Doc: NR 1: Use @code{@var{...}} for variables.

diff --git a/Documentation/notation/editorial.itely b/Documentation/notation/editorial.itely
index 4301839fa55984c728d86f520c76fb17eb91e605..0a90f67fa1485028702398d1705233c975ce0012 100644 (file)
--- a/Documentation/notation/editorial.itely
+++ b/Documentation/notation/editorial.itely
@@ -149,7 +149,7 @@ Internals Reference:
 @funindex finger
 
 Fingering instructions can be entered using
 @funindex finger
 
 Fingering instructions can be entered using

-@var{note}-@var{digit}:
+@samp{@var{note}-@var{digit}}:

 
 @lilypond[verbatim,quote,relative=2]
 c4-1 d-2 f-4 e-3
 
 @lilypond[verbatim,quote,relative=2]
 c4-1 d-2 f-4 e-3


@@ -311,10 +311,11 @@ e
 
 The full range of colors defined for X11 can be accessed by using
 the Scheme function @code{x11-color}.  The function takes one
 
 The full range of colors defined for X11 can be accessed by using
 the Scheme function @code{x11-color}.  The function takes one

-argument; this can be a symbol in the form @var{'FooBar} or a
-string in the form @var{"FooBar"}.  The first form is quicker to
-write and is more efficient.  However, using the second form it is
-possible to access X11 colors by the multi-word form of its name.
+argument; this can be a symbol in the form @code{'@var{FooBar}} or
+a string in the form @code{"@var{FooBar}"}.  The first form is
+quicker to write and is more efficient.  However, using the second
+form it is possible to access X11 colors by the multi-word form of
+its name.

 
 If @code{x11-color} cannot make sense of the parameter then the
 color returned defaults to black.
 
 If @code{x11-color} cannot make sense of the parameter then the
 color returned defaults to black.

diff --git a/Documentation/notation/expressive.itely b/Documentation/notation/expressive.itely
index 3a5b8928506bb4bb076d0074b734f2f27f4e9aee..97c87f66151842840342bf784f2a82dad8f47057 100644 (file)
--- a/Documentation/notation/expressive.itely
+++ b/Documentation/notation/expressive.itely
@@ -124,8 +124,8 @@ this syntax:
 @var{note}\@var{name}
 @end example
 
 @var{note}\@var{name}
 @end example
 

-The possible values for @var{name} are listed in @ref{List of
-articulations}.  For example:
+The possible values for @code{@var{name}} are listed in
+@ref{List of articulations}.  For example:

 
 @lilypond[verbatim,quote,relative=2]
 c4\staccato c\mordent b2\turn
 
 @lilypond[verbatim,quote,relative=2]
 c4\staccato c\mordent b2\turn

diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index 63d35188f2d2ce40db24e12dedaa214d8e32ad06..339d183be500b18472f77c0f405c39f404f169b8 100644 (file)
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -119,7 +119,7 @@ octave.
 
 In relative mode, each note is assumed to be as close to the
 previous note as possible.  This means that the octave of each
 
 In relative mode, each note is assumed to be as close to the
 previous note as possible.  This means that the octave of each

-pitch inside @var{musicexpr} is calculated as follows:
+pitch inside @code{@var{musicexpr}} is calculated as follows:

 
 @itemize
 @item
 
 @itemize
 @item


@@ -140,10 +140,9 @@ octaves.
 
 @item
 The pitch of the first note is relative to
 
 @item
 The pitch of the first note is relative to

-@code{@var{startpitch}}.  @var{startpitch} is specified in
+@code{@var{startpitch}}.  @code{@var{startpitch}} is specified in

 absolute octave mode, and it is recommended that it be a octave of
 @code{c}.
 absolute octave mode, and it is recommended that it be a octave of
 @code{c}.

-

 @end itemize
 
 Here is the relative mode shown in action:
 @end itemize
 
 Here is the relative mode shown in action:


@@ -282,7 +281,7 @@ Internals Reference:
 
 
 @c DEPRECATED
 
 
 @c DEPRECATED

-If no @var{startpitch} is specified for @code{\relative},
+If no @code{@var{startpitch}} is specified for @code{\relative},

 then@tie{}@code{c'} is assumed.  However, this is a deprecated
 option and may disappear in future versions, so its use is
 discouraged.
 then@tie{}@code{c'} is assumed.  However, this is a deprecated
 option and may disappear in future versions, so its use is
 discouraged.


@@ -679,13 +678,13 @@ correction.
 @end lilypond
 
 The octave of notes may also be checked with the
 @end lilypond
 
 The octave of notes may also be checked with the

-@code{\octaveCheck}@tie{}@var{controlpitch} command.
-@var{controlpitch} is specified in absolute mode.  This checks
-that the interval between the previous note and the
-@var{controlpitch} is within a fourth (i.e., the normal
+@code{\octaveCheck@tie{}@var{controlpitch}} command.
+@code{@var{controlpitch}} is specified in absolute mode.  This
+checks that the interval between the previous note and the
+@code{@var{controlpitch}} is within a fourth (i.e., the normal

 calculation of relative mode).  If this check fails, a warning is
 printed, but the previous note is not changed.  Future notes are
 calculation of relative mode).  If this check fails, a warning is
 printed, but the previous note is not changed.  Future notes are

-relative to the @var{controlpitch}.
+relative to the @code{@var{controlpitch}}.

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


@@ -743,11 +742,12 @@ syntax is
 @end example
 
 @noindent
 @end example
 
 @noindent

-This means that @var{musicexpr} is transposed by the interval
-between the pitches @var{frompitch} and @var{topitch}: any note
-with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval.  Both pitches are
-entered in absolute mode.
+This means that @code{@var{musicexpr}} is transposed by the
+interval between the pitches @code{@var{frompitch}} and
+@code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
+is changed to @code{@var{topitch}} and any other note is
+transposed by the same interval.  Both pitches are entered in
+absolute mode.

 
 @warning{Music inside a @code{@bs{}transpose} block is absolute
 unless a @code{@bs{}relative} is included in the block.}
 
 @warning{Music inside a @code{@bs{}transpose} block is absolute
 unless a @code{@bs{}relative} is included in the block.}


@@ -1071,12 +1071,12 @@ at the start of the staff.  The key signature may be altered:
 @cindex dorian
 
 @noindent
 @cindex dorian
 
 @noindent

-Here, @var{mode} should be @code{\major} or @code{\minor} to get a
-key signature of @var{pitch}-major or @var{pitch}-minor,
-respectively.  You may also use the standard mode names, also
-called @notation{church modes}: @code{\ionian}, @code{\dorian},
-@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
-@code{\aeolian}, and @code{\locrian}.
+Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
+to get a key signature of @code{@var{pitch}}-major or
+@code{@var{pitch}}-minor, respectively.  You may also use the
+standard mode names, also called @notation{church modes}:
+@code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
+@code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.

 
 @lilypond[verbatim,quote,relative=2]
 \key g \major
 
 @lilypond[verbatim,quote,relative=2]
 \key g \major

diff --git a/Documentation/notation/repeats.itely b/Documentation/notation/repeats.itely
index 46726cd0521e7f63fba2f6594f7aad151b7d7028..bd7d909093d42a4f9b5768759cf1eea815161c9a 100644 (file)
--- a/Documentation/notation/repeats.itely
+++ b/Documentation/notation/repeats.itely
@@ -29,7 +29,7 @@ notation for repeats with alternatives.
 
 @item unfold
 The repeated music is fully written out, as many times as
 
 @item unfold
 The repeated music is fully written out, as many times as

-specified by @var{repeatcount}.  This is useful when
+specified by @code{@var{repeatcount}}.  This is useful when

 entering repetitious music.
 
 @item percent
 entering repetitious music.
 
 @item percent


@@ -84,7 +84,7 @@ The syntax for a normal repeat is
 @end example
 
 @noindent
 @end example
 
 @noindent

-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.

 
 A single repeat without an alternate ending:
 
 
 A single repeat without an alternate ending:
 


@@ -105,7 +105,7 @@ group of alternatives must be themselves, enclosed in a set of braces.
 @end example
 
 @noindent
 @end example
 
 @noindent

-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.

 
 If there are more repeats than there are alternate endings, the earliest
 repeats are given the first alternative.
 
 If there are more repeats than there are alternate endings, the earliest
 repeats are given the first alternative.


@@ -458,8 +458,9 @@ the writing out of repetitious music.  The syntax is
 @end example
 
 @noindent
 @end example
 
 @noindent

-where @var{musicexpr} is a music expression and @var{repeatcount} is
-the number of times @var{musicexpr} is repeated.
+where @code{@var{musicexpr}} is a music expression and
+@code{@var{repeatcount}} is the number of times
+@code{@var{musicexpr}} is repeated.

 
 @lilypond[verbatim,quote,relative=2]
 \repeat unfold 2 { c4 d e f }
 
 @lilypond[verbatim,quote,relative=2]
 \repeat unfold 2 { c4 d e f }


@@ -564,11 +565,11 @@ is replaced with a special sign.
 The syntax is
 
 @example
 The syntax is
 
 @example

-@code{\repeat percent @var{number} @var{musicexpr}}
+\repeat percent @var{number} @var{musicexpr}

 @end example
 
 @noindent
 @end example
 
 @noindent

-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.

 
 Patterns that are shorter than one measure are replaced by slashes.
 
 
 Patterns that are shorter than one measure are replaced by slashes.
 


@@ -678,12 +679,11 @@ the note should not be surrounded by braces:
 @funindex tremoloFlags
 @funindex :
 
 @funindex tremoloFlags
 @funindex :
 

-The same output can be obtained by adding
-@q{@code{:}[@var{number}]} after the note.  The number indicates
-the duration of the subdivision, and it must be at least 8.  A
-@var{number} value of 8 gives one line across the note stem.  If
-the length is omitted, the last value (stored in
-@code{tremoloFlags}) is used:
+The same output can be obtained by adding @code{:@var{N}} after
+the note, where @code{@var{N}} indicates the duration of the
+subdivision (it must be at least 8).  If @code{@var{N}} is 8, one
+beam is added to the note's stem.  If @code{@var{N}} is omitted,
+the last value (stored in @code{tremoloFlags}) is used:

 
 @lilypond[quote,verbatim,relative=2]
 c2:8 c:32
 
 @lilypond[quote,verbatim,relative=2]
 c2:8 c:32

diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 25c0166e4f2497ecfd784a90bc342a450319c5fc..5ff676c0b7436ab62ae6a40f083b0f359169df41 100644 (file)
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -197,7 +197,7 @@ durations with a fraction:
 @end example
 
 @noindent
 @end example
 
 @noindent

-The duration of @var{music} will be multiplied by the
+The duration of @code{@var{music}} will be multiplied by the

 fraction.  The fraction's denominator will be printed over or
 under the notes, optionally with a bracket.  The most common
 tuplet is the triplet in which 3 notes have the duration of 2, so
 fraction.  The fraction's denominator will be printed over or
 under the notes, optionally with a bracket.  The most common
 tuplet is the triplet in which 3 notes have the duration of 2, so


@@ -1267,8 +1267,9 @@ entered using the @code{\partial} command, with the syntax
 @end example
 
 @noindent
 @end example
 
 @noindent

-where @code{duration} is the rhythmic length of the remaining
-interval of the current measure before the start of the next.
+where @code{@var{duration}} is the rhythmic length of the
+remaining interval of the current measure before the start of the
+next.

 
 @lilypond[quote,verbatim,relative=2]
 \partial 4 e4 |
 
 @lilypond[quote,verbatim,relative=2]
 \partial 4 e4 |


@@ -2451,13 +2452,13 @@ connected between different staves of a @code{StaffGroup},
 @funindex bar
 @funindex bartype
 
 @funindex bar
 @funindex bartype
 

-The command @code{\bar }@var{bartype} is a shortcut for
-@code{\set Timing.whichBar = }@var{bartype}.  A bar line is
+The command @samp{\bar @var{bartype}} is a shortcut for
+@samp{\set Timing.whichBar = @var{bartype}}.  A bar line is

 created whenever the @code{whichBar} property is set.
 
 The default bar type used for automatically inserted bar lines is
 created whenever the @code{whichBar} property is set.
 
 The default bar type used for automatically inserted bar lines is

-@code{"|"}.  This may be changed at any time
-with @code{\set Timing.defaultBarType = }@var{bartype}.
+@code{"|"}.  This may be changed at any time with
+@samp{\set Timing.defaultBarType = @var{bartype}}.

 
 
 @seealso
 
 
 @seealso

diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index f68d592c8141b3997e0696aecc5613f0b7316a56..5d654837b6ee33b4df54031d218a99e7d0906fb9 100644 (file)
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -820,8 +820,8 @@ i.e.,
 
 @noindent
 A @code{\relative} section that is outside of @code{\partcombine}
 
 @noindent
 A @code{\relative} section that is outside of @code{\partcombine}

-has no effect on the pitches of @var{musicexpr1} and
-@var{musicexpr2}.
+has no effect on the pitches of @code{@var{musicexpr1}} and
+@code{@var{musicexpr2}}.

 
 @snippets
 
 
 @snippets
 

diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely
index 55bea3c9af6b3b913fd18e6edc5b8109a09427e1..432c6c99853b68c260b42987502ebb5e1aeb66bf 100644 (file)
--- a/Documentation/notation/staff.itely
+++ b/Documentation/notation/staff.itely
@@ -1158,8 +1158,9 @@ Internals Reference:
 
 Only the contents of the first @code{Voice} occurring in an
 @code{\addQuote} command will be considered for quotation, so
 
 Only the contents of the first @code{Voice} occurring in an
 @code{\addQuote} command will be considered for quotation, so

-@var{music} cannot contain @code{\new} and @code{\context Voice}
-statements that would switch to a different Voice.
+@code{@var{music}} cannot contain @code{\new} and
+@code{\context Voice} statements that would switch to a different
+Voice.

 
 Quoting grace notes is broken and can even cause LilyPond to
 crash.
 
 Quoting grace notes is broken and can even cause LilyPond to
 crash.


@@ -1194,13 +1195,14 @@ notes into a part.  The syntax is as follows:
 \cueDuring #@var{partname} #@var{voice} @var{music}
 @end example
 
 \cueDuring #@var{partname} #@var{voice} @var{music}
 @end example
 

-This command copies only the notes and rests from the corresponding measures
-from @var{partname} into a @code{CueVoice} context.  The @code{CueVoice} is
-created implicitly, and occurs simultaneously with @var{music}, which
-creates a polyphonic situation.  The @var{voice} argument
-determines whether the cue notes should be notated as a first or
-second voice; @code{UP} corresponds to the first voice, and
-@code{DOWN} corresponds to the second.
+This command copies only the notes and rests from the
+corresponding measures from @code{@var{partname}} into a
+@code{CueVoice} context.  The @code{CueVoice} is created
+implicitly, and occurs simultaneously with @code{@var{music}},
+which creates a polyphonic situation.  The @code{@var{voice}}
+argument determines whether the cue notes should be notated as a
+first or second voice; @code{UP} corresponds to the first voice,
+and @code{DOWN} corresponds to the second.

 
 @lilypond[verbatim,quote]
 oboe = \relative c'' {
 
 @lilypond[verbatim,quote]
 oboe = \relative c'' {