
+A  symbol indicating the series of the font. There are typically several
+font series for each font family and shape. Choices are @code{medium}
+and @code{bold}. 
+
+@item font-relative-size
+  A number indicating the size relative the standard size.  For example,
+  with 20pt staff height, relative size -1  corresponds to 16pt staff
+  height, and relative size +1 corresponds to 23 pt staff height.
+
+@item font-design-size
+A number indicating  the design size of the font. 
+
+This is a feature of the Computer Modern Font: each point size has a
+slightly different design. Smaller design sizes are relatively wider,
+which enhances readability.
+@end table
 
-\paper @{
-\paperIdent % correct
-foo = 1.0
-@}
+For any of these properties, the value @code{*} (i.e. the @emph{symbol},
+@code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
+to override default setting, which are always present. For example:
+@example
+  \property Lyrics . LyricText \override #'font-series = #'bold
+  \property Lyrics . LyricText \override #'font-family = #'typewriter
+  \property Lyrics . LyricText \override #'font-shape = #'*
 @end example
 
+@cindex @code{font-style}
 
+There are also pre-cooked font selection qualifiers. These are
+selected through the grob property @code{font-style}.  For example,
+the style @code{finger} selects family @code{number} and relative size
+@code{-3}.  Styles available include @code{volta}, @code{finger},
+@code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
+@code{large}, @code{Large} and @code{dynamic}. The style sheets and
+tables for selecting fonts are located in @file{scm/font.scm}. Refer
+to this file for more information.
 
-@c_  {Lexical details}
-@node Lexical details
-@subsection Lexical details
-@cindex Lexical details
-@menu
-@end menu
-
-@c_   {Comments}
-@subsubsection Comments
-@cindex Comments
-
-@cindex @code{%}
-
+@cindex magnification
 
-A one line comment is introduced by a @code{%} character. 
-Block comments are started by @code{%@{} and ended by `@code{%@}}'. 
-They cannot be nested.
+The size of the font may be scaled with the grob property
+@code{font-magnification}.  For example, @code{2.0} blows up all
+letters by a factor 2 in both directions.
 
-@c_  {Direct Scheme}
-@subsubsection Direct Scheme
-@cindex Scheme
-@cindex GUILE
-@cindex Scheme, in-line code
+@refbugs
 
+Relative size is not linked to any real size.
 
-LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. In some places Scheme expressions also form valid syntax:
-whereever it is allowed,
-@example
-  #@var{scheme}
-@end example
-evaluates the specified Scheme code. If this is used at toplevel, then
-the result is discarded. Example:
-@example
-  \property Staff.TestObject \override #'foobar =  #(+ 1 2)
-@end example
+There is no style sheet provided for other fonts besides the @TeX{}
+family, and the style sheet can not be modified easiyl.
 
-@code{\override} expects two Scheme expressions, so there are two Scheme
-expressions. The first one is a symbol (@code{foobar}), the second one
-an integer (namely, 3).
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
 
-Scheme is a full-blown programming language, and a full discussion is
-outside the scope of this document. Interested readers are referred to
-the website @uref{http://www.schemers.org/} for more information on
-Scheme.
 
+@node Text markup
+@subsection Text markup
+@cindex text markup
+@cindex markup text
 
-@c_   {Keywords}
-@subsubsection Keywords
-@cindex Keywords
+LilyPond has an internal mechanism to typeset texts. You can
+form text markup expressions by composing scheme expressions
+in the following way.
 
+@lilypond[verbatim, singleline]
+ \relative c' {
+    \fatText
+    a^#"upright"
+    b_#'(bold "bold")
+    c^#'(italic "italic")
+    d_#'((bold italic) "ff")
+    e^#'(dynamic "ff")
+    f_#'(lines "one" (bold "two"))
+    g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
+  }
+@end lilypond
 
-Keywords start with a backslash, followed by a number of lower case
-alphabetic characters.  These are all the keywords.
+Normally, the Scheme markup text is stored in the @code{text} property
+of a grob.  Formally, it is defined as follows:
 
 @example
-apply arpeggio autochange spanrequest commandspanrequest
-simultaneous sequential accepts alternative bar breathe
-char chordmodifiers chords clef cm consists consistsend
-context denies duration dynamicscript elementdescriptions
-font grace header in lyrics key mark pitch
-time times midi mm name pitchnames notes outputproperty
-override set revert partial paper penalty property pt
-relative remove repeat addlyrics partcombine score
-script stylesheet skip textscript tempo translator
-transpose type
+text: string | (head? text+)
+head: markup | (markup+)
+markup-item: property | abbrev
+property: (@var{key} . @var{value})
+abbrev: @code{columns lines roman music bold italic named super sub}
+        @code{overstrike text finger volta timesig mmrest mark script}
+        @code{large Large dynamic}
 @end example
 
-@c_   {Integers}
-@subsubsection Integers
+The markup is broken down and converted into a list of grob properties,
+which are prepended to the property list.  The @var{key}-@var{value}
+pair is a grob property. A list of properties available is included in
+the generated documentation for @rint{Text_interface}.
 
-@cindex integers
-@cindex @code{+}
-@cindex @code{-}
-@cindex @code{*}
-@cindex @code{/}
+The following abbreviations are defined:
+@table @code
+@item columns
+ horizontal mode: set all text on one line (default)
+@item lines
+ vertical mode: set every text on a new line
+@item roman
+ select roman font
+@item music
+ selects the Feta font (the standard font for music notation glyphs),
+and uses named lookup
+
+@item bold
+ select bold series
+@item italic
+ select italic shape
+@item named
+ lookup by character name
+@item text
+ plain text lookup (by character value)
+@item super
+ superscript
+@item sub
+ subscript
+@item overstrike
+ the next text or character overstrikes this one
+@item finger
+ select fingering number fontstyle
+@item volta
+ select volta number fontstyle
+@item timesig
+ select time signature number fontstyle
+@item mmrest
+ select multi measure rest number fontstyle
+@item mark
+ select mark number fontstyle
+@item script
+ select scriptsize roman fontstyle
+@item large
+ select large roman fontstyle
+@item Large
+ select Large roman fontstyle
+@item dynamic
+ select dynamics fontstyle
+@end table
 
-Formed from an optional minus sign followed by digits.  Arithmetic
-operations cannot be done with integers, and integers cannot be mixed
-with reals.
 
-@c_   {Reals}
-@subsubsection Reals
-@cindex real numbers
+@cindex metronome mark
 
+One practical application of complicated markup is to fake a metronome
+marking:
 
+@lilypond[verbatim]
+#(define note '(columns
+  (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
+#(define eight-note `(columns ,note ((kern . -0.1)
+  (music ((raise . 3.5) "flags-u3")))))
+#(define dotted-eight-note
+  `(columns ,eight-note (music "dots-dot")))
 
+\score {
+  \notes\relative c'' {
+    a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
+  }
+  \paper {
+    linewidth = -1.
+    \translator{
+      \ScoreContext
+      TextScript \override #'font-shape = #'upright
+    }
+  }
+}
+@end lilypond
 
+@refbugs
 
-Formed from an optional minus sign and a sequence of digits followed
-by a @emph{required} decimal point and an optional exponent such as
-@code{-1.2e3}.  Reals can be built up using the usual operations:
-`@code{+}', `@code{-}', `@code{*}', and
-`@code{/}', with parentheses for grouping.
+The syntax and semantics of markup texts are not clean, and both
+syntax and semantics are slated for a rewrite.
 
-@cindex @code{\mm},
-@cindex @code{\in}
-@cindex @code{\cm}
-@cindex @code{\pt}
-@cindex dimensions
+LilyPond does not do kerning, and there generally spaces texts
+slightly too wide.
 
-A real constant can be followed by one of the dimension keywords:
-@code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
-points, inches and centimeters, respectively.  This converts the number
-to a real that is the internal representation of dimensions.
 
 
-@c_   {Strings}
-@subsubsection Strings
-@cindex string
-@cindex concatenate
+@node Global layout
+@section Global layout
 
-Begins and ends with the @code{"} character.  To include a @code{"}
-character in a string write @code{\"}.  Various other backslash
-sequences have special interpretations as in the C language.  A string
-that contains no spaces can be written without the quotes.  See
-@ref{Lexical modes} for details on unquoted strings; their interpretation varies
-depending on the situation.  Strings can be concatenated with the
-@code{+} operator.
+The global layout determined by three factors: the page layout, the
+iline breaks and the spacing. These all influence each other: The
+choice of spacing determines how densely each system of music is set,
+whree line breaks breaks are chosen, and thus ultimately how many
+pages a piece of music takes. In this section we will explain how the
+lilypond spacing engine works, and how you can tune its results.
 
-The tokenizer accepts the following commands. They have no grammatical
-function, hence they can appear anywhere in the input.
+Globally spoken, this procedure happens in three steps: first,
+flexible distances (``springs'') are chosen, based on durations. All
+possible line breaking combination are tried, and the one with the
+best results---a layout that has uniform density and requires as
+little stretching or cramping as possible---is chosen. When the score
+is processed by @TeX{}, page are filled with systems, and page breaks
+are chosen whenever the page gets full.
 
+@menu
+* Vertical spacing::            
+* Horizontal spacing::          
+* Font Size::                   
+* Line breaking::               
+* Page layout::                 
+@end menu
 
-@c_   {Main input}
-@subsubsection Main input
-@cindex Main input
 
-@cindex @code{\maininput}
+@node Vertical spacing
+@subsection Vertical spacing
 
-The @code{\maininput} command is used in init files to signal that the
-user file must be read. This command cannot be used in a user file.
+@cindex vertical spacing
+@cindex distance between staffs
+@cindex staff distance
+@cindex between staves, distance
 
-@c_   {File inclusion}
-@subsubsection Main input
-@cindex Main input
+The height of each system is determined automatically by lilypond, to
+keep systems from bumping into each other, some minimum distances are
+set.  By changing these, you can put staffs closer together, and thus
+put more  systems onto one page.
 
-@subsubsection File inclusion
-@cindex @code{\include}
+Normally staves are stacked vertically. To make
+staves maintain a distance, their vertical size is padded. This is
+done with the property @code{minimumVerticalExtent}. It takes a pair
+of numbers, so if you want to make it smaller from its, then you could
+set
 @example
-  \include @var{filename}
+  \property Staff.minimumVerticalExtent = #'(-4 . 4)
 @end example
-
-Include @var{filename}.  The argument @var{filename} may be a quoted string (an
-unquoted string will not work here!) or a string identifier.  The full
-filename including the @file{.ly} extension must be given,
-
-@subsubsection Version information 
-@cindex @code{\version}
+This sets the vertical size of the current staff to 4 staff-space on
+either side of the center staff line.  The argument of
+@code{minimumVerticalExtent} is interpreted as an interval, where the
+center line is the 0, so the first number is generally negative.  you
+could also make the staff larger at the bottom by setting it to
+@code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
+
+Vertical aligment of staves is handled by the
+@internalsref{VerticalAlignment} grob, which lives at
+@internalsref{Score} level.
+
+The piano staffs are handled a little differently: to make cross-staff
+beaming work correctly, it necessary that the distance between staves
+is fixed.  This is also done with a @internalsref{VerticalAlignment}
+grob, created in @internalsref{PianoStaff}, but a forced distance is
+set. This is done with the grob property #'forced-distance. If you
+want to override this, use a @code{\translator} block as follows:
 @example
-  \version @var{string} ;
+  \translator @{
+    \PianoStaffContext
+    VerticalAlignment \override #'forced-distance = #9
+  @}
 @end example
+This would bring the staffs together at a distance of 9 staff spaces,
+and again this is measured from the center line of each staff.
 
-Specify the version of LilyPond that a file was written for.  The
-argument is a version string in quotes, for example @code{"1.2.0"}. 
-This is used to detect invalid input, and to aid
-@code{convert-ly}  a tool that automatically upgrades input files. See
-See @ref{convert-ly} for more information on @code{convert-ly}.
 
-@cindex convert-ly
 
+@node Horizontal spacing
+@subsection Horizontal Spacing
 
+The spacing engine translates differences in durations into
+stretchable distances (``springs'') of differing lengths. Longer
+durations get more space, shorter durations get less.  The basis for
+assigning spaces to durations, is that the shortest durations get a
+fixed amount of space, and the longer durations get more: doubling a
+duration adds a fixed amount of space to the note.
 
+For example, the following piece contains lots of half, quarter and
+8th notes, the eighth note is followed by 1 note head width. The The
+quarter note is followed by 2 NHW, the half by 3 NHW, etc.
+@lilypond[fragment, verbatim, relative=1]
+ c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
+@end lilypond
 
-@c_   {Pitch names}
-@subsubsection Pitch names
-@cindex Lexical modes
-@cindex pitch names
+These two amounts of space are @code{shortest-duration-space}
+@code{spacing-increment}, grob properties of
+@internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
+set to 1.2, which is the width of a note head, and
+@code{shortest-duration-space} is set to 2.0, meaning that the
+shortest note gets 2 noteheads of space. For normal notes, this space
+is always counted from the left edge of the symbol, so the short notes
+in a score is generally followed by one note head width of space.
+
+If one would follow the above procedure exactly, then adding a single
+32th note to a score that uses 8th and 16th notes, would widen up the
+entire score a lot. The shortest note is no longer a 16th, but a 64th,
+thus adding 2 noteheads of space to every note. To prevent this, the
+shortest duration for spacing is not the shortest note in the score,
+but the most commonly found shortest note.  Notes that are even
+shorter this are followed by a space that is proportonial to their
+duration relative to the common shortest note.  So if we were to add
+only a few 16th notes to the example above, they would be followed by
+half a NHW:
+
+@lilypond[fragment, verbatim, relative=1]
+ c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
+@end lilypond
 
-@cindex note names
-@cindex chord modifier names
+The most common shortest duration is determined as follows: in every
+measure, the shortest duration is determined. The most common short
+duration, is taken as the basis for the spacing, with the stipulation
+that this shortest duration should always be equal to or shorter than
+1/8th note. The shortest duration is printed when you run lilypond
+with @code{--verbose}.  These durations may also be customized. If you
+set the @code{common-shortest-duration} in
+@internalsref{SpacingSpanner}, then this sets the base duration for
+spacing. The maximum duration for this base (normally 1/8th), is set
+through @code{base-shortest-duration}.
+
+@cindex @code{common-shortest-duration}
+@cindex @code{base-shortest-duration}
+@cindex @code{stem-spacing-correction}
+@cindex @code{spacing}
+
+In the introduction it was explained that stem directions influence
+spacing. This is controlled with @code{stem-spacing-correction} in
+@internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
+same property for controlling the stem/barline spacing. In the
+following example shows these corrections, once with default settings,
+and once with exaggerated corrections.  
+
+@lilypond
+    \score { \notes {
+      c'4 e''4 e'4 b'4 |
+      b'4 e''4 b'4 e''4|
+      \property Staff.NoteSpacing \override #'stem-spacing-correction
+      = #1.5
+      \property Staff.StaffSpacing \override #'stem-spacing-correction
+      = #1.5
+      c'4 e''4 e'4 b'4 |
+      b'4 e''4 b'4 e''4|      
+    }
+    \paper { linewidth = -1. } }
+@end lilypond
 
-Note names and chord modifiers can be customised for nationalities.
-languages and conventions.  The syntax is as follows.
-@cindex @code{\pitchnames}
-@cindex @code{\chordmodifiers}
 
-@example
-   \pitchnames @var{scheme-alist}
-   \chordmodifiers @var{scheme-alist}
-@end example
 
-See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
-specific examples how to do this.  tables can be tailored specified
-using. Some national note names have been provided, see
-section @ref{Other languages}.
-A @code{\paper} block at top level sets the default paper block.  A
-@code{\midi} block at top level works similarly.
+@refbugs
+
+Spacing is determined on a score wide basis. If you have a score that
+changes its character (measured in durations) half way during the
+score, the part containing the longer durations will be spaced too
+widely.
 
-@c_   {Assignments}
-@subsubsection Assignments
-@cindex assignments
-@cindex @code{#}
+Generating optically pleasing spacing is black magic. LilyPond tries
+to deal with a number of frequent cases. Here is an example that is
+not handled correctly, due to the combination of chord collisions and
+kneed stems.
 
-Identifier assignments may appear at top level.  @ref{Assignments}
+@lilypond
+\score {
+     \context PianoStaff \notes \transpose c''' <
+     \context Staff = up { s1 }
+     \context Staff = down { [c8 c \translator Staff=up <c d> c 
+\translator Staff=down c c c] }
+     >
+     \paper { linewidth = -1 }
+}
+@end lilypond
 
 
+@c .  {Font size}
+@node Font Size
+@subsection Font size
+@cindex font size, setting
+@cindex staff size, setting
+@cindex @code{paper} file
 
-@c_    {Direct scheme}
-@subsubsection Direct scheme
-@cindex Direct scheme
+The Feta font provides musical symbols at seven different sizes.
+These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
+point, and 26 point.  The point size of a font is the height of the
+five lines in a staff when displayed in the font.
 
-Scheme statements maybe issued to produce interesting side-effects. 
+Definitions for these sizes are the files @file{paperSZ.ly}, where
+@code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26.  If you include any
+of these files, the identifiers @code{paperEleven},
+@code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
+@code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
+are defined respectively.  The default @code{\paper} block is also
+set. These files should be imported at toplevel, i.e.
+@example
+	\include "paper26.ly"
+	\score @{  ... @}
+@end example
 
+The font definitions are generated using a Scheme function. For more
+details, see the file @file{scm/font.scm}.
 
-@c_  {Lexical modes}
-@node Lexical modes
-@subsection Lexical modes
-@cindex Lexical modes
 
-@cindex Lexical modes
-@cindex modes
+@c .  {Line break}
+@node Line breaking
+@subsection Line breaking
 
-To simplify entering notes, lyrics, and chords, LilyPond has three
-special input modes on top of the default mode.  In each mode, words
-are identified on the input.  If @code{"word"} is encountered, it is
-treated as a string.  If @code{\word} is encountered, it is treated as
-a keyword or as an identifier.  The behavior of the modes differs in
-two ways: Different modes treat unquoted words differently, and
-different modes have different rules for deciding what is a word.
+@cindex line breaks
+@cindex breaking lines
 
-@table  @asis
-@item Normal mode.
-@cindex normal mode
- 
-At the start of parsing, LilyPond is in Normal mode.  In Normal
-mode, a word is an alphabetic character followed by alphanumeric
-characters.  If @code{word} is encountered on the input it is
-treated as a string.
+Line breaks are normally computed automatically. They are chosen such
+that it looks neither cramped nor loose, and that consecutive lines have
+similar density.
 
-@item Note mode
-See @ref{Note entry}.
+Occasionally you might want to override the automatic breaks; you can
+do this by specifying @code{\break}. This will force a line break at
+this point.  Line breaks can only occur at places where there are bar
+lines.  If you want to have a line break where there is no bar line,
+you can force an invisible bar line by entering @code{\bar
+""}. Similarly, @code{\noBreak} forbids a line break at a certain
+point.
 
-@item Lyrics mode
-See @ref{Lyrics entry}.
 
-@item Chord mode
-See @ref{Chord entry}.
-@end table
+@cindex regular line breaks
+@cindex four bar music. 
 
-@cindex input modes
+If you want linebreaks at regular intervals, you can use the following:
+@example
+<  \repeat 7 unfold @{ s1 * 4 \break  @}
+   @emph{real music}
+> 
+@end  example
+This makes the following 28 measures (assuming 4/4 time) be broken every
+4 measures.
 
-@cindex mode switch
+@node Page layout
+@subsection Page layout
 
-@cindex @code{\notes}
-@cindex @code{\chords}
-@cindex @code{\lyrics}
+@cindex page breaks
+@cindex breaking pages
+
+@cindex @code{indent}
+@cindex @code{linewidth}
 
-Mode switching keywords form compound music expressions: @code{\notes}
-@var{musicexpr}, @code{\chords}  @var{musicexpr},
-and @code{\lyrics}  @var{musicexpr}.  These
-expressions do not add anything to the meaning of their arguments.  They
-are just a way to indicate that the arguments should be parsed in
-indicated mode.  See @ref{Lexical modes} for more information on modes.
+The most basic settings influencing the spacing are @code{linewidth}
+and @code{indent}, both set in the @code{\paper} block.  They control
+the indentation of the first line of music, and the lengths of the
+lines.  If @code{linewidth} set to a negative value, a single
+unjustified line is produced.  A similar effect for scores that are
+longer than one line, can be produced by setting @code{raggedright} to
+true in the @code{\paper} block.
+
+@cindex page layout
+
+The page layout process happens outside lilypond. Ly2dvi sets page
+layout instructions. Ly2dvi responds to the following variables in the
+@code{\paper} block.  The variable @code{textheight} sets the total
+height of the music on each page.  The spacing between systems is
+controlled with @code{interscoreline}, its default is 16pt.
+The distance between the score lines will stretch in order to fill the
+full page @code{interscorelinefill} is set to a positive number.  In
+that case @code{interscoreline} specifies the minimum spacing.
 
-@c_  {Ambiguities}
-@node Ambiguities
-@subsection Ambiguities
-@cindex ambiguities
-@cindex grammar
+@cindex @code{textheight}
+@cindex @code{interscoreline}
+@cindex @code{interscorelinefill}
 
+If the variable @code{lastpagefill} is defined (that is, it gets any
+value assigned in the @code{\paper} block), systems are evenly
+distributed vertically on the last page.  This might produce ugly
+results in case there are not enough systems on the last page.  Note
+that @command{lilypond-book} ignores @code{lastpagefill}.  See
+@ref{Insert music snippets into your texts using lilypond-book} for
+more information.
 
-The grammar contains a number of ambiguities. We hope to resolve them at
-some time.
+@cindex @code{lastpagefill}
 
-@itemize @bullet
-  @item  The assignment
+Page breaks are normally computed by @TeX{}, so they are not under
+direct control of LilyPond.  However, you can insert a commands into
+the @file{.tex} output to instruct @TeX{} where to break pages. You
+can insert a @code{\newpage} from within lilypond. This is done by
+setting the @code{between-systems-strings} on the
+@internalsref{NonMusicalPaperColumn} where the system is broken.
 
-         @example 
-foo = bar 
-@end example 
+@cindex paper size
+@cindex page size
+@cindex @code{papersize}
 
-       can be interpreted as making a string identifier @code{\foo}
-       containing @code{"bar"}, or a music identifier @code{\foo}
-       containing the syllable `bar'.
+To change the paper size, you must first set the
+@code{papersize} paper variable variable.  Set it to
+the strings @code{a4}, @code{letter}, or @code{legal}.  After this
+specification, you must set the font as described above.  If you want
+the default font, then use the 20 point font.
 
-  @item  The assignment
+@example
+        \paper@{ papersize = "a4" @}
+        \include "paper16.ly"
+@end example
 
-         @example 
-foo = -6 
-@end example 
+The file @code{paper16.ly}  will now include a file named @file{a4.ly}, which
+will set the paper variables @code{hsize} and @code{vsize} (used by
+Lilypond and @code{ly2dvi})
 
-       can be interpreted as making an integer identifier
-       containing -6, or a Request identifier containing the
-       fingering `6' (with neutral direction).
 
-  @item  If you do a nested repeat like
 
-       @quotation
 
-@example 
-\repeat @dots{}
-\repeat @dots{}
-\alternative 
-@end example 
+@c . {Sound}
+@node Sound
+@section Sound
+@cindex Sound
 
-       @end quotation
+LilyPond can produce MIDI output.  The performance lacks lots of
+interesting effects, such as swing, articulation, slurring, etc., but it
+is good enough for proof-hearing the music you have entered.  Ties,
+dynamics and tempo changes are interpreted.
 
-       then it is ambiguous to which @code{\repeat} the
-       @code{\alternative} belongs.  This is the classic if-then-else
-       dilemma.  It may be solved by using braces.
+Dynamic marks, crescendi and decrescendi translate into MIDI volume
+levels.  Dynamic marks translate to a fixed fraction of the available
+MIDI volume range, crescendi and decrescendi make the the volume vary
+linearly between their two extremities.  The fractions be adjusted by
+overriding the @code{absolute-volume-alist} defined in
+@file{scm/midi.scm}.
 
-  @item  (an as yet unidentified ambiguity :-)
-@end itemize
+For each type of musical instrument (that MIDI supports), a volume range
+can be defined.  This gives you basic equalizer control, which can
+enhance the quality of the MIDI output remarkably.  You can add
+instruments and ranges or change the default settings by overriding the
+@code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
 
+Both loudness controls are combined to produce the final  MIDI volume. 
 
 
 
+@menu
+* MIDI block::                  
+* MIDI instrument names::       
+@end menu
 
-@c_ {Unsorted}
-@node Unsorted
-@section Unsorted
+@c .  {MIDI block}
+@node MIDI block
+@subsection MIDI block
+@cindex MIDI block
 
-[mucho todo]
 
-Translation?
+The MIDI block is analogous to the paper block, but it is somewhat
+simpler.  The @code{\midi} block can contain:
+@cindex MIDI block
 
-@cindex properties
-@unnumberedsubsec Translation property
+@itemize @bullet
+  @item  a @code{\tempo} definition
+  @item  context definitions
+@end itemize
 
-@cindex @code{\property}
-@example
-  \property @var{contextname}.@var{propname} =  @var{value}
-@end example
+Assignments in the @code{\midi} block are not allowed.
 
-Sets the @var{propname} property of the context @var{contextname} to
-the specified @var{value}.  All three arguments are strings. 
-Depending on the context, it may be necessary to quote the strings or
-to leave space on both sides of the dot.
 
-@cindex translator switches
-@unnumberedsubsec Translator switches
 
-@cindex @code{\translator}
-@example
-  \translator @var{contexttype} = @var{name}
-@end example
+@cindex context definition
 
-A music expression indicating that the context which is a direct
-child of the a context of type @var{contexttype} should be shifted to
-a context of type @var{contexttype} and the specified name.
+Context definitions follow precisely the same syntax as within the
+\paper block.  Translation modules for sound are called performers.
+The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
 
-Usually this is used to switch staffs in Piano music, e.g.
 
-@example
-  \translator Staff = top @var{Music}
-@end example
+@node MIDI instrument names
+@subsection MIDI instrument names
 
+@cindex instrument names
+@cindex @code{Staff.midiInstrument}
+@cindex @code{Staff.instrument}
 
-@cindex output properties
-@unnumberedsubsec Output properties
+The MIDI instrument name is set by the @code{Staff.midiInstrument}
+property or, if that property is not set, the @code{Staff.instrument}
+property.  The instrument name should be chosen from the list in
+@ref{MIDI instruments}.
 
-These allow you to tweak what is happening in the back-end
-directly. If you want to control every detail of the output
-formatting, this is the feature to use. The downside to this is that
-you need to know exactly how the backend works. Example:
+@refbugs
 
+If the selected string does not exactly match, then LilyPond uses the
+default (Grand Piano). It is not possible to select an instrument by
+number.
 
-@lilypond[fragment,verbatim]
-\relative c'' { c4
-        \context Staff \outputproperty
-        	#(make-type-checker 'note-head-interface)
-        	#'extra-offset = #'(5.0 . 7.5)
-<c8 e g> }
-@end lilypond
-
-This selects all note heads occurring at current staff level, and sets
-the @code{extra-offset} of those heads to @code{(5,7.5)}, shifting them
-up and right.
-
-Use of this feature is entirely on your own risk: if you use this, the
-result will depend very heavily on the implementation of the backend,
-which we change regularly and unscrupulously.
-
-
-@c_{Local emacs vars}
-@c Local variables:
-@c mode: texinfo
-@c minor-mode: font-lock
-@c minor-mode: outline
-@c xoutline-layout: (0 : -1 -1 0)
-@c outline-layout: (-1 : 0)
-@c outline-primary-bullet: "{"
-@c outline-stylish-prefixes: nil
-@c outline-override-protect: t
-@c End: