Update from Francisco.

diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely
index 0948c91b01a1be1df298b2552ea09d163c9e9218..b625af91075b68d05fcd24e3831fcfa162df7254 100644 (file)
--- a/Documentation/user/simultaneous.itely
+++ b/Documentation/user/simultaneous.itely
@@ -45,7 +45,7 @@ A chord is formed by a enclosing a set of pitches between @code{<} and
 articulations, just like simple notes:
 
 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
-<c e g>1 <c e g>->
+<c e g>2 <c f a>4-> <e g c>-.
 @end lilypond
 
 For more information about chords, see @ref{Modern chords}.
@@ -62,12 +62,14 @@ Notation Reference:
 @ref{Modern chords}.
 
 Snippets:
-@lsrdir{Simultaneous,Simultaneous-notes}.
+@rlsr{Simultaneous notes}.
 
 @knownissues
 
-Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
-accurately.  Use @code{<g a>8 <e a>8} instead.
+For some reason, music expressions like @code{<< @{ g8 e8 @} a4 >>}
+that should automatically turn into chords, appear splitted in two
+staves.  To avoid this, use explicit chords instead as in
+@code{<g a>8 <e a>8}.
 
 
 @node Clusters
@@ -95,14 +97,14 @@ Music Glossary:
 @rglos{cluster}.
 
 Snippets:
-@lsrdir{Simultaneous,Simultaneous-notes}.
+@rlsr{Simultaneous notes}.
 
 Internals Reference:
-@internalsref{ClusterSpanner},
-@internalsref{ClusterSpannerBeacon},
-@internalsref{Cluster_spanner_engraver}.
+@rinternals{ClusterSpanner},
+@rinternals{ClusterSpannerBeacon},
+@rinternals{Cluster_spanner_engraver}.
 
-@c Examples: @lsr{contemporary,cluster@/.ly}.
+@c Examples: @rlsr{contemporary,cluster@/.ly}.
 
 @knownissues
 
@@ -131,7 +133,7 @@ them.
 Normally, note heads with a different number of dots are not
 merged, but when the object property
 @code{merge-differently-dotted} is set in the
-@internalsref{NoteCollision} object, they are merged:
+@rinternals{NoteCollision} object, they are merged:
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Voice << {
@@ -253,7 +255,7 @@ inner voices (three and four) have @code{\shiftOn}.
 levels.
 
 When LilyPond cannot cope, the @code{force-hshift} property of the
-@internalsref{NoteColumn} object and pitched rests can be used to
+@rinternals{NoteColumn} object and pitched rests can be used to
 override typesetting decisions.
 
 @lilypond[quote,verbatim,ragged-right]
@@ -272,12 +274,12 @@ override typesetting decisions.
 @seealso
 
 Snippets:
-@lsrdir{Simultaneous,Simultaneous-notes}.
+@rlsr{Simultaneous notes}.
 
 Internals Reference: the objects responsible for resolving collisions
 are
-@internalsref{NoteCollision} and
-@internalsref{RestCollision}.
+@rinternals{NoteCollision} and
+@rinternals{RestCollision}.
 
 
 @knownissues
@@ -357,7 +359,7 @@ properties.
 @end lilypond
 
 Both arguments to @code{\partcombine} will be interpreted as
-@internalsref{Voice} contexts.  If using relative octaves,
+@rinternals{Voice} contexts.  If using relative octaves,
 @code{\relative} should be specified for both music expressions,
 i.e.,
 
@@ -378,11 +380,11 @@ Music Glossary:
 @rglos{a due}.
 
 Snippets:
-@lsrdir{Simultaneous,Simultaneous-notes}.
+@rlsr{Simultaneous notes}.
 
 Internals Reference:
-@internalsref{PartCombineMusic},
-@internalsref{Voice}.
+@rinternals{PartCombineMusic},
+@rinternals{Voice}.
 
 @knownissues
 
@@ -397,7 +399,7 @@ more than once in a measure.
 Internally, the @code{\partcombine} interprets both arguments as
 @code{Voice}s named @code{one} and @code{two}, and then decides
 when the parts can be combined.  Consequently, if the arguments
-switch to differently named @internalsref{Voice} contexts, the
+switch to differently named @rinternals{Voice} contexts, the
 events in those will be ignored.
 
 
@@ -424,42 +426,37 @@ Music for multiple parts can be interleaved:
 
 This works quite well for piano music.
 
-@c  It would be nice if the first bar fit onto one 66-char line.
-@c  Maybe simplify the example?  -gp
 @lilypond[quote,verbatim]
+global = { \key g \major  \time 2/4 }
 music = {
-  \key c \major
-  \time 4/4
   \parallelMusic #'(voiceA voiceB voiceC voiceD) {
-    % Bar 1
-    r8  g'16[ c''] e''[ g' c'' e'']
-      r8 g'16[ c''] e''[ g' c'' e''] |
-    c'2
-      c'2 |
-    r8  a16[ d'] f'[ a d' f']
-      r8  a16[ d'] f'[ a d' f'] |
-    c2
-      c2 |
+    % Bar 1 
+    a'8 b'      c'' d''   |
+    d'4         e'        |
+    c16 d e f   d e f g   |
+    a,4         a,4       |
 
     % Bar 2
-    a'8 b'      c'' d''    e'' f''    g'' a'' |
-    d'4         d'         d'         d' |
-    c16 d e f   d e f g    e f g a    f g a b |
-    a,4         a,4        a,4        a,4 |
+    e''8 f''    g'' a''   |
+    f'4         g'        |
+    e16 f g a   f g a b   |
+    a,4         a,4       |
 
     % Bar 3 ...
   }
 }
 
-\score {
+\score {      
   \new PianoStaff <<
-    \music
-    \new Staff <<
-      \voiceA \\
-      \voiceB
-    >>
     \new Staff {
-      \clef bass
+      \global
+      <<
+        \voiceA \\
+        \voiceB
+      >>
+    }
+    \new Staff {
+      \global \clef bass
       <<
         \voiceC \\
         \voiceD
@@ -472,5 +469,5 @@ music = {
 @seealso
 
 Snippets:
-@lsrdir{Simultaneous,Simultaneous-notes}.
+@rlsr{Simultaneous notes}.