Doc: use @dots{} rather than "..."

diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely
index 482425df14fa14818bf55b9b2dcad81caf8de36b..8d6d0060d17fae07f2fb9a729486257e0ac0bc5d 100644 (file)
--- a/Documentation/learning/fundamental.itely
+++ b/Documentation/learning/fundamental.itely
@@ -57,7 +57,7 @@ A basic example of a LilyPond input file is
 \header @{ @}
 
 \score @{
 \header @{ @}
 
 \score @{

-  @var{...compound music expression...}  % all the music goes here!
+  @var{ @dots{} compound music expression @dots{} }  % all the music goes here!

   \layout @{ @}
   \midi @{ @}
 @}
   \layout @{ @}
   \midi @{ @}
 @}


@@ -133,13 +133,13 @@ note to a huge compound expression like
 @example
 @{
   \new StaffGroup <<
 @example
 @{
   \new StaffGroup <<

-    @var{...insert the whole score of a Wagner opera in here...}
+    @var{ @dots{} insert the whole score of a Wagner opera in here @dots{} }

   >>
 @}
 @end example
 
 @noindent
   >>
 @}
 @end example
 
 @noindent

-Since everything is inside @code{@{ ... @}}, it counts
+Since everything is inside @code{@{ @dots{} @}}, it counts

 as one music expression.
 
 As we saw previously, the @code{\score} block can contain other
 as one music expression.
 
 As we saw previously, the @code{\score} block can contain other


@@ -301,12 +301,12 @@ Here we have given names to the staves -- @qq{singer} and
 to cultivate so that you can see at a glance what each stave is
 for.
 
 to cultivate so that you can see at a glance what each stave is
 for.
 

-Remember that we use @code{<< ... >>} instead of @code{@{ ... @}} to
+Remember that we use @code{<< @dots{} >>} instead of @code{@{ @dots{} @}} to

 show simultaneous music.  This causes the vocal part and piano part
 show simultaneous music.  This causes the vocal part and piano part

-to appear one above the other in the score.  The @code{<< ... >>}
+to appear one above the other in the score.  The @code{<< @dots{} >>}

 construct would not be necessary for the Singer staff in the example
 above if it were going to contain only one sequential music
 construct would not be necessary for the Singer staff in the example
 above if it were going to contain only one sequential music

-expression, but @code{<< ... >>} rather than braces is necessary if
+expression, but @code{<< @dots{} >>} rather than braces is necessary if

 the music in the Staff is to contain two or more simultaneous
 expressions, e.g. two simultaneous Voices, or a Voice with lyrics.
 We're going to have a voice with lyrics, so angle brackets are
 the music in the Staff is to contain two or more simultaneous
 expressions, e.g. two simultaneous Voices, or a Voice with lyrics.
 We're going to have a voice with lyrics, so angle brackets are


@@ -484,27 +484,27 @@ constructs.
 @multitable @columnfractions .3 .7
 @headitem Bracket Type
   @tab Function
 @multitable @columnfractions .3 .7
 @headitem Bracket Type
   @tab Function

-@item @code{@{ .. @}}
+@item @code{@{ @dots{} @}}

   @tab Encloses a sequential segment of music
   @tab Encloses a sequential segment of music

-@item @code{< .. >}
+@item @code{< @dots{} >}

   @tab Encloses the notes of a chord
   @tab Encloses the notes of a chord

-@item @code{<< .. >>}
+@item @code{<< @dots{} >>}

   @tab Encloses simultaneous music expressions
   @tab Encloses simultaneous music expressions

-@item @code{( .. )}
+@item @code{( @dots{} )}

   @tab Marks the start and end of a slur
   @tab Marks the start and end of a slur

-@item @code{\( .. \)}
+@item @code{\( @dots{} \)}

   @tab Marks the start and end of a phrasing slur
   @tab Marks the start and end of a phrasing slur

-@item @code{[ .. ]}
+@item @code{[ @dots{} ]}

   @tab Marks the start and end of a manual beam
 @end multitable
 
 To these we should add other constructs which generate lines
 between or across notes: ties (marked by a tilde, @code{~}),
   @tab Marks the start and end of a manual beam
 @end multitable
 
 To these we should add other constructs which generate lines
 between or across notes: ties (marked by a tilde, @code{~}),

-tuplets written as @code{\times x/y @{..@}}, and grace notes
-written as @code{\grace@{..@}}.
+tuplets written as @code{\tuplet x/y @{ @dots{} @}}, and grace notes
+written as @code{\grace @{ @dots{} @}}.

 
 Outside LilyPond, the conventional use of brackets requires the
 
 Outside LilyPond, the conventional use of brackets requires the

-different types to be properly nested, like this, @code{<< [ @{ ( .. )
+different types to be properly nested, like this, @code{<< [ @{ ( @dots{} )

 @} ] >>}, with the closing brackets being encountered in exactly the
 opposite order to the opening brackets.  This @strong{is} a
 requirement for the three types of bracket described by the word
 @} ] >>}, with the closing brackets being encountered in exactly the
 opposite order to the opening brackets.  This @strong{is} a
 requirement for the three types of bracket described by the word


@@ -593,7 +593,7 @@ this example of four chords:
 @end lilypond
 
 This can be expressed using just the single angle bracket chord
 @end lilypond
 
 This can be expressed using just the single angle bracket chord

-symbols, @code{< ... >}, and for this just a single voice is
+symbols, @code{< @dots{} >}, and for this just a single voice is

 needed.  But suppose the F-sharp were actually an eighth-note
 followed by an eighth-note G, a passing note on the way to the A?
 Now we have two notes which start at the same time but have
 needed.  But suppose the F-sharp were actually an eighth-note
 followed by an eighth-note G, a passing note on the way to the A?
 Now we have two notes which start at the same time but have


@@ -610,8 +610,8 @@ Let us see how this is done in LilyPond input syntax.
 @funindex \\
 
 The easiest way to enter fragments with more than one voice on a
 @funindex \\
 
 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 with angle brackets, @code{<<...>>}.
+staff is to enter each voice as a sequence (with @code{@{ @dots{} @}}),
+and combine them simultaneously with angle brackets, @code{<< @dots{} >>}.

 The fragments must also be separated with double backward slashes,
 @code{\\}, to place them in separate voices.  Without these, the
 notes would be entered into a single voice, which would usually
 The fragments must also be separated with double backward slashes,
 @code{\\}, to place them in separate voices.  Without these, the
 notes would be entered into a single voice, which would usually


@@ -689,7 +689,7 @@ of slurs, stems, ties, dynamics etc., is set appropriately.
 @end lilypond
 
 These voices are all separate from the main voice that contains
 @end lilypond
 
 These voices are all separate from the main voice that contains

-the notes just outside the @code{<< .. >>} construct.  Let's call
+the notes just outside the @code{<< @dots{} >>} construct.  Let's call

 this the @emph{simultaneous construct}.  Slurs and ties may only
 connect notes within the same voice, so slurs and ties cannot go
 into or out of a simultaneous construct.  Conversely,
 this the @emph{simultaneous construct}.  Slurs and ties may only
 connect notes within the same voice, so slurs and ties cannot go
 into or out of a simultaneous construct.  Conversely,


@@ -775,13 +775,13 @@ voices are widely separated, is to place a @code{\relative}
 command at the start of each voice:
 
 @example
 command at the start of each voice:
 
 @example

-\relative c' @{ noteA ... @}
+\relative c' @{ noteA @dots{} @}

 <<
 <<

-  \relative c'' @{ < noteB noteC > ... @}
+  \relative c'' @{ < noteB noteC > @dots{} @}

 \\
 \\

-  \relative g' @{ noteD ... @}
+  \relative g' @{ noteD @dots{} @}

 >>
 >>

-\relative c' @{ noteE ... @}
+\relative c' @{ noteE @dots{} @}

 @end example
 
 Let us finally analyze the voices in a more complex piece of music.
 @end example
 
 Let us finally analyze the voices in a more complex piece of music.


@@ -1842,7 +1842,7 @@ The default value of context properties may be set at the time the
 context is created.  Sometimes this is a clearer way of setting a
 property value if it is to remain fixed for the duration of
 the context.  When a context is created with a @code{\new}
 context is created.  Sometimes this is a clearer way of setting a
 property value if it is to remain fixed for the duration of
 the context.  When a context is created with a @code{\new}

-command it may be followed immediately by a @code{\with @{ .. @}}
+command it may be followed immediately by a @code{\with @{ @dots{} @}}

 block in which the default property values are set.  For example,
 if we wish to suppress the printing of extra naturals for the
 duration of a staff we would write:
 block in which the default property values are set.  For example,
 if we wish to suppress the printing of extra naturals for the
 duration of a staff we would write:


@@ -2778,12 +2778,12 @@ see what errors it generates.
 @end example
 
 It is not necessary to use the simultaneous construct
 @end example
 
 It is not necessary to use the simultaneous construct

-@code{<< .. >>} for the manual two staff and the pedal organ staff,
+@code{<< @dots{} >>} for the manual two staff and the pedal organ staff,

 since they contain only one music expression, but it does no harm,
 and always using angle brackets after @code{\new Staff} is a good
 habit to cultivate in case there are multiple voices.  The opposite
 is true for Voices: these should habitually be followed by braces
 since they contain only one music expression, but it does no harm,
 and always using angle brackets after @code{\new Staff} is a good
 habit to cultivate in case there are multiple voices.  The opposite
 is true for Voices: these should habitually be followed by braces

-@code{@{ .. @}} in case your music is coded in several variables
+@code{@{ @dots{} @}} in case your music is coded in several variables

 which need to run consecutively.
 
 Let's add this structure to the score block, and adjust the indenting.
 which need to run consecutively.
 
 Let's add this structure to the score block, and adjust the indenting.