Doc: standardise level 5 headings (2730)

 - add subsubsubheading macro for use as level 5
   heading

 - update CG to document its use

 - amend entire Chapter 1 of NR

diff --git a/Documentation/common-macros.itexi b/Documentation/common-macros.itexi
index 1fda210772dca9152ba331fb1457d3bc1bbafa61..123c1aa31a03bfd4c8cafa29b641f1c5382f292e 100644 (file)
--- a/Documentation/common-macros.itexi
+++ b/Documentation/common-macros.itexi
@@ -77,6 +77,11 @@
 
 @c   ***** Headers *****
 
 
 @c   ***** Headers *****
 

+@c For use as the Level 5 header
+@macro subsubsubheading {TEXT}
+@subsubheading @i{\TEXT\}
+@end macro
+

 @ifclear snippets-sections
 @macro lydoctitle {TEXT}
 @need 600
 @ifclear snippets-sections
 @macro lydoctitle {TEXT}
 @need 600

diff --git a/Documentation/contributor/doc-work.itexi b/Documentation/contributor/doc-work.itexi
index 8695d340ee6bf025063629b37ebf1fbe372707a6..ff6e0f07216048a90c71e31019fe01f0e79370a4 100644 (file)
--- a/Documentation/contributor/doc-work.itexi
+++ b/Documentation/contributor/doc-work.itexi
@@ -221,15 +221,33 @@ how to modify the snippet files and SL, see @ref{LSR work}.
 @node Sectioning commands
 @subsection Sectioning commands
 
 @node Sectioning commands
 @subsection Sectioning commands
 

-Most of the manual operates at the
+The Notation Reference uses section headings at four, occasionally
+five, levels.
+
+@itemize
+
+@item Level 1: @@chapter
+@item Level 2: @@section
+@item Level 3: @@subsection
+@item Level 4: @@unnumberedsubsubsec
+@item Level 5: @@subsubsubheading
+@end itemize
+
+The first three levels are numbered in html, the last two are not.
+Numbered sections correspond to a single html page in the split html
+documents.
+
+The first four levels always have accompanying nodes so they can be
+referenced and are also included in the ToC in html.
+
+Most of the manual is written at level 4 under headings created with

 
 @example
 @@node Foo
 
 @example
 @@node Foo

-@@subsubsection Foo
+@@unnumberedsubsubsec Foo

 @end example
 
 @end example
 

-@noindent
-level.  Sections are created with
+Level 3 subsections are created with

 
 @example
 @@node Foo
 
 @example
 @@node Foo


@@ -263,11 +281,10 @@ match the node name exactly.
 No commas may be used in the node names.
 
 @item
 No commas may be used in the node names.
 
 @item

-If a heading is desired without creating a @code{@@node}, please use
-the following:
+If a heading is desired without creating a @code{@@node}, please use:

 
 @example
 
 @example

-@@subheading Foo
+@@subsubsubheading Foo

 @end example
 
 @item
 @end example
 
 @item

diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index 0b2271e71bd72e7843cdf2677e535862f76a30c5..c9e99f5eb712cf4e0af4255fe14be40a73b45eea 100644 (file)
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -900,7 +900,7 @@ It may also be reversed to produce its @notation{retrograde}, see
 @warning{Any note that does not lie within the given scale will be
 left untransformed.}
 
 @warning{Any note that does not lie within the given scale will be
 left untransformed.}
 

-@subsubheading Modal transposition
+@subsubsubheading Modal transposition

 
 @cindex modal transposition
 @cindex transposition, modal
 
 @cindex modal transposition
 @cindex transposition, modal


@@ -957,7 +957,7 @@ motif = \relative c' { c8 d e f g a b c }
 }
 @end lilypond
 
 }
 @end lilypond
 

-@subsubheading Modal inversion
+@subsubsubheading Modal inversion

 
 @cindex modal inversion
 @cindex inversion, modal
 
 @cindex modal inversion
 @cindex inversion, modal

diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 8ff7c078589b79fb40c61fefffdb82eeb524db3f..61c7b65b92d0128e262b0a213b2ae73b1a19a7fd 100644 (file)
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -1560,7 +1560,7 @@ Explicitly create a @code{Voice} context when starting a piece with
 Polymetric notation is supported explicitly or by manually modifying the
 visible time signature symbol and/or scaling note durations.
 
 Polymetric notation is supported explicitly or by manually modifying the
 visible time signature symbol and/or scaling note durations.
 

-@subsubheading Different time signatures with equal-length measures
+@subsubsubheading Different time signatures with equal-length measures

 
 Set a common time signature for each staff, and set the
 @code{timeSignatureFraction} to the desired fraction.  Then use the
 
 Set a common time signature for each staff, and set the
 @code{timeSignatureFraction} to the desired fraction.  Then use the


@@ -1602,7 +1602,7 @@ affect the autobeaming rules.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@subsubheading Different time signatures with unequal-length measures
+@subsubsubheading Different time signatures with unequal-length measures

 
 Each staff can be given its own independent time signature by
 moving the @code{Timing_translator} and the
 
 Each staff can be given its own independent time signature by
 moving the @code{Timing_translator} and the


@@ -1650,7 +1650,7 @@ moving the @code{Timing_translator} and the
 @cindex compound time signatures
 @cindex time signature, compound
 
 @cindex compound time signatures
 @cindex time signature, compound
 

-@subsubheading Compound time signatures
+@subsubsubheading Compound time signatures

 
 These are created using the @code{\compoundMeter} function.  The syntax
 for this is:
 
 These are created using the @code{\compoundMeter} function.  The syntax
 for this is:


@@ -2004,7 +2004,7 @@ by
 @end example
 
 
 @end example
 
 

-@subsubheading @i{Beaming based on @code{baseMoment} and @code{beatStructure}}
+@subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}

 
 In most instances, automatic beams will end at the end of a beat.
 The ending points for beats are determined by the context properties
 
 In most instances, automatic beams will end at the end of a beat.
 The ending points for beats are determined by the context properties


@@ -2106,7 +2106,7 @@ By default @code{baseMoment} is set to one over the denominator of
 the time signature. Any exceptions to this default can be found in
 @file{scm/time-signature-settings.scm}.
 
 the time signature. Any exceptions to this default can be found in
 @file{scm/time-signature-settings.scm}.
 

-@subsubheading @i{Beaming based on @code{beamExceptions}}
+@subsubsubheading Beaming based on @code{beamExceptions}

 
 Special autobeaming rules (other than ending a beam on a beat)
 are defined in the @code{beamExceptions} property.
 
 Special autobeaming rules (other than ending a beam on a beat)
 are defined in the @code{beamExceptions} property.


@@ -2219,7 +2219,7 @@ r4. a8 a a |
 r4. a8 a a |
 @end lilypond
 
 r4. a8 a a |
 @end lilypond
 

-@subsubheading @i{How automatic beaming works}
+@subsubsubheading How automatic beaming works

 
 When automatic beaming is enabled, the placement of automatic beams
 is determined by the context properties
 
 When automatic beaming is enabled, the placement of automatic beams
 is determined by the context properties

diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index 72d3fbb03abda31b25553461a4f475a637aeeb2b..30e682b74ac5f69e87b5ab14a8b2f0a7bd582a4e 100644 (file)
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -384,7 +384,7 @@ multiple staves.
 @funindex \oneVoice
 @funindex oneVoice
 
 @funindex \oneVoice
 @funindex oneVoice
 

-@strong{@i{Explicitly instantiating voices}}
+@subsubsubheading Explicitly instantiating voices

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


@@ -408,7 +408,7 @@ automatically moved to avoid collisions.  The @code{\oneVoice}
 command returns all the voice settings to the neutral default
 directions.
 
 command returns all the voice settings to the neutral default
 directions.
 

-@strong{@i{Temporary polyphonic passages}}
+@subsubsubheading Temporary polyphonic passages

 
 A temporary polyphonic passage can be created with the following
 construct:
 
 A temporary polyphonic passage can be created with the following
 construct:


@@ -455,7 +455,7 @@ during and after a polyphonic section:
 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
 required to define the settings of each voice.
 
 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
 required to define the settings of each voice.
 

-@strong{@i{The double backslash construct}}
+@subsubsubheading The double backslash construct

 
 The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
 more) expressions are separated by double backslashes, behaves
 
 The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
 more) expressions are separated by double backslashes, behaves


@@ -500,7 +500,7 @@ In all but the simplest works it is advisable to create explicit
 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
 @rlearning{Explicitly instantiating voices}.
 
 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
 @rlearning{Explicitly instantiating voices}.
 

-@strong{@i{Voice order}}
+@subsubsubheading Voice order

 
 When entering multiple voices in the input file, use the following
 order:
 
 When entering multiple voices in the input file, use the following
 order:


@@ -539,7 +539,7 @@ upstems, and the even-numbered voices are given downstems:
 @warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
 created @q{across} voices.}
 
 @warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
 created @q{across} voices.}
 

-@strong{@i{Identical rhythms}}
+@subsubsubheading Identical rhythms

 
 In the special case that we want to typeset parallel pieces of music
 that have the same rhythm, we can combine them into a single
 
 In the special case that we want to typeset parallel pieces of music
 that have the same rhythm, we can combine them into a single