X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Frhythms.itely;h=827eaefd1ff2b3b4295c4ebaf04d77b900b4bc82;hb=0dc8d12d04d40386d318a7203620a6753c75dd32;hp=c644863b3bf0e9c6b27c5dcc58cc202c48ccd820;hpb=a38a563f999c2b0c6fe2715e19b14afe77108338;p=lilypond.git

diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index c644863b3b..827eaefd1f 100644
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -6,29 +6,15 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.11.51"
+@c \version "2.11.61"
 
 @ignore
 GDP TODO list
 
-1.2.3.1 Time signature
-Needs an example of beatLength, which is broken (see my recent
-mail
-to -bug).  What to do?  For now I've left a paragraph of text
-which really
-needs to be inserted with an example in a snippet.
-
 1.2.3.4 Polymetric notation
 Quite extensive changes. Could you please check through.  Divided
 into three
-sections.  Necessarily uses tweaks.  I've also left an @lsr under
-@seealso
-Snippets - is this permitted or is @lsr now verboten?  This
-snippet is too
-long to include, but seems relevant.
-A snippet "grouping beats" hasn't yet appeared (only sent to vv a
-couple of
-days ago).  Text left in Snippets: with TODO.
+sections.  Necessarily uses tweaks.
 @end ignore
 
 @node Rhythms
@@ -59,7 +45,7 @@ This section discusses rhythms, rests, durations, beaming and bars.
 @end menu
 
 @node Durations
-@subsubsection Durations
+@unnumberedsubsubsec Durations
 
 @cindex durations, of notes
 @cindex note durations
@@ -78,7 +64,7 @@ Durations as short as 64th notes may be specified.  Shorter values
 are possible, but only as beamed notes.
 
 @c Two 64th notes are needed to obtain beams
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 8/1
 c\longa c\breve c1 c2
 c4 c8 c16 c32 c64 c64
@@ -89,7 +75,7 @@ Here are the same durations with automatic beaming turned off.
 
 @c not strictly "writing rhythms"; more of a "displaying" thing,
 @c but it's ok here.  -gp
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 8/1
 \autoBeamOff
 c\longa c\breve c1 c2
@@ -104,7 +90,7 @@ If the duration is omitted, it is set to the previously
 entered duration.  The default for the first note is a quarter
 note.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
 a a a2 a a4 a a1 a
 @end lilypond
 
@@ -117,7 +103,7 @@ To obtain dotted note lengths, place a dot (@code{.}) after the
 duration.  Double-dotted notes are specified by appending two
 dots, and so on.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 a4 b c4. b8 a4. b4.. c8.
 @end lilypond
 
@@ -183,7 +169,7 @@ rests from 128th to maxima (8 x whole) may be printed.
 
 
 @node Tuplets
-@subsubsection Tuplets
+@unnumberedsubsubsec Tuplets
 
 @cindex tuplets
 @cindex triplets
@@ -203,7 +189,7 @@ under the notes, optionally with a bracket.  The most common
 tuplet is the triplet in which 3 notes have the duration of 2, so
 the notes are 2/3 of their written length.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 a2 \times 2/3 { b4 b b }
 c4 c \times 2/3 { b4 a g }
 @end lilypond
@@ -218,7 +204,7 @@ details see @ref{Direction and placement}.
 
 Tuplets may be nested:
 
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \autoBeamOff
 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
 @end lilypond
@@ -267,7 +253,7 @@ Learning Manual: @rlearning{Tweaking methods}.
 Notation Reference:
 @ref{Time administration},
 @ref{Scaling durations},
-@ref{Objects connected to the input},
+@ref{The tweak command},
 @ref{Polymetric notation}.
 
 Snippets:
@@ -287,7 +273,7 @@ placed within tuplet brackets.
 
 
 @node Scaling durations
-@subsubsection Scaling durations
+@unnumberedsubsubsec Scaling durations
 
 @cindex scaling durations
 @cindex durations, scaling
@@ -303,7 +289,7 @@ output.  Multiplying factors may be combined such as @code{*L*M/N}.
 In the following example, the first three notes take up exactly
 two beats, but no triplet bracket is printed.
 
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
 \time 2/4
 % Alter durations to triplets
 a4*2/3 gis4*2/3 a4*2/3
@@ -330,7 +316,7 @@ fraction @emph{num}/@emph{den}.  The spaces around the dot are
 required.  Here is an example showing how music can be compressed
 and expanded:
 
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+@lilypond[quote,relative=2,verbatim]
 \time 2/4
 % Normal durations
 <c a>4 c8 a
@@ -361,7 +347,7 @@ Snippets:
 
 
 @node Ties
-@subsubsection Ties
+@unnumberedsubsubsec Ties
 
 @cindex tie
 @funindex ~
@@ -376,8 +362,8 @@ duration, similar to the augmentation dot.}
 
 A tie is entered using the tilde symbol @code{~}
 
-@lilypond[quote,ragged-right,fragment,verbatim]
-e'2 ~ e'
+@lilypond[quote,verbatim,relative=2]
+a2 ~ a
 @end lilypond
 
 
@@ -386,7 +372,7 @@ Ties are used either when the note crosses a bar line, or when
 dots cannot be used to denote the rhythm.  Ties should also be
 used when note values cross larger subdivisions of the measure:
 
-@lilypond[fragment,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c' {
   r8 c8 ~ c2 r4 |
   r8^"not" c2 ~ c8 r4
@@ -406,7 +392,7 @@ match are connected.  When no note heads match, no ties will be
 created.  Chords may be partially tied by placing the tie inside
 the chord.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
 <c e g> ~ <c e g>
 <c~ e g~ b> <c e g b>
 @end lilypond
@@ -420,7 +406,7 @@ the chord.
 When a second alternative of a repeat starts with a tied note, you
 have to specify the repeated tie as follows:
 
-@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
 \repeat volta 2 { c g <c e>2 ~ }
 \alternative {
   % First alternative: following note is tied normally
@@ -438,7 +424,7 @@ notes must not be damped at the end.  It is used in notation for
 piano, harp and other string and percussion instruments.  They can
 be entered as follows:
 
-@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
 <c f g>1\laissezVibrer
 @end lilypond
 
@@ -521,7 +507,7 @@ Rests are entered as part of the music in music expressions.
 @end menu
 
 @node Rests
-@subsubsection Rests
+@unnumberedsubsubsec Rests
 @cindex rest
 @cindex rest, entering durations
 @cindex maxima
@@ -540,7 +526,7 @@ commands shown:
 
 @c \time 16/1 is used to avoid spurious bar lines
 @c and long tracts of empty measures
-@lilypond[fragment,quote,ragged-right,verbatim]
+@lilypond[fragment,quote,verbatim]
 \new Staff {
   % These two lines are just to prettify this example
   \time 16/1
@@ -571,7 +557,7 @@ be placed at the staff position where the note would appear.  This
 allows for precise manual formatting of polyphonic music, since the
 automatic rest collision formatter will not move these rests.
 
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 a4\rest d4\rest
 @end lilypond
 
@@ -602,7 +588,7 @@ are rests from 128th to maxima (8 x whole).
 
 
 @node Invisible rests
-@subsubsection Invisible rests
+@unnumberedsubsubsec Invisible rests
 
 @cindex skip
 @cindex invisible rest
@@ -626,7 +612,7 @@ other situations, for example, when entering lyrics, @code{\skip}
 is used to skip a musical moment.  @code{\skip} requires an
 explicit duration.
 
-@lilypond[quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 <<
   {
     a2 \skip2 a2 a2
@@ -664,7 +650,7 @@ Internals Reference: @rinternals{SkipMusic}
 
 
 @node Full measure rests
-@subsubsection Full measure rests
+@unnumberedsubsubsec Full measure rests
 
 @cindex multi-measure rests
 @cindex full-measure rests
@@ -676,7 +662,7 @@ Internals Reference: @rinternals{SkipMusic}
 Rests for one or more full measures are entered like notes with
 the note name uppercase @code{R}:
 
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 % Rest measures contracted to single measure
 \compressFullBarRests
 R1*4
@@ -690,7 +676,7 @@ used for notes.  The duration in a multi-measure rest must always be an
 integral number of measure-lengths, so augmentation
 dots or fractions must often be used:
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
 \compressFullBarRests
 \time 2/4
 R1 | R2 |
@@ -706,7 +692,7 @@ A full-measure rest is printed as either a whole
 or breve rest, centered in the measure, depending on the time
 signature.
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,verbatim,fragment]
 \time 4/4
 R1 |
 \time 6/4
@@ -725,7 +711,7 @@ Alternatively, a mult-measure rest can be shown as a single measure
 containing a multi-measure rest symbol, with the number of measures of rest
 printed above the measure:
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
 % Default behavior
 \time 3/4 r2. | R2.*2 |
 \time 2/4 R2 |
@@ -751,7 +737,7 @@ Markups can be added to multi-measure rests.
 The predefined command @code{\fermataMarkup}
 is provided for adding fermatas.
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
 \compressFullBarRests
 \time 3/4
 R2.*10^\markup { \italic "ad lib." }
@@ -765,7 +751,7 @@ objects of type @code{MultiMeasureRestText}, not
 object, or they will be ignored.  See the following example.
 }
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
 % This fails, as the wrong object name is specified
 \override TextScript #'padding = #5
 R1^"wrong"
@@ -799,33 +785,8 @@ setting, resulting bar-check warnings may not be displayed.
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
 {positioning-multi--measure-rests.ly}
 
-@c TODO -- convert to snippet
-Markups attached to a multi-measure rest will be centered above or
-below it.  Long markups attached to multi-measure rests do not cause
-the measure to expand. To expand a multi-measure rest to fit the markup,
-use a spacer rest with an attached markup before the multi-measure rest:
-
-@c -- music is somewhat compressed vertically.  I thought it
-@c    was good because the emphasis is not on the content
-@c    of the markup, but on the place the markup was attached -cs
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\compressFullBarRests
-\textLengthOn
-s1*0^\markup { [MAJOR GENERAL] }
-R1*19
-s1*0_\markup { \italic { Cue: ... it is yours } }
-s1*0^\markup { A }
-R1*30^\markup { [MABEL] }
-\textLengthOff
-c4^\markup { CHORUS } d f c
-@end lilypond
-
-@noindent
-Note that the spacer rest causes a bar to be inserted.
-Text attached to a spacer rest in this way is left-aligned to the
-position where the note would be placed in the measure, but if the
-measure length is determined by the length of the text, the text will
-appear to be centered.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{multi--measure-rest-markup.ly}
 
 @seealso
 
@@ -877,7 +838,7 @@ Multi-measure rests do not take part in rest collisions.
 @end menu
 
 @node Time signature
-@subsubsection Time signature
+@unnumberedsubsubsec Time signature
 
 @cindex time signature
 @cindex meter
@@ -885,7 +846,7 @@ Multi-measure rests do not take part in rest collisions.
 
 The time signature is set as follows:
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 2/4 c2
 \time 3/4 c2.
 @end lilypond
@@ -896,9 +857,9 @@ Time signatures are printed at the beginning of a piece
 and whenever the time signature changes.  If a change takes place
 at the end of a line a warning time signature sign is printed
 there.  This default behavior may be changed, see
-@ref{Controlling visibility of objects}.
+@ref{Visibility of objects}.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 2/4
 c2 c
 \break
@@ -915,7 +876,7 @@ c c c c
 The time signature symbol that is used in 2/2 and 4/4 time can be
 changed to a numeric style:
 
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 % Default style
 \time 4/4 c1
 \time 2/2 c1
@@ -930,8 +891,8 @@ changed to a numeric style:
 @end lilypond
 
 
-Ancient time signatures are covered in
-@ref{Ancient time signatures}.
+Mensural time signatures are covered in
+@ref{Mensural time signatures}.
 
 @predefined
 
@@ -940,55 +901,26 @@ Ancient time signatures are covered in
 
 @snippets
 
-@c TODO Send as snippet called "setting measure and beat lengths"
-@c      when example is added
-@code{\time} sets the properties @code{timeSignatureFraction},
-@code{beatLength}, and @code{measureLength} in the @code{Timing}
-context, which is normally aliased to @code{Score}.  Changing the
-value of @code{timeSignatureFraction} causes the new time
-signature symbol to be printed without changing the other
-properties.  The property @code{measureLength} determines where
-bar lines should be inserted and, with @code{beatLength}, how
-automatic beams should be generated.
-
-TODO Add example of using beatLength.
-@c beatLength is broken - see bug 511
-
-@c End of snippet
+@c TODO Send as snippet called "Changing the time signature without affecting the beat length"
 
-@cindex measure groupings
-@cindex beats, grouping
-@cindex grouping beats
-@cindex measure sub-grouping
+The @code{\time} command sets the properties
+@code{timeSignatureFraction}, @code{beatLength}, and
+@code{measureLength} in the @code{Timing} context, which is
+normally aliased to @code{Score}.  Changing the value of
+@code{timeSignatureFraction} causes the new time signature symbol
+to be printed without changing the other properties:
 
-@c TODO Sent as snippet called "grouping beats" 25 Mar 08
-Options to group beats within a bar are available through the
-Scheme function @code{set-time-signature}, which takes three
-arguments: the number of beats, the beat length, and the internal
-grouping of beats in the measure.  If the
-@rinternals{Measure_grouping_engraver} is included, the function
-will also create @rinternals{MeasureGrouping} signs.  Such signs
-ease reading rhythmically complex modern music.  In the example,
-the 9/8 measure is subdivided in 2, 2, 2 and 3.  This is passed to
-@code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
-
-@lilypond[quote,ragged-right,verbatim]
-\score {
-  \relative c'' {
-    #(set-time-signature 9 8 '(2 2 2 3))
-    g8[ g] d[ d] g[ g] a8[( bes g]) |
-    #(set-time-signature 5 8 '(3 2))
-    a4. g4
-  }
-  \layout {
-    \context {
-      \Staff
-      \consists "Measure_grouping_engraver"
-    }
-  }
-}
+@lilypond[quote,verbatim,relative=2]
+\time 3/4
+a16 a a a a a a a a a a a
+% Change time signature but keep 3/4 beaming
+% due to unchanged beatLength
+\set Score.timeSignatureFraction = #'(12 . 16)
+a16 a a a a a a a a a a a
+\time 12/16
+% Lose 3/4 beaming now beatLength has changed to 16
+a16 a a a a a a a a a a a
 @end lilypond
-@c TODO End of snippet called "grouping beats"
 
 @cindex compound time signatures
 @cindex time signature, compound
@@ -1003,7 +935,7 @@ Music Glossary:
 @rglos{time signature}
 
 Notation Reference:
-@ref{Ancient time signatures},
+@ref{Mensural time signatures},
 @ref{Time administration}.
 
 Snippets:
@@ -1014,14 +946,8 @@ Internals Reference:
 @rinternals{Timing_translator}.
 
 
-@knownissues
-
-Automatic beaming does not use the measure grouping specified with
-@code{set-time-signature}.
-
-
 @node Upbeats
-@subsubsection Upbeats
+@unnumberedsubsubsec Upbeats
 
 @cindex anacrusis
 @cindex upbeat
@@ -1036,20 +962,20 @@ Partial or pick-up measures, such as an anacrusis or upbeat, are
 entered using the @code{\partial} command, with the syntax
 
 @example
-\partial @var{duration} @emph{notes}
+\partial @var{duration}
 @end example
 
 where @code{duration} is the rhythmic length of the interval
 before the start of the first complete measure:
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \partial 4 e4 |
 a2. c,4 |
 @end lilypond
 
 The partial measure can be any duration less than a full measure:
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \partial 8*3 c8 d e |
 a2. c,4 |
 @end lilypond
@@ -1068,37 +994,26 @@ command: i.e., @code{\partial 4} is internally translated to
 
 @seealso
 
-Music Glossary: @rglos{anacrusis}
+Music Glossary:
+@rglos{anacrusis}.
 
-Notation Reference: @ref{Grace notes}
+Notation Reference:
+@ref{Grace notes}.
 
 Snippets:
 @rlsr{Rhythms}.
 
 Internal Reference:
-@rinternals{Timing_translator}
+@rinternals{Timing_translator}.
 
 @knownissues
 
-@cindex grace notes, in anacruses
-
-This command does not take into account grace notes at the start
-of the music.  If the pick-up starts with one or more grace
-notes, then the @code{\partial} should follow the grace note(s):
-
-@lilypond[verbatim,quote,ragged-right,relative,fragment]
-\grace f16
-\partial 4
-g4
-a2 g2
-@end lilypond
-
 The @code{\partial} command is intended to be used only at the
 beginning of a piece.  If you use it after the beginning, some
 odd warnings may occur.
 
 @node Unmetered music
-@subsubsection Unmetered music
+@unnumberedsubsubsec Unmetered music
 
 @funindex \cadenzaOn
 @funindex \cadenzaOff
@@ -1108,12 +1023,12 @@ odd warnings may occur.
 @cindex unmetered music
 
 Bar lines and bar numbers are calculated automatically.  For
-unmetered music (cadenzas, for example), this is not desirable.
+unmetered music (some cadenzas, for example), this is not desirable.
 To turn off automatic calculation of bar lines and bar numbers,
-use the command @code{\cadenzaOn}, and use @code{\cadenzaOff} 
+use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
 to turn them on again.
 
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
 c4 d e d
 \cadenzaOn
 c4 c d8 d d f4 g4.
@@ -1125,7 +1040,7 @@ d4 e d c
 Bar numbering is resumed at the end of the cadenza as if the
 cadenza were not there:
 
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
 % Show all bar numbers
 \override Score.BarNumber #'break-visibility = #all-visible
 c4 d e d
@@ -1144,10 +1059,10 @@ d4 e d c
 @seealso
 
 Music Glossary:
-@rglos{cadenza}
+@rglos{cadenza}.
 
 Notation Reference:
-@ref{Controlling visibility of objects}
+@c ref{Controlling visibility of objects}.
 
 Snippets:
 @rlsr{Rhythms}.
@@ -1167,7 +1082,7 @@ to indicate where breaks can occur.
 
 
 @node Polymetric notation
-@subsubsection Polymetric notation
+@unnumberedsubsubsec Polymetric notation
 
 @cindex double time signatures
 @cindex signatures, polymetric
@@ -1177,38 +1092,6 @@ to indicate where breaks can occur.
 Polymetric notation is supported, either explicitly or through
 clever use of markup features.
 
-@c Each of these examples uses \set or \override, and therefore
-@c by policy should be converted to a snippet.
-@c Do we want to have a section with a very brief (two-line 
-@c introduction, and have most of the content be in snippets?
-
-@strong{Alternating time signatures}
-
-Regularly alternating double time signatures are not supported
-explicitly, but they can be faked.  In the next example, the
-double time signature is created with markup text, while the
-real time signature is set in the usual way with @code{\time}.
-
-@lilypond[verbatim,ragged-right]
-% Create 9/8 split into 2/4 + 5/8
-tsMarkup = \markup {
-  \override #'(baseline-skip . 2) \number {
-    \column { "2" "4" }
-    \vcenter "+"
-    \bracket \column { "5" "8" }
-  }
-}
-
-{
-  \override Staff.TimeSignature #'stencil =
-    #ly:text-interface::print
-  \override Staff.TimeSignature #'text = #tsMarkup
-  \time 9/8
-  c'2 \bar ":" c'4 c'4.
-  c'2 \bar ":" c'4 c'4.
-}
-@end lilypond
-
 @strong{Staves with different time signatures, equal measure lengths}
 
 This notation can be created by setting a common time signature
@@ -1224,7 +1107,7 @@ In this example, music with the time signatures of 3/4, 9/8, and
 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
 \relative c' { <<
   \new Staff {
     \time 3/4
@@ -1249,15 +1132,12 @@ staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
 >> }
 @end lilypond
 
-@c I guess this example doesn't use \set or \override, and so
-@c could stay in the manual.
-
 @strong{Staves with different time signatures, unequal bar lengths}
 
 Each staff can be given its own independent time signature by
 moving the @code{Timing_translator} to the @code{Staff} context.
 
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[quote,verbatim]
 \layout {
   \context {
     \Score
@@ -1295,6 +1175,11 @@ moving the @code{Timing_translator} to the @code{Staff} context.
 >>
 @end lilypond
 
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{compound-time-signatures.ly}
+
 
 @seealso
 
@@ -1307,33 +1192,34 @@ Notation Reference: @ref{Scaling durations}
 
 Snippets:
 @rlsr{Rhythms}.
-@c Is this still permitted?
-@c @lsr{contemporary,compound-time-signature}
 
 Internals Reference:
 @rinternals{TimeSignature},
-@rinternals{Timing-translator},
+@rinternals{Timing_translator},
 @rinternals{Staff}.
 
 @knownissues
 
-When using different time signatures in parallel, the spacing is
-aligned vertically, but bar lines distort the regular spacing.
-
+When using different time signatures in parallel, notes
+at the same moment will be be placed at the same horizontal
+location.  However, the bar lines in the different staves
+will cause the note spacing to be less regular in each of the
+individual staves than would be normal without the different
+time signatures.
 
 @node Automatic note splitting
-@subsubsection Automatic note splitting
+@unnumberedsubsubsec Automatic note splitting
 
 @cindex notes, splitting
 @cindex splitting notes
 
 Long notes which overrun bar lines can be converted automatically
 to tied notes.  This is done by replacing the
-@code{Note_heads_engraver} by the
+@code{Note_heads_engraver} with the
 @code{Completion_heads_engraver}.  In the following
 example, notes crossing the bar lines are split and tied.
 
-@lilypond[quote,fragment,verbatim,relative=1,ragged-right]
+@lilypond[quote,verbatim,relative=1]
 \new Voice \with {
   \remove "Note_heads_engraver"
   \consists "Completion_heads_engraver"
@@ -1347,11 +1233,6 @@ inserts ties.  One of its uses is to debug complex scores: if the
 measures are not entirely filled, then the ties show exactly how
 much each measure is off.
 
-To allow line breaking on the bar lines where the
-@code{Completion_heads_engraver} has inserted a split note, remove
-the @code{Forbid_line_break_engraver} too.
-
-
 @seealso
 
 Music Glossary: @rglos{tie}
@@ -1372,28 +1253,81 @@ Internals Reference:
 @knownissues
 
 Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver
-will not insert tuplets.
+represented exactly with normal notes and dots, but the
+@code{Completion_heads_engraver} will not insert tuplets.
 
 The @code{Completion_heads_engraver} only affects notes; it does not
 split rests.
 
 
 @node Showing melody rhythms
-@subsubsection Showing melody rhythms
+@unnumberedsubsubsec Showing melody rhythms
 
 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 has a single line
 
-@c TODO Devise a more realistic example, perhaps with lyrics -td
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-\new RhythmicStaff {
-  \time 4/4
-  c4 e8 f g2 | r4 g r2 | g1 | r1 |
-}
+@lilypond[quote,relative=1,verbatim]
+<<
+  \new RhythmicStaff {
+    \new Voice = "myRhythm" {
+      \time 4/4
+      c4 e8 f g2
+      r4 g g f
+      g1
+    }
+  }
+  \new Lyrics {
+    \lyricsto "myRhythm" {
+      This is my song
+      I like to sing
+    }
+  }
+>>
 @end lilypond
 
+Guitar chord charts often show the strumming rhythms.  This can
+be done with the @code{Pitch_squash_engraver} and
+@code{\improvisationOn}.
+
+
+@lilypond[quote,verbatim]
+<<
+  \new ChordNames {
+    \chordmode {
+      c1 f g c
+    }
+  }
+
+  \new Voice \with {
+    \consists Pitch_squash_engraver
+  } \relative c'' {
+    \improvisationOn
+    c4 c8 c c4 c8 c
+    f4 f8 f f4 f8 f
+    g4 g8 g g4 g8 g
+    c4 c8 c c4 c8 c
+  }
+>>
+@end lilypond
+
+@predefined
+@code{\improvisationOn},
+@code{\improvisationOff}.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{guitar-strum-rhythms.ly}
+
+@seealso
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{RhythmicStaff},
+@rinternals{Pitch_squash_engraver}.
 
 @node Beams
 @subsection Beams
@@ -1406,32 +1340,42 @@ staff are squashed, and the staff itself has a single line
 @end menu
 
 @node Automatic beams
-@subsubsection Automatic beams
+@unnumberedsubsubsec Automatic beams
 
 By default, beams are inserted automatically:
 
 @cindex beams, manual
 @cindex manual beams
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 2/4 c8 c c c
 \time 6/8 c c c c8. c16 c8
 @end lilypond
 
 If these automatic decisions are not satisfactory, beaming can be
 entered explicitly; see @ref{Manual beams}.  It is also possible
-to define beaming patterns that differ from the defaults; see
-@ref{Setting automatic beam behavior}.  The default beaming rules
-are defined in @file{scm/@/auto@/-beam@/.scm}.
+to define beaming patterns that differ from the defaults.  The
+default beaming rules for most common time signatures are defined
+in @file{scm/@/auto@/-beam@/.scm}.  If there are no beaming rules
+defined for the time signature being used the beaming is controlled
+by the values of three context properties, @code{measureLength},
+@code{beatLength} and @code{beatGrouping}.  Both the beaming rules
+and the context properties can be overridden, see
+@ref{Setting automatic beam behavior}.
 
 @cindex autoBeamOn
 @cindex autoBeamOff
 
+@warning{If beams are used to indicate melismata in songs, then automatic
+beaming should be switched off with @code{\autoBeamOff} and the beams
+indicated manually.}
+
+
 @noindent
 Automatic beaming may be turned off and on with
 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
 c4 c8 c8. c16 c8. c16 c8
 \autoBeamOff
 c4 c8 c8. c16 c8.
@@ -1439,84 +1383,30 @@ c4 c8 c8. c16 c8.
 c16 c8
 @end lilypond
 
+@predefined
+@code{\autoBeamOff},
+@code{\autoBeamOn}.
 
 @snippets
 
-Beaming patterns may be altered with the @code{beatGrouping} property,
-
-@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
-\time 5/16
-\set beatGrouping = #'(2 3)
-c8[^"(2+3)" c16 c8]
-\set beatGrouping = #'(3 2)
-c8[^"(3+2)" c16 c8]
-@end lilypond
-
-The beams of consecutive 16th (or shorter) notes are, by default,
-not sub-divided.  That is, the three (or more) beams stretch
-unbroken over entire groups of notes.  This behavior can
-be modified to sub-divide the beams into sub-groups by setting
-the property @code{subdivideBeams}.  When set, multiple beams
-will be sub-divided at intervals defined by the current value of
-@code{beatLength} by reducing the multiple beams to just one beam
-between the sub-groups. Note that @code{beatLength} lives in the
-@code{Score} context and defaults to a quarter note.  It must be
-set to a fraction giving the duration of the beam sub-group
-using the @code{make-moment} function, as shown here:
-
-@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
-c32[ c c c c c c c]
-\set subdivideBeams = ##t
-c32[ c c c c c c c]
-% Set beam sub-group length to an eighth note
-\set Score.beatLength = #(ly:make-moment 1 8)
-c32[ c c c c c c c]
-% Set beam sub-group length to a sixteenth note
-\set Score.beatLength = #(ly:make-moment 1 16)
-c32[ c c c c c c c]
-@end lilypond
-@funindex subdivideBeams
-
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
-
 @funindex breakable
 @cindex break, line
 @cindex line breaks
 
-Line breaks are normally forbidden when beams cross bar lines.
-This behavior can be changed by setting the @code{breakable}
-property: @code{\override Beam #'breakable = ##t}.
-
-@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
-\override Beam #'breakable = ##t
-c8 \repeat unfold 15 { c[ c] } c
-@end lilypond
-
-@cindex beams and line breaks
-@cindex beams, kneed
-@cindex kneed beams
-@cindex auto-knee-gap
-
-Kneed beams are inserted automatically when a large gap is
-detected between the note heads.  This behavior can be tuned
-through the @code{auto-knee-gap} property.  A kneed beam is
-drawn if the gap is larger than the value of
-@code{auto-knee-gap} plus the width of the beam object (which
-depends on the duration of the notes and the slope of the beam).
-By default @code{auto-knee-gap} is set to 5.5 staff spaces.
-
-@lilypond[fragment,ragged-right,quote,verbatim]
-f8 f''8 f8 f''8
-\override Beam #'auto-knee-gap = #6
-f8 f''8 f8 f''8
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beams-across-line-breaks.ly}
 
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-beam-knee-gap.ly}
 
 @seealso
 
-Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
+Notation Reference:
+@ref{Manual beams},
+@ref{Setting automatic beam behavior}.
+
+Installed Files:
+@file{scm/@/auto@/-beam@/.scm}.
 
 Snippets:
 @rlsr{Rhythms}.
@@ -1533,44 +1423,205 @@ Beams can collide with note heads and accidentals in other voices
 
 
 @node Setting automatic beam behavior
-@subsubsection Setting automatic beam behavior
+@unnumberedsubsubsec Setting automatic beam behavior
 
+@funindex autoBeaming
 @funindex autoBeamSettings
 @funindex (end * * * *)
 @funindex (begin * * * *)
+
 @cindex automatic beams, tuning
 @cindex tuning automatic beaming
+@cindex automatic beam generation
+@cindex autobeam
+@cindex lyrics and beaming
+
+
+The placement of automatic beams is determined by the rules
+described in @ref{Automatic beams}.  There are two mutually
+exclusive ways in which these rules may be modified.  The
+first, modifying the grouping of beats, applies to uncommon time
+signatures, i.e. those for which there are no predefined rules
+defining the beam end points.  The second method, modifying the
+specification of the beam end points, can be used for any time
+signature.  This second method @strong{must} be used for those time
+signatures for which beam ending rules are pre-defined, unless
+these have all been reverted.  There are predefined rules for time
+signatures of 3/2, 3/4, 4/4, 2/4, 4/8, 4/16, 6/8, 9/8 and 12/8.
+
+@i{@strong{Modifying the grouping of beats}}
+
+If there are no beam-ending rules defined for the time signature
+in use the beaming is controlled by three context properties:
+@code{measureLength}, @code{beatLength} and @code{beatGrouping}.
+These properties may be set in the @code{Score}, @code{Staff} or
+@code{Voice} contexts to delimit their scope.
+
+These determine the beaming as follows:
+
+Beams may begin anywhere (unless a beam is already active).  Beams
+end at a time determined by the values of @code{beatGrouping} and
+@code{beatLength}, as follows:
+
+@itemize
 
-@c [TODO: use \applyContext]
+@item If @code{beatGrouping} and @code{beatLength} are consistent
+with @code{measureLength}, @code{beatGrouping} is used to determine
+the end points of beams.
 
-In normal time signatures, automatic beams can start on any note
-but can end in only a few positions within the measure: beams can
-end on a beat, or at durations specified by the properties in
-@code{autoBeamSettings}.  The properties in
-@code{autoBeamSettings} consist of a list of rules for where beams
-can begin and end.  The default @code{autoBeamSettings} rules are
-defined in @file{scm/@/auto@/-beam@/.scm}.
+@item If @code{beatGrouping} and @code{beatLength} are inconsistent
+with @code{measureLength}, @code{beatLength} is used to determine
+the end points of beams.
+
+@end itemize
+
+@warning{These three properties are effective @strong{only} if
+there are no beam-ending rules defined for the time signature in
+force, or if these beam-ending rules have all been reverted.}
+
+By default the @code{measureLength} and @code{beatLength} are
+derived from the time signature set by the @code{\time} command.
+The @code{measureLength} is set to be exactly the same length as
+the measure length given by the time signature, and the
+@code{beatLength} is set to be the same as one over the denominator
+of the time signature.
+
+The default value of @code{beatGrouping} is taken from a table in
+@file{scm/@/music@/-functions@/.scm}.  To find this, see
+@rlearning{Other sources of information}.  It defines the beat
+grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
+
+Both @code{measureLength} and @code{beatLength} are @i{moments},
+units of musical duration.  A quantity of type @i{moment} is
+created by the scheme function @code{ly:make-moment}.  For more
+information about this function, see @ref{Time administration}.
+
+@code{beatGrouping} is a list of integers giving the number of
+beats in each group.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{grouping-beats.ly}
+
+@c TODO Convert to snippet called "Specifying context with beatGrouping"
+
+By specifying the context, the effect of @code{beatGrouping} can be
+limited to the context specified, and the values set in higher-level
+contexts overridden:
+
+@lilypond[quote,verbatim]
+\score {
+  \new Staff <<
+    \time 7/8
+    \new Voice {
+      \relative c'' {
+        \set Staff.beatGrouping = #'(2 3 2)
+        a8 a a a a a a
+      }
+    }
+    \new Voice {
+      \relative c' {
+        \voiceTwo
+        \set Voice.beatGrouping = #'(1 3 3)
+        f8 f f f f f f
+      }
+    }
+  >>
+}
+@end lilypond
+
+
+@c TODO Send as snippet?
+
+The property @code{measureLength} determines where bar lines
+should be inserted and, with @code{beatLength} and
+@code{beatGrouping}, how automatic beams should be generated
+for time signatures for which no beam-ending rules are defined.
+
+@lilypond[quote,verbatim,relative=2]
+\time 3/4 % auto beam on 1/4 note groups
+a16 a a a a a a a a a a a a a a a
+\time 12/16 % no defined auto-beaming for this time sig
+a16 a a a a a a a a a a a a a a a
+\time 3/4
+a16 a a a a a a a a a a a a a a a
+\set Score.timeSignatureFraction = #'(12 . 16) %keep 3/4 beaming
+                                             % due to beatLength
+a16 a a a a a a a a a a a a a a a
+\set Score.beatLength = #(ly:make-moment 1 8) %beam on 1/8 notes
+a16 a a a a a a a a a a a a a a a
+\set Score.beatLength = #(ly:make-moment 1 16)
+\set Score.beatGrouping = #'(3 4 2 3) %beam on 3/16, 7/16, 9/16, 12/16
+a16 a a a a a a a a a a a a a a a
+@end lilypond
+
+
+@c End of snippet
+
+@funindex subdivideBeams
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{sub-dividing-beams.ly}
+
+@cindex measure groupings
+@cindex beats, grouping
+@cindex grouping beats
+@cindex measure sub-grouping
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{conducting-signs,-measure-grouping-signs.ly}
+
+
+@strong{@i{Modifying the beam end points}}
+
+In common time signatures, automatic beams can start on any note
+but can end at only a few positions within the measure, namely at
+durations specified by the properties in @code{autoBeamSettings}.
+These properties consist of a list of rules defining where beams can
+end.  The default @code{autoBeamSettings} rules are defined in
+@file{scm/@/auto@/-beam@/.scm}.  To find this, see
+@rlearning{Other sources of information}.
+
+This method @strong{must} be used for the time signatures for which
+beam-ending rules are defined by default, unless these have all
+been reverted.  It is also particularly suitable for many other time
+signatures if the time signature of the measures changes frequently,
+or if the beaming should be different for different beam durations.
 
 In order to add a rule to the list, use
+
 @example
-#(override-auto-beam-setting '(be p q n m) a b [context])
+#(override-auto-beam-setting
+  '(beam-limit
+    beam-numerator  beam-denominator
+    time-signature-numerator time-signature-denominator)
+  moment-numerator moment-denominator [context])
 @end example
 
+@noindent
+where
+
 @itemize
 
-@item @code{be} is either @code{begin} or @code{end}.
+@item @code{beam-limit} is the type of automatic beam limit
+defined.  This can be either @code{begin} or @code{end} but
+only @code{end} is effective.
 
-@item @code{p/q} is the duration of the note for which you want
-to add a rule.  A beam is considered to have the duration of its
-shortest note.  Set @code{p} and @code{q} to @code{'*'} to
-have this apply to any beam.
+@item @code{beam-numerator/beam-denominator} is the beam duration
+to which the rule is to apply.  A beam is considered to have
+the duration of its shortest note.  Set @code{beam-numerator}
+and @code{beam-denominator} to @code{'*'} to have this rule apply
+to beams of any duration.
 
-@item @code{n/m} is the time signature to which
-this rule should apply.  Set @code{n} and @code{m} to @code{'*'}
-to have this apply in any time signature.
+@item @code{time-signature-numerator/time-signature-denominator}
+specifies the time signature to which this rule should apply.
+If @code{time-signature-numerator} and
+@code{time-signature-denominator} are set to @code{'*'} this rule
+will apply in any time signature.
 
-@item @code{a/b} is the position in the bar at which the beam should
-begin/end.
+@item @code{monent-numerator/moment-denominator} is the position
+in the bar at which the beam should end.
 
 @item @code{context} is optional, and it specifies the context at which
 the change should be made.  The default is @code{'Voice}.
@@ -1581,29 +1632,34 @@ the change should be made.  The default is @code{'Voice}.
 @end itemize
 
 For example, if automatic beams should always end on the first quarter
-note, use
+note, whatever the time signature or beam duration, use
 
-@example
+@lilypond[quote,verbatim,relative=2]
+a8 a a a a a a a
 #(override-auto-beam-setting '(end * * * *) 1 4)
-@end example
+a8 a a a a a a a
+@end lilypond
 
-You can force the beam settings to only take effect on beams whose shortest
+You can force the beam settings to take effect only on beams whose shortest
 note is a certain duration
 
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 2/4
+% end 1/16 beams for all time signatures at the 1/16 moment
 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
 a16 a a a a a a a |
 a32 a a a a16 a a a a a |
+% end 1/32 beams for all time signatures at the 1/16 moment
 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
 a32 a a a a16 a a a a a |
 @end lilypond
 
-You can force the beam settings to only take effect in certain time
+You can force the beam settings to take effect only in certain time
 signatures
 
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 5/8
+% end beams of all durations in 5/8 time signature at the 2/8 moment
 #(override-auto-beam-setting '(end * * 5 8) 2 8)
 c8 c d d d
 \time 4/4
@@ -1612,21 +1668,56 @@ e8 e f f e e d d
 c8 c d d d
 @end lilypond
 
-You can also remove a previously set beam-ending rule by using
+When multiple voices are used the @code{Staff} context must be
+specified if the beaming is to be applied to all voices in the
+staff:
+
+@lilypond[quote,verbatim,relative=2]
+\time 7/8
+% rhythm 3-1-1-2
+% Context not specified - does not work correctly
+#(override-auto-beam-setting '(end * * 7 8) 3 8)
+#(override-auto-beam-setting '(end * * 7 8) 4 8)
+#(override-auto-beam-setting '(end * * 7 8) 5 8)
+<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+
+% Works correctly with context specified
+#(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
+#(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
+#(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
+<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+@end lilypond
+
+@c TODO Add example using Score for multiple staves?
+@c Hmm.  Not sure it works correctly.  Needs more investigation.
+
+@warning{If any unexpected beam behavior occurs, check the default
+automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
+possible interference, because the beam endings defined there will
+still apply in addition to your own.}
+
+Any unwanted or conflicting default endings must be reverted for
+your time signature(s).  Existing auto-beam rules are removed by
+using
 
 @example
-#(revert-auto-beam-setting '(be p q n m) a b [context])
+#(revert-auto-beam-setting
+  '(beam-limit
+    beam-numerator  beam-denominator
+    time-signature-numerator time-signature-denominator)
+  moment-numerator moment-denominator [context])
 @end example
 
 @noindent
-@code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
-@code{b} and @code{context} are the same as above.  Note that the
-default rules are specified in @file{scm/@/auto@/-beam@/.scm},
-so you can revert rules that you did not explicitly create.
+@code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
+@code{time-signature-numerator}, @code{time-signature-denominator},
+@code{moment-numerator}, @code{moment-denominator} and @code{context}
+are the same as above.
 
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 4/4
 a16 a a a a a a a a a a a a a a a
+% undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
 a16 a a a a a a a a a a a a a a a
 @end lilypond
@@ -1635,7 +1726,7 @@ The rule in a @code{revert-auto-beam-setting} statement must exactly
 match the original rule.  That is, no wildcard expansion is taken into
 account.
 
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 1/4
 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
 a16 a a a
@@ -1645,59 +1736,31 @@ a a a a
 a a a a
 @end lilypond
 
+@snippets
 
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beam-grouping-in-7-8-time.ly}
 
-@c TODO:  old material -- not covered by above stuff, I think.
-If automatic beams should end on every quarter in 5/4 time, specify
-all endings
-@example
-#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
-#(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
-#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
-#(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
-@dots{}
-@end example
+@ignore
+
+@c TODO Does this example add anything?
 
-The same syntax can be used to specify beam starting points.  In this
+In this
 example, automatic beams can only end on a dotted quarter note
 @example
 #(override-auto-beam-setting '(end * * * *) 3 8)
 #(override-auto-beam-setting '(end * * * *) 1 2)
 #(override-auto-beam-setting '(end * * * *) 7 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).
 
-If any unexpected beam behavior occurs, check the default automatic beam
-settings in @file{scm/@/auto@/-beam@/.scm}
-for possible interference, because the beam
-endings defined there will still apply on top of your own overrides.  Any
-unwanted endings in the default vales must be reverted for your time
-signature(s).
-
-For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
-with
-
-@example
-%%% revert default values in scm/auto-beam.scm regarding 12/8 time
-#(revert-auto-beam-setting '(end * * 12 8) 3 8)
-#(revert-auto-beam-setting '(end * * 12 8) 3 4)
-#(revert-auto-beam-setting '(end * * 12 8) 9 8)
-
-%%% your new values
-#(override-auto-beam-setting '(end 1 8 12 8) 3 8)
-#(override-auto-beam-setting '(end 1 8 12 8) 7 8)
-#(override-auto-beam-setting '(end 1 8 12 8) 10 8)
-@end example
-
-@cindex automatic beam generation
-@cindex autobeam
-@funindex autoBeaming
-@cindex lyrics
+@end ignore
 
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off with @code{\autoBeamOff}.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{reverting-default-beam-endings.ly}
 
 
 @predefined
@@ -1723,9 +1786,11 @@ Snippets:
 
 
 @node Manual beams
-@subsubsection Manual beams
+@unnumberedsubsubsec Manual beams
 
 @cindex beams, manual
+@funindex ]
+@funindex [
 
 In some cases it may be necessary to override the automatic
 beaming algorithm.  For example, the autobeamer will not put beams
@@ -1734,7 +1799,7 @@ often set to follow the meter of the lyrics rather than the
 notes. Such beams can be specified manually by
 marking the begin and end point with @code{[} and @code{]}
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
 {
   r4 r8[ g' a r8] r8 g[ | a] r8
 }
@@ -1744,13 +1809,10 @@ marking the begin and end point with @code{[} and @code{]}
 Individual notes may be marked with @code{\noBeam} to prevent them
 from being beamed:
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \time 2/4 c8 c\noBeam c c
 @end lilypond
 
-@funindex ]
-@funindex [
-
 @funindex stemLeftBeamCount
 @funindex stemRightBeamCount
 
@@ -1763,20 +1825,24 @@ then it is erased.  In this example, the last @code{f} is printed
 with only one beam on the left side, i.e., the eighth-note beam of
 the group as a whole.
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-{
-  f8[ r16 f g a]
-  f8[ r16
-  \set stemLeftBeamCount = #1
-  f g a]
-}
+@lilypond[quote,relative=2,verbatim]
+a8[ r16 f g a]
+a8[ r16
+\set stemLeftBeamCount = #2
+\set stemRightBeamCount = #1
+f
+\set stemLeftBeamCount = #1
+g a]
 @end lilypond
 
 
 @snippets
 
+@c TODO Add snippet "Flat flags and beam nibs" when available
+@c Added to LSR 27 Oct 08
+
 @node Feathered beams
-@subsubsection Feathered beams
+@unnumberedsubsubsec Feathered beams
 
 @cindex beams, feathered
 @funindex \featherDurations
@@ -1807,7 +1873,7 @@ as the last one, with the intermediate notes gradually
 lengthening.  The first four 32nd notes gradually speed up, while
 the last four 32nd notes are at a constant tempo.
 
-@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
+@lilypond[relative=1,verbatim,quote]
 \override Beam #'grow-direction = #LEFT
 \featherDurations #(ly:make-moment 2 1)
 { c16[ c c c c c c c] }
@@ -1821,7 +1887,7 @@ the last four 32nd notes are at a constant tempo.
 
 @noindent
 The spacing in the printed output represents the
-note durations only approximately, but the midi output is exact.
+note durations only approximately, but the MIDI output is exact.
 
 @knownissues
 
@@ -1847,7 +1913,7 @@ Snippets:
 @end menu
 
 @node Bar lines
-@subsubsection Bar lines
+@unnumberedsubsubsec Bar lines
 
 @cindex bar lines
 @funindex \bar
@@ -1863,20 +1929,21 @@ The simple bar lines inserted automatically can be changed to
 other types with the @code{\bar} command.  For example, a closing
 double bar line is usually placed at the end of a piece:
 
-@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
+@lilypond[quote,relative=1,verbatim]
 e4 d c2 \bar "|."
 @end lilypond
 
-@warning{An incorrect duration can lead to poorly formatted
-music.}
-
 It is not invalid if the final note in a measure does not
 end on the automatically entered bar line: the note is assumed
 to carry over into the next measure.  But if a long sequence
 of such carry-over measures appears the music can appear compressed
 or even flowing off the page.  This is because automatic line
 breaks happen only at the end of complete measures, i.e., where
-the end of a note coincides with the end of a measure.
+all notes end before the end of a measure.
+
+@warning{An incorrect duration can cause line breaks to be
+inhibited, leading to a line of highly compressed music or
+music which flows off the page.}
 
 @cindex line breaks
 @cindex bar lines, invisible
@@ -1904,25 +1971,25 @@ with the end of a measure the specified bar line is inserted at that
 point in the printed output.  Such insertions do not affect
 the calculation and placement of subsequent automatic bar lines.
 
-The simple bar line and four types of double bar line are available
+The simple bar line and five types of double bar line are available
 for manual insertion:
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
 @end lilypond
 
 @noindent
 together with dotted and dashed bar lines:
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
 f1 \bar ":" g \bar "dashed" a
 @end lilypond
 
 @noindent
-and three types of repeat bar line:
+and five types of repeat bar line:
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-f1 \bar "|:" g \bar ":|:" a \bar ":|" b
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
 @end lilypond
 
 @cindex repeats
@@ -1938,7 +2005,7 @@ In addition, you can specify @code{"||:"}, which is equivalent to
 line at the end of the line and a start repeat at the beginning of
 the next line.
 
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
 \override Score.RehearsalMark #'padding = #3
 c c c c
 \bar "||:"
@@ -1952,7 +2019,7 @@ automatically applied to all staves.  The resulting bar lines are
 connected between different staves of a @code{StaffGroup},
 @code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
 <<
   \new StaffGroup <<
     \new Staff {
@@ -1983,9 +2050,10 @@ with @code{\set Timing.defaultBarType = }@var{bartype}.
 
 @seealso
 
-Notation Reference: @ref{Line breaking}, @ref{Repeats},
-@c FIXME: node name changed, but is subject to further changes.
-@c @ref{System start delimiters}.
+Notation Reference:
+@ref{Line breaking},
+@ref{Repeats},
+@ref{Grouping staves}.
 
 Snippets:
 @rlsr{Rhythms}.
@@ -1997,7 +2065,7 @@ properties).
 
 
 @node Bar numbers
-@subsubsection Bar numbers
+@unnumberedsubsubsec Bar numbers
 
 @cindex bar numbers
 @cindex measure numbers
@@ -2008,7 +2076,7 @@ the first line.  The number itself is stored in the
 @code{currentBarNumber} property, which is normally updated
 automatically for every measure.  It may also be set manually:
 
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,fragment,relative=1]
 c1 c c c
 \break
 \set Score.currentBarNumber = #50
@@ -2032,8 +2100,8 @@ of the three values is @code{end of line visible}, @code{middle of
 line visible}, @code{beginning of line visible}.  In the following
 example bar numbers are printed at all possible places:
 
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
-\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+@lilypond[verbatim,quote,relative=1]
+\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
 \set Score.currentBarNumber = #11
 \bar ""  % Permit first bar number to be printed
 c1 c c c
@@ -2048,8 +2116,8 @@ c c c c
 and here the bar numbers are printed every two measures
 except at the end of the line:
 
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
-\override Score.BarNumber #'break-visibility = ##(#f #t #t)
+@lilypond[verbatim,quote,relative=1]
+\override Score.BarNumber #'break-visibility = #'#(#f #t #t)
 \set Score.currentBarNumber = #11
 \bar ""  % Permit first bar number to be printed
 % Print a bar number every second measure
@@ -2067,7 +2135,7 @@ in the following example, which also shows how to enclose bar
 numbers in boxes and circles, and shows an alternative way
 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
 
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
 % Prevent bar numbers at the end of a line and permit them elsewhere
 \override Score.BarNumber #'break-visibility
   = #end-of-line-invisible
@@ -2095,9 +2163,9 @@ within a line, the left bar line of the measure.  The numbers may also
 be positioned directly on the bar line or right-aligned to the
 bar line:
 
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
 \set Score.currentBarNumber = #111
-\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
 % Increase the size of the bar number by 2
 \override Score.BarNumber #'font-size = #2
 % Print a bar number every second measure
@@ -2114,7 +2182,7 @@ c1 c1
 Bar numbers can be removed entirely by removing the
 @code{Bar_number_engraver} from the @code{Score} context.
 
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
 \layout {
   \context {
     \Score
@@ -2148,7 +2216,7 @@ number at the beginning of a piece, an empty bar line must be
 inserted there, and a value other than @code{1} must be placed
 in @code{currentBarNumber}:
 
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
 \set Score.currentBarNumber = #50
 \bar ""
 c1 c c c
@@ -2159,7 +2227,7 @@ c1 c c c
 
 
 @node Bar and bar number checks
-@subsubsection Bar and bar number checks
+@unnumberedsubsubsec Bar and bar number checks
 
 @cindex bar check
 @funindex barCheckSynchronize
@@ -2208,7 +2276,7 @@ In the following example @code{|} is set to insert a double bar
 line wherever it appears in the input, rather than checking
 for end of bar.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,verbatim]
 pipeSymbol = \bar "||"
 {
   c'2 c'2 |
@@ -2238,7 +2306,7 @@ Snippets:
 
 
 @node Rehearsal marks
-@subsubsection Rehearsal marks
+@unnumberedsubsubsec Rehearsal marks
 
 @cindex rehearsal marks
 @cindex mark, rehearsal
@@ -2246,7 +2314,7 @@ Snippets:
 
 To print a rehearsal mark, use the @code{\mark} command
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 c1 \mark \default
 c1 \mark \default
 c1 \mark #8
@@ -2281,13 +2349,15 @@ following example, @code{markFormatter} is set to a pre-defined
 procedure.  After a few measures, it is set to a procedure that
 produces a boxed number.
 
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \set Score.markFormatter = #format-mark-numbers
 c1 \mark \default
 c1 \mark \default
 \set Score.markFormatter = #format-mark-box-numbers
 c1 \mark \default
+\set Score.markFormatter = #format-mark-circle-numbers
 c1 \mark \default
+\set Score.markFormatter = #format-mark-circle-letters
 c1
 @end lilypond
 
@@ -2324,7 +2394,7 @@ string.
 Music glyphs (such as the segno sign) may be printed inside a
 @code{\mark}
 
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
+@lilypond[quote,verbatim,relative=1]
 c1 \mark \markup { \musicglyph #"scripts.segno" }
 c1 \mark \markup { \musicglyph #"scripts.coda" }
 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
@@ -2340,20 +2410,20 @@ For common tweaks to the positioning of rehearsal marks, see
 
 @seealso
 
-Snippets:
-@rlsr{Rhythms}.
-
-This manual: @ref{The Feta font}, @ref{Formatting text}.
-
-Internals Reference: @rinternals{RehearsalMark}.
+Notation Reference:
+@ref{The Feta font},
+@ref{Formatting text}.
 
-Init files: @file{scm/@/translation@/-functions@/.scm} contains
+Installed Files:
+@file{scm/@/translation@/-functions@/.scm} contains
 the definition of @code{format-mark-numbers} and
 @code{format-mark-letters}.  They can be used as inspiration for
 other formatting functions.
 
-Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
+Snippets:
+@rlsr{Rhythms}.
 
+Internals Reference: @rinternals{RehearsalMark}.
 
 @node Special rhythmic concerns
 @subsection Special rhythmic concerns
@@ -2366,7 +2436,7 @@ Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
 @end menu
 
 @node Grace notes
-@subsubsection Grace notes
+@unnumberedsubsubsec Grace notes
 
 @funindex \grace
 @cindex ornaments
@@ -2374,42 +2444,35 @@ Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
 @cindex appoggiatura
 @cindex acciaccatura
 
-Grace notes are ornaments that are written out. They are made with
-the @code{\grace} command.  By prefixing this keyword to a music
-expression, a new one is formed, which will be printed in a
-smaller font and takes up no logical time in a measure.
+Grace notes are ornaments that are written out. Grace notes
+are printed in a smaller font and take up no logical time
+in a measure.
 
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
 c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
+\grace { c16[ d16] } c2
 @end lilypond
 
-Two special forms of the @code{\grace} command exist.
-An @emph{acciaccatura}, which should be played as very short,
-is denoted by a slurred small note with a slashed stem.  The
-@emph{appoggiatura}, a grace note that takes a fixed fraction of the
-main note, is denoted as a slurred note in small print without
-a slash.  They are entered with the commands @code{\acciaccatura}
-and @code{\appoggiatura}, as demonstrated in the following
-example:
+Lilypond also supports two special types of grace notes, the
+@emph{acciaccatura}--an unmeasured grace note indicated by a slurred
+small note with a slashed stem--and the @emph{appoggiatura}, which
+takes a fixed fraction of the main note and appears in small print
+without a slash.
 
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4
+@lilypond[quote,relative=2,verbatim]
+\grace c8 b4
+\acciaccatura d8 c4
 \appoggiatura e8 d4
 \acciaccatura { g16[ f] } e4
 @end lilypond
 
-@noindent
-@code{\acciaccatura} and @code{\appoggiatura} start a slur,
-@code{\grace} does not.
-
 The placement of grace notes is synchronized between different
 staves.  In the following example, there are two sixteenth grace
 notes for every eighth grace note
 
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \grace { c16[ d e f] } e4 }
-   \new Staff { c4 \grace { g8[ b] } c4 } >>
+@lilypond[quote,relative=2,verbatim]
+<< \new Staff { e2 \grace { c16[ d e f] } e2 }
+   \new Staff { c2 \grace { g8[ b] } c2 } >>
 @end lilypond
 
 @funindex \afterGrace
@@ -2420,101 +2483,122 @@ If you want to end a note with a grace, use the @code{\afterGrace}
 command.  It takes two arguments: the main note, and the grace
 notes following the main note.
 
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-c1 \afterGrace d1 { c16[ d] } c4
+@lilypond[quote,verbatim,relative=2]
+c1 \afterGrace d1 { c16[ d] } c1
 @end lilypond
 
-This will put the grace notes after a @q{space} lasting 3/4 of the
-length of the main note.  The fraction 3/4 can be changed by
-setting @code{afterGraceFraction}, i.e.,
-
-@example
-#(define afterGraceFraction (cons 7 8))
-@end example
+This will put the grace notes after a space lasting 3/4 of the
+length of the main note.  The default fraction 3/4 can be changed by
+setting @code{afterGraceFraction}.  The following example shows
+the results from setting the space at the default,  at 15/16, and
+finally at 1/2 of the main note.
 
-@noindent
-will put the grace note at 7/8 of the main note.
+@lilypond[quote,verbatim,relative=2]
+<<
+  \new Staff {
+    c1 \afterGrace d1 { c16[ d] } c1
+  }
+  \new Staff {
+    #(define afterGraceFraction (cons 15 16))
+    c1 \afterGrace d1 { c16[ d] } c1
+  }
+  \new Staff {
+    #(define afterGraceFraction (cons 1 2))
+    c1 \afterGrace d1 { c16[ d] } c1
+  }
+>>
+@end lilypond
 
-The same effect can be achieved manually by doing
+The space between the main note and the grace note may also be
+specified using spacers. The following example places the grace
+note after a space lasting 7/8 of the main note.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \new Voice {
   << { d1^\trill_( }
-     { s2 \grace { c16[ d] } } >>
-  c4)
+     { s2 s4. \grace { c16[ d] } } >>
+  c1)
 }
 @end lilypond
 
-@noindent
-By adjusting the duration of the skip note (here it is a
-half-note), the space between the main note and the grace
-may be adjusted.
-
 A @code{\grace} music expression will introduce special
 typesetting settings, for example, to produce smaller type, and
-set directions.  Hence, when introducing layout tweaks, they
-should be inside the grace expression, for example,
+set directions.  Hence, when introducing layout tweaks to
+override the special settings, they should be placed inside
+the grace expression. The overrides should also be reverted
+inside the grace expression. Here, the grace note's default stem
+direction is overriden and then reverted.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \new Voice {
   \acciaccatura {
     \stemDown
     f16->
     \stemNeutral
   }
-  g4
+  g4 e c2
 }
 @end lilypond
 
-@noindent
-The overrides should also be reverted inside the grace expression.
+
+@cindex stem, with slash
+
+
+@snippets
+
+The slash through the stem found in @emph{acciaccatura}s can be applied
+in other situations:
+
+@lilypond[quote,verbatim,relative=2]
+\relative c'' {
+  \override Stem #'stroke-style = #"grace"
+  c8( d2) e8( f4)
+}
+@end lilypond
 
 The layout of grace expressions can be changed throughout the
 music using the function @code{add-grace-property}.  The following
 example undefines the @code{Stem} direction for this grace, so
 that stems do not always point up.
 
-@example
-\new Staff @{
-  #(add-grace-property 'Voice 'Stem 'direction '())
-  @dots{}
-@}
-@end example
+@lilypond[quote,verbatim,relative=2]
+\relative c'' {
+  \new Staff {
+    #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
+    #(remove-grace-property 'Voice 'Stem 'direction)
+    \new Voice {
+       \acciaccatura { f16 } g4
+       \grace { d16[ e] } f4
+       \appoggiatura { a,32[ b c d] } e2
+    }
+  }
+}
+@end lilypond
 
-@noindent
 Another option is to change the variables @code{startGraceMusic},
 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
 @code{stopAppoggiaturaMusic}.  The default values of these can be
-seen in the file @file{ly/@/grace@/-init@/.ly}.  By redefining
+seen in the file @code{ly/@/grace@/-init@/.ly}.  By redefining
 them other effects may be obtained.
 
-@cindex stem, with slash
-
-@noindent
-The slash through the stem in @emph{acciaccatura}s can be obtained in
-other situations by @code{\override Stem  #'stroke-style =
-#"grace"}.
-
+Grace notes may be forced to align with regular notes
+in other staves:
 
-@snippets
-
-Grace notes may be forced to use align with regular notes
-in other staves by setting @code{strict-grace-spacing} to
-##t:
-
-@lilypond[verbatim,quote,relative=2]
-<<
-  \override Score.SpacingSpanner #'strict-grace-spacing = ##t
-  \new Staff {
-    c4
-    \afterGrace c4 { c16[ c8 c16] }
-    c4 r
-  }
-  \new Staff {
-    c16 c c c c c c c c4 r
-  }
->>
+@lilypond[verbatim,quote]
+\relative c'' {
+  <<
+    \override Score.SpacingSpanner #'strict-grace-spacing = ##t
+    \new Staff {
+      c4
+      \afterGrace c4 { c16[ c8 c16] }
+      c4 r
+    }
+    \new Staff {
+      c16 c c c c c c c c4 r
+    }
+  >>
+}
 @end lilypond
 
 
@@ -2523,19 +2607,21 @@ in other staves by setting @code{strict-grace-spacing} to
 Music Glossary:
 @rglos{grace notes},
 @rglos{acciaccatura},
-@rglos{appoggiatura}
+@rglos{appoggiatura}.
 
-Snippets:
-@rlsr{Rhythms}.
+Installed Files: @file{ly/@/grace@/-init@/.ly}.
+
+Snippets: @rlsr{Rhythms}.
 
 Internals Reference: @rinternals{GraceMusic}.
 
 
 @knownissues
 
-A multi-note beamed @emph{acciaccatura} is printed without a slash,
+A multi-note beamed @i{acciaccatura} is printed without a slash,
 and looks exactly the same as a multi-note beamed
-@emph{appoggiatura}.
+@i{appoggiatura}.
+
 @c TODO Add link to LSR snippet to add slash when available
 
 Grace note synchronization can also lead to surprises.  Staff
@@ -2543,18 +2629,18 @@ notation, such as key signatures, bar lines, etc., are also
 synchronized.  Take care when you mix staves with grace notes and
 staves without, for example,
 
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
-   \new Staff { c4 \bar "|:" d4 } >>
+@lilypond[quote,relative=2,verbatim]
+<< \new Staff { e4 \bar "|:" \grace c16 d2. }
+   \new Staff { c4 \bar "|:" d2. } >>
 @end lilypond
 
 @noindent
 This can be remedied by inserting grace skips of the corresponding
 durations in the other staves.  For the above example
 
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
-   \new Staff { c4 \bar "|:" \grace s16 d4 } >>
+@lilypond[quote,relative=2,verbatim]
+<< \new Staff { e4 \bar "|:" \grace c16 d2. }
+   \new Staff { c4 \bar "|:" \grace s16 d2. } >>
 @end lilypond
 
 Grace sections should only be used within sequential music
@@ -2562,46 +2648,53 @@ expressions.  Nesting or juxtaposing grace sections is not
 supported, and might produce crashes or other errors.
 
 @node Aligning to cadenzas
-@subsubsection Aligning to cadenzas
+@unnumberedsubsubsec Aligning to cadenzas
 
 @cindex cadenza
 @cindex cadenza, aligning to
 @cindex aligning to cadenza
 
 In an orchestral context, cadenzas present a special problem: when
-constructing a score that includes a cadenza, all other
-instruments should skip just as many notes as the length of the
-cadenza, otherwise they will start too soon or too late.
+constructing a score that includes a measured cadenza or other solo
+passage, all other instruments should skip just as many notes as the
+length of the cadenza, otherwise they will start too soon or too late.
 
-A solution to this problem is to use the functions
+One solution to this problem is to use the functions
 @code{mmrest-of-length} and @code{skip-of-length}.  These Scheme
-functions take a piece of music as argument, and generate a multi-measure
-rest or @code{\skip}, exactly as long as the piece.  The use of
-@code{mmrest-of-length} is demonstrated in the following example.
-
-@lilypond[verbatim,ragged-right,quote]
-cadenza = \relative c' {
-  c4 d8 << { e f g } \\ { d4. } >>
-  g4 f2 g4 g
+functions take a defined piece of music as an argument and generate a
+multi-measure rest or @code{\skip} exactly as long as the piece.
+
+@lilypond[verbatim,quote]
+MyCadenza = \relative c' {
+  c4 d8 e f g g4
+  f2 g4 g
 }
 
 \new GrandStaff <<
-  \new Staff { \cadenza c'4 }
   \new Staff {
-    #(ly:export (mmrest-of-length cadenza))
-    c'4
+    \MyCadenza c'1
+    \MyCadenza c'1
+  }
+  \new Staff {
+    #(ly:export (mmrest-of-length MyCadenza))
+    c'1
+    #(ly:export (skip-of-length MyCadenza))
+    c'1
   }
 >>
 @end lilypond
 
 @seealso
 
+Music Glossary:
+@rglos{cadenza}.
+
 Snippets:
 @rlsr{Rhythms}.
 
 
 @node Time administration
-@subsubsection Time administration
+@unnumberedsubsubsec Time administration
 
 @cindex time administration
 @cindex timing (within the score)
@@ -2654,7 +2747,7 @@ At 4/8 through the third measure, the @code{measurePosition} is
 advanced by 1/8 to 5/8, shortening that bar by 1/8.
 The next bar line then falls at 9/8 rather than 5/4.
 
-@lilypond[quote,ragged-right,verbatim,relative,fragment]
+@lilypond[quote,verbatim,relative=1]
 \set Score.measureLength = #(ly:make-moment 5 4)
 c1 c4
 c1 c4
@@ -2681,3 +2774,4 @@ Snippets:
 
 Internals Reference: @rinternals{Timing_translator},
 @rinternals{Score}
+