Update from Ralph.

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index 264946ff47fc368841b5e787c8b85a5157adeef3..cc6d1fcc5364ac1839806e80d341d549bf5f8716 100644 (file)
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -203,6 +203,10 @@ Notation Reference: @ref{Octave checks}.
 Snippets: @lsrdir{Pitches,Pitches}.
 
 
+@funindex \transpose
+@funindex \chordmode
+@funindex \relative
+
 @refbugs
 
 The relative conversion will not affect @code{\transpose},
@@ -221,6 +225,10 @@ discouraged.
 @node Accidentals
 @subsubsection Accidentals
 
+@cindex accidental
+@cindex key signature
+@cindex clef
+
 @warning{New users are sometimes confused about accidentals and
 key signatures.  In LilyPond, note names are the raw input; key
 signatures and clefs determine how this raw input is displayed.
@@ -230,13 +238,19 @@ see @rlearning{Accidentals and key signatures}.}
 
 @cindex note names, Dutch
 @cindex note names, default
-
-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 is derived
-from Dutch note naming conventions.  To use other names for
-accidentals, see @ref{Note names in other languages}.
+@cindex sharp
+@cindex flat
+@cindex double sharp
+@cindex sharp, double
+@cindex double flat
+@cindex flat, double
+
+A @notation{sharp} pitch is made by adding @code{is} to the note 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 is derived from Dutch note
+naming conventions.  To use other names for accidentals, see
+@ref{Note names in other languages}.
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
 ais1 aes aisis aeses
@@ -303,6 +317,7 @@ cis
 
 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
 @rglos{double flat}, @rglos{Pitch names}.
+@c FIXME: add @rglos{quarter-tone}
 
 Learning Manual: @rlearning{Accidentals and key signatures}.
 
@@ -331,6 +346,7 @@ For example, to use English notes names, add @code{\include
 language files and the note names they define are:
 
 @cindex note names, other languages
+@cindex pitch names, other languages
 
 @smallexample
 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
@@ -398,7 +414,7 @@ languages, no special names have been defined yet.
 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
 @headitem Language
   @tab Note names
-  @tab semi- @tab semi- @tab sesqui- @tab sesqui-
+  @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
 
 @item nederlands.ly
   @tab c d e f g a bes b
@@ -462,14 +478,13 @@ the octave correction.
 }
 @end lilypond
 
-The octave of pitches may also be checked with the
-@code{\octave}@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 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}.
+The octave of notes may also be checked with the
+@code{\octave}@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 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}.
 
 @lilypond[verbatim,quote,ragged-right,fragment]
 \relative c'' {
@@ -506,6 +521,7 @@ Snippets: @lsrdir{Pitches,Pitches}.
 @subsubsection Transpose
 
 @cindex transpose
+@cindex transposition
 @cindex transposition of pitches
 @funindex \transpose
 
@@ -613,8 +629,13 @@ Snippets: @lsrdir{Pitches,Pitches}.
 
 Internals Reference: @internalsref{TransposedMusic}.
 
+@funindex \transpose
+@funindex \chordmode
+@funindex \relative
+
 @refbugs
 
+
 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.
 To use relative mode within transposed music, an additional
@@ -640,7 +661,6 @@ This section discusses how to alter the output of pitches.
 @subsubsection Clef
 
 @funindex \clef
-
 @cindex G clef
 @cindex C clef
 @cindex F clef
@@ -655,6 +675,23 @@ This section discusses how to alter the output of pitches.
 @cindex baritone clef
 @cindex varbaritone clef
 @cindex subbass clef
+@cindex clef
+@cindex ancient clef
+@cindex clef, ancient
+@cindex clef, G
+@cindex clef, C
+@cindex clef, F
+@cindex clef, treble
+@cindex clef, violin 
+@cindex clef, alto 
+@cindex clef, tenor
+@cindex clef, bass 
+@cindex clef, french 
+@cindex clef, soprano 
+@cindex clef, mezzosoprano 
+@cindex clef, baritone 
+@cindex clef, varbaritone 
+@cindex subbass clef, subbass 
 
 The clef is set with the @code{\clef} @var{clefname} command.
 Middle C is shown in every example.
@@ -696,6 +733,10 @@ c2 c
 
 Further supported clefs are described under @ref{Ancient clefs}.
 
+@cindex transposing clefs
+@cindex clef, transposing
+@cindex octave transposition
+
 By adding @code{_8} or @code{^8} to the clef name, the clef is
 transposed one octave down or up, respectively, and @code{_15} and
 @code{^15} transposes by two octaves.  The argument @var{clefname}