+2006-06-16 Graham Percival <gpermus@gmail.com>
+
+ * Documentation/user/ various: small fixes from mailist.
+
2006-06-16 Han-Wen Nienhuys <hanwen@lilypond.org>
* lily/breathing-sign.cc (offset_callback): idem.
@ref{Rehearsal marks},
but it can also be used to put signs like coda,
segno, and fermata on a bar line. Use @code{\markup} to
-access the appropriate symbol
+access the appropriate symbol (symbols are listed in
+@ref{The Feta font})
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
\transpose c bes @{ e4 @dots{} @}
@end example
-To print this music in B-flat again (i.e. producing a trumpet part,
+To print this music in B-flat again (i.e., producing a trumpet part,
instead of a concert pitch conductor's score) you would wrap the
existing music with another @code{transpose}
@end example
The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point.
+indicating how much of the measure has passed at this point. Note
+that this is a negative number; @code{\partial 4} is internally
+translated to mean ``there is a quarter note left in the bar''.
@refbugs
@node The Lyrics context
@subsection The Lyrics context
-Lyrics are printed by interpreting them in the context caleld
+Lyrics are printed by interpreting them in the context called
@internalsref{Lyrics}.
@example
@code{--safe} option will prevent inline Scheme code from wreaking
havoc, for example
-When LilyPond formatting is available through a web server, the
-@code{--safe} @b{MUST} be passed. This will prevent inline Scheme
-code from wreaking havoc, for example
-
@quotation
@verbatim
#(system "rm -rf /")
@cindex spacing, vertical
Vertical spacing is controlled by three things: the amount of
-space available (i.e. paper size and margins), the amount of
+space available (i.e., paper size and margins), the amount of
space between systems, and the amount of space between
staves inside a system.
@node More about pitches
@section More about pitches
-A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
-the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+A @rglos{sharp} pitch is made by adding @samp{is} to
+the name, a @rglos{flat} pitch by adding @samp{es}. As
you might expect, a @rglos{double sharp} or @rglos{double flat} is
made by adding @samp{isis} or @samp{eses}@footnote{This syntax
derived from note naming conventions in Nordic and Germanic languages,
solution is to use `relative octave' mode. This is the
most convenient way to copy existing music.
-In relative mode, a note without octavation quotes (i.e. the @code{'}
+In relative mode, a note without octavation quotes (i.e., the @code{'}
or @code{,} after a note) is chosen so that it is closest to the
previous one. For example, @samp{c f} goes up while @samp{c g} goes
down.
Twin -- kle twin -- kle
@end example
-@lilypond[fragment,quote,ragged-right]
+@c no ragged-right here, because otherwise the hypens get lost.
+@lilypond[fragment,quote]
<<
\relative {
\time 2/4
@end example
@item
-You may force the number of systems (i.e. if LilyPond wants
+You may force the number of systems (i.e., if LilyPond wants
to typeset some music with 11 systems, you could force it to
use 10).
BUG HUNTERS/SUGGESTIONS
Albert Frantz
+Anthony Youngman
Aurèle Duda
Bernie Arai
Cameron Horsburgh