* Documentation/user/{introduction.itely,refman.itely,

	converters.itely}: fix some text inside parentheses; text should
	be readable (even) if parentheses are either replaced with commas
	or dropped out.

diff --git a/ChangeLog b/ChangeLog
index 6fb3b6f56152cee86dfed9e18e05696251b9cc39..285e2dd643f2ce2062c160e660cd637a973ce66c 100644 (file)
--- a/ChangeLog
+++ b/ChangeLog
@@ -1,3 +1,10 @@
+2004-01-26  Heikki Junes <hjunes@cc.hut.fi>
+
+       * Documentation/user/{introduction.itely,refman.itely,
+       converters.itely}: fix some text inside parentheses; text should
+       be readable (even) if parentheses are either replaced with commas 
+       or dropped out.
+
 2004-01-25  Werner Lemberg  <wl@gnu.org>
 
        * buildscripts/lilypond.words.py, input/puer-fragment.ly,

diff --git a/Documentation/user/converters.itely b/Documentation/user/converters.itely
index f61fac2a795844f1e869c78b1fcc6b622ea2b3eb..d0d70609ef08ebed8e84d5c0382515b7a19e81b7 100644 (file)
--- a/Documentation/user/converters.itely
+++ b/Documentation/user/converters.itely
@@ -267,7 +267,7 @@ distribution. pmx2ly cannot parse more recent PMX files.
 @cindex Musedata
 @cindex CCARH
 
-Musedata (@uref{http://www.musedata.org/}) is an electronic library of
+Musedata (see @uref{http://www.musedata.org/}) is an electronic library of
 classical music scores, currently comprising about 800 composition
 dating from 1700 to 1825.  The music is encoded in so-called Musedata
 format.  musedata2ly converts a set of musedata files to one .ly file,

diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely
index f52b1fe6ee312954f5b4145d91a914e05ba862a5..22ff44c216dc03a87f85edb27e6ed2a4623ad497 100644 (file)
--- a/Documentation/user/introduction.itely
+++ b/Documentation/user/introduction.itely
@@ -39,7 +39,7 @@ placing symbols such that the result looks pleasing.
 
 Common music notation is a system of recording music that has evolved
 over the past 1000 years. The form that is now in common use, dates
-from the early renaissance. Although, the basic form (note heads on a
+from the early renaissance. Although, the basic form (i.e. note heads on a
 5-line staff) has not changed, the details still change to express the
 innovations of contemporary notation.  Hence, it encompasses some 500
 years of music. Its applications range from monophonic melodies to
@@ -171,7 +171,7 @@ And the @code{Stem_engraver} adds stems:
 @end lilypond
 
 The @code{Stem_engraver} is notified of any note head coming along.
-Every time one (or more, for a chord) note heads is seen, a stem
+Every time one (or more, for a chord) note head(s) is seen, a stem
 object is created, and attached to the note head.
 
 By adding engravers for beams, slurs, accents, accidentals, bar lines,

diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely
index 66eef429e60c3d2313e79a61c2f604eaa3df8308..88f621bd4e1b8c39cfd209a7e1fce2ca12cc31e7 100644 (file)
--- a/Documentation/user/refman.itely
+++ b/Documentation/user/refman.itely
@@ -185,7 +185,7 @@ can be forced by adding an exclamation mark @code{!}
 after the pitch.  A cautionary accidental
 @cindex cautionary accidental
 @cindex parenthesized accidental
-(an accidental within parentheses) can be obtained by adding the
+(i.e. an accidental within parentheses) can be obtained by adding the
 question mark `@code{?}' after the pitch:
 
 @lilypond[fragment,verbatim]
@@ -400,7 +400,7 @@ notating exactly the same concept:
 \time 3/4 c'2. c'2 ~ c'4
 @end lilypond
 If you need to tie a lot of  notes over bars, it may be easier to use automatic
-note splitting (See @ref{Automatic note splitting}).
+note splitting (see @ref{Automatic note splitting}).
 
 @refcommands
 
@@ -1441,7 +1441,7 @@ Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
 whether the rule applies to begin or end-points.  The quantity
 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
 *}' designates notes of any length), @var{N}/@var{M} refers to a time
-signature (wildcards, `@code{* *}' may be entered to designate all time
+signature (wildcards `@code{* *}' may be entered to designate all time
 signatures).
 
 For example, if automatic beams should end on every quarter note, use
@@ -1461,7 +1461,7 @@ example, automatic beams can only end on a dotted quarter note:
 @end example
 In 4/4 time signature, this means that automatic beams could end only on
 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8 has passed within the measure).
+3/8, has passed within the measure).
 
 Rules can also be restricted to specific time signatures. A rule that
 should only be applied in @var{N}/@var{M} time signature is formed by
@@ -2130,7 +2130,7 @@ For finger changes, use markup texts:
 @cindex subscript
 
 You can use the thumb-script to indicate that a note should be
-played with the thumb. (used in cello music):
+played with the thumb (e.g. in cello music):
 
 @lilypond[verbatim, singleline, fragment]
       <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
@@ -2790,7 +2790,7 @@ the full name or the abbreviation may be used in input files.
 
 To typeset the music on a staff apply the function @code{drums->paper}
 to the percussion music. This function takes a list of percussion
-instrument names, notehead scripts and staff positions (that is:
+instrument names, notehead scripts and staff positions (i.e.
 pitches relative to the C-clef) and transforms the input
 music by moving the pitch, changing the notehead and (optionally)
 adding a script:
@@ -3510,7 +3510,7 @@ an unslurred group of notes to be a melisma, then insert
 @end lilypond
 
 In addition, notes are considered a melisma if they are manually
-beamed, and automatic beaming (See @ref{Setting automatic beam
+beamed, and automatic beaming (see @ref{Setting automatic beam
 behavior}) is switched off.  The criteria for deciding melismata
 can be tuned with the property @code{melismaBusyProperties}. See
 @internalsref{Melisma_engraver} for more information.
@@ -8446,7 +8446,7 @@ stretchable distances (``springs'') of differing lengths. Longer
 durations get more space, shorter durations get less.  The shortest
 durations get a fixed amount of space (which is controlled by
 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object). 
-/The longer the duration, the more space it gets: doubling a
+The longer the duration, the more space it gets: doubling a
 duration adds a fixed amount (this amount is controlled by
 @code{spacing-increment}) of space to the note.
 
@@ -8459,7 +8459,7 @@ c8 c4 c4 c4
 
 Normally, @code{shortest-duration-space} is set to 1.2, which is the
 width of a note head, and @code{shortest-duration-space} is set to
-2.0, meaning that the shortest note gets 2 NHW (2 times
+2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
 @code{shortest-duration-space}) of space. For normal notes, this space
 is always counted from the left edge of the symbol, so the shortest
 notes are generally followed by one NHW of space.