Doc: Indexing from Ralph

diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely
index ddcb95932787bf99d76707f3e4d357b92856f504..674fee67495a7c6f3b4a19841e495ec72986d7e4 100644 (file)
--- a/Documentation/user/simultaneous.itely
+++ b/Documentation/user/simultaneous.itely
@@ -40,6 +40,7 @@ This section discusses simultaneous notes inside the same voice.
 
 @cindex chords
 @cindex brackets, angle
 
 @cindex chords
 @cindex brackets, angle

+@cindex relative pitch in chords

 @funindex <
 @funindex >
 @funindex <...>
 @funindex <
 @funindex >
 @funindex <...>


@@ -87,7 +88,9 @@ staves.  To avoid this, use explicit chords instead as in
 @unnumberedsubsubsec Clusters
 
 @cindex cluster
 @unnumberedsubsubsec Clusters
 
 @cindex cluster

+@cindex note cluster

 @funindex \makeClusters
 @funindex \makeClusters

+@funindex makeClusters

 
 A cluster indicates a continuous range of pitches to be played.  They
 can be denoted as the envelope of a set of notes.  They are entered by
 
 A cluster indicates a continuous range of pitches to be played.  They
 can be denoted as the envelope of a set of notes.  They are entered by


@@ -143,6 +146,17 @@ multiple staves.
 @node Single-staff polyphony
 @unnumberedsubsubsec Single-staff polyphony
 
 @node Single-staff polyphony
 @unnumberedsubsubsec Single-staff polyphony
 

+@cindex single-staff polyphony
+@cindex polyphony, single-staff
+@cindex voice
+@cindex lyrics assigned to one voice
+@funindex \voiceOne
+@funindex voiceOne
+@funindex \voiceOne ... \voiceFour
+@funindex Voice
+@funindex \oneVoice
+@funindex oneVoice
+

 The basic structure of code needed to achieve multiple, independent
 voices in a single staff is illustrated in the following example:
 
 The basic structure of code needed to achieve multiple, independent
 voices in a single staff is illustrated in the following example:
 


@@ -260,15 +274,10 @@ music do not have the same rhythm.
 
 @predefined
 
 
 @predefined
 

-@funindex \voiceOne

 @code{\voiceOne},
 @code{\voiceOne},

-@funindex \voiceTwo

 @code{\voiceTwo},
 @code{\voiceTwo},

-@funindex \voiceThree

 @code{\voiceThree},
 @code{\voiceThree},

-@funindex \voiceFour

 @code{\voiceFour},
 @code{\voiceFour},

-@funindex \oneVoice

 @code{\oneVoice}.
 
 @seealso
 @code{\oneVoice}.
 
 @seealso


@@ -291,6 +300,11 @@ Snippets:
 @cindex voice styles
 @cindex styles, voice
 @cindex coloring voices
 @cindex voice styles
 @cindex styles, voice
 @cindex coloring voices

+@funindex \voiceOneStyle
+@funindex \voiceTwoStyle
+@funindex \voiceThreeStyle
+@funindex \voiceFourStyle
+@funindex \voiceNeutralStyle

 
 Voices may be given distinct colors and shapes, allowing them to be
 easily identified:
 
 Voices may be given distinct colors and shapes, allowing them to be
 easily identified:


@@ -312,15 +326,12 @@ command is used.
 
 @predefined
 
 
 @predefined
 

-@funindex \voiceOneStyle
+

 @code{\voiceOneStyle},
 @code{\voiceOneStyle},

-@funindex \voiceTwoStyle
+

 @code{\voiceTwoStyle},
 @code{\voiceTwoStyle},

-@funindex \voiceThreeStyle

 @code{\voiceThreeStyle},
 @code{\voiceThreeStyle},

-@funindex \voiceFourStyle

 @code{\voiceFourStyle},
 @code{\voiceFourStyle},

-@funindex \voiceNeutralStyle

 @code{\voiceNeutralStyle}.
 
 @seealso
 @code{\voiceNeutralStyle}.
 
 @seealso


@@ -339,11 +350,29 @@ Snippets:
 @cindex merging notes
 @cindex note collisions
 @cindex collisions
 @cindex merging notes
 @cindex note collisions
 @cindex collisions

+@cindex shift note
+@cindex multiple voices
+@cindex voices, multiple
+@cindex polyphonic music
+@cindex shifting voices
+@cindex voices, multiple
+@cindex shift rest, automatic

 @funindex \shiftOn
 @funindex \shiftOn

+@funindex shiftOn

 @funindex \shiftOnn
 @funindex \shiftOnn

+@funindex shiftOnn

 @funindex \shiftOnnn
 @funindex \shiftOnnn

+@funindex shiftOnnn

 @funindex \shiftOff
 @funindex \shiftOff

-@cindex shift rest, automatic
+@funindex shiftOff
+@funindex \mergeDifferentlyDottedOn
+@funindex mergeDifferentlyDottedOn
+@funindex \mergeDifferentlyDottedOff
+@funindex mergeDifferentlyDottedOff
+@funindex \mergeDifferentlyHeadedOn
+@funindex mergeDifferentlyHeadedOn
+@funindex \mergeDifferentlyHeadedOff
+@funindex mergeDifferentlyHeadedOff

 
 Note heads with equal durations are automatically merged, while
 note heads with unequal durations are not merged.  Rests opposite
 
 Note heads with equal durations are automatically merged, while
 note heads with unequal durations are not merged.  Rests opposite


@@ -405,16 +434,15 @@ Note heads with different dots may be merged:
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@cindex shift note

 
 The collision on the second measure happens because
 
 The collision on the second measure happens because

-@code{merge-differently-headed} cannot successfully complete the
+@code{\merge-differently-headed} cannot successfully complete the

 merge when three or more notes line up in the same column -- in
 fact, you will obtain a warning for this reason.  To allow the
 merge to work properly, apply a @code{\shift} to the note that
 should not be merged.  Here, @code{\shiftOn} is applied to move
 the top @code{g} out of the column, and
 merge when three or more notes line up in the same column -- in
 fact, you will obtain a warning for this reason.  To allow the
 merge to work properly, apply a @code{\shift} to the note that
 should not be merged.  Here, @code{\shiftOn} is applied to move
 the top @code{g} out of the column, and

-@code{merge-differently-headed} works properly.
+@code{\merge-differently-headed} works properly.

 
 @lilypond[quote,relative=2,verbatim]
 <<
 
 @lilypond[quote,relative=2,verbatim]
 <<


@@ -446,28 +474,17 @@ four) have @code{\shiftOn}.  @code{\shiftOnn} and
 Notes are only merged if they have opposing stem directions (i.e., in
 @code{Voice} 1 and 2).
 
 Notes are only merged if they have opposing stem directions (i.e., in
 @code{Voice} 1 and 2).
 

-@cindex multiple voices
-@cindex polyphonic music
-@cindex shifting voices

 
 @predefined
 
 
 @predefined
 

-@funindex \mergeDifferentlyDottedOn

 @code{\mergeDifferentlyDottedOn},
 @code{\mergeDifferentlyDottedOn},

-@funindex \mergeDifferentlyDottedOff

 @code{\mergeDifferentlyDottedOff},
 @code{\mergeDifferentlyDottedOff},

-@funindex \mergeDifferentlyHeadedOn

 @code{\mergeDifferentlyHeadedOn},
 @code{\mergeDifferentlyHeadedOn},

-@funindex \mergeDifferentlyHeadedOff

 @code{\mergeDifferentlyHeadedOff}.
 
 @code{\mergeDifferentlyHeadedOff}.
 

-@funindex \shiftOn

 @code{\shiftOn},
 @code{\shiftOn},

-@funindex \shiftOnn

 @code{\shiftOnn},
 @code{\shiftOnn},

-@funindex \shiftOnnn

 @code{\shiftOnnn},
 @code{\shiftOnnn},

-@funindex \shiftOff

 @code{\shiftOff}.
 
 @snippets
 @code{\shiftOff}.
 
 @snippets


@@ -498,7 +515,7 @@ Internals Reference:
 
 @knownissues
 
 
 @knownissues
 

-When using @code{merge-differently-headed} with an upstem eighth
+When using @code{\merge-differently-headed} with an upstem eighth

 or a shorter note, and a downstem half note, the eighth note stem
 gets a slightly wrong offset because of the different width of the
 half note head symbol.
 or a shorter note, and a downstem half note, the eighth note stem
 gets a slightly wrong offset because of the different width of the
 half note head symbol.


@@ -519,7 +536,10 @@ cluster notation (see @ref{Clusters}).
 @cindex automatic part combining
 @cindex part combiner
 @cindex combining parts
 @cindex automatic part combining
 @cindex part combiner
 @cindex combining parts

+@cindex a due part
+@cindex solo part

 @funindex \partcombine
 @funindex \partcombine

+@funindex partcombine

 
 Automatic part combining is used to merge two parts of music onto
 a staff.  It is aimed at typesetting orchestral scores.  When the
 
 Automatic part combining is used to merge two parts of music onto
 a staff.  It is aimed at typesetting orchestral scores.  When the


@@ -563,15 +583,15 @@ instrumentTwo = \relative g' {
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-The notes in the third measure appear only once, although they
-were specified in both parts.  Stem, slur, and tie directions are
-set automatically, depending whether there is a solo or unison.
-When needed in polyphony situations, the first part (with context
-called @code{one}) always gets up stems, while the second (called
-@code{two}) always gets down stems.  In solo situations, the parts
-get marked with @q{Solo} and @q{Solo II}, respectively.  The
-unisono (@notation{a due}) parts are marked by default with the
-text @qq{a2}.
+The notes in the third measure appear only once, although they were
+specified in both parts.  Stem, slur, and tie directions are set
+automatically, depending whether there is a solo or unison.  When
+needed in polyphony situations, the first part (with context called
+@code{one}) always gets up stems, while the second (called @code{two})
+always gets down stems.  In solo situations, the first and second
+parts get marked with @q{Solo} and @q{Solo II}, respectively.  The
+unisono (@notation{a due}) parts are marked by default with the text
+@qq{a2}.

 
 Both arguments to @code{\partcombine} will be interpreted as
 @code{Voice} contexts.  If using relative octaves,
 
 Both arguments to @code{\partcombine} will be interpreted as
 @code{Voice} contexts.  If using relative octaves,


@@ -635,8 +655,10 @@ events in those will be ignored.
 @node Writing music in parallel
 @unnumberedsubsubsec Writing music in parallel
 
 @node Writing music in parallel
 @unnumberedsubsubsec Writing music in parallel
 

-@cindex Writing music in parallel
-@cindex Interleaved music
+@cindex writing music in parallel
+@cindex interleaved music
+@cindex parallel music
+@funindex \parallelMusic

 @funindex parallelMusic
 
 Music for multiple parts can be interleaved in input code.  The
 @funindex parallelMusic
 
 Music for multiple parts can be interleaved in input code.  The