Reduce linewidths to 66 to avoid problems with people's text editor. Added

the first Inspirational Headword.

diff --git a/Documentation/user/macros.itexi b/Documentation/user/macros.itexi
index b6bc417cfff633c995f6ecd89096a8663c7a0c40..55962b53a17554221ce46cdc00f366e8789dfa0e 100644 (file)
--- a/Documentation/user/macros.itexi
+++ b/Documentation/user/macros.itexi
@@ -135,8 +135,6 @@
 @end macro
 
 
 @end macro
 
 

-
-

 @c  Definitions for references:
 @c     @internalsref
 @c     @rglos
 @c  Definitions for references:
 @c     @internalsref
 @c     @rglos

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index 0d644bac1cd5d5ecd6255adbd877526fa96c6ba9..11c6cd600bc8db49d9f14acb12a40f299f825022 100644 (file)
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -12,6 +12,9 @@
 
 This section discusses how to specify the pitch of notes.
 
 
 This section discusses how to specify the pitch of notes.
 

+@lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
+{pitches-headword.ly}
+

 @menu
 * Writing pitches::             
 * Changing multiple pitches::   
 @menu
 * Writing pitches::             
 * Changing multiple pitches::   


@@ -491,9 +494,9 @@ trumpet which begins on concert D, one would write
 \transpose c bes @{ e4 @dots{} @}
 @end example
 
 \transpose c bes @{ e4 @dots{} @}
 @end example
 

-To print this music in B-flat again (i.e., producing a trumpet part,
-instead of a concert pitch conductor's score) you would wrap the
-existing music with another @code{transpose}
+To print this music in B-flat again (i.e., producing a trumpet
+part, instead of a concert pitch conductor's score) you would wrap
+the existing music with another @code{transpose}

 
 @example
 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
 
 @example
 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}


@@ -688,7 +691,7 @@ A natural sign is printed to cancel any previous accidentals.
 This can be suppressed by setting the
 @code{Staff.printKeyCancellation} property.
 
 This can be suppressed by setting the
 @code{Staff.printKeyCancellation} property.
 

-@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]

 \key d \major
 a b cis d
 \key g \minor
 \key d \major
 a b cis d
 \key g \minor


@@ -765,7 +768,8 @@ The key of a transposing instrument can also be specified.  This
 applies to many wind instruments, for example, clarinets (B-flat,
 A, and E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
 
 applies to many wind instruments, for example, clarinets (B-flat,
 A, and E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
 

-The transposition is entered after the keyword @code{\transposition}
+The transposition is entered after the keyword
+@code{\transposition}

 
 @example
 \transposition bes   %% B-flat clarinet
 
 @example
 \transposition bes   %% B-flat clarinet

diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index adcba92fb1e93b69a93f47e19818def3bd9d63eb..284e01638848b50cde9b3def1c3da0745957afad 100644 (file)
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -611,7 +611,8 @@ Automatic beaming does not use the measure grouping specified with
 @cindex shorten measures
 @funindex \partial
 
 @cindex shorten measures
 @funindex \partial
 

-Partial measures, such as an anacrusis or upbeat, are entered using the
+Partial measures, such as an anacrusis or upbeat, are entered
+using the

 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \partial 16*5 c16 cis d dis e | a2. c,4 | b2


@@ -717,7 +718,8 @@ tsMarkup =\markup {
 }
 
 {
 }
 
 {

-  \override Staff.TimeSignature #'stencil = #ly:text-interface::print
+  \override Staff.TimeSignature #'stencil =
+    #ly:text-interface::print

   \override Staff.TimeSignature #'text = #tsMarkup
   \time 3/2
   c'2 \bar ":" c'4 c'4.
   \override Staff.TimeSignature #'text = #tsMarkup
   \time 3/2
   c'2 \bar ":" c'4 c'4.


@@ -1098,7 +1100,8 @@ Bar lines delimit measures, but are also used to indicate repeats.
 Normally they are inserted automatically.  Line breaks may only
 happen on bar lines.
 
 Normally they are inserted automatically.  Line breaks may only
 happen on bar lines.
 

-Special types of bar lines can be forced with the @code{\bar} command
+Special types of bar lines can be forced with the @code{\bar}
+command

 
 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
 c4 \bar "|:" c4
 
 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
 c4 \bar "|:" c4

diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely
index 406c4bae4eac66c47b7f9ab21eb5084de15c215d..7e6ec60bad9b31fded80db70d37613bcce2797ee 100644 (file)
--- a/Documentation/user/simultaneous.itely
+++ b/Documentation/user/simultaneous.itely
@@ -9,9 +9,9 @@
 @node Simultaneous notes
 @section Simultaneous notes
 
 @node Simultaneous notes
 @section Simultaneous notes
 

-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
 * Single voice::                
 
 @menu
 * Single voice::                


@@ -40,7 +40,8 @@ articulations, just like simple notes
 <c e g>4 <c>8
 @end lilypond
 
 <c e g>4 <c>8
 @end lilypond
 

-For more information about chords, see @ref{Introducing chord names}.
+For more information about chords, see @ref{Introducing chord
+names}.

 
 
 @node Clusters
 
 
 @node Clusters


@@ -48,17 +49,19 @@ For more information about chords, see @ref{Introducing chord names}.
 
 @cindex cluster
 
 
 @cindex cluster
 

-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
-applying the function @code{makeClusters} to a sequence of
-chords, e.g.,
+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 applying the function @code{makeClusters} to a sequence
+of chords, e.g.,
+

 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
 \makeClusters { <c e > <b f'> }
 @end lilypond
 
 Ordinary notes and clusters can be put together in the same staff,
 even simultaneously.  In such a case no attempt is made to
 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
 \makeClusters { <c e > <b f'> }
 @end lilypond
 
 Ordinary notes and clusters can be put together in the same staff,
 even simultaneously.  In such a case no attempt is made to

-automatically avoid collisions between ordinary notes and clusters.
+automatically avoid collisions between ordinary notes and
+clusters.

 
 @seealso
 
 
 @seealso
 


@@ -91,9 +94,10 @@ accurately.  Use @code{<g a>8 <e a>8} instead.
 
 @cindex polyphony
 
 
 @cindex polyphony
 

-The easiest way to enter fragments with more than one voice on a staff
-is to enter each voice as a sequence (with @code{@{...@}}), and combine
-them simultaneously, separating the voices with @code{\\}
+The easiest way to enter fragments with more than one voice on a
+staff is to enter each voice as a sequence (with @code{@{...@}}),
+and combine them simultaneously, separating the voices with
+@code{\\}

 
 @funindex \\
 
 
 @funindex \\
 


@@ -108,26 +112,27 @@ them simultaneously, separating the voices with @code{\\}
 }
 @end lilypond
 
 }
 @end lilypond
 

-The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called @q{layers} in other notation packages}

 @cindex layers
 @cindex layers

-to be instantiated.  They bear the names @code{"1"}, @code{"2"}, etc.  In
-each of these contexts, vertical direction of slurs, stems, etc., is set
+
+The separator causes @internalsref{Voice}
+contexts@footnote{Polyphonic voices are sometimes
+called @q{layers} in other notation packages} to be instantiated.
+They bear the names @code{"1"}, @code{"2"}, etc.  In each of these
+contexts, vertical direction of slurs, stems, etc., is set

 appropriately.
 
 appropriately.
 

-These voices are all separate from the voice that contains the notes just
-outside the @code{<< \\ >>} construct.  This should be noted when making
-changes at the voice level.  This also means that slurs and ties cannot go
-into or out of a @code{<< \\ >>} construct.  Conversely, parallel voices
-from separate @code{<< \\ >>} constructs on the same staff are the
-same voice.  Here is the same example, with different noteheads and
-colors for each
-voice.  Note that the change to the note-head style in the main voice does
-not affect
-the inside of the @code{<< \\ >>} constructs.  Also, the change to the
-second
-voice in the first @code{<< \\ >>} construct is effective in the second
-@code{<< \\ >>}, and the voice is tied across the two constructs.
+These voices are all separate from the voice that contains the
+notes just outside the @code{<< \\ >>} construct.  This should be
+noted when making changes at the voice level.  This also means
+that slurs and ties cannot go into or out of a @code{<< \\ >>}
+construct.  Conversely, parallel voices from separate @code{<< \\
+>>} constructs on the same staff are the same voice.  Here is the
+same example, with different noteheads and colors for each voice.
+Note that the change to the note-head style in the main voice does
+not affect the inside of the @code{<< \\ >>} constructs.  Also,
+the change to the second voice in the first @code{<< \\ >>}
+construct is effective in the second @code{<< \\ >>}, and the
+voice is tied across the two constructs.

 
 @cindex note heads, styles
 
 
 @cindex note heads, styles
 


@@ -153,8 +158,8 @@ voice in the first @code{<< \\ >>} construct is effective in the second
 @end lilypond
 
 Polyphony does not change the relationship of notes within a
 @end lilypond
 
 Polyphony does not change the relationship of notes within a

-@code{\relative @{ @}} block.  Each note is calculated relative
-to the note immediately preceding it.
+@code{\relative @{ @}} block.  Each note is calculated relative to
+the note immediately preceding it.

 
 @example
 \relative @{ noteA << noteB \\ noteC >> noteD @}
 
 @example
 \relative @{ noteA << noteB \\ noteC >> noteD @}


@@ -170,8 +175,8 @@ to the note immediately preceding it.
 
 @internalsref{Voice} contexts can also be instantiated manually
 inside a @code{<< >>} block to create polyphonic music, using
 
 @internalsref{Voice} contexts can also be instantiated manually
 inside a @code{<< >>} block to create polyphonic music, using

-@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
-and a horizontal shift for each part.
+@code{\voiceOne}, up to @code{\voiceFour} to assign stem
+directions and a horizontal shift for each part.

 
 Specifically,
 @example
 
 Specifically,
 @example


@@ -188,18 +193,19 @@ is equivalent to
 >>
 @end example
 
 >>
 @end example
 

-The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
-articulations, text annotations, augmentation dots of dotted
-notes, and fingerings.  @code{\voiceOne} and @code{\voiceThree} make
-these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
-make them point downwards.
-The command @code{\oneVoice} will revert back to the normal setting.
+The @code{\voiceXXX} commands set the direction of stems, slurs,
+ties, articulations, text annotations, augmentation dots of dotted
+notes, and fingerings.  @code{\voiceOne} and @code{\voiceThree}
+make these objects point upwards, while @code{\voiceTwo} and
+@code{\voiceFour} make them point downwards.  The command
+@code{\oneVoice} will revert back to the normal setting.

 
 

-An expression that appears directly inside a @code{<< >>} belongs to
-the main voice.  This is useful when extra voices appear while the main
-voice is playing.  Here is a more correct rendition of the example from
-the previous section.  The crossed colored noteheads demonstrate that the main
-melody is now in a single voice context.
+An expression that appears directly inside a @code{<< >>} belongs
+to the main voice.  This is useful when extra voices appear while
+the main voice is playing.  Here is a more correct rendition of
+the example from the previous section.  The crossed colored
+noteheads demonstrate that the main melody is now in a single
+voice context.

 
 @lilypond[quote,ragged-right,verbatim]
 \new Staff \relative c' {
 
 @lilypond[quote,ragged-right,verbatim]
 \new Staff \relative c' {


@@ -222,7 +228,9 @@ melody is now in a single voice context.
 }
 @end lilypond
 
 }
 @end lilypond
 

-The correct definition of the voices allows the melody to be slurred.
+The correct definition of the voices allows the melody to be
+slurred.
+

 @lilypond[quote,ragged-right,verbatim]
 \new Staff \relative c' {
   c16^( d e f
 @lilypond[quote,ragged-right,verbatim]
 \new Staff \relative c' {
   c16^( d e f


@@ -243,8 +251,8 @@ The correct definition of the voices allows the melody to be slurred.
 @end lilypond
 
 Avoiding the @code{\\} separator also allows nesting polyphony
 @end lilypond
 
 Avoiding the @code{\\} separator also allows nesting polyphony

-constructs, which in some case might be a more natural way to typeset
-the music.
+constructs, which in some case might be a more natural way to
+typeset the music.

 
 @lilypond[quote,ragged-right,verbatim]
 \new Staff \relative c' {
 
 @lilypond[quote,ragged-right,verbatim]
 \new Staff \relative c' {


@@ -268,9 +276,9 @@ the music.
 }
 @end lilypond
 
 }
 @end lilypond
 

-In some instances of complex polyphonic music, you may need additional
-voices to avoid collisions between notes.  Additional voices are added
-by defining an identifier, as shown below:
+In some instances of complex polyphonic music, you may need
+additional voices to avoid collisions between notes.  Additional
+voices are added by defining an identifier, as shown below:

 
 @lilypond[quote,verbatim,ragged-right,relative=2]
 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
 
 @lilypond[quote,verbatim,ragged-right,relative=2]
 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)


@@ -287,9 +295,10 @@ voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
 @node Collision Resolution
 @unnumberedsubsubsec Collision Resolution
 
 @node Collision Resolution
 @unnumberedsubsubsec Collision Resolution
 

-Normally, note heads with a different number of dots are not merged, but
-when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are merged:
+Normally, note heads with a different number of dots are not
+merged, but when the object property
+@code{merge-differently-dotted} is set in the
+@internalsref{NoteCollision} object, they are merged:

 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Voice << {
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Voice << {


@@ -300,8 +309,8 @@ the @internalsref{NoteCollision} object, they are merged:
 } \\ { g8.[ f16] g8.[ f16] } >>
 @end lilypond
 
 } \\ { g8.[ f16] g8.[ f16] } >>
 @end lilypond
 

-Similarly, you can merge half note heads with eighth notes, by setting
-@code{merge-differently-headed}:
+Similarly, you can merge half note heads with eighth notes, by
+setting @code{merge-differently-headed}:

 
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \new Voice << {
 
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \new Voice << {


@@ -312,8 +321,9 @@ c8 c4. } \\ { c2 c2 } >>
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-@code{merge-differently-headed} and @code{merge-differently-dotted}
-only apply to opposing stem directions (ie. Voice 1 & 2).
+@code{merge-differently-headed} and
+@code{merge-differently-dotted} only apply to opposing stem
+directions (ie. Voice 1 & 2).

 
 LilyPond also vertically shifts rests that are opposite of a stem,
 for example
 
 LilyPond also vertically shifts rests that are opposite of a stem,
 for example


@@ -323,14 +333,14 @@ for example
 @end lilypond
 
 If three or more notes line up in the same column,
 @end lilypond
 
 If three or more notes line up in the same column,

-@code{merge-differently-headed} cannot
-successfully complete the merge of the two notes that should be merged.
-To allow the merge to work properly, apply a @code{\shift} to the note that
-should not be merged.  In the first measure of following example,
-@code{merge-differently-headed} does not work (the half-note head is
-solid).  In the second measure, @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} cannot successfully complete the
+merge of the two notes that should be merged.  To allow the merge
+to work properly, apply a @code{\shift} to the note that should
+not be merged.  In the first measure of following example,
+@code{merge-differently-headed} does not work (the half-note head
+is solid).  In the second measure, @code{\shiftOn} is applied to
+move the top @code{g} out of the column, and
+@code{merge-differently-headed} works properly.

 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \override Staff.NoteCollision #'merge-differently-headed = ##t
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \override Staff.NoteCollision #'merge-differently-headed = ##t


@@ -367,16 +377,16 @@ works properly.
 @funindex \shiftOnnn
 @code{\shiftOnnn},
 @funindex \shiftOff
 @funindex \shiftOnnn
 @code{\shiftOnnn},
 @funindex \shiftOff

-@code{\shiftOff}: these commands specify the
-degree to which chords of the current voice should be shifted.
-The outer voices (normally: voice one and
-two) have @code{\shiftOff}, while the inner voices (three and four)
-have @code{\shiftOn}.  @code{\shiftOnn} and @code{\shiftOnnn} define
-further shift levels.
+@code{\shiftOff}: these commands specify the degree to which
+chords of the current voice should be shifted.  The outer voices
+(normally: voice one and two) have @code{\shiftOff}, while the
+inner voices (three and four) have @code{\shiftOn}.
+@code{\shiftOnn} and @code{\shiftOnnn} define further shift
+levels.

 
 

-When LilyPond cannot cope, the @code{force-hshift}
-property of the @internalsref{NoteColumn} object and pitched rests can
-be used to override typesetting decisions.
+When LilyPond cannot cope, the @code{force-hshift} property of the
+@internalsref{NoteColumn} object and pitched rests can be used to
+override typesetting decisions.

 
 @lilypond[quote,verbatim,ragged-right]
 \relative <<
 
 @lilypond[quote,verbatim,ragged-right]
 \relative <<


@@ -393,20 +403,21 @@ be used to override typesetting decisions.
 
 @seealso
 
 
 @seealso
 

-Program reference: the objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}.
+Program reference: the objects responsible for resolving
+collisions are @internalsref{NoteCollision} and
+@internalsref{RestCollision}.

 
 
 @refbugs
 
 
 
 @refbugs
 

-When using @code{merge-differently-headed} with an upstem eighth or a
-shorter note, and a downstem half note, the eighth note gets the wrong
-offset.
+When using @code{merge-differently-headed} with an upstem eighth
+or a shorter note, and a downstem half note, the eighth note gets
+the wrong offset.

 
 There is no support for clusters where the same note occurs with
 different accidentals in the same chord.  In this case, it is
 
 There is no support for clusters where the same note occurs with
 different accidentals in the same chord.  In this case, it is

-recommended to use enharmonic transcription, or to use special cluster
-notation (see @ref{Clusters}).
+recommended to use enharmonic transcription, or to use special
+cluster notation (see @ref{Clusters}).

 
 
 @node Automatic part combining
 
 
 @node Automatic part combining


@@ -414,10 +425,10 @@ notation (see @ref{Clusters}).
 @cindex automatic part combining
 @cindex part combiner
 
 @cindex automatic part combining
 @cindex part combiner
 

-Automatic part combining is used to merge two parts of music onto a
-staff.  It is aimed at typesetting orchestral scores.  When the two
-parts are identical for a period of time, only one is shown.  In
-places where the two parts differ, they are typeset as separate
+Automatic part combining is used to merge two parts of music onto
+a staff.  It is aimed at typesetting orchestral scores.  When the
+two parts are identical for a period of time, only one is shown.
+In places where the two parts differ, they are typeset as separate

 voices, and stem directions are set automatically.  Also, solo and
 @emph{a due} parts are identified and can be marked.
 
 voices, and stem directions are set automatically.  Also, solo and
 @emph{a due} parts are identified and can be marked.
 


@@ -428,9 +439,9 @@ The syntax for part combining is
 @end example
 
 
 @end example
 
 

-The following example demonstrates the basic functionality of the part
-combiner: putting parts on one staff, and setting stem directions and
-polyphony
+The following example demonstrates the basic functionality of the
+part combiner: putting parts on one staff, and setting stem
+directions and polyphony

 
 @lilypond[quote,verbatim,ragged-right,fragment]
 \new Staff \partcombine
 
 @lilypond[quote,verbatim,ragged-right,fragment]
 \new Staff \partcombine


@@ -438,15 +449,15 @@ polyphony
   \relative g' { g g r4 r e e g g }
 @end lilypond
 
   \relative g' { g g r4 r e e g g }
 @end lilypond
 

-The first @code{g} appears only once, although it was
-specified twice (once in each part).  Stem, slur, and tie directions are
-set automatically, depending whether there is a solo or unisono.  The
-first part (with context called @code{one}) always gets up stems, and
-@q{Solo}, while the second (called @code{two}) always gets down stems and
-@q{Solo II}.
+The first @code{g} appears only once, although it was specified
+twice (once in each part).  Stem, slur, and tie directions are set
+automatically, depending whether there is a solo or unisono.  The
+first part (with context called @code{one}) always gets up stems,
+and @q{Solo}, while the second (called @code{two}) always gets
+down stems and @q{Solo II}.

 
 

-If you just want the merging parts, and not the textual markings, you
-may set the property @code{printPartCombineTexts} to false
+If you just want the merging parts, and not the textual markings,
+you may set the property @code{printPartCombineTexts} to false

 
 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
 \new Staff <<
 
 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
 \new Staff <<


@@ -474,7 +485,8 @@ properties.
 
 Both arguments to @code{\partcombine} will be interpreted as
 @internalsref{Voice} contexts.  If using relative octaves,
 
 Both arguments to @code{\partcombine} will be interpreted as
 @internalsref{Voice} contexts.  If using relative octaves,

-@code{\relative} should be specified for both music expressions, i.e.,
+@code{\relative} should be specified for both music expressions,
+i.e.,

 
 @example
 \partcombine
 
 @example
 \partcombine


@@ -483,8 +495,9 @@ Both arguments to @code{\partcombine} will be interpreted as
 @end example
 
 @noindent
 @end example
 
 @noindent

-A @code{\relative} section that is outside of @code{\partcombine} has
-no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
+A @code{\relative} section that is outside of @code{\partcombine}
+has no effect on the pitches of @var{musicexpr1} and
+@var{musicexpr2}.

 
 @seealso
 
 
 @seealso
 


@@ -492,19 +505,19 @@ Program reference: @internalsref{PartCombineMusic}.
 
 @refbugs
 
 
 @refbugs
 

-When @code{printPartCombineTexts} is set, when the two voices play the
-same notes on and off, the part combiner may typeset @code{a2} more
-than once in a measure.
+When @code{printPartCombineTexts} is set, when the two voices play
+the same notes on and off, the part combiner may typeset @code{a2}
+more than once in a measure.

 
 @code{\partcombine} cannot be inside @code{\times}.
 
 @code{\partcombine} cannot be inside @code{\relative}.
 
 Internally, the @code{\partcombine} interprets both arguments as
 
 @code{\partcombine} cannot be inside @code{\times}.
 
 @code{\partcombine} cannot be inside @code{\relative}.
 
 Internally, the @code{\partcombine} interprets both arguments as

-@code{Voice}s named @code{one} and @code{two}, and then decides when
-the parts can be combined.  Consequently, if the arguments switch to
-differently named @internalsref{Voice} contexts, the events in those
-will be ignored.
+@code{Voice}s named @code{one} and @code{two}, and then decides
+when the parts can be combined.  Consequently, if the arguments
+switch to differently named @internalsref{Voice} contexts, the
+events in those will be ignored.

 
 
 @node Writing music in parallel
 
 
 @node Writing music in parallel

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 47d6d38b075e203c604ead365678c48b0bfdd77f..8549412cd8c38cad440103e8491dc1c4450aa593 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -17,8 +17,8 @@ Tutorial guidelines:
   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
   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
 
 
 @end ignore
 
 


@@ -38,15 +38,15 @@ Tutorial guidelines:
 @chapter Tutorial
 
 This tutorial starts with an introduction to the LilyPond music
 @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
 
 @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]
 
 @c no verbatim here
 @lilypond[quote,ragged-right]


@@ -55,11 +55,12 @@ Try it on this image
 }
 @end lilypond
 
 }
 @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
-@ruser{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
 @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
 
 @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
 notation.  For example, if we write
 
 @example


@@ -107,68 +108,75 @@ the result looks like this
 }
 @end lilypond
 
 }
 @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
 
 @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
 
 
 @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
 
 
 @subsubheading MacOS X
 

-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.
+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.
+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.

 
 @subsubheading Windows
 
 
 @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
 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 @rprogram{Text 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
 
 
 @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
+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}
 @rprogram{Text editor support}, for more information.}.  In your
 text editor, enter the following input and save the file as
 @file{test.ly}


@@ -208,16 +216,17 @@ 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
 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
 
 
 
 @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[verbatim,quote,ragged-right]
 {
 
 @lilypond[verbatim,quote,ragged-right]
 {


@@ -226,16 +235,17 @@ added a clef, time signature, and rhythms.
 @end lilypond
 
 @noindent
 @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
 
 
 
 @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[verbatim,quote,ragged-right]
 \relative c' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c' {


@@ -244,10 +254,11 @@ entering the most elementary piece of music, a @rglos{scale}.
 }
 @end lilypond
 
 }
 @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[verbatim,quote,ragged-right]
 \relative c' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c' {


@@ -257,12 +268,13 @@ D to the previous note.  We can create melodies which have larger intervals:
 @end lilypond
 
 @noindent
 @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[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -272,18 +284,19 @@ lower the octave by adding a comma @code{,} to the note name.
 @end lilypond
 
 @noindent
 @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)
 
 
 
 @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[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -295,9 +308,11 @@ automatically.
 
 @noindent
 If you do not specify a duration, the previous duration is used
 
 @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 note}s, add a dot @samp{.} to the duration number.
+To create @rglos{dotted note}s, add a dot @samp{.} to the duration
+number.

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -321,7 +336,8 @@ A @rglos{rest} is entered just like a note with the name @samp{r}:
 
 @subheading Time signature
 
 
 @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[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -384,36 +400,34 @@ see @ruser{Clef}.
 @node Working on text files
 @subsection Working on text files
 
 @node Working on text files
 @subsection Working on text files
 

-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{%@{ ... %@}}.
+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}:
 
 @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}:
 
 @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
 
 @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
 @example
 @{
   c d e


@@ -421,27 +435,28 @@ is to indent code blocks with either a tab or two spaces:
 @end example
 
 @item @strong{Expressions:}
 @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}:
 
 @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.  (Comments do not nest.)  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
 
 @example
 % notes for twinkle twinkle follow


@@ -466,14 +481,14 @@ There are more tips for constructing input files in
 @subsection How to read the tutorial
 
 As we saw in @ruser{Working on text files}, LilyPond input must be
 @subsection How to read the tutorial
 
 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.
+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'' @{
 
 @example
 \relative c'' @{


@@ -481,13 +496,13 @@ copy and paste the displayed input, but you @strong{must} add the
 @}
 @end example
 
 @}
 @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
 
 
 @node Single staff notation


@@ -509,17 +524,17 @@ on one staff.
 @node Relative note names
 @subsection Relative note names
 
 @node Relative note names
 @subsection Relative note names
 

-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.
+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[verbatim,quote,ragged-right,fragment,relative=2]
 c2 fis
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2 fis


@@ -543,13 +558,13 @@ see @ruser{Octave check}.
 
 @subheading Accidentals
 
 
 @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
-@ruser{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[verbatim,quote,ragged-right,fragment,relative=2]
 cis1 ees fisis, aeses
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 cis1 ees fisis, aeses


@@ -573,19 +588,20 @@ a
 @subheading Warning: key signatures and pitches
 
 To determine whether to print an accidental, LilyPond examines the
 @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 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.
+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
 
 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
 
 
 In this example
 


@@ -595,24 +611,24 @@ d cis fis
 @end lilypond
 
 @noindent
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 \key aes \major
 e
 @end lilypond
 
 
 @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
-@ruser{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.

 
 @seealso
 @quotation
 
 @seealso
 @quotation


@@ -630,8 +646,8 @@ see @ruser{Key signature}.
 
 @cindex ties
 @subheading Ties
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 g4~ g c2~
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 g4~ g c2~


@@ -641,8 +657,9 @@ c4 ~ c8 a8 ~ a2
 @cindex slurs
 @subheading Slurs
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 d4( c16) cis( d e c cis d) e( d4)
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 d4( c16) cis( d e c cis d) e( d4)


@@ -652,10 +669,10 @@ d4( c16) cis( d e c cis d) e( d4)
 @cindex phrasing slurs
 @subheading Phrasing slurs
 
 @cindex phrasing slurs
 @subheading 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[verbatim,quote,ragged-right,fragment,relative=2]
 a8(\( ais b c) cis2 b'2 a4 cis,\)
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8(\( ais b c) cis2 b'2 a4 cis,\)


@@ -666,11 +683,11 @@ a8(\( ais b c) cis2 b'2 a4 cis,\)
 @cindex slurs versus ties
 @subheading Warnings: slurs vs. ties
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 c2~( c8 fis fis4 ~ fis2 g2)
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2~( c8 fis fis4 ~ fis2 g2)


@@ -697,8 +714,8 @@ see @ruser{Phrasing slurs}.
 @cindex staccato
 @subheading Articulations
 
 @cindex staccato
 @subheading Articulations
 

-Common @rglos{articulation}s 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[verbatim,quote,ragged-right,fragment,relative=2]
 c-. c-- c-> c-^ c-+ c-_
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c-. c-- c-> c-^ c-+ c-_


@@ -706,25 +723,26 @@ c-. c-- c-> c-^ c-+ c-_
 
 @cindex fingering
 @subheading Fingerings
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 c-3 e-5 b-2 a-1
 @end lilypond
 
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 c_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 
 @subheading Dynamics
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 c\ff c\mf c\p c\pp
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c\ff c\mf c\p c\pp


@@ -734,9 +752,9 @@ c\ff c\mf c\p c\pp
 @cindex decrescendo
 @cindex crescendo
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 c2\< c2\ff\> c2 c2\!
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 c2\< c2\ff\> c2 c2\!


@@ -767,8 +785,8 @@ a8 ais d ees r d c16 b a8
 
 @noindent
 If you do not like the automatic beams, they may be overridden
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 a8[ ais] d[ ees r d] a b
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 a8[ ais] d[ ees r d] a b


@@ -794,8 +812,8 @@ see @ruser{Manual beams}.
 @subheading Partial measure
 
 A pickup (or @rglos{anacrusis}) is entered with the keyword
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 \partial 8
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \partial 8


@@ -807,9 +825,10 @@ f8 c2 d
 @subheading Tuplets
 
 Tuplets are made with the @code{\times} keyword.  It takes two
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 \times 2/3 { f8 g a }
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 \times 2/3 { f8 g a }


@@ -823,8 +842,8 @@ of music is multiplied by the fraction.  Triplets make notes occupy
 @cindex appoggiatura
 @subheading Grace notes
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 keyword @code{\appoggiatura} or @code{\acciaccatura}
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]


@@ -849,13 +868,13 @@ see @ruser{Partial measures}.
 @node Multiple notes at once
 @section Multiple notes at once
 
 @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::  
 
 @menu
 * Music expressions explained::  


@@ -870,22 +889,23 @@ one voice on the same staff.
 @subsection Music expressions explained
 
 In LilyPond input files, music is represented by @emph{music
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 a4
 @end lilypond
 
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 { a4 g4 }
 @end lilypond
 
 
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 { { a4 g } f g }
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 { { a4 g } f g }


@@ -895,11 +915,12 @@ is another music expression:
 
 This technique is useful for polyphonic music.  To enter music
 with more voices or more staves, we combine expressions in
 
 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:
+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'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -911,21 +932,22 @@ containing two separate notes) are combined simultaneously:
 }
 @end lilypond
 
 }
 @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
 
 
 
 @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[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -938,10 +960,10 @@ simultaneous expression, there is more than one staff.
 @cindex music expression
 @subheading Analogy: mathematical expressions
 
 @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
 
 @example
 1


@@ -953,26 +975,28 @@ you can make arbitrarily complex and large expressions.  For example,
 ((1 + 2) * 3) / (4 * 5)
 @end 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
 
 
 
 @node Multiple staves
 @subsection Multiple staves
 

-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.
+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
 
 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[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -983,26 +1007,25 @@ staff is marked by adding @code{\new Staff} before it.  These
 }
 @end lilypond
 
 }
 @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},
 
 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
 
 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 
+Time signatures entered in one staff affects all other

 staves@footnote{This behavior may be changed if desired; see
 staves@footnote{This behavior may be changed if desired; see

-@ruser{Polymetric notation}, for details.}. On the other hand, 
-the key signature of one staff does @emph{not} affect other
-staves.
+@ruser{Polymetric notation}, for details.}. On the other hand, the
+key signature of one staff does @emph{not} affect other staves.

 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
 
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {


@@ -1021,9 +1044,10 @@ staves.
 
 @cindex staff switch, manual
 @cindex cross staff voice, manual
 
 @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 @ruser{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 <<
 
 @example
 \new PianoStaff <<


@@ -1053,15 +1077,15 @@ See @ruser{Piano music}.
 @subsection Combining notes into chords
 
 @cindex 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{>}.
+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
 
 
 @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
+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
 
 @lilypond[quote,fragment,verbatim,relative=2,fragment]
 r4 <c e g>8[ <c f a>]~ <c f a>2


@@ -1078,14 +1102,14 @@ r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
 @cindex polyphony
 @cindex multiple voices
 @cindex voices, more -- on a staff
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 <<
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 <<


@@ -1094,10 +1118,11 @@ voices with @code{\\}
 >>
 @end lilypond
 
 >>
 @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[verbatim,quote,ragged-right,fragment,relative=2]
 <<
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 <<


@@ -1170,9 +1195,9 @@ syllable with a space.
 
 @cindex melisma
 @cindex extender line
 
 @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[verbatim,quote,ragged-right]
 <<
 
 @lilypond[verbatim,quote,ragged-right]
 <<


@@ -1212,35 +1237,35 @@ discussed in @ruser{Vocal music}.
 @cindex chords
 @cindex chord names
 
 @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[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.
 
 @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[verbatim,quote,ragged-right]
 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
 @end lilypond
 
 
 @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[verbatim,quote,ragged-right]
 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
 @end lilypond
 
 @cindex lead sheet
 
 @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[verbatim,quote,ragged-right]
 <<
 
 @lilypond[verbatim,quote,ragged-right]
 <<


@@ -1256,17 +1281,17 @@ a lead sheet,
 
 @seealso
 @quotation
 
 @seealso
 @quotation

-A complete list of modifiers and other options for layout can be found
-in @ruser{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
 
 @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::              
 
 @menu
 * Version number::              


@@ -1282,8 +1307,8 @@ of the manual.
 @subsection Version number
 
 @cindex versioning
 @subsection Version number
 
 @cindex versioning

-The @code{\version} statement records the version of LilyPond that was
-used to write the file:
+The @code{\version} statement records the version of LilyPond that
+was used to write the file:

 
 @example
 \version "2.11.23"
 
 @example
 \version "2.11.23"


@@ -1292,19 +1317,20 @@ used to write the file:
 @noindent
 by convention, this is placed at the top of your LilyPond file.
 
 @noindent
 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 @rprogram{Updating files with convert-ly}), and
-it uses @code{\version} to determine what rules to apply.
+These annotations make future upgrades of LilyPond go more
+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
 
 
 
 @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 @ruser{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 "2.11.23"
 
 @example
 \version "2.11.23"


@@ -1319,22 +1345,23 @@ the @ruser{Version number}.
 @}
 @end example
 
 @}
 @end example
 

-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}.
+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
 
 
 
 @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
 
 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]
 {
 
 @lilypond[quote,verbatim,ragged-right]
 {


@@ -1361,8 +1388,8 @@ Here is a four-octave scale:
 }
 @end lilypond
 
 }
 @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]
 {
 
 @lilypond[quote,verbatim,ragged-right]
 {


@@ -1373,9 +1400,9 @@ quote ' marks.  Consider this fragment from Mozart:
 }
 @end lilypond
 
 }
 @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'' {
 
 @lilypond[quote,verbatim,ragged-right]
 \relative c'' {


@@ -1386,25 +1413,29 @@ to read:
 }
 @end lilypond
 
 }
 @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
 
 
 @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{} @}
 
 @example
 namedMusic = @{ @dots{} @}


@@ -1412,8 +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
 
 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'' {
 
 @lilypond[quote,verbatim,ragged-right]
 violin = \new Staff { \relative c'' {


@@ -1435,8 +1467,8 @@ cello = \new Staff { \relative c {
 The name of an identifier must have alphabetic characters only: no
 numbers, underscores, or dashes.
 
 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
 
 @example
 width = 4.5\cm


@@ -1460,41 +1492,42 @@ places.  The following example uses the above variables:
 @subsection After the tutorial
 
 After finishing the tutorial, you should probably try writing a
 @subsection After the tutorial
 
 After finishing the tutorial, you should probably try writing a

-piece or two.  Start with one of the @ruser{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
 @ruser{Basic notation}.  If you want to write for an instrument
 tutorial, look at the Notation Reference, starting with
 @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}.
+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 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.
+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
 
 
 
 @node How to read the manual
 @subsection How to read the manual
 

-As we saw in @ruser{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 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{@{ @}}.
+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
 
 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}.
 
 For information about the structure of the rest of the manual, see
 @ruser{About this manual}.

diff --git a/input/manual/pitches-headword.ly b/input/manual/pitches-headword.ly
new file mode 100644 (file)
index 0000000..6c4823f
--- /dev/null
+++ b/input/manual/pitches-headword.ly
@@ -0,0 +1,212 @@
+\version "2.11.32"
+\include "english.ly"
+
+\new PianoStaff <<
+   \set PianoStaff.connectArpeggios = ##t
+   \new Staff {
+      \time 2/4
+      \key fs \major
+      <<
+         \new Voice {
+            \voiceOne
+            fs''8 ( 
+            ^ \markup \column { 
+               \line \bold { Un peu retenu  }
+               \line \italic { très expressif } }
+            es''16
+            cs''16
+            as'4 )
+            |
+            fs''8 (
+            es''16
+            cs''16
+            as'4 )
+            |
+            fs''8 (
+            es''16
+            cs''16
+            as'8
+            cs''8 )
+            |
+         }
+         \new Voice {
+            \voiceTwo
+            r8 \ppp
+            fs'4 (
+            es'8 )
+            |
+            r8
+            fs'4 (
+            es'8 )
+            |
+            r8
+            fs'4 (
+            es'8 )
+            |
+         }
+      >>
+      \clef bass
+      <ds b! es'>4 (
+      ^ \markup \bold { Rall. }
+      \once \override Script #'padding = #2
+      <ds' as'>8 ) \fermata
+      \noBeam
+      \clef treble
+      \slurUp
+      <as fs'>8 ( \pp
+      |
+      <gs b cs'>4. )
+      ^ \markup \bold { a tempo }
+      \slurUp
+      <as fs'>8 (
+      |
+      <gs b cs'>4. )
+      <<
+         \new Voice {
+            \voiceOne
+            <as fs'>8 (
+            ^ \markup \bold { Rallentando }
+            |
+            cs'8
+            b16
+            cs'16
+            d'8
+            e'16
+            fs'16
+            |
+            <as! cs' gs'>4. )
+            s8
+            |
+            r8
+            <cs'' as'' cs'''>4 \arpeggio
+            e''16 (
+            ^ \markup \bold { Lent }
+            fs''16
+            |
+            \stemDown
+            <as'! cs'' gs''>2 )
+            |
+         }
+         \new Voice {
+            \voiceTwo
+            s8
+            |
+            <gs b>4 \<
+            <fs bs>4 \>
+            |
+            s4. \!
+            \slurUp
+            \once \override Script #'direction = #up
+            <a bs e'>8 ( \accent 
+            |
+            <as! cs' gs'>4. )
+            <a' bs'>8 \ppp \>
+            |
+            s8 \!
+            \stemDown
+            \once \override Script #'direction = #up
+            #(set-octavation 1)
+            % \once \override Arpeggio #'extra-offset = #'(-0.25 . 0)
+            <cs''' as''' cs''''>4. \arpeggio \fermata
+            #(set-octavation 0)
+            \bar "|."   
+         }
+      >>
+   }
+   \new Staff <<
+      \set Staff.pedalSustainStyle = #'bracket
+      \key fs \major
+      \clef bass
+      \new Voice {
+         \voiceOne
+         ds'4 \tenuto
+         cs'4 \tenuto
+         |
+         ds'4 \tenuto
+         cs'4 \tenuto
+         |
+         ds'4 \tenuto
+         cs'4 \tenuto
+         |
+         s8
+         \clef treble
+         <b' cs''>8 [
+         \clef bass
+         <es b cs'>8 \fermata ]
+         s8
+         |
+         r8
+         \clef treble
+         <b' cs''>4 \tenuto
+         s8
+         |
+         r8
+         \clef treble
+         <b' cs''>4 \tenuto
+         s8
+         |
+         s2
+         |
+         r8
+         \clef treble
+         <as' cs''>4
+         \clef bass
+         s8
+         |
+         s8
+         \clef treble
+         <as'>4 \arpeggio
+         \clef bass
+         s8
+         |
+         s8
+         \clef treble
+         <as''>4. \arpeggio \fermata
+         |
+      }
+      \new Voice {
+         \voiceTwo
+         ds'8 [ (
+         < ds bs >8
+         cs'8
+         < ds as >8 ] )
+         |
+         ds'8 [ (
+         < ds bs >8
+         cs'8
+         < ds as >8 ] )
+         |
+         ds'8 [ (
+         < ds bs >8
+         cs'8
+         < ds as >8 ] )
+         |
+         \once \override Script #'outside-staff-priority = #100
+         \once \override TextScript #'outside-staff-priority = #500
+         <cs, gs,>4. \fermata
+         _ \markup \italic { ped. }
+         <fs, cs>8 (
+         |
+         <e, b,>4. ) \sustainDown
+         \clef bass
+         <fs, cs>8 ( \sustainUp
+         |
+         <e, b,>4. ) \sustainDown
+         \clef bass
+         <fs, cs>8 ( \sustainUp
+         |
+         <e, b,>4
+         <d, a,>4
+         |
+         <fs,, cs,>4. ) \sustainDown
+         <a, e>8 ( \sustainUp
+         |
+         <fs, cs>4. ) \sustainDown
+         \slurUp
+         <a e'>8 ( \sustainUp \sustainDown
+         |
+         <fs cs'>2 ) \sustainUp \sustainDown
+         |
+      }
+   >>
+>>