Doc: automated-engraving: tweaks. Fixes menu structure and appearance.

diff --git a/Documentation/automated-engraving.texi b/Documentation/automated-engraving.texi
index eba5459d8fb4c75410a16972eff55e9668cfc873..28e98e0559230f4b47892252327ab117a40f0c32 100644 (file)
--- a/Documentation/automated-engraving.texi
+++ b/Documentation/automated-engraving.texi
@@ -28,7 +28,9 @@ hmm, the one big page is too big, but it was really inviting to
 @chapheading
 @end ifnottex
 
-@unnumberedsec What is behind LilyPond?
+@finalout
+
+@heading What is behind LilyPond?
 
 @sourceimage{hader-collage,,,.jpeg}
 
@@ -44,8 +46,8 @@ What is the difference between hand-work and machine work, and what
   them.
 
 @menu
-* introduction:: Introduction -- what's wrong with computer music notation.
-* software:: What's wrong with software -- or how Finale is not the end-all of music software.
+* introduction:: Introduction -- what is wrong with computer music notation.
+* software:: What is wrong with software -- or how Finale is not the end-all of music software.
 * problem-statement:: How not to design software -- or modeling music notation.
 * divide-and-conquer:: Divide and conqueror -- a blue print for automated notation.
 * implementing-notation:: Impressive, but does it also work in theory -- a practical approach to capturing notation.

diff --git a/Documentation/automated-engraving/benchmarking.itexi b/Documentation/automated-engraving/benchmarking.itexi
index e4a239579eb2a0fa02fb4127a27d9cc9852ff863..d9892e0abef3459308de33b919a4030c22b4c776 100644 (file)
--- a/Documentation/automated-engraving/benchmarking.itexi
+++ b/Documentation/automated-engraving/benchmarking.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -26,33 +26,32 @@ edition (B@"arenreiter BA 320) at the bottom the output from
 LilyPond 1.4:
 
 @divClass{float-center}
-@divEnd
 @c @ref{baer-sarabande-hires.jpeg,
 @sourceimage{baer-sarabande,,,.png}
 @c }
+@divEnd
 
 @divClass{float-center}
-@divEnd
 B@"arenreiter (click to enlarge)
+@divEnd
 
 @divClass{float-center}
-@divEnd
 @sourceimage{lily14-sarabande,,,.png}
+@divEnd
 
 @divClass{float-center}
-@divEnd
 LilyPond 1.4
+@divEnd
 
 The LilyPond output is certainly readable, and for many people it
 would be acceptable. However, close comparison with a hand-engraved
 score showed a lot of errors in the formatting details:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{lily14-sarabande-correct,,,.png}
+@divEnd
 
 @divClass{float-center}
-@divEnd
 @itemize
 @item
  Lots of symbols were unbalanced. In particular the trill sign was
@@ -71,6 +70,8 @@ too wide.
 
 
 @end itemize
+@divEnd
+
 (And there were missing notes in the original version for LilyPond)
 
 By addressing the relevant algorithms, settings, and font designs, we
@@ -79,28 +80,25 @@ below. Although it is not a clone of the reference edition, this
 output is very close to publication quality.
 
 @divClass{float-center}
-@divEnd
 @sourceimage{lily17-sarabande,,,.png}
+@divEnd
 
 @divClass{float-center}
-@divEnd
 LilyPond 1.8
+@divEnd
 
 @divClass{float-center}
-@divEnd
 @sourceimage{baer-sarabande,,,.png}
+@divEnd
 
 @divClass{float-center}
-@divEnd
 B@"arenreiter
+@divEnd
 
 Another example of benchmarking is our project for the 2.1 series, a
 @ref{schubert,Schubert song}.
 
 @divClass{float-right}
-@divEnd
 Next: @ref{typography-features,Cool features},
 typographical hoops that we made LilyPond jump through.
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/conclusion.itexi b/Documentation/automated-engraving/conclusion.itexi
index 3cba5549af364822ef86b4c740178dffad731298..309358201bb63ad0bee4d82fadffd81cfd820d92 100644 (file)
--- a/Documentation/automated-engraving/conclusion.itexi
+++ b/Documentation/automated-engraving/conclusion.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -29,9 +29,6 @@ especially @uref{http://www.musicbyandrew.ca/finale-lilypond-1.html,Andrew
 Hawryluk's writings}, which include Finale and LilyPond notation
 benchmarking.
 
-@divClass{float-right}
-@divEnd
+@c @divClass{float-right}
+@c @divEnd
 @c Go @ref{Top,back} to the top.
-
-@bye
-

diff --git a/Documentation/automated-engraving/divide-and-conquer.itexi b/Documentation/automated-engraving/divide-and-conquer.itexi
index 566af1a4ce6cd91f6536348d0187850b3227a97c..382866866e02545ce97e9c8b8222eccb35a94b85 100644 (file)
--- a/Documentation/automated-engraving/divide-and-conquer.itexi
+++ b/Documentation/automated-engraving/divide-and-conquer.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -22,7 +22,7 @@ should follow this scheme
 
 @tab
 
-@strong{←}
+@result{}
 
 
 @tab
@@ -74,9 +74,6 @@ Finally, whenever you subdivide a problem, a new problem is created,
 @end enumerate
 
 @divClass{float-right}
-@divEnd
 Next: @ref{implementing-notation,Impressive, but does it also
 work in theory}? A practical approach to capturing notation.
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/engraving.itexi b/Documentation/automated-engraving/engraving.itexi
index 444a06075734a76a267fa9b4f18c4b8f52741a35..79e07178037bb25ffc0f261e4025265651421831 100644 (file)
--- a/Documentation/automated-engraving/engraving.itexi
+++ b/Documentation/automated-engraving/engraving.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -47,10 +47,6 @@ impossible to capture in formal rules.
 @end itemize
 
 @divClass{float-right}
-@divEnd
 Next: @ref{implementing-typography,Stamping computer
 screens?}. Computer hackers take over the engraving business.
-
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/formatting-architecture.itexi b/Documentation/automated-engraving/formatting-architecture.itexi
index 11c94e7c2d95f5b129516c6775ac0c851b4faa4c..33599f9ea5642cd831875a964ed8e15aa3d301e5 100644 (file)
--- a/Documentation/automated-engraving/formatting-architecture.itexi
+++ b/Documentation/automated-engraving/formatting-architecture.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -25,8 +25,8 @@ and arpeggio. In the first chord, the objects have all directions down
 (or left). The second chord has all directions up (right).
 
 @divClass{float-center}
-@divEnd
 @sourceimage{directions-updown,,,.png}
+@divEnd
 
 The process of formatting a score consists of reading and writing
 object variables.
@@ -39,8 +39,8 @@ Some variables have a preset value. For example, the thickness of
  variables. Changing them gives a different typographical impression:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{thickness-tweaks,,,.png}
+@divEnd
 
 @item
 Formatting rules are also preset variables: each object has
@@ -50,16 +50,13 @@ behavior. In the following example, the rule that note head objects
 use to draw their symbol is changed during the music fragment:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{mc-squared,,,.png}
+@divEnd
 
 @end itemize
 
 @divClass{float-right}
-@divEnd
 Next:
  @ref{scoring-esthetics,Beautiful numbers}: how
 LilyPond participates in the Miss World contests.
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/implementing-notation.itexi b/Documentation/automated-engraving/implementing-notation.itexi
index 4b16dbb8d71f20fa7c7aad06ae157d9815ae24f5..70478416e80a691581ffe59dee048d9cd8db53be 100644 (file)
--- a/Documentation/automated-engraving/implementing-notation.itexi
+++ b/Documentation/automated-engraving/implementing-notation.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -28,8 +28,8 @@ can be developed and improved separately.
 The most basic plug-in creates Note-heads:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{engraver-noteheads,,,.png}
+@divEnd
 
 This plug-in creates graphical objects from musical events.  People
 that put graphics to musical ideas are called copyists or engravers,
@@ -41,8 +41,8 @@ so by analogy, this plug-in is called @code{Note_head_engraver}.
 representing the staff lines.
 
 @divClass{float-center}
-@divEnd
 @sourceimage{engraver-staff,,,.png}
+@divEnd
 
 @item
 
@@ -50,8 +50,8 @@ representing the staff lines.
 each head should be placed.
 
 @divClass{float-center}
-@divEnd
 @sourceimage{engraver-clef,,,.png}
+@divEnd
 
 
 
@@ -60,8 +60,8 @@ each head should be placed.
 For the flags and stems we add  a @code{Stem_engraver}:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{engraver-stem,,,.png}
+@divEnd
 
 This engraver is notified of any note head coming along.  Every time
 one (or more, for a chord) note head is seen, a stem object is
@@ -74,8 +74,8 @@ Beams, slurs, accents are handled by separate engravers. Like the
 note heads, etc.:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{engraver-slur,,,.png}
+@divEnd
 
 
 
@@ -86,8 +86,8 @@ separate
 engraver.
 
 @divClass{float-center}
-@divEnd
 @sourceimage{engraver-acc,,,.png}
+@divEnd
 
 The @code{Accidental_engraver} is the most complex plug-in: it has
 to look at the key signature, note pitches, ties, and bar lines to
@@ -105,8 +105,8 @@ but what about polyphony?  In polyphonic notation, many voices can
 share a staff:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{engraver-final,,,.png}
+@divEnd
 
 In this situation, the accidentals and staff are shared, but the
 stems, slurs, beams, etc. are private to each voice. Hence, engravers
@@ -118,13 +118,10 @@ context.  Similarly, more Staff contexts can be put into a single
 Score context:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{engraver-score,,,.png}
+@divEnd
 
 @divClass{float-right}
-@divEnd
 Next: @ref{engraving,The art of stamping}:
-how @emph{did} they make hand-made music? 
-
-@bye
-
+how @emph{did} they make hand-made music?
+@divEnd

diff --git a/Documentation/automated-engraving/implementing-typography.itexi b/Documentation/automated-engraving/implementing-typography.itexi
index 2bf029e4a3e1e64c5f52a8aac2141c634e4f19de..ab1f581ca6c0c3da94eda1e845540d89422218df 100644 (file)
--- a/Documentation/automated-engraving/implementing-typography.itexi
+++ b/Documentation/automated-engraving/implementing-typography.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -62,10 +62,6 @@ should encompass formatting rules, typographical style and individual
 formatting decisions.
 
 @divClass{float-right}
-@divEnd
 Next: @ref{formatting-architecture,Program architecture,
 your flexible friend}: tuning, tweaking and developing  typography
 rules.
-
-@bye
-

diff --git a/Documentation/automated-engraving/input-format.itexi b/Documentation/automated-engraving/input-format.itexi
index 5cf8d4c3db42a175902a0f0327bf42a914aa1460..49cc252f01a6f245b057db3abd305bf6e1e18360 100644 (file)
--- a/Documentation/automated-engraving/input-format.itexi
+++ b/Documentation/automated-engraving/input-format.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -32,8 +32,8 @@ typable, e.g.,
 Are a quarter note C1 and eighth note D1, as in this example:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{simple-notation,,,.png}
+@divEnd
 
 On a microscopic scale, such syntax is easy to use. On a larger scale,
 syntax also  needs structure.  How else can  you enter  complex pieces
@@ -62,7 +62,7 @@ and >>.
 
 @verbatim
 
-  &lt<c4 d4 e4>>
+  <<c4 d4 e4>>
 
 @end verbatim
 
@@ -81,7 +81,7 @@ This expression is put in sequence by enclosing it in braces, i.e.,
 
 @verbatim
 
-   { <<c4 d4 e4>&gt f4  }
+   { <<c4 d4 e4>> f4  }
 @end verbatim
 
 
@@ -151,8 +151,5 @@ total
 @end ignore
 
 @divClass{float-right}
-@divEnd
 Next: @ref{conclusion,wrapping it up}, the conclusion.
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/introduction.itexi b/Documentation/automated-engraving/introduction.itexi
index 29d824649b7948e6c4bc2c000fcbed7222882748..dfce6aa1b08270ec51cb8ef1c935cd8cf0c6194b 100644 (file)
--- a/Documentation/automated-engraving/introduction.itexi
+++ b/Documentation/automated-engraving/introduction.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -10,7 +10,7 @@
 
 @node introduction 
 
-@unnumberedsec What's wrong with computer music notation?
+@unnumberedsec What is wrong with computer music notation?
 
 We like to call LilyPond an "automated engraving system." It will
 format music notation beautifully without requiring typographical
@@ -59,22 +59,22 @@ rigid and mechanical.  To understand better why that is, let's blow up
 a fragment of both pieces:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{baer-suite1-line,,,.png}
+@divEnd
 
 @divClass{float-center}
-@divEnd
 Hand-made
+@divEnd
 
 @*
 
 @divClass{float-center}
-@divEnd
 @sourceimage{henle-suite1-line,,,.png}
+@divEnd
 
 @divClass{float-center}
-@divEnd
 Computer-made
+@divEnd
 
 The location of the bar lines is a giveaway.  In the new edition,
 both barlines are on exactly the same horizontal location. Also, the
@@ -104,10 +104,6 @@ focus on playing itself.  In other words, better typography translates
 to better performances.
 
 @divClass{float-right}
-@divEnd
-Next: @ref{software,What's wrong with software}, or how
+Next: @ref{software,What is wrong with software}, or how
 Finale is not the end-all of music software.
-
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/problem-statement.itexi b/Documentation/automated-engraving/problem-statement.itexi
index 8d00b54cdd6fe2f2a346974b38fdb00358beb76a..080c62bfafc661d66f1929f504e63235d890129b 100644 (file)
--- a/Documentation/automated-engraving/problem-statement.itexi
+++ b/Documentation/automated-engraving/problem-statement.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -68,9 +68,6 @@ intricate symbolic diagramming language for visualizing an often much
 simpler musical concept. Hence, software should reflect that separation.
 
 @divClass{float-right}
-@divEnd
 Next: @ref{divide-and-conquer,Divide and conqueror},
 a blue print for automated notation
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/schubert.itexi b/Documentation/automated-engraving/schubert.itexi
index 66f3f13de8ed8164b2f626b250f11f941183f78d..463dda200ea7697019e3bc9a8ccb45fef9151e13 100644 (file)
--- a/Documentation/automated-engraving/schubert.itexi
+++ b/Documentation/automated-engraving/schubert.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -36,8 +36,5 @@ view, see the LilyPond PDF, available
 @uref{http://lilypond.org/documentation/v2.2/input/mutopia/F.Schubert/out-www/morgenlied.pdf,here}.
 
 @divClass{float-right}
-@divEnd
 @ref{benchmarking,Back to the essay}
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/scoring-esthetics.itexi b/Documentation/automated-engraving/scoring-esthetics.itexi
index 90a324092ea03961b46a9b780c7d87f545f27f64..682f808a0e71c2ec04f2c1c27d23ec714932f3aa 100644 (file)
--- a/Documentation/automated-engraving/scoring-esthetics.itexi
+++ b/Documentation/automated-engraving/scoring-esthetics.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -24,13 +24,13 @@ handcoded exceptions. Doing all this case analysis is a lot of work,
 and often not all cases are covered completely.
 
 @divClass{float-center}
-@divEnd
 @sourceimage{ross-beam-scan,,,.jpeg}
+@divEnd
 
 @divClass{float-center}
-@divEnd
 @emph{Formatting rules defined by example. Image from Ted Ross' The Art of
 Music Engraving}
+@divEnd
 
 We have developed a much easier and robust method of determining the
 best formatting solution: score based formatting. The principle is the
@@ -94,9 +94,6 @@ to compute. However, that is a worthwhile expense, because the end
 result is much better, and because it makes our lives easy.
 
 @divClass{float-right}
-@divEnd
 Next: @ref{benchmarking,Man is the measure of things}: is a
 flexible architecture enough?
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/software.itexi b/Documentation/automated-engraving/software.itexi
index 3cb64e8847c92170e0927017f65aafab1cd38958..8dcd6047ae1854520b8398e6f8ea1b9e393de9e0 100644 (file)
--- a/Documentation/automated-engraving/software.itexi
+++ b/Documentation/automated-engraving/software.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -9,13 +9,13 @@
 
 
 @node software 
-@unnumberedsec What's wrong with music notation software
+@unnumberedsec What is wrong with music notation software
 
 Computers have made music printing accessible to the masses, but they
 tend to deliver mediocre typography.  Apparently, programmers have
 been doing a shoddy job on notation programs.  To illustrate that, we
 had an amateur user set a piece of music in one of the most popular
-‘professional’ notation programs sold today, Finale
+@quotedblleft{}professional@quotedblright{} notation programs sold today, Finale
 2003. It was made with all of the default settings. The music is from
 the Sarabande of the 2nd Cello Suite by J. S. Bach.
 
@@ -24,19 +24,19 @@ the Sarabande of the 2nd Cello Suite by J. S. Bach.
 }
 
 @divClass{float-center}
-@divEnd
 @sourceimage{finale-sarabande-full,,,.png}
+@divEnd
 
 This example far surpasses the previous one when it comes to
 formatting errors: there are serious errors in literally
 @emph{every} measure. The errors come in all sizes: a big one is the
-oddly s p a c e d &nbsp o u t last line. A smaller one is the flat in
+oddly s p a c e d @  o u t last line. A smaller one is the flat in
 measure 13, which is covered by the note preceding it. Here is a
 magnification of that measure:
 
 @divClass{float-center}
-@divEnd
 @sourceimage{finale-flat-detail,,,.png}
+@divEnd
 
 The errors go down to the teensy details: below is a blowup of the
 beam in that measure. Of course, in proper typography the beam should
@@ -45,8 +45,8 @@ telling glimpse into Coda Music Technology programmers' aptness (or
 lack thereof) with the underlying PostScript technology.
 
 @divClass{float-center}
-@divEnd
 @sourceimage{finale-beam-detail,,,.png}
+@divEnd
 
 Now, one could refute that Finale has a graphical interface, and it
 lets you easily move about elements to correct errors, or use plug-ins
@@ -64,8 +64,8 @@ too far apart. Did you notice that the eighth rest is too far down?
 Did it occur to you that the stem of the last eighth note is too long?
 
 @divClass{float-center}
-@divEnd
 @sourceimage{finale-flat-correct,,,.png}
+@divEnd
 
 Unless you are an expert, typographical errors will irk you without
 being obvious. Many of them will go uncorrected and will still be in the
@@ -104,11 +104,6 @@ doubt, measure the difference with a magnifying glass.
 @end itemize
 
 @divClass{float-right}
-@divEnd
 Next: @ref{problem-statement,How not to design software},
 or: modeling music notation.
-
-
-
-@bye
-
+@divEnd

diff --git a/Documentation/automated-engraving/typography-features.itexi b/Documentation/automated-engraving/typography-features.itexi
index dd748576e8f55ed06d17404b0dd8ea91f3fedf12..56923afe8b7945991ffbf56e3511e61441daee99 100644 (file)
--- a/Documentation/automated-engraving/typography-features.itexi
+++ b/Documentation/automated-engraving/typography-features.itexi
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @ignore
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
@@ -61,12 +61,12 @@ is the spacing engine. One of its features is optical spacing.
 It is demonstrated in the fragment below.
 
 @divClass{float-center}
-@divEnd
 @sourceimage{spacing-with-corr,,,.png}
+@divEnd
 
 @divClass{float-center}
-@divEnd
 @sourceimage{spacing-no-corr,,,.png}
+@divEnd
 
 This fragment only uses quarter notes: notes that are played in a
 constant rhythm. The spacing should reflect that. Unfortunately, the
@@ -93,12 +93,10 @@ lines wider (thus taking up more space), or shortening ledger lines
 @item
 
 @sourceimage{henle-ledger,,,.png}
- 
-
 
 @tab
 
-@sourceimage{baer-ledger,,,.png} 
+@sourceimage{baer-ledger,,,.png}
 
 
 
@@ -126,9 +124,6 @@ same. Ledgers are shortened so they never collide with neighboring
 lines, and they are shortened when there is an accidental.
 
 @divClass{float-right}
-@divEnd
-Next: @ref{input-format,Use the Source, Luke}, or: what
+Next: @ref{input-format,Use the Source Luke}, or: what
 goes into LilyPond.
-
-@bye
-
+@divEnd