X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Frhythms.itely;h=c64ea779a6f6d78ee9d9b4dc75e6de5e114ea940;hb=c6554467b0a9beddf0d7ef12746ae31a25fe36e7;hp=11b06392341981571c0d08ee723ca25b70e88c49;hpb=5cfe4870e6871699219fa7a27a27d852d47bc54f;p=lilypond.git

diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index 11b0639234..c64ea779a6 100644
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -8,29 +8,6 @@
 
 @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.
-@end ignore
-
 @node Rhythms
 @section Rhythms
 
@@ -78,7 +55,7 @@ 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 +66,7 @@ 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 +81,7 @@ 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 +94,7 @@ 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
 
@@ -203,7 +180,7 @@ 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 +195,7 @@ 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
@@ -303,7 +280,7 @@ 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 +307,7 @@ 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
@@ -376,8 +353,8 @@ 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 +363,7 @@ 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 +383,7 @@ 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 +397,7 @@ 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 +415,7 @@ 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
 
@@ -540,7 +517,7 @@ 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 +548,7 @@ 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
 
@@ -626,7 +603,7 @@ 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
@@ -676,7 +653,7 @@ 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 +667,7 @@ 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 +683,7 @@ 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 +702,7 @@ 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 +728,7 @@ 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 +742,7 @@ 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"
@@ -860,7 +837,7 @@ 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
@@ -871,9 +848,9 @@ 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
-@c 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
@@ -890,7 +867,7 @@ 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
@@ -915,71 +892,8 @@ Mensural 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}
-and @code{beatGrouping}, how
-automatic beams should be generated.
-
-@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
-
-@cindex measure groupings
-@cindex beats, grouping
-@cindex grouping beats
-@cindex measure sub-grouping
-
-@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"
-    }
-  }
-}
-@end lilypond
-@c TODO End of snippet called "grouping beats"
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-time-signature-without-affecting-the-beaming.ly}
 
 @cindex compound time signatures
 @cindex time signature, compound
@@ -1021,20 +935,20 @@ 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} 
+\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
@@ -1053,10 +967,10 @@ command: i.e., @code{\partial 4} is internally translated to
 
 @seealso
 
-Music Glossary: 
+Music Glossary:
 @rglos{anacrusis}.
 
-Notation Reference: 
+Notation Reference:
 @ref{Grace notes}.
 
 Snippets:
@@ -1084,10 +998,10 @@ odd warnings may occur.
 Bar lines and bar numbers are calculated automatically.  For
 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.
@@ -1099,7 +1013,7 @@ 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
@@ -1143,31 +1057,37 @@ to indicate where breaks can occur.
 @node Polymetric notation
 @unnumberedsubsubsec Polymetric notation
 
+@c This section necessarily uses \set
+@c This is acceptable  -td
+
 @cindex double time signatures
 @cindex signatures, polymetric
 @cindex polymetric signatures
 @cindex meter, polymetric
 
-Polymetric notation is supported, either explicitly or through
-clever use of markup features.
+Polymetric notation is supported, either explicitly or by modifying
+the visible time signature symbol and scaling the note durations.
 
-@strong{Staves with different time signatures, equal measure lengths}
+@strong{@i{Staves with different time signatures, equal measure lengths}}
 
 This notation can be created by setting a common time signature
 for each staff but replacing the symbol manually by setting
 @code{timeSignatureFraction} to the desired fraction and scaling
 the printed durations in each staff to the common time
-signature.  This is done with @code{\scaleDurations}, which
-is used in a similar way to @code{\times}, but does not create
-a tuplet bracket, see @ref{Scaling durations}.
+signature; see @ref{Time signature}.  The scaling is done with
+@code{\scaleDurations}, which is used in a similar way to
+@code{\times}, but does not create a tuplet bracket; see
+@ref{Scaling durations}.
 
 In this example, music with the time signatures of 3/4, 9/8, and
 10/8 are used in parallel.  In the second staff, shown durations
 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.
+It will often be necessary to insert beams manually, as the
+duration scaling affects the autobeaming rules.
 
-@lilypond[quote,ragged-right,verbatim,fragment]
-\relative c' { <<
+@lilypond[quote,verbatim,fragment]
+\relative c' <<
   \new Staff {
     \time 3/4
     c4 c c |
@@ -1177,7 +1097,7 @@ staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
     \time 3/4
     \set Staff.timeSignatureFraction = #'(9 . 8)
     \scaleDurations #'(2 . 3)
-      \repeat unfold 6 { c8[ c c] }
+    \repeat unfold 6 { c8[ c c] }
   }
   \new Staff {
     \time 3/4
@@ -1185,18 +1105,19 @@ staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
     \scaleDurations #'(3 . 5) {
       \repeat unfold 2 { c8[ c c] }
       \repeat unfold 2 { c8[ c] } |
-      c4. c4. \times 2/3 { c8 c c } c4
+      c4. c4. \times 2/3 { c8[ c c] } c4
     }
   }
->> }
+>>
 @end lilypond
 
-@strong{Staves with different time signatures, unequal bar lengths}
+@strong{@i{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.
+moving the @code{Timing_translator} and the
+@code{Default_bar_line_engraver} to the @code{Staff} context.
 
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[quote,verbatim]
 \layout {
   \context {
     \Score
@@ -1247,7 +1168,9 @@ Music Glossary:
 @rglos{polymetric time signature},
 @rglos{meter}.
 
-Notation Reference: @ref{Scaling durations}
+Notation Reference:
+@ref{Time signature},
+@ref{Scaling durations}.
 
 Snippets:
 @rlsr{Rhythms}.
@@ -1255,6 +1178,7 @@ Snippets:
 Internals Reference:
 @rinternals{TimeSignature},
 @rinternals{Timing_translator},
+@rinternals{Default_bar_line_engraver},
 @rinternals{Staff}.
 
 @knownissues
@@ -1278,7 +1202,7 @@ to tied notes.  This is done by replacing 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"
@@ -1312,7 +1236,7 @@ Internals Reference:
 @knownissues
 
 Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the 
+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
@@ -1326,7 +1250,7 @@ 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
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
 <<
   \new RhythmicStaff {
     \new Voice = "myRhythm" {
@@ -1349,7 +1273,7 @@ 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 {
@@ -1375,58 +1299,9 @@ be done with the @code{Pitch_squash_engraver} and
 @code{\improvisationOff}.
 
 @snippets
-@c TODO -- Convert to snippet;
-@c     tag for both Rhythms and Guitar? Move to @seealso?
-
-For guitar music, it is possible to show strum rhythms, along
-with melody notes, chord names, and fret diagrams.
-
-
-@lilypond[quote,verbatim]
-\include "predefined-guitar-fretboards.ly"
-<<
-  \new ChordNames {
-    \chordmode {
-      c1 f g c
-    }
-  }
-
-  \new FretBoards {
-    \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
-  }
 
-
-  \new Voice = "melody" {
-    \relative c'' {
-      \improvisationOff
-      c2 e4 e4 
-      f2. r4
-      g2. a4
-      e4 c2.
-    }
-  }
- 
-  \new Lyrics {
-    \lyricsto "melody" {
-      This is my song.
-      I like to sing.
-    }
-  }
->>
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{guitar-strum-rhythms.ly}
 
 @seealso
 
@@ -1455,25 +1330,35 @@ 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 a particular beam's duration in the time signature being
+used, its 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.
@@ -1487,90 +1372,24 @@ c16 c8
 
 @snippets
 
-@c TODO -- convert to snippet
-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
-
-@c TODO  convert to snippet
-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
 
-@c TODO  convert to snippet
-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
-
-@c TODO convert to snippet
-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}, 
+Notation Reference:
+@ref{Manual beams},
 @ref{Setting automatic beam behavior}.
 
 Installed Files:
-@file{scm/auto-beam.scm}.
+@file{scm/@/auto@/-beam@/.scm}.
 
 Snippets:
 @rlsr{Rhythms}.
@@ -1589,50 +1408,157 @@ Beams can collide with note heads and accidentals in other voices
 @node 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 and beam durations combinations 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 beam duration of a
+particular beam in the time signature in use, its 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
+
+@item If @code{beatGrouping} and @code{beatLength} are consistent
+with @code{measureLength}, @code{beatGrouping} is used to determine
+the end points of beams.
+
+@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 become effective for a particular
+beam @strong{only} if there are no beam-ending rules predefined for
+that beam's duration in the time signature in use, 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}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{specifying-context-with-beatgrouping.ly}
 
-@c [TODO: use \applyContext]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-beatlength-and-beatgrouping.ly}
+
+@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 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}.
+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 
-  '(beam-limit beam-numerator  beam-denominator
-     time-signature-numerator time-signature-denominator) 
+#(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{beam-limit} is the type of automatic beam limit
-defined, either @code{begin} or @code{end}.
+defined.  This can be either @code{begin} or @code{end} but
+only @code{end} is effective.
 
 @item @code{beam-numerator/beam-denominator} is the beam duration
-for which you want to add a rule.  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 beams of any 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{time-signature-numerator/time-signature-denominator}
-is the time signature to which
-this rule should apply.  Set @code{time-signature-numerator} and 
-@code{time-signature-denominator} to @code{'*'}
-to have this rule apply in any time signature.
+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{monent-numerator/moment-denominator} is the position 
-in the bar at which the beam should
-begin or 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}.
@@ -1642,18 +1568,19 @@ the change should be made.  The default is @code{'Voice}.
 
 @end itemize
 
-TODO -- convert to music example
 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)
@@ -1664,10 +1591,10 @@ a32 a a a a16 a a a a a |
 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)
@@ -1678,24 +1605,50 @@ e8 e f f e e d d
 c8 c d d d
 @end lilypond
 
-Existing auto-beam rules are removed 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
+
+@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 
-  '(beam-limit beam-numerator  beam-denominator
-     time-signature-numerator time-signature-denominator) 
+#(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{beam-limit}, @code{beam-numerator}, @code{beam-denominator}, 
+@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.  Note that the default auto-beaming rules are 
-specified in @file{scm/@/auto@/-beam@/.scm},
-so you can revert rules that you did not explicitly create.
+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
@@ -1707,7 +1660,7 @@ 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
@@ -1717,59 +1670,41 @@ 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
-
-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
-#(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).
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{reverting-default-beam-endings.ly}
 
-For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
-with
+@c TODO Convert to snippet called "Beam endings in Score context"
+@c Submitted to LSR 3 Nov 08
 
-@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
+Beam-ending rules specified in the Score context apply to all
+staves, but can be modified at both Staff and Voice levels:
 
-@cindex automatic beam generation
-@cindex autobeam
-@funindex autoBeaming
-@cindex lyrics
-
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off with @code{\autoBeamOff}.
+@lilypond[quote,verbatim,relative=2]
+  \time 5/4
+  % Set default beaming for all staves
+  #(override-auto-beam-setting '(end * * 5 4) 3 8 'Score)
+  #(override-auto-beam-setting '(end * * 5 4) 7 8 'Score)
+  <<
+    \new Staff {
+      c8 c c c c c c c c c
+    }
+    \new Staff {
+      % Modify beaming for just this staff
+      #(override-auto-beam-setting '(end * * 5 4) 6 8 'Staff)
+      #(revert-auto-beam-setting '(end * * 5 4) 7 8 'Staff)
+      c8 c c c c c c c c c
+    }
+    \new Staff {
+      % Inherit beaming from Score context
+      c8 c c c c c c c c c
+    }
+  >>
+@end lilypond
 
 
 @predefined
@@ -1808,7 +1743,7 @@ 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
 }
@@ -1818,7 +1753,7 @@ 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
 
@@ -1834,29 +1769,28 @@ 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.
 
-TODO -- no difference based on stemLeftBeamCount in this example
-@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
 
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{flat-flags-and-beam-nibs.ly}
+
 @node Feathered beams
 @unnumberedsubsubsec Feathered beams
 
 @cindex beams, feathered
 @funindex \featherDurations
 
-TODO -- this section relies on overrides.  We need to either add
-a predefined, move this to snippets (whole section), or violate
-policy for this section.
-
 Feathered beams are used to indicate that a small group of notes
 should be played at an increasing (or decreasing) tempo, without
 changing the overall tempo of the piece.  The extent of the
@@ -1877,15 +1811,13 @@ which notes are to have their durations modified.  Normally
 these would delimit the same group of notes, but this is not
 required: the two commands are independent.
 
-@c TODO -- eliminate "Talking through code"
-
 In the following example the eight 16th notes occupy exactly the
 same time as a half note, but the first note is one half as long
 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] }
@@ -1899,10 +1831,7 @@ 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.
-
-@c TODO -- resolve whether or not midi is capitalized -- policy 
-@c  decision needed
+note durations only approximately, but the MIDI output is exact.
 
 @knownissues
 
@@ -1944,25 +1873,21 @@ 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
 
-@c TODO -- make this warning more clear.  What does it mean?
-@warning{An incorrect duration can lead to poorly formatted
-music.}
-
-@c TODO -- check this.  I think this behavior no longer happens
-@c with completion_heads_engraver, but it may with note_heads_engraver
-@c Make an example showing the problem
-
 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
@@ -1993,21 +1918,21 @@ the calculation and placement of subsequent automatic bar lines.
 The simple bar line and five types of double bar line are available
 for manual insertion:
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@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 five types of repeat bar line:
 
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
 @end lilypond
 
@@ -2024,7 +1949,7 @@ 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 "||:"
@@ -2038,7 +1963,7 @@ 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 {
@@ -2069,9 +1994,10 @@ 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}.
@@ -2094,7 +2020,7 @@ 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
@@ -2118,7 +2044,7 @@ 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]
+@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
@@ -2134,7 +2060,7 @@ 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]
+@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
@@ -2153,7 +2079,7 @@ 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
@@ -2181,7 +2107,7 @@ 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)
 % Increase the size of the bar number by 2
@@ -2200,7 +2126,7 @@ 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
@@ -2234,7 +2160,7 @@ 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
@@ -2294,7 +2220,7 @@ 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 |
@@ -2332,7 +2258,7 @@ 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
@@ -2367,13 +2293,15 @@ 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
 
@@ -2410,7 +2338,7 @@ 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" }
@@ -2426,11 +2354,11 @@ For common tweaks to the positioning of rehearsal marks, see
 
 @seealso
 
-This manual: 
-@ref{The Feta font}, 
+Notation Reference:
+@ref{The Feta font},
 @ref{Formatting text}.
 
-Installed Files: 
+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
@@ -2441,8 +2369,6 @@ Snippets:
 
 Internals Reference: @rinternals{RehearsalMark}.
 
-Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
-
 @node Special rhythmic concerns
 @subsection Special rhythmic concerns
 
@@ -2463,22 +2389,22 @@ Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
 @cindex acciaccatura
 
 Grace notes are ornaments that are written out. Grace notes
-are printed in a smaller font and take up no logical time 
+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
 @end lilypond
 
-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 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]
-\grace c8 b4 
+@lilypond[quote,relative=2,verbatim]
+\grace c8 b4
 \acciaccatura d8 c4
 \appoggiatura e8 d4
 \acciaccatura { g16[ f] } e4
@@ -2488,7 +2414,7 @@ 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]
+@lilypond[quote,relative=2,verbatim]
 << \new Staff { e2 \grace { c16[ d e f] } e2 }
    \new Staff { c2 \grace { g8[ b] } c2 } >>
 @end lilypond
@@ -2501,17 +2427,17 @@ 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]
+@lilypond[quote,verbatim,relative=2]
 c1 \afterGrace d1 { c16[ d] } c1
 @end lilypond
 
 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 
+the results from setting the space at the default,  at 15/16, and
 finally at 1/2 of the main note.
 
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
 <<
   \new Staff {
     c1 \afterGrace d1 { c16[ d] } c1
@@ -2531,7 +2457,7 @@ 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 s4. \grace { c16[ d] } } >>
@@ -2547,7 +2473,7 @@ 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
@@ -2564,10 +2490,10 @@ direction is overriden and then reverted.
 
 @snippets
 
-The slash through the stem found in @emph{acciaccatura}s can be applied 
+The slash through the stem found in @emph{acciaccatura}s can be applied
 in other situations:
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \relative c'' {
   \override Stem #'stroke-style = #"grace"
   c8( d2) e8( f4)
@@ -2579,13 +2505,13 @@ 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.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@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 
+       \acciaccatura { f16 } g4
        \grace { d16[ e] } f4
        \appoggiatura { a,32[ b c d] } e2
     }
@@ -2603,7 +2529,7 @@ them other effects may be obtained.
 Grace notes may be forced to align with regular notes
 in other staves:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   <<
     \override Score.SpacingSpanner #'strict-grace-spacing = ##t
@@ -2636,9 +2562,10 @@ 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
@@ -2646,7 +2573,7 @@ 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]
+@lilypond[quote,relative=2,verbatim]
 << \new Staff { e4 \bar "|:" \grace c16 d2. }
    \new Staff { c4 \bar "|:" d2. } >>
 @end lilypond
@@ -2655,7 +2582,7 @@ staves without, for example,
 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]
+@lilypond[quote,relative=2,verbatim]
 << \new Staff { e4 \bar "|:" \grace c16 d2. }
    \new Staff { c4 \bar "|:" \grace s16 d2. } >>
 @end lilypond
@@ -2673,23 +2600,23 @@ supported, and might produce crashes or other errors.
 
 In an orchestral context, cadenzas present a special problem: when
 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. 
+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.
 
 One solution to this problem is to use the functions
 @code{mmrest-of-length} and @code{skip-of-length}.  These Scheme
-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.  
+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,ragged-right,quote]
+@lilypond[verbatim,quote]
 MyCadenza = \relative c' {
-  c4 d8 e f g g4 
+  c4 d8 e f g g4
   f2 g4 g
 }
 
 \new GrandStaff <<
-  \new Staff { 
-    \MyCadenza c'1 
+  \new Staff {
+    \MyCadenza c'1
     \MyCadenza c'1
   }
   \new Staff {
@@ -2764,7 +2691,7 @@ 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