Tutorial formatting fixes from Ralph, thanks!

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 446ae6e672a1becbc3dc1794db764762b32fe1e4..3c35e81f2c2d0e5a948b9cfa79096c2df1515b5a 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -11,21 +11,20 @@
 
 Tutorial Specification:
 
 
 Tutorial Specification:
 

-The LM is written in a tutorial style which introduces the
-most important concepts, structure and syntax of the
-elements of a LilyPond score in a carefully graded sequence
-of steps.  Explanations of all musical concepts used in the
-Manual can be found in the Music Glossary, and readers are
-assumed to have no prior knowledge of LilyPond.  The
-objective is to take readers to a level where the Notation
-Reference can be understood and employed to both adapt the
-templates in the Appendix to their needs and to begin to
-construct their own.  Commonly used tweaks are introduced
-and explained.  Examples are provided throughout which,
-while being focussed on the topic being introduced, are long
-enough to seem real in order to retain the readers'
-interest.  Each example builds on the previous material, and
-comments are used liberally.  Every new aspect is thoroughly
+The LM is written in a tutorial style which introduces the most
+important concepts, structure and syntax of the elements of a
+LilyPond score in a carefully graded sequence of steps.
+Explanations of all musical concepts used in the Manual can be
+found in the Music Glossary, and readers are assumed to have no
+prior knowledge of LilyPond.  The objective is to take readers to
+a level where the Notation Reference can be understood and
+employed to both adapt the templates in the Appendix to their
+needs and to begin to construct their own scores.  Commonly used
+tweaks are introduced and explained.  Examples are provided
+throughout which, while being focussed on the topic being
+introduced, are long enough to seem real in order to retain the
+readers' interest.  Each example builds on the previous material,
+and comments are used liberally.  Every new aspect is thoroughly

 explained before it is used.
 
 @end ignore
 explained before it is used.
 
 @end ignore


@@ -44,7 +43,7 @@ Tutorial guidelines:  (different from policy.txt!)
   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.
 

-- Add "Music glossary: @rglos{foo}" to the _top_ of the relevant
+- Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant

   portions of the tutorial.
 
 @end ignore
   portions of the tutorial.
 
 @end ignore


@@ -222,7 +221,7 @@ values are useful.
 
 @subheading Pitches
 
 
 @subheading Pitches
 

-Music glossary: @rglos{pitch}, @rglos{interval},
+Music Glossary: @rglos{pitch}, @rglos{interval},

 @rglos{scale}, @rglos{middle C}, @rglos{octave},
 @rglos{accidental}.
 
 @rglos{scale}, @rglos{middle C}, @rglos{octave},
 @rglos{accidental}.
 


@@ -245,7 +244,7 @@ The initial note is @notation{middle C}.  Each successive note is
 placed closest to the previous note -- in other words, the first
 @code{c} is the closest C to middle C.  This is followed by the
 closest D to the previous note.  We can create melodies which
 placed closest to the previous note -- in other words, the first
 @code{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:
+have larger intervals, still using only @code{\relative} mode:

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


@@ -290,7 +289,7 @@ above the B, and an A, G or F will be assumed to be below.
 @end lilypond
 
 Exactly the same happens even when any of these notes are
 @end lilypond
 
 Exactly the same happens even when any of these notes are

-sharpened or flatted.  @notation{Accidentals} are @strong{totally
+sharpened or flattened.  @notation{Accidentals} are @strong{totally

 ignored} in the calculation of relative position.  Precisely the
 same staff space counting is done from a note at any other
 position on the staff.
 ignored} in the calculation of relative position.  Precisely the
 same staff space counting is done from a note at any other
 position on the staff.


@@ -317,7 +316,7 @@ this.
 
 @subheading Durations (rhythms)
 
 
 @subheading Durations (rhythms)
 

-Music glossary: @rglos{beam}, @rglos{duration}, @rglos{whole note},
+Music Glossary: @rglos{beam}, @rglos{duration}, @rglos{whole note},

 @rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
 
 The @notation{duration} of a note is specified by a number after
 @rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
 
 The @notation{duration} of a note is specified by a number after


@@ -325,6 +324,10 @@ the note name.  @code{1} for a @notation{whole note}, @code{2} for
 a @notation{half note}, @code{4} for a @notation{quarter note} and
 so on.  @notation{Beams} are added automatically.
 
 a @notation{half note}, @code{4} for a @notation{quarter note} and
 so on.  @notation{Beams} are added automatically.
 

+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.
+

 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   a1
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   a1


@@ -333,13 +336,9 @@ so on.  @notation{Beams} are added automatically.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@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.
-
-To create @notation{dotted notes}, add a dot @code{.} to the duration
-number.
+To create @notation{dotted notes}, add a dot @code{.} to the
+duration number.  The duration of a dotted note must be stated
+explicitly (i.e., with a number).

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


@@ -351,7 +350,7 @@ number.
 
 @subheading Rests
 
 
 @subheading Rests
 

-Music glossary: @rglos{rest}.
+Music Glossary: @rglos{rest}.

 
 A @notation{rest} is entered just like a note with the name @code{r}:
 
 
 A @notation{rest} is entered just like a note with the name @code{r}:
 


@@ -365,7 +364,7 @@ A @notation{rest} is entered just like a note with the name @code{r}:
 
 @subheading Time signature
 
 
 @subheading Time signature
 

-Music glossary: @rglos{time signature}.
+Music Glossary: @rglos{time signature}.

 
 The @notation{time signature} can be set with the @code{\time}
 command:
 
 The @notation{time signature} can be set with the @code{\time}
 command:


@@ -384,7 +383,7 @@ command:
 
 @subheading Clef
 
 
 @subheading Clef
 

-Music glossary: @rglos{clef}.
+Music Glossary: @rglos{clef}.

 
 The @notation{clef} can be set using the @code{\clef} command:
 
 
 The @notation{clef} can be set using the @code{\clef} command:
 


@@ -468,8 +467,8 @@ thumb is to indent code blocks with either a tab or two spaces:
 @end example
 
 @item
 @end example
 
 @item

-@strong{Expressions:}
-Every piece of LilyPond input needs to have @strong{@{ curly
+@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 parentheses
 @code{()} in mathematics.  The braces should be surrounded by a
 braces @}} placed around the input.  These braces tell LilyPond
 that the input is a single music expression, just like parentheses
 @code{()} in mathematics.  The braces should be surrounded by a


@@ -484,7 +483,7 @@ single music expression.
 @cindex block comment
 @item
 @strong{Comments}:
 @cindex block comment
 @item
 @strong{Comments}:

-A comment is a remark for the human reader of the music input; it
+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
 @code{%} introduces a line comment; anything after @code{%} on
 is ignored while parsing, so it has no effect on the printed
 output.  There are two types of comments.  The percent symbol
 @code{%} introduces a line comment; anything after @code{%} on


@@ -508,9 +507,6 @@ fragment shows possible uses for comments:
 
 @end itemize
 
 
 @end itemize
 

-There are more tips for constructing input files in
-@ref{Suggestions for writing LilyPond files}.
-

 
 @node How to read the tutorial
 @subsection How to read the tutorial
 
 @node How to read the tutorial
 @subsection How to read the tutorial


@@ -559,6 +555,13 @@ you have a starting template for experiments.  To see exactly the
 same output (line-width and all), copy everything from @qq{Start
 cut-&-pastable section} to the bottom of the file.
 
 same output (line-width and all), copy everything from @qq{Start
 cut-&-pastable section} to the bottom of the file.
 

+@seealso
+
+
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond files}.
+
+

 
 @node Single staff notation
 @section Single staff notation
 
 @node Single staff notation
 @section Single staff notation


@@ -581,13 +584,13 @@ on one staff.
 
 @subheading Accidentals
 
 
 @subheading Accidentals
 

-Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
+Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},

 @rglos{double flat}, @rglos{accidental}.
 
 A @notation{sharp} pitch is made by adding @code{is} to the name, and
 a @notation{flat} pitch by adding @code{es}.  As you might expect, a
 @notation{double sharp} or @notation{double flat} is made by adding
 @rglos{double flat}, @rglos{accidental}.
 
 A @notation{sharp} pitch is made by adding @code{is} to the name, and
 a @notation{flat} pitch by adding @code{es}.  As you might expect, a
 @notation{double sharp} or @notation{double flat} is made by adding

-@code{isis} or @code{eses}.  This syntax derived from note
+@code{isis} or @code{eses}.  This syntax is derived from note

 naming conventions in Nordic and Germanic languages, like German
 and Dutch.  To use other names for @notation{accidentals}, see
 @ruser{Note names in other languages}.
 naming conventions in Nordic and Germanic languages, like German
 and Dutch.  To use other names for @notation{accidentals}, see
 @ruser{Note names in other languages}.


@@ -599,7 +602,7 @@ cis1 ees fisis, aeses
 @cindex key signature, setting
 @subheading Key signatures
 
 @cindex key signature, setting
 @subheading Key signatures
 

-Music glossary: @rglos{key signature}, @rglos{major}, @rglos{minor}.
+Music Glossary: @rglos{key signature}, @rglos{major}, @rglos{minor}.

 
 The @notation{key signature} is set with the command @code{\key}
 followed by a pitch and @code{\major} or @code{\minor}.
 
 The @notation{key signature} is set with the command @code{\key}
 followed by a pitch and @code{\major} or @code{\minor}.


@@ -615,7 +618,7 @@ a
 
 @subheading Warning: key signatures and pitches
 
 
 @subheading Warning: key signatures and pitches
 

-Music glossary: @rglos{accidental}, @rglos{key signature},
+Music Glossary: @rglos{accidental}, @rglos{key signature},

 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
 @rglos{transposition}.
 
 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
 @rglos{transposition}.
 


@@ -665,10 +668,10 @@ accidentals can be printed according to different rules, see
 
 @seealso
 
 
 @seealso
 

-Notation Reference: @ruser{Accidentals},
+Notation Reference: @ruser{Note names in other languages}, @ruser{Accidentals},

 @ruser{Automatic accidentals}, @ruser{Key signature}.
 
 @ruser{Automatic accidentals}, @ruser{Key signature}.
 

-Music glossary: @rglos{Pitch names}.
+Music Glossary: @rglos{Pitch names}.

 
 
 @node Ties and slurs
 
 
 @node Ties and slurs


@@ -677,7 +680,7 @@ Music glossary: @rglos{Pitch names}.
 @cindex ties
 @subheading Ties
 
 @cindex ties
 @subheading Ties
 

-Music glossary: @rglos{tie}.
+Music Glossary: @rglos{tie}.

 
 A @notation{tie} is created by appending a tilde @code{~} to the
 first note being tied.
 
 A @notation{tie} is created by appending a tilde @code{~} to the
 first note being tied.


@@ -690,7 +693,7 @@ c4 ~ c8 a8 ~ a2
 @cindex slurs
 @subheading Slurs
 
 @cindex slurs
 @subheading Slurs
 

-Music glossary: @rglos{slur}.
+Music Glossary: @rglos{slur}.

 
 A @notation{slur} is a curve drawn across many notes.  The starting
 note and ending note are marked with @code{(} and @code{)}
 
 A @notation{slur} is a curve drawn across many notes.  The starting
 note and ending note are marked with @code{(} and @code{)}


@@ -704,7 +707,7 @@ d4( c16) cis( d e c cis d) e( d4)
 @cindex phrasing slurs
 @subheading Phrasing slurs
 
 @cindex phrasing slurs
 @subheading Phrasing slurs
 

-Music glossary: @rglos{phrasing}, @rglos{legato}.
+Music Glossary: @rglos{phrasing}, @rglos{legato}.

 
 Slurs to indicate longer @notation{phrasing} can be entered with
 @code{\(} and @code{\)}.  You can have both @notation{legato} slurs and
 
 Slurs to indicate longer @notation{phrasing} can be entered with
 @code{\(} and @code{\)}.  You can have both @notation{legato} slurs and


@@ -720,7 +723,7 @@ 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
 

-Music glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
+Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.

 
 A @notation{slur} looks like a @notation{tie}, but it has a different
 meaning.  A tie simply makes the first note longer, and can only be
 
 A @notation{slur} looks like a @notation{tie}, but it has a different
 meaning.  A tie simply makes the first note longer, and can only be


@@ -746,7 +749,7 @@ Notation Reference: @ruser{Ties}, @ruser{Slurs},
 @cindex staccato
 @subheading Articulations
 
 @cindex staccato
 @subheading Articulations
 

-Music glossary: @rglos{articulation}.
+Music Glossary: @rglos{articulation}.

 
 Common @notation{articulations} can be added to a note using a
 dash @code{-} and a single character:
 
 Common @notation{articulations} can be added to a note using a
 dash @code{-} and a single character:


@@ -758,7 +761,8 @@ c-. c-- c-> c-^ c-+ c-_
 @cindex fingering
 @subheading Fingerings
 
 @cindex fingering
 @subheading Fingerings
 

-Music glossary: @rglos{fingering}.
+Music Glossary: @rglos{fingering}.
+

 
 Similarly, @notation{fingering} indications can be added to a note using
 a dash (@code{-}) and the digit to be printed:
 
 Similarly, @notation{fingering} indications can be added to a note using
 a dash (@code{-}) and the digit to be printed:


@@ -768,7 +772,7 @@ c-3 e-5 b-2 a-1
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but

-you can specify a direction using @code{^} (up) or @code{_}
+you can specify a direction by replacing the dash (@code{-}) with @code{^} (up) or @code{_}

 (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.
 (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.


@@ -779,7 +783,7 @@ c_-^1 d^. f^4_2-> e^-_+
 
 @subheading Dynamics
 
 
 @subheading Dynamics
 

-Music glossary: @rglos{dynamics}, @rglos{crescendo},
+Music Glossary: @rglos{dynamics}, @rglos{crescendo},

 @rglos{decrescendo}.
 
 @notation{Dynamic} signs are made by adding the markings (with a
 @rglos{decrescendo}.
 
 @notation{Dynamic} signs are made by adding the markings (with a


@@ -807,8 +811,6 @@ c2\< c2\ff\> c2 c2\!
 Notation Reference: @ruser{Articulations},
 @ruser{Fingering instructions}, @ruser{Dynamics}.
 
 Notation Reference: @ruser{Articulations},
 @ruser{Fingering instructions}, @ruser{Dynamics}.
 

-Music glossary: @rglos{Dynamics}.
-

 
 @node Adding text
 @subsection Adding text
 
 @node Adding text
 @subsection Adding text


@@ -837,7 +839,7 @@ Notation Reference: @ruser{Writing text}.
 @node Automatic and manual beams
 @subsection Automatic and manual beams
 
 @node Automatic and manual beams
 @subsection Automatic and manual beams
 

-Music glossary: @rglos{beam}.
+Music Glossary: @rglos{beam}.

 
 @cindex beams, by hand
 All @notation{beams} are drawn automatically:
 
 @cindex beams, by hand
 All @notation{beams} are drawn automatically:


@@ -868,7 +870,7 @@ Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
 @cindex partial measure
 @subheading Partial measure
 
 @cindex partial measure
 @subheading Partial measure
 

-Music glossary: @rglos{anacrusis}.
+Music Glossary: @rglos{anacrusis}.

 
 A pickup (or @notation{anacrusis}) is entered with the keyword
 @code{\partial}.  It is followed by a duration: @code{\partial 4}
 
 A pickup (or @notation{anacrusis}) is entered with the keyword
 @code{\partial}.  It is followed by a duration: @code{\partial 4}


@@ -883,7 +885,7 @@ f8 c2 d
 @cindex triplets
 @subheading Tuplets
 
 @cindex triplets
 @subheading Tuplets
 

-Music glossary: @rglos{note value}, @rglos{triplet}.
+Music Glossary: @rglos{note value}, @rglos{triplet}.

 
 @notation{Tuplets} are made with the @code{\times} keyword.  It
 takes two arguments: a fraction and a piece of music.  The
 
 @notation{Tuplets} are made with the @code{\times} keyword.  It
 takes two arguments: a fraction and a piece of music.  The


@@ -903,7 +905,7 @@ Triplets make notes occupy 2/3 of their notated duration, so a
 @cindex appoggiatura
 @subheading Grace notes
 
 @cindex appoggiatura
 @subheading Grace notes
 

-Music glossary: @rglos{grace notes}, @rglos{appoggiatura}.
+Music Glossary: @rglos{grace notes}, @rglos{acciacccatura}, @rglos{appoggiatura}.

 
 @notation{Grace notes} are created with the @code{\grace} command,
 although they can also be created by prefixing a music expression
 
 @notation{Grace notes} are created with the @code{\grace} command,
 although they can also be created by prefixing a music expression


@@ -969,7 +971,7 @@ one).  The result is another music expression:
 
 @subheading Simultaneous music expressions: multiple staves
 
 
 @subheading Simultaneous music expressions: multiple staves
 

-Music glossary: @rglos{polyphony}.
+Music Glossary: @rglos{polyphony}.

 
 This technique is useful for @notation{polyphonic} music.  To
 enter music with more voices or more staves, we combine
 
 This technique is useful for @notation{polyphonic} music.  To
 enter music with more voices or more staves, we combine


@@ -1020,8 +1022,8 @@ staff.
 
 This mechanism is similar to mathematical formulas: a big formula
 is created by composing small formulas.  Such formulas are called
 
 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,
+expressions, and they can contain other music expressions, so you
+can make arbitrarily complex and large expressions.  For example,

 
 @example
 1
 
 @example
 1


@@ -1080,7 +1082,7 @@ 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.
 
 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 affect all other

 staves@footnote{This behavior may be changed if desired; for
 details, see @ruser{Polymetric notation}.}.  On the other hand,
 the key signature of one staff does @emph{not} affect other
 staves@footnote{This behavior may be changed if desired; for
 details, see @ruser{Polymetric notation}.}.  On the other hand,
 the key signature of one staff does @emph{not} affect other


@@ -1089,8 +1091,8 @@ staves.
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   <<
 @lilypond[verbatim,quote,ragged-right]
 \relative c'' {
   <<

-    \new Staff { \clef treble \time 3/4 c }
-    \new Staff { \clef bass \key d \major c,, }
+    \new Staff { \clef treble \key d \major \time 3/4 c }
+    \new Staff { \clef bass c,, }

   >>
 }
 @end lilypond
   >>
 }
 @end lilypond


@@ -1104,7 +1106,7 @@ staves.
 @cindex staff switch, manual
 @cindex cross staff voice, manual
 
 @cindex staff switch, manual
 @cindex cross staff voice, manual
 

-Music glossary: @rglos{brace}.
+Music Glossary: @rglos{brace}.

 
 Piano music is typeset in two staves connected by a
 @notation{brace}.
 
 Piano music is typeset in two staves connected by a
 @notation{brace}.


@@ -1140,7 +1142,7 @@ Notation Reference: @ruser{Piano music}.
 
 @cindex chords
 
 
 @cindex chords
 

-Music glossary: @rglos{chord}.
+Music Glossary: @rglos{chord}.

 
 @notation{Chords} can be made by surrounding pitches with single
 angle brackets.  Angle brackets are the symbols @code{<} and
 
 @notation{Chords} can be made by surrounding pitches with single
 angle brackets.  Angle brackets are the symbols @code{<} and


@@ -1237,7 +1239,7 @@ This section introduces vocal music and simple song sheets.
 @cindex lyrics
 @cindex songs
 
 @cindex lyrics
 @cindex songs
 

-Music glossary: @rglos{lyrics}.
+Music Glossary: @rglos{lyrics}.

 
 Here is the start of the melody to a nursery
 rhyme, @qq{Girls and boys come out to play}:
 
 Here is the start of the melody to a nursery
 rhyme, @qq{Girls and boys come out to play}:


@@ -1274,7 +1276,7 @@ show that the music and lyrics are to occur at the same time.
 @node Aligning lyrics to a melody
 @subsection Aligning lyrics to a melody
 
 @node Aligning lyrics to a melody
 @subsection Aligning lyrics to a melody
 

-Music glossary: @rglos{melisma}, @rglos{extender line}.
+Music Glossary: @rglos{melisma}, @rglos{extender line}.

 
 @cindex melisma
 @cindex extender line
 
 @cindex melisma
 @cindex extender line