X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Ftutorial.itely;h=8549412cd8c38cad440103e8491dc1c4450aa593;hb=644aaf7fa495930384e446df894b12124b4fd727;hp=ccdb7a739049c12a7f0925ddbe643d4f8a1d905e;hpb=9cf485743fe1f5f6e2de3d2c5e070b67055edeb7;p=lilypond.git

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index ccdb7a7390..8549412cd8 100644
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -10,15 +10,15 @@
 @ignore
 Tutorial guidelines:
 - unless you have a really good reason, use either
-    @l ilypond[quote,ragged-right,verbatim]
+    @l ilypond[verbatim,quote,ragged-right]
   or
-    @l ilypond[quote,ragged-right,verbatim,fragment,relative=2]
+    @l ilypond[verbatim,quote,ragged-right,fragment,relative=2]
   (without spaces)
   Don't use any other relative=X commands (make it a non-fragment
   example), and don't use fragment without relative=2.
 - use "aes" and "ees" instead of "as" and "aes".  I know it's not
-  correct Dutch naming, but let's not confuse people with this until
-  we get to the Basic notation chapter.
+  correct Dutch naming, but let's not confuse people with this
+  until we get to the Basic notation chapter.
 @end ignore
 
 
@@ -38,15 +38,15 @@ Tutorial guidelines:
 @chapter Tutorial
 
 This tutorial starts with an introduction to the LilyPond music
-language and how to produce printed music.  After this first contact we
-will explain how to create common musical notation.
+language and how to produce printed music.  After this first
+contact we will explain how to create common musical notation.
 
 @ifhtml
 Many people learn programs by trying and fiddling around with the
 program.  This is also possible with LilyPond.  If you click on a
 picture in the HTML version of this manual, you will see the exact
-LilyPond input that was used to generate that image.
-Try it on this image
+LilyPond input that was used to generate that image.  Try it on
+this image
 
 @c no verbatim here
 @lilypond[quote,ragged-right]
@@ -55,11 +55,12 @@ Try it on this image
 }
 @end lilypond
 
-By cutting and pasting everything in the @qq{ly snippet} section, you have a
-starting template for experiments.  If you like learning in this way,
-you will probably want to print out or bookmark the
-@ref{Cheat sheet}, which is a table listing of the most common
-commands for quick reference.
+By cutting and pasting everything in the @qq{ly snippet} section,
+you have a starting template for experiments.  If you like
+learning in this way, you will probably want to print out or
+bookmark the @ruser{Cheat sheet}, which is a table listing of the
+most common commands for quick reference.
+
 @end ifhtml
 
 @menu
@@ -87,8 +88,8 @@ This section gives a basic introduction to working with LilyPond.
 @node Compiling a file
 @subsection Compiling a file
 
-The first example demonstrates how to start working with LilyPond.  To
-create sheet music, we write a text file that specifies the
+The first example demonstrates how to start working with LilyPond.
+To create sheet music, we write a text file that specifies the
 notation.  For example, if we write
 
 @example
@@ -107,68 +108,76 @@ the result looks like this
 }
 @end lilypond
 
-@strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
-braces @}} placed around the input.  The braces should also be
-surrounded by a space unless they are at the beginning or end of a
-line to avoid ambiguities.  These may be omitted in some examples in this
-manual, but don't forget them in your own music!
+@strong{Warning:} Every piece of LilyPond input needs to have
+@strong{@{ curly braces @}} placed around the input.  The braces
+should also be surrounded by a space unless they are at the
+beginning or end of a line to avoid ambiguities.  These may be
+omitted in some examples in this manual, but don't forget them in
+your own music!
 
 @cindex Case sensitive
-In addition, LilyPond input is @strong{case sensitive}.  @code{ @{ c d e @} }
-is valid input; @code{ @{ C D E @} } will produce an error message.
+In addition, LilyPond input is @strong{case sensitive}.  @code{
+@{c d e @}} is valid input; @code{@{ C D E @}} will produce an
+error message.
 
 @sp 1
 
 @subheading Entering music and viewing output
 
-In this section we will explain what commands to run
-and how to view or print the output.
+In this section we will explain what commands to run and how to
+view or print the output.
 
 @subsubheading MacOS X
 
-If you double click LilyPond.app, it will open with an example
-file.  Save it, for example, to @file{test.ly} on your Desktop, and
-then process it with the menu command @samp{Compile > Typeset File}.
-The resulting PDF file will be displayed on your screen.
+If you double click @code{LilyPond.app}, it will open with an
+example file.  Save it, for example, to @file{test.ly} on your
+Desktop, and then process it with the menu command @samp{Compile >
+Typeset File}.  The resulting PDF file will be displayed on your
+screen.
 
-Be warned that the first time you ever run LilyPond, it will take a minute
-or two because all of the system fonts have to be analyzed first.
+Be warned that the first time you ever run LilyPond, it will take
+a minute or two because all of the system fonts have to be
+analyzed first.
 
 For future use of LilyPond, you should begin by selecting @q{New}
-or "@q{Open}.  You must save your file before typesetting it.  If any errors
-occur in processing, please see the log window.
+or @q{Open}.  You must save your file before typesetting it.  If
+any errors occur in processing, please see the log window.
 
 @subsubheading Windows
 
-On Windows, if you double-click in the LilyPond icon on the Desktop, it
-will open a simple text editor with an example file. Save it, for
-example, to @file{test.ly} on your Desktop and then double-click on the
-file to process it (the file icon looks like a note).  After some
-seconds, you will get a file @file{test.pdf} 
-on your desktop.  Double-click on this PDF file to view the typeset
+On Windows, if you double-click in the LilyPond icon on the
+Desktop, it will open a simple text editor with an example file.
+Save it, for example, to @file{test.ly} on your Desktop and then
+double-click on the file to process it (the file icon looks like a
+note).  After some seconds, you will get a file @file{test.pdf} on
+your desktop.  Double-click on this PDF file to view the typeset
 score.  An alternative method to process the @file{test.ly} file
-is to drag and drop it onto the LilyPond icon using your mouse pointer.
+is to drag and drop it onto the LilyPond icon using your mouse
+pointer.
 
-To edit an existing @file{.ly} file, right-click on it and select
-@qq{Edit source}. To get an empty file to start from, run the editor
-as described above and use @qq{New} in the @qq{File} menu.
+To edit an existing @file{.ly} file, right-click on it and
+select @qq{Edit source}. To get an empty file to start from, run
+the editor as described above and use @qq{New} in
+the @qq{File} menu.
 
-Double-clicking the file does not only result in a PDF file, but also
-produces a @file{.log} file that contains some information on what LilyPond
-has done to the file.  If any errors occur, please examine this file.
+Double-clicking the file does not only result in a PDF file, but
+also produces a @file{.log} file that contains some information on
+what LilyPond has done to the file.  If any errors occur, please
+examine this file.
 
-Note that there are several other text editors available, with better
-support for LilyPond, see @ref{Editor support} for more information.
+Note that there are several other text editors available, with
+better support for LilyPond, see @rprogram{Text editor support},
+for more information.
 
 @subsubheading Unix
 
-Begin by opening a terminal window and starting a text editor.  For
-example, you could open an xterm and execute
-@code{joe}@footnote{There are macro files for VIM addicts, and there
-is a @code{LilyPond-mode} for Emacs addicts.  If they have not been
-installed already, refer to the file @file{INSTALL.txt}.  The
-easiest editing environment is @file{LilyPondTool}.  See
-@ref{Editor support} for more information.}.  In your
+Begin by opening a terminal window and starting a text editor.
+For example, you could open an xterm and execute
+@code{joe}@footnote{There are macro files for VIM addicts, and
+there is a @code{LilyPond-mode} for Emacs addicts.  If they have
+not been installed already, refer to the file @file{INSTALL.txt}.
+The easiest editing environment is @file{LilyPondTool}.  See
+@rprogram{Text editor support}, for more information.}.  In your
 text editor, enter the following input and save the file as
 @file{test.ly}
 
@@ -207,48 +216,51 @@ Converting to `test.pdf'...
 The result is the file @file{test.pdf} which you can print or view
 with the standard facilities of your operating system.@footnote{If
 your system does not have any such tools installed, you can try
-@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
-available package for viewing and printing PDF and PostScript files.}
+@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a
+freely available package for viewing and printing PDF and
+PostScript files.}
 
 
 @node Simple notation
 @subsection Simple notation
 
-LilyPond will add some notation elements automatically.  In the next
-example, we have only specified four pitches, but LilyPond has
-added a clef, time signature, and rhythms.
+LilyPond will add some notation elements automatically.  In the
+next example, we have only specified four pitches, but LilyPond
+has added a clef, time signature, and rhythms.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 {
   c' e' g' e'
 }
 @end lilypond
 
 @noindent
-This behavior may be altered, but in most cases these automatic values
-are useful.
+This behavior may be altered, but in most cases these automatic
+values are useful.
 
 
 @subheading Pitches
 
-The easiest way to enter notes is by using @code{\relative} mode.  In
-this mode, the @rglos{interval} between the previous note and the
-current note is assumed to be within a @rglos{fourth}.  We begin by
-entering the most elementary piece of music, a @rglos{scale}.
+The easiest way to enter notes is by using @code{\relative} mode.
+In this mode, the @rglos{interval} between the previous note and
+the current note is assumed to be within a @rglos{fourth}.  We
+begin by entering the most elementary piece of music, a
+@rglos{scale}.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c' {
   c d e f
   g a b c
 }
 @end lilypond
 
-The initial note is @rglos{middle C}.  Each successive note
-is within a fourth of the previous note -- in other words, the first
-@samp{c} is the closest C to middle C.  This is followed by the closest
-D to the previous note.  We can create melodies which have larger intervals:
+The initial note is @rglos{middle C}.  Each successive note is
+within a fourth of the previous note -- in other words, the first
+@samp{c} is the closest C to middle C.  This is followed by the
+closest D to the previous note.  We can create melodies which have
+larger intervals:
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c' {
   d f a g
   c b f d
@@ -256,14 +268,15 @@ D to the previous note.  We can create melodies which have larger intervals:
 @end lilypond
 
 @noindent
-As you may notice, this example does not start on middle C.  The first
-note -- the @samp{d} -- is the closest D to middle C.
+As you may notice, this example does not start on middle C.  The
+first note -- the @samp{d} -- is the closest D to middle C.
 
-To add intervals that are larger than a fourth, we can raise the octave
-by adding a single quote @code{'} (or apostrophe) to the note name.  We can
-lower the octave by adding a comma @code{,} to the note name.
+To add intervals that are larger than a fourth, we can raise the
+octave by adding a single quote @code{'} (or apostrophe) to the
+note name.  We can lower the octave by adding a comma @code{,} to
+the note name.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   a a, c' f,
   g g'' a,, f'
@@ -271,20 +284,21 @@ lower the octave by adding a comma @code{,} to the note name.
 @end lilypond
 
 @noindent
-To change a note by two (or more!) octaves, we use multiple @code{''} or
-@code{,,} -- but be careful that you use two single quotes @code{''} and
-not one double quote @code{"}@tie{}!  The initial value in
-@code{\relative c'} may also be modified like this.
+To change a note by two (or more!) octaves, we use multiple
+@code{''} or @code{,,} -- but be careful that you use two single
+quotes @code{''} and not one double quote @code{"}@tie{}!  The
+initial value in @code{\relative c'} may also be modified like
+this.
 
 
 @subheading Durations (rhythms)
 
-The @rglos{duration} of a note is specified by a number after the note
-name.  @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
-@samp{4} for a @rglos{quarter note} and so on.  Beams are added
-automatically.
+The @rglos{duration} of a note is specified by a number after the
+note name.  @samp{1} for a @rglos{whole note}, @samp{2} for a
+@rglos{half note}, @samp{4} for a @rglos{quarter note} and so on.
+Beams are added automatically.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   a1
   a2 a4 a8 a
@@ -294,11 +308,13 @@ automatically.
 
 @noindent
 If you do not specify a duration, the previous duration is used
-for the next note.  The duration of the first note defaults to a quarter.
+for the next note.  The duration of the first note defaults to a
+quarter.
 
-To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
+To create @rglos{dotted note}s, add a dot @samp{.} to the duration
+number.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   a a a4. a8
   a8. a16 a a8. a8 a4.
@@ -310,7 +326,7 @@ To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
 
 A @rglos{rest} is entered just like a note with the name @samp{r}:
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   a r r2
   r8 a r4 r4. r8
@@ -320,9 +336,10 @@ A @rglos{rest} is entered just like a note with the name @samp{r}:
 
 @subheading Time signature
 
-The @rglos{time signature}) can be set with the @code{\time} command:
+The @rglos{time signature}) can be set with the @code{\time}
+command:
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   \time 3/4
   a4 a a
@@ -338,7 +355,7 @@ The @rglos{time signature}) can be set with the @code{\time} command:
 
 The @rglos{clef} can be set using the @code{\clef} command:
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c' {
   \clef treble
   c1
@@ -356,7 +373,7 @@ The @rglos{clef} can be set using the @code{\clef} command:
 
 Here is a small example showing all these elements together:
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c, {
   \time 3/4
   \clef bass
@@ -365,17 +382,17 @@ Here is a small example showing all these elements together:
 }
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
 @table @asis
 @item Entering pitches and durations
-see @ref{Pitches} and @ref{Durations}.
+see @ruser{Pitches}, and @ruser{Durations}.
 @item Rests
-see @ref{Rests}.
+see @ruser{Rests}.
 @item Time signatures and other timing commands
-see @ref{Time signature}.
+see @ruser{Time signature}.
 @item Clefs
-see @ref{Clef}.
+see @ruser{Clef}.
 @end table
 @end quotation
 
@@ -383,36 +400,34 @@ see @ref{Clef}.
 @node Working on text files
 @subsection Working on text files
 
-LilyPond input files are treated like files in most programming languages:
-they are case sensitive, white-space insensitive, expressions are
-formed with curly braces @{ @}, and comments are denoted with @code{%} or
-@code{%@{ .. %@}}.
+LilyPond input files are similar to source files in many common
+programming languages.  They are case sensitive, and white-space
+is generally equivalent.  Expressions are formed with curly braces
+@{ @}, and comments are denoted with @code{%} or @code{%@{ ...
+%@}}.
 
-If the previous sentence sounds like nonsense, don't worry!  We'll explain
-what all these terms mean:
+If the previous sentence sounds like nonsense, don't worry!  We'll
+explain what all these terms mean:
 
 @itemize
 
 @cindex Case sensitive
 @item @strong{Case sensitive}:
-it matters whether you enter a letter
-in lower case (i.e. @code{a, b, s, t}) or upper case (i.e.
-@code{A, B, S, T}).  Notes are lower case: @code{ @{ c d e @} }
-is valid input; @code{ @{ C D E @} } will produce an error message.
+it matters whether you enter a letter in lower case (i.e. @code{a,
+b, s, t}) or upper case (i.e.  @code{A, B, S, T}).  Notes are
+lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
+will produce an error message.
 
 @item @strong{Whitespace insensitive}:
-it does not matter how many
-spaces (or new lines) you add.  @code{ @{ c d e @}} means the same thing
-as @code{ @{ c @tie{} @tie{} @tie{} d e @} } and
-@example
-          @{
-c                        d
-  e @}
-@end example
+it does not matter how many spaces (or new lines) you add.
+@code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
+@tie{} @tie{} d e @}} and @example @{ c                        d e
+@} @end example
 
 @noindent
-Of course, the previous example is hard to read.  A good rule of thumb
-is to indent code blocks with either a tab or two spaces:
+Of course, the previous example is hard to read.  A good rule of
+thumb is to indent code blocks with either a tab or two spaces:
+
 @example
 @{
   c d e
@@ -420,27 +435,28 @@ is to indent code blocks with either a tab or two spaces:
 @end example
 
 @item @strong{Expressions:}
-Every piece of LilyPond input needs to have
-@strong{@{ curly braces @}} placed around the input.  These braces tell
-LilyPond that the input is a single music expression, just like
-parenthesis @samp{()} in mathematics.  The braces should
-be surrounded by a space unless they are at the beginning or end of a
-line to avoid ambiguities.
+Every piece of LilyPond input needs to have @strong{@{ curly
+braces @}} placed around the input.  These braces tell LilyPond
+that the input is a single music expression, just like parenthesis
+@samp{()} in mathematics.  The braces should be surrounded by a
+space unless they are at the beginning or end of a line to avoid
+ambiguities.
 
-A function (such as @code{\relative @{ @}} ) also counts as a single
-music expression.
+A function (such as @code{\relative @{ @}}) also counts as a
+single music expression.
 
 @cindex comments
 @cindex line comment
 @cindex block comment
 @item @strong{Comments}:
-A comment is a remark for the human reader of the music input; it is
-ignored while parsing, so it has no effect on the printed output.
-There are two types of comments.  The percent symbol @samp{%}
-introduces a line comment; anything after @samp{%} on that line is
-ignored.  A block comment marks a whole section of music
-input as a comment.  Anything that is enclosed in @code{%@{} and @code{%@}} is
-ignored.  The following fragment shows possible uses for comments
+A comment is a remark for the human reader of the music input; it
+is ignored while parsing, so it has no effect on the printed
+output.  There are two types of comments.  The percent symbol
+@samp{%} introduces a line comment; anything after @samp{%} on
+that line is ignored.  A block comment marks a whole section of
+music input as a comment.  Anything that is enclosed in @code{%@{}
+and @code{%@}} is ignored.  (Comments do not nest.)  The following
+fragment shows possible uses for comments
 
 @example
 % notes for twinkle twinkle follow
@@ -458,21 +474,21 @@ ignored.  The following fragment shows possible uses for comments
 @end itemize
 
 There are more tips for constructing input files in
-@ref{Suggestions for writing LilyPond files}.
+@ruser{Suggestions for writing LilyPond files}.
 
 
 @node How to read the tutorial
 @subsection How to read the tutorial
 
-As we saw in @ref{Working on text files}, LilyPond input must be
-surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}.  For the
-rest of this manual, most examples will omit this.
+As we saw in @ruser{Working on text files}, LilyPond input must be
+surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}.
+For the rest of this manual, most examples will omit this.
 
-If you are reading the HTML documentation and wish to see the exact
-exact LilyPond code that was used to create the example, simply click
-on the picture.  If you are not reading the HTML version, you could
-copy and paste the displayed input, but you @strong{must} add the
-@code{\relative c'' @{ @}} like this:
+If you are reading the HTML documentation and wish to see the
+exact exact LilyPond code that was used to create the example,
+simply click on the picture.  If you are not reading the HTML
+version, you could copy and paste the displayed input, but you
+@strong{must} add the @code{\relative c'' @{ @}} like this:
 
 @example
 \relative c'' @{
@@ -480,13 +496,13 @@ copy and paste the displayed input, but you @strong{must} add the
 @}
 @end example
 
-Why omit the braces?  Most examples
-in this manual can be inserted into the middle of a longer piece of
-music.  For these examples, it does not make sense to add
-@code{\relative c'' @{ @}} -- you should not place a @code{\relative}
-inside another @code{\relative}, so you would not be able to copy
-a small documentation example and paste it inside a longer piece
-of your own.
+Why omit the braces?  Most examples in this manual can be inserted
+into the middle of a longer piece of music.  For these examples,
+it does not make sense to add @code{\relative c'' @{ @}} -- you
+should not place a @code{\relative} inside another
+@code{\relative}, so you would not be able to copy a small
+documentation example and paste it inside a longer piece of your
+own.
 
 
 @node Single staff notation
@@ -508,30 +524,30 @@ on one staff.
 @node Relative note names
 @subsection Relative note names
 
-As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
-each note relative to the previous one@footnote{There is another mode of
-entering pitches, @ref{Absolute note names}, but in practice relative
-mode is much easier and safer to use.}.  If no extra octave marks
-(@code{'} and @code{,}) are added, it assumes that each pitch is within
-a fourth of the previous note.
+As we saw in @ruser{Simple notation}, LilyPond calculates the
+pitch of each note relative to the previous one@footnote{There is
+another mode of entering pitches, @ruser{Absolute note names}, but
+in practice relative mode is much easier and safer to use.}.  If
+no extra octave marks (@code{'} and @code{,}) are added, it
+assumes that each pitch is within a fourth of the previous note.
 
-LilyPond examines pitches based on the note names -- in other words,
-an augmented fourth is @emph{not} the same as a diminished fifth.  If we
-begin at a C, then an F-sharp will be placed a higher than the C, while
-a G-flat will be placed lower than the C.
+LilyPond examines pitches based on the note names -- in other
+words, an augmented fourth is @emph{not} the same as a diminished
+fifth.  If we begin at a C, then an F-sharp will be placed a
+higher than the C, while a G-flat will be placed lower than the C.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2 fis
 c2 ges
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
 @table @asis
 @item Relative octaves
-see @ref{Relative octaves}.
+see @ruser{Relative octaves}.
 @item Octave check
-see @ref{Octave check}.
+see @ruser{Octave check}.
 @end table
 @end quotation
 
@@ -542,15 +558,15 @@ see @ref{Octave check}.
 
 @subheading Accidentals
 
-A @rglos{sharp} pitch is made by adding @samp{is} to
-the name, and a @rglos{flat} pitch by adding @samp{es}.  As
-you might expect, a @rglos{double sharp} or @rglos{double flat} is
-made by adding @samp{isis} or @samp{eses}@footnote{This syntax
-derived from note naming conventions in Nordic and Germanic languages,
-like German and Dutch.  To use other names for accidentals, see
-@ref{Note names in other languages}.}
+A @rglos{sharp} pitch is made by adding @samp{is} to the name, and
+a @rglos{flat} pitch by adding @samp{es}.  As you might expect, a
+@rglos{double sharp} or @rglos{double flat} is made by adding
+@samp{isis} or @samp{eses}@footnote{This syntax derived from note
+naming conventions in Nordic and Germanic languages, like German
+and Dutch.  To use other names for accidentals, see @ruser{Note
+names in other languages}.}
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 cis1 ees fisis, aeses
 @end lilypond
 
@@ -560,7 +576,7 @@ cis1 ees fisis, aeses
 The key signature is set with the command @code{\key} followed by
 a pitch and @code{\major} or @code{\minor}.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \key d \major
 a1
 \key c \minor
@@ -572,54 +588,55 @@ a
 @subheading Warning: key signatures and pitches
 
 To determine whether to print an accidental, LilyPond examines the
-pitches and the key signature.  The key signature only effects
-the @emph{printed} accidentals, not the actual pitches!  This is a
-feature that often causes confusion to newcomers, so let us explain it
-in more detail.
+pitches and the key signature.  The key signature only affects the
+@emph{printed} accidentals, not the actual pitches!  This is a
+feature that often causes confusion to newcomers, so let us
+explain it in more detail.
 
 LilyPond makes a sharp distinction between musical content and
-layout.  The alteration (flat, natural or sharp) of a note is part of
-the pitch, and is therefore musical content.  Whether an accidental (a
-@emph{printed} flat, natural or sharp sign) is printed in front of the
-corresponding note is a question of layout.  Layout is something that
-follows rules, so accidentals are printed automatically according to
-those rules.  The pitches in your music are works of art, so they will
-not be added automatically, and you must enter what you want to hear.
+layout.  The alteration (flat, natural or sharp) of a note is part
+of the pitch, and is therefore musical content.  Whether an
+accidental (a @emph{printed} flat, natural or sharp sign) is
+printed in front of the corresponding note is a question of
+layout.  Layout is something that follows rules, so accidentals
+are printed automatically according to those rules.  The pitches
+in your music are works of art, so they will not be added
+automatically, and you must enter what you want to hear.
 
 In this example
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \key d \major
 d cis fis
 @end lilypond
 
 @noindent
-No note has a printed accidental, but you must still add the @samp{is} to
-@code{cis} and @code{fis}.
+No note has a printed accidental, but you must still add the
+@samp{is} to @code{cis} and @code{fis}.
 
-The code @samp{e} does not mean @qq{print a black dot just below the
-first line of the staff.}  Rather, it means: @qq{there is a note with
-pitch E-natural.}  In the key of A-flat major, it @emph{does} get an
-accidental:
+The code @samp{e} does not mean @qq{print a black dot just below
+the first line of the staff.}  Rather, it means: @qq{there is a
+note with pitch E-natural.}  In the key of A-flat major, it
+@emph{does} get an accidental:
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \key aes \major
 e
 @end lilypond
 
-Adding all alterations explicitly might require a little more effort
-when typing, but the advantage is that transposing is easier, and
-accidentals can be printed according to different conventions.  See
-@ref{Automatic accidentals} for some examples how accidentals can be printed
-according to different rules.
+Adding all alterations explicitly might require a little more
+effort when typing, but the advantage is that transposing is
+easier, and accidentals can be printed according to different
+conventions.  See @ruser{Automatic accidentals}, for some examples
+how accidentals can be printed according to different rules.
 
-@moreinfo
+@seealso
 @quotation
 @table @asis
 @item Accidentals
-see @ref{Accidentals} and @ref{Automatic accidentals}.
+see @ruser{Accidentals}, and @ruser{Automatic accidentals}.
 @item Key signature
-see @ref{Key signature}.
+see @ruser{Key signature}.
 @end table
 @end quotation
 
@@ -629,10 +646,10 @@ see @ref{Key signature}.
 
 @cindex ties
 @subheading Ties
-A @rglos{tie} is created by appending a tilde @samp{~} to the first
-note being tied
+A @rglos{tie} is created by appending a tilde @samp{~} to the
+first note being tied
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 g4~ g c2~
 c4 ~ c8 a8 ~ a2
 @end lilypond
@@ -640,10 +657,11 @@ c4 ~ c8 a8 ~ a2
 @cindex slurs
 @subheading Slurs
 
-A @rglos{slur} is a curve drawn across many notes.  The starting note
-and ending note are marked with @samp{(} and @samp{)} respectively.
+A @rglos{slur} is a curve drawn across many notes.  The starting
+note and ending note are marked with @samp{(} and @samp{)}
+respectively.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 
@@ -651,13 +669,12 @@ d4( c16) cis( d e c cis d) e( d4)
 @cindex phrasing slurs
 @subheading Phrasing slurs
 
-@cindex phrasing slurs
-Slurs to indicate longer phrasing can be entered with @code{\(} and
-@code{\)}.  You can have both legato slurs and phrasing slurs at the
-same time, but you cannot have simultaneous slurs or simultaneous
-phrasing slurs.
+Slurs to indicate longer phrasing can be entered with @code{\(}
+and @code{\)}.  You can have both legato slurs and phrasing slurs
+at the same time, but you cannot have simultaneous slurs or
+simultaneous phrasing slurs.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8(\( ais b c) cis2 b'2 a4 cis,\)
 @end lilypond
 
@@ -666,25 +683,25 @@ a8(\( ais b c) cis2 b'2 a4 cis,\)
 @cindex slurs versus ties
 @subheading Warnings: slurs vs. ties
 
-A slur looks like a @rglos{tie}, but it has a different meaning.  A
-tie simply makes the first note longer, and can only be used on
-pairs of notes with the same pitch.  Slurs indicate the articulations
-of notes, and can be used on larger groups of notes.  Slurs and ties
-can be nested.
+A slur looks like a @rglos{tie}, but it has a different meaning.
+A tie simply makes the first note longer, and can only be used on
+pairs of notes with the same pitch.  Slurs indicate the
+articulations of notes, and can be used on larger groups of notes.
+Slurs and ties can be nested.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2~( c8 fis fis4 ~ fis2 g2)
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
 @table @asis
 @item Ties
-see @ref{Ties}.
+see @ruser{Ties}.
 @item Slurs
-see @ref{Slurs}.
+see @ruser{Slurs}.
 @item Phrasing slurs
-see @ref{Phrasing slurs}.
+see @ruser{Phrasing slurs}.
 @end table
 @end quotation
 
@@ -697,36 +714,37 @@ see @ref{Phrasing slurs}.
 @cindex staccato
 @subheading Articulations
 
-Common @rglos{articulations} can be added to a note using a dash @samp{-}
-and a single character:
+Common @rglos{articulation}s can be added to a note using a dash
+@samp{-} and a single character:
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c-. c-- c-> c-^ c-+ c-_
 @end lilypond
 
 @cindex fingering
 @subheading Fingerings
-Similarly, fingering indications can be added to a note using a dash
-(@samp{-}) and the digit to be printed:
+Similarly, fingering indications can be added to a note using a
+dash (@samp{-}) and the digit to be printed:
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c-3 e-5 b-2 a-1
 @end lilypond
 
-Articulations and fingerings are usually placed automatically, but you
-can specify a direction using @samp{^} (up) or @samp{_} (down).  You can
-also use multiple articulations on the same note.  However, in most cases
-it is best to let LilyPond determine the articulation directions.
+Articulations and fingerings are usually placed automatically, but
+you can specify a direction using @samp{^} (up) or @samp{_}
+(down).  You can also use multiple articulations on the same note.
+However, in most cases it is best to let LilyPond determine the
+articulation directions.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 
 @subheading Dynamics
-Dynamic signs are made by adding the markings (with a backslash) to
-the note
+Dynamic signs are made by adding the markings (with a backslash)
+to the note
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c\ff c\mf c\p c\pp
 @end lilypond
 
@@ -734,23 +752,23 @@ c\ff c\mf c\p c\pp
 @cindex decrescendo
 @cindex crescendo
 
-Crescendi and decrescendi are started with the commands @code{\<} and
-@code{\>}.  An ending dynamic, for example @code{\f}, will finish the
-(de)crescendo, or the command @code{\!} can be used
+Crescendi and decrescendi are started with the commands @code{\<}
+and @code{\>}.  An ending dynamic, for example @code{\f}, will
+finish the (de)crescendo, or the command @code{\!} can be used
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2\< c2\ff\> c2 c2\!
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
 @table @asis
 @item Articulations
-see @ref{Articulations}.
+see @ruser{Articulations}.
 @item Fingering
-see @ref{Fingering instructions}.
+see @ruser{Fingering instructions}.
 @item Dynamics
-see @ref{Dynamics}.
+see @ruser{Dynamics}.
 @end table
 @end quotation
 
@@ -761,26 +779,26 @@ see @ref{Dynamics}.
 @cindex beams, by hand
 All @rglos{beam}s are drawn automatically:
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8 ais d ees r d c16 b a8
 @end lilypond
 
 @noindent
 If you do not like the automatic beams, they may be overridden
-manually.  Mark the first note to be beamed with @samp{[} and the last one
-with @samp{]}.
+manually.  Mark the first note to be beamed with @samp{[} and the
+last one with @samp{]}.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8[ ais] d[ ees r d] a b
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
 @table @asis
 @item Automatic beams
-see @ref{Automatic beams}.
+see @ruser{Automatic beams}.
 @item Manual beams
-see @ref{Manual beams}.
+see @ruser{Manual beams}.
 @end table
 @end quotation
 
@@ -794,10 +812,10 @@ see @ref{Manual beams}.
 @subheading Partial measure
 
 A pickup (or @rglos{anacrusis}) is entered with the keyword
-@code{\partial}.  It is followed by a duration: @code{\partial 4} is
-a quarter note pickup and @code{\partial 8} an eighth note.
+@code{\partial}.  It is followed by a duration: @code{\partial 4}
+is a quarter note pickup and @code{\partial 8} an eighth note.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \partial 8
 f8 c2 d
 @end lilypond
@@ -807,11 +825,12 @@ f8 c2 d
 @subheading Tuplets
 
 Tuplets are made with the @code{\times} keyword.  It takes two
-arguments: a fraction and a piece of music.  The duration of the piece
-of music is multiplied by the fraction.  Triplets make notes occupy
-2/3 of their notated duration, so a triplet has 2/3 as its fraction
+arguments: a fraction and a piece of music.  The duration of the
+piece of music is multiplied by the fraction.  Triplets make notes
+occupy 2/3 of their notated duration, so a triplet has 2/3 as its
+fraction
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \times 2/3 { f8 g a }
 \times 2/3 { c r c }
 \times 2/3 { f,8 g16[ a g a] }
@@ -823,25 +842,25 @@ of music is multiplied by the fraction.  Triplets make notes occupy
 @cindex appoggiatura
 @subheading Grace notes
 
-Grace notes are created with the @code{\grace} command, although they
-can also be created by prefixing a music expression with the
+Grace notes are created with the @code{\grace} command, although
+they can also be created by prefixing a music expression with the
 keyword @code{\appoggiatura} or @code{\acciaccatura}
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2 \grace { a32[ b] } c2
 c2 \appoggiatura b16 c2
 c2 \acciaccatura b16 c2
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
 @table @asis
 @item Grace notes
-see @ref{Grace notes},
+see @ruser{Grace notes},
 @item Tuplets
-see @ref{Tuplets},
+see @ruser{Tuplets},
 @item Pickups
-see @ref{Partial measures}.
+see @ruser{Partial measures}.
 @end table
 @end quotation
 
@@ -849,20 +868,20 @@ see @ref{Partial measures}.
 @node Multiple notes at once
 @section Multiple notes at once
 
-This section introduces having more than one note at the same time:
-multiple instruments, multiple staves for a single instrument (i.e. piano),
-and chords.
+This section introduces having more than one note at the same
+time: multiple instruments, multiple staves for a single
+instrument (i.e. piano), and chords.
 
-Polyphony in music refers to having more than one voice occurring in
-a piece of music.  Polyphony in LilyPond refers to having more than
-one voice on the same staff.
+Polyphony in music refers to having more than one voice occurring
+in a piece of music.  Polyphony in LilyPond refers to having more
+than one voice on the same staff.
 
 @menu
 * Music expressions explained::  
 * Multiple staves::             
 * Piano staves::                
-* Single staff polyphony::      
 * Combining notes into chords::  
+* Single staff polyphony::      
 @end menu
 
 
@@ -870,24 +889,25 @@ one voice on the same staff.
 @subsection Music expressions explained
 
 In LilyPond input files, music is represented by @emph{music
-expressions}.  A single note is a music expression, although it is not
-valid input all on its own.
+expressions}.  A single note is a music expression, although it is
+not valid input all on its own.
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a4
 @end lilypond
 
-Enclosing a group of notes in braces creates a new music expression:
+Enclosing a group of notes in braces creates a new music
+expression:
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 { a4 g4 }
 @end lilypond
 
-Putting a group of music expressions (e.g. notes) in braces means that
-they are in sequence (i.e. each one follows the previous one).  The result
-is another music expression:
+Putting a group of music expressions (e.g. notes) in braces means
+that they are in sequence (i.e. each one follows the previous
+one).  The result is another music expression:
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 { { a4 g } f g }
 @end lilypond
 
@@ -895,13 +915,14 @@ is another music expression:
 
 This technique is useful for polyphonic music.  To enter music
 with more voices or more staves, we combine expressions in
-parallel.  To indicate that two voices should play at the same time,
-simply enter a simultaneous combination of music expressions.  A
-@q{simultaneous} music expression is formed by enclosing expressions inside
-@code{<<} and @code{>>}.  In the following example, three sequences (all
-containing two separate notes) are combined simultaneously:
-
-@lilypond[quote,ragged-right,verbatim]
+parallel.  To indicate that two voices should play at the same
+time, simply enter a simultaneous combination of music
+expressions.  A @q{simultaneous} music expression is formed by
+enclosing expressions inside @code{<<} and @code{>>}.  In the
+following example, three sequences (all containing two separate
+notes) are combined simultaneously:
+
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   <<
     { a4 g }
@@ -911,23 +932,24 @@ containing two separate notes) are combined simultaneously:
 }
 @end lilypond
 
-Note that we have indented each level of the input with a different
-amount of space.  LilyPond does not care how much (or little) space there
-is at the beginning of a line, but indenting LilyPond code like this makes
-it much easier for humans to read.
+Note that we have indented each level of the input with a
+different amount of space.  LilyPond does not care how much (or
+little) space there is at the beginning of a line, but indenting
+LilyPond code like this makes it much easier for humans to read.
 
-@strong{Warning}: each note is relative to the
-previous note in the input, not relative to the @code{c''} in the
-initial @code{\relative} command.
+@strong{Warning}: each note is relative to the previous note in
+the input, not relative to the @code{c''} in the initial
+@code{\relative} command.
 
 
 @subheading Simultaneous music expressions: single staff
 
-To determine the number of staves in a piece, LilyPond looks at the first
-expression.  If it is a single note, there is one staff; if there is a
-simultaneous expression, there is more than one staff.
+To determine the number of staves in a piece, LilyPond looks at
+the first expression.  If it is a single note, there is one staff;
+if there is a simultaneous expression, there is more than one
+staff.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   c2 <<c e>>
   << { e f } { c <<b d>> } >>
@@ -938,10 +960,10 @@ simultaneous expression, there is more than one staff.
 @cindex music expression
 @subheading Analogy: mathematical expressions
 
-This mechanism is similar to mathematical
-formulas: a big formula is created by composing small formulas.  Such
-formulas are called expressions, and their definition is recursive so
-you can make arbitrarily complex and large expressions.  For example,
+This mechanism is similar to mathematical formulas: a big formula
+is created by composing small formulas.  Such formulas are called
+expressions, and their definition is recursive so you can make
+arbitrarily complex and large expressions.  For example,
 
 @example
 1
@@ -953,28 +975,30 @@ you can make arbitrarily complex and large expressions.  For example,
 ((1 + 2) * 3) / (4 * 5)
 @end example
 
-This is a sequence of expressions, where each expression is contained
-in the next (larger) one.  The simplest expressions are numbers, and larger
-ones are made by combining expressions with operators (like @samp{+},
-@samp{*} and @samp{/}) and parentheses.  Like mathematical expressions,
-music expressions can be nested arbitrarily deep, which is necessary
-for complex music like polyphonic scores.
+This is a sequence of expressions, where each expression is
+contained in the next (larger) one.  The simplest expressions are
+numbers, and larger ones are made by combining expressions with
+operators (like @samp{+}, @samp{*} and @samp{/}) and parentheses.
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep, which is necessary for complex music like
+polyphonic scores.
 
 
 @node Multiple staves
 @subsection Multiple staves
 
-As we saw in @ref{Music expressions explained}, LilyPond input files
-are constructed out of music expressions.  If the score begins with
-simultaneous music expressions, LilyPond creates multiples staves.  However,
-it is easier to see what happens if we create each staff explicitly.
+As we saw in @ruser{Music expressions explained}, LilyPond input
+files are constructed out of music expressions.  If the score
+begins with simultaneous music expressions, LilyPond creates
+multiples staves.  However, it is easier to see what happens if we
+create each staff explicitly.
 
 To print more than one staff, each piece of music that makes up a
 staff is marked by adding @code{\new Staff} before it.  These
-@code{Staff} elements are then combined in parallel with @code{<<} and
-@code{>>}:
+@code{Staff} elements are then combined in parallel with @code{<<}
+and @code{>>}:
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   <<
     \new Staff { \clef treble c }
@@ -983,27 +1007,27 @@ staff is marked by adding @code{\new Staff} before it.  These
 }
 @end lilypond
 
-The command @code{\new} introduces a @q{notation context.}  A notation
-context is an environment in which musical events (like notes or
-@code{\clef} commands) are interpreted.  For simple pieces, such
-notation contexts are created automatically.  For more complex pieces, it
-is best to mark contexts explicitly.
+The command @code{\new} introduces a @q{notation context.}  A
+notation context is an environment in which musical events (like
+notes or @code{\clef} commands) are interpreted.  For simple
+pieces, such notation contexts are created automatically.  For
+more complex pieces, it is best to mark contexts explicitly.
 
 There are several types of contexts.  @code{Score}, @code{Staff},
-and @code{Voice} handle melodic notation, while @code{Lyrics} sets lyric
-texts and @code{ChordNames} prints chord names.
+and @code{Voice} handle melodic notation, while @code{Lyrics} sets
+lyric texts and @code{ChordNames} prints chord names.
 
 In terms of syntax, prepending @code{\new} to a music expression
-creates a bigger music expression.  In this way it resembles the minus
-sign in mathematics.  The formula @math{(4+5)} is an expression, so
-@math{-(4+5)} is a bigger expression.
+creates a bigger music expression.  In this way it resembles the
+minus sign in mathematics.  The formula @math{(4+5)} is an
+expression, so @math{-(4+5)} is a bigger expression.
 
-Time signatures entered in one staff affects all other staves, but
-the key signature of one staff does @emph{not} affect other
+Time signatures entered in one staff affects all other
 staves@footnote{This behavior may be changed if desired; see
-@ref{Changing defaults} for details.}.
+@ruser{Polymetric notation}, for details.}. On the other hand, the
+key signature of one staff does @emph{not} affect other staves.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   <<
     \new Staff { \clef treble \time 3/4 c }
@@ -1020,9 +1044,10 @@ staves@footnote{This behavior may be changed if desired; see
 
 @cindex staff switch, manual
 @cindex cross staff voice, manual
-Piano music is typeset in two staves connected by a brace.  Printing
-such a staff is similar to the polyphonic example in @ref{Multiple staves},
-but now this entire expression is inserted inside a @code{PianoStaff}:
+Piano music is typeset in two staves connected by a brace.
+Printing such a staff is similar to the polyphonic example in
+@ruser{Multiple staves}, but now this entire expression is
+inserted inside a @code{PianoStaff}:
 
 @example
 \new PianoStaff <<
@@ -1033,7 +1058,7 @@ but now this entire expression is inserted inside a @code{PianoStaff}:
 
 Here is a small example
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   \new PianoStaff <<
     \new Staff { \time 2/4 c4 e g g, }
@@ -1042,40 +1067,64 @@ Here is a small example
 }
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
-See @ref{Piano music}.
+See @ruser{Piano music}.
 @end quotation
 
 
+@node Combining notes into chords
+@subsection Combining notes into chords
+
+@cindex chords
+Chords can be made by surrounding pitches with single angle
+brackets.  Angle brackets are the symbols @samp{<} and @samp{>}.
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
+@end lilypond
+
+You can combine markings like beams and ties with chords.  They
+must be placed outside the angle brackets
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
+@end lilypond
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+@end lilypond
+
+
 @node Single staff polyphony
 @subsection Single staff polyphony
 
 @cindex polyphony
 @cindex multiple voices
 @cindex voices, more -- on a staff
-When different melodic lines are combined on a single staff they are
-printed as polyphonic voices; each voice has its own stems, slurs and
-beams, and the top voice has the stems up, while the bottom voice has
-them down.
+When different melodic lines are combined on a single staff they
+are printed as polyphonic voices; each voice has its own stems,
+slurs and beams, and the top voice has the stems up, while the
+bottom voice has them down.
 
-Entering such parts is done by entering each voice as a sequence (with
-@code{@{...@}}) and combining these simultaneously, separating the
-voices with @code{\\}
+Entering such parts is done by entering each voice as a sequence
+(with @code{@{...@}}) and combining these simultaneously,
+separating the voices with @code{\\}
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 <<
   { a4 g2 f4~ f4 } \\
   { r4 g4 f2 f4 }
 >>
 @end lilypond
 
-For polyphonic music typesetting, spacer rests can also be convenient;
-these are rests that do not print.  They are useful for filling up
-voices that temporarily do not play.  Here is the same example with a
-spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
+For polyphonic music typesetting, spacer rests can also be
+convenient; these are rests that do not print.  They are useful
+for filling up voices that temporarily do not play.  Here is the
+same example with a spacer rest (@samp{s}) instead of a normal
+rest (@samp{r}),
 
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 <<
   { a4 g2 f4~ f4 } \\
   { s4 g4 f2 f4 }
@@ -1099,35 +1148,12 @@ Again, these expressions can be nested arbitrarily.
 >>
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
-See @ref{Basic polyphony}.
+See @ruser{Basic polyphony}.
 @end quotation
 
 
-@node Combining notes into chords
-@subsection Combining notes into chords
-
-@cindex chords
-Chords can be made by surrounding pitches with single angle brackets.  Angle
-brackets are the symbols @samp{<} and @samp{>}.
-
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-r4 <c e g>4 <c f a>2
-@end lilypond
-
-You can combine markings like beams and ties with chords.  They must
-be placed outside the angle brackets
-
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-r4 <c e g>8[ <c f a>]~ <c f a>2
-@end lilypond
-
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
-@end lilypond
-
-
 @node Songs
 @section Songs
 
@@ -1146,7 +1172,7 @@ This section introduces vocal music and simple song sheets.
 @cindex Songs
 Consider a simple melody:
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   a4 e c8 e r4
   b2 c4( d)
@@ -1157,7 +1183,7 @@ The lyrics can be set to these notes, combining both with the
 @code{\addlyrics} keyword.  Lyrics are entered by separating each
 syllable with a space.
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 <<
   \relative c'' {
     a4 e c8 e r4
@@ -1169,11 +1195,11 @@ syllable with a space.
 
 @cindex melisma
 @cindex extender line
-This melody ends on a @rglos{melisma}, a single syllable (@q{free})
-sung to more than one note.  This is indicated with an @emph{extender
-line}.  It is entered as two underscores @code{__}:
+This melody ends on a @rglos{melisma}, a single syllable
+(@q{free}) sung to more than one note.  This is indicated with an
+@emph{extender line}.  It is entered as two underscores @code{__}:
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 <<
   \relative c'' {
     a4 e c8 e r4
@@ -1197,10 +1223,10 @@ resulting in a centered hyphen between two syllables
 >>
 @end lilypond
 
-@moreinfo
+@seealso
 @quotation
 More options, such as putting multiple stanzas below a melody, are
-discussed in @ref{Vocal music}.
+discussed in @ruser{Vocal music}.
 @end quotation
 
 
@@ -1211,37 +1237,37 @@ discussed in @ref{Vocal music}.
 @cindex chords
 @cindex chord names
 
-In popular music it is common to denote accompaniment with chord names.
-Such chords can be entered like notes,
+In popular music it is common to denote accompaniment with chord
+names.  Such chords can be entered like notes,
 
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
 \chordmode { c2 f4. g8 }
 @end lilypond
 
 Now each pitch is read as the root of a chord instead of a note.
-This mode is switched on with @code{\chordmode}.  Other chords can be
-created by adding modifiers after a colon.  The
-following example shows a few common modifiers:
+This mode is switched on with @code{\chordmode}.  Other chords can
+be created by adding modifiers after a colon.  The following
+example shows a few common modifiers:
 
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
 @end lilypond
 
-For lead sheets, chords are not printed on staves, but as names on a
-line for themselves.  This is achieved by using @code{\chords} instead
-of @code{\chordmode}.  This uses the same syntax as @code{\chordmode},
-but renders the notes in a @code{ChordNames} context, with the
-following result:
+For lead sheets, chords are not printed on staves, but as names on
+a line for themselves.  This is achieved by using @code{\chords}
+instead of @code{\chordmode}.  This uses the same syntax as
+@code{\chordmode}, but renders the notes in a @code{ChordNames}
+context, with the following result:
 
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
 @end lilypond
 
 @cindex lead sheet
-When put together, chord names, lyrics and a melody form
-a lead sheet,
+When put together, chord names, lyrics and a melody form a lead
+sheet,
 
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
 <<
   \chords { c2 g:sus4 f e }
   \relative c'' {
@@ -1253,19 +1279,19 @@ a lead sheet,
 @end lilypond
 
 
-@moreinfo
+@seealso
 @quotation
-A complete list of modifiers and other options for layout can be found
-in @ref{Chords}.
+A complete list of modifiers and other options for layout can be
+found in @ruser{Chords}.
 @end quotation
 
 
 @node Final touches
 @section Final touches
 
-This is the final section of the tutorial; it demonstrates how to add the
-final touches to simple pieces, and provides an introduction to the rest
-of the manual.
+This is the final section of the tutorial; it demonstrates how to
+add the final touches to simple pieces, and provides an
+introduction to the rest of the manual.
 
 @menu
 * Version number::              
@@ -1281,32 +1307,33 @@ of the manual.
 @subsection Version number
 
 @cindex versioning
-The @code{\version} statement marks for which version of LilyPond the file
-was written.  To mark a file for version 2.10.1, place
+The @code{\version} statement records the version of LilyPond that
+was used to write the file:
 
 @example
-\version "2.11.15"
+\version "2.11.23"
 @end example
 
 @noindent
-at the top of your LilyPond file.
+by convention, this is placed at the top of your LilyPond file.
 
 These annotations make future upgrades of LilyPond go more
-smoothly.  Changes in the syntax are handled with a special program,
-@file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
-@code{\version} to determine what rules to apply.
+smoothly.  Changes in the syntax are handled with a special
+program, @file{convert-ly} (see @rprogram{Updating files with
+convert-ly}), and it uses @code{\version} to determine what rules
+to apply.
 
 
 @node Adding titles
 @subsection Adding titles
 
-The title, composer, opus number, and similar information are entered
-in the @code{\header} block.  This exists outside of the main
-music expression; the @code{\header} block is usually placed underneath
-the @ref{Version number}.
+The title, composer, opus number, and similar information are
+entered in the @code{\header} block.  This exists outside of the
+main music expression; the @code{\header} block is usually placed
+underneath the @ruser{Version number}.
 
 @example
-\version "2.11.15"
+\version "2.11.23"
 \header @{
   title = "Symphony"
   composer = "Me"
@@ -1318,22 +1345,23 @@ the @ref{Version number}.
 @}
 @end example
 
-When the file is processed, the title and composer are printed above
-the music.  More information on titling can be found in @ref{Creating
-titles}.
+When the file is processed, the title and composer are printed
+above the music.  More information on titling can be found in
+@ruser{Creating titles}.
 
 
 @node Absolute note names
 @subsection Absolute note names
 
-So far we have always used @code{\relative} to define pitches.  This is
-the easiest way to enter most music, but another way of defining pitches
-exists: absolute mode.
+So far we have always used @code{\relative} to define pitches.
+This is the easiest way to enter most music, but another way of
+defining pitches exists: absolute mode.
 
 If you omit the @code{\relative}, LilyPond treats all pitches as
-absolute values.  A @code{c'} will always mean middle C, a @code{b} will
-always mean the note one step below middle C, and a @code{g,} will
-always mean the note on the bottom staff of the bass clef.
+absolute values.  A @code{c'} will always mean middle C, a
+@code{b} will always mean the note one step below middle C, and a
+@code{g,} will always mean the note on the bottom staff of the
+bass clef.
 
 @lilypond[quote,verbatim,ragged-right]
 {
@@ -1360,8 +1388,8 @@ Here is a four-octave scale:
 }
 @end lilypond
 
-As you can see, writing a melody in the treble clef involves a lot of
-quote ' marks.  Consider this fragment from Mozart:
+As you can see, writing a melody in the treble clef involves a lot
+of quote @code{'} marks.  Consider this fragment from Mozart:
 
 @lilypond[quote,verbatim,ragged-right]
 {
@@ -1372,9 +1400,9 @@ quote ' marks.  Consider this fragment from Mozart:
 }
 @end lilypond
 
-All these quotes makes the input less readable and it is a source of
-errors.  With @code{\relative}, the previous example is much easier
-to read:
+All these quotes makes the input less readable and it is a source
+of errors.  With @code{\relative}, the previous example is much
+easier to read:
 
 @lilypond[quote,verbatim,ragged-right]
 \relative c'' {
@@ -1385,25 +1413,29 @@ to read:
 }
 @end lilypond
 
-If you make a mistake with an octave mark (@code{'} or @code{,}) while
-working in @code{\relative} mode, it is very obvious -- many notes will
-be in the wrong octave.  When working in absolute mode, a single mistake
-will not be as visible, and will not be as easy to find.
+If you make a mistake with an octave mark (@code{'} or @code{,})
+while working in @code{\relative} mode, it is very obvious -- many
+notes will be in the wrong octave.  When working in absolute mode,
+a single mistake will not be as visible, and will not be as easy
+to find.
 
-However, absolute mode is useful for music which has large intervals, and
-is extremely useful for computer-generated LilyPond files.
+However, absolute mode is useful for music which has large
+intervals, and is extremely useful for computer-generated LilyPond
+files.
 
 
 @node Organizing pieces with identifiers
 @subsection Organizing pieces with identifiers
 
 When all of the elements discussed earlier are combined to produce
-larger files, the music expressions get a lot bigger.  In polyphonic
-music with many staves, the input files can become very confusing.  We can
-reduce this confusion by using @emph{identifiers}.
+larger files, the music expressions get a lot bigger.  In
+polyphonic music with many staves, the input files can become very
+confusing.  We can reduce this confusion by using
+@emph{identifiers}.
 
-With identifiers (also known as variables or macros), we can break up
-complex music expressions.  An identifier is assigned as follows
+With identifiers (also known as variables or macros), we can break
+up complex music expressions.  An identifier is assigned as
+follows
 
 @example
 namedMusic = @{ @dots{} @}
@@ -1411,8 +1443,9 @@ namedMusic = @{ @dots{} @}
 
 The contents of the music expression @code{namedMusic} can be used
 later by placing a backslash in front of the name
-(@code{\namedMusic}, just like a normal LilyPond command).  Identifiers
-must be defined @emph{before} the main music expression.
+(@code{\namedMusic}, just like a normal LilyPond command).
+Identifiers must be defined @emph{before} the main music
+expression.
 
 @lilypond[quote,verbatim,ragged-right]
 violin = \new Staff { \relative c'' {
@@ -1434,8 +1467,8 @@ cello = \new Staff { \relative c {
 The name of an identifier must have alphabetic characters only: no
 numbers, underscores, or dashes.
 
-It is possible to use variables for many other types of objects in the
-input.  For example,
+It is possible to use variables for many other types of objects in
+the input.  For example,
 
 @example
 width = 4.5\cm
@@ -1459,39 +1492,43 @@ places.  The following example uses the above variables:
 @subsection After the tutorial
 
 After finishing the tutorial, you should probably try writing a
-piece or two.  Start with one of the @ref{Templates} and
-add notes.  If you need any notation that was not covered in the
+piece or two.  Start with one of the @ruser{Templates}, and add
+notes.  If you need any notation that was not covered in the
 tutorial, look at the Notation Reference, starting with
-@ref{Basic notation}.  If you want to write for an instrument
-ensemble which is not covered in the templates,
-take a look at @ref{Extending the templates}.
+@ruser{Basic notation}.  If you want to write for an instrument
+ensemble that is not covered in the templates, take a look at
+@ruser{Extending the templates}.
 
-Once you have written a few short pieces, read the rest of
-the Learning Manual (chapters 3-5).  There's nothing wrong
-with reading them now, of course!  However, the rest of the
-Learning Manual assumes that you are familiar with
-LilyPond input.  You may wish to skim these chapters right
-now, and come back to them after you have more experience.
+Once you have written a few short pieces, read the rest of the
+Learning Manual (chapters 3-5).  There's nothing wrong with
+reading it now, of course!  However, the rest of the Learning
+Manual assumes that you are familiar with LilyPond input.  You may
+wish to skim these chapters right now, and come back to them after
+you have more experience.
 
 
 @node How to read the manual
 @subsection How to read the manual
 
-As we saw in @ref{How to read the tutorial}, many examples in the
-tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
-example.
+As we saw in @ruser{How to read the tutorial}, many examples in
+the tutorial omitted a @code{\relative c'' @{ ... @}} around the
+printed example.
 
-In the rest of the manual, we are much more lax about the
-printed examples: sometimes they may have omitted a
-@code{\relative c'' @{ ... @}}, but in other times a different initial
-pitch may be used (such as @code{c'} or @code{c,,}), and in some cases
-the whole example is in absolute note mode!  However, ambiguities like
-this only exist where the pitches are not important.  In any example
-where the pitch matters, we have explicitly stated our @code{\relative}
-our our absolute-mode @code{@{ @}}.
+In the rest of the manual, we are much more lax about the printed
+examples: sometimes they may have omitted a @code{\relative c'' @{
+... @}}, but other times a different initial pitch may be used
+(such as @code{c'} or @code{c,,}), and in some cases the whole
+example is in absolute note mode!  However, ambiguities like this
+only exist where the pitches are not important.  In any example
+where the pitch matters, we have explicitly stated
+@code{\relative} or absolute-mode @code{@{ @}}.
 
 If you are still confused about the exact LilyPond input that was
-used in an example, read the HTML version (if you are not already doing
-so) and click on the picture of the music.  This will display the exact
-input that LilyPond used to generate this manual.
+used in an example, read the HTML version (if you are not already
+doing so) and click on the picture of the music.  This will
+display the exact input that LilyPond used to generate this
+manual.
+
+For information about the structure of the rest of the manual, see
+@ruser{About this manual}.