From: Graham Percival <graham@percival-music.ca>
Date: Sat, 29 Sep 2007 21:52:29 +0000 (-0700)
Subject: Use two spaces after a period; thanks Michael Rasmussen!
X-Git-Tag: release/2.11.35-1~46^2~103
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=1a5188eef68e8823c2285098724e5494c32c69b3;p=lilypond.git

Use two spaces after a period; thanks Michael Rasmussen!
---

diff --git a/Documentation/user/ancient.itely b/Documentation/user/ancient.itely
index 7e4e1dd38f..3972d87805 100644
--- a/Documentation/user/ancient.itely
+++ b/Documentation/user/ancient.itely
@@ -1985,8 +1985,8 @@ entering the chant, as the following excerpt demonstrates
 @unnumberedsubsubsec Musica ficta accidentals
 
 In European music from before about 1600, singers were often expected
-to chromatically alter notes at their own initiative. This is called
-@q{Musica Ficta}. In modern transcriptions, these accidentals are
+to chromatically alter notes at their own initiative.  This is called
+@q{Musica Ficta}.  In modern transcriptions, these accidentals are
 usually printed over the note.
 
 @cindex Accidental, musica ficta
@@ -2056,7 +2056,7 @@ diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
 @end lilypond
 
 Spaces may be inserted by using @code{_}.  Brackets are
-introduced with @code{[} and @code{]}. You can also include text
+introduced with @code{[} and @code{]}.  You can also include text
 strings and text markups, see @ref{Overview of text markup commands}.
 
 @example
@@ -2087,7 +2087,7 @@ It is also possible to use continuation lines for repeated figures,
 In this case, the extender lines always replace existing figures.
 
 The @code{FiguredBass} context doesn't pay attention to the actual
-bass line. As a consequence, you may have to insert extra figures to
+bass line.  As a consequence, you may have to insert extra figures to
 get extender lines below all notes, and you may have to add @code{\!}
 to avoid getting an extender line, e.g.
 
@@ -2106,8 +2106,8 @@ to avoid getting an extender line, e.g.
 @end lilypond
 
 When using continuation lines, common figures are always put in the
-same vertical position. When this is unwanted, you can insert a rest
-with @code{r}. The rest will clear any previous alignment.  For
+same vertical position.  When this is unwanted, you can insert a rest
+with @code{r}.  The rest will clear any previous alignment.  For
 example, you can write
 
 @example
diff --git a/Documentation/user/bagpipes.itely b/Documentation/user/bagpipes.itely
index fd8f455127..a61aae3784 100644
--- a/Documentation/user/bagpipes.itely
+++ b/Documentation/user/bagpipes.itely
@@ -53,14 +53,14 @@ notes in the appropriate octaves, so you do not need to worry about
 @end lilypond
 
 Bagpipe music nominally uses the key of D Major (even though that
-isn't really true). However, since that is the only key that can be used,
-the key signature is normally not written out. To set this up correctly,
-always start your music with @code{\hideKeySignature}. If you for some
+isn't really true).  However, since that is the only key that can be used,
+the key signature is normally not written out.  To set this up correctly,
+always start your music with @code{\hideKeySignature}.  If you for some
 reason want to show the key signature, you can use @code{\showKeySignature}
 instead.
 
 Some modern music use cross fingering on c and f to flatten those notes.
-This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
+This can be indicated by @code{cflat} or @code{fflat}.  Similarly, the
 piobaireachd high g can be written @code{gflat} when it occurs in light
 music.
 
diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely
index cef3f0429b..9bffbc362c 100644
--- a/Documentation/user/changing-defaults.itely
+++ b/Documentation/user/changing-defaults.itely
@@ -307,7 +307,7 @@ musicB = { \clef bass  \new Voice { \voiceTwo \relative { < fis, a cis>4
 
 @item piano
 @funindex piano accidentals
-This accidental style takes place in a GrandStaff context. However, you have to 
+This accidental style takes place in a GrandStaff context.  However, you have to 
 explicitly set it for @emph{each} individual Staff of the GrandStaff:
 
 @example
@@ -584,7 +584,7 @@ In 4/4 time signature, this means that automatic beams could end only on
 If any unexpected beam behaviour occurs, check the default automatic beam
 settings in @file{scm/@/auto@/-beam@/.scm}
 for possible interference, because the beam
-endings defined there will still apply on top of your own overrides. Any
+endings defined there will still apply on top of your own overrides.  Any
 unwanted endings in the default vales must be reverted for your time
 signature(s).
 
@@ -1464,8 +1464,8 @@ ossia = { f4 f f f }
 
 The VerticalAlignment and VerticalAxisGroup grobs work together.
 VerticalAxisGroup groups together different grobs like Staff, Lyrics,
-etc. VerticalAlignment then vertically aligns the different grobs
-grouped together by VerticalAxisGroup. There is usually only one
+etc.  VerticalAlignment then vertically aligns the different grobs
+grouped together by VerticalAxisGroup.  There is usually only one
 VerticalAlignment per score but every Staff, Lyrics, etc. has its own
 VerticalAxisGroup. 
 
@@ -1933,7 +1933,7 @@ change value over time while interpreting a piece of music;
 this.  Context properties are modified with @code{\set}.
 
 There is a special type of context property: the element
-description. These properties are named in @code{StudlyCaps}
+description.  These properties are named in @code{StudlyCaps}
 (starting with capital letters).  They contain the
 @q{default settings} for said graphical object as an
 association list.  See @file{scm/@/define@/-grobs@/.scm}
diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely
index c5295a19ac..7fc6040f11 100644
--- a/Documentation/user/chords.itely
+++ b/Documentation/user/chords.itely
@@ -389,8 +389,8 @@ base can be printed in lower case.
 @funindex chordPrefixSpacer
 @item chordPrefixSpacer
 The @q{m} for minor chords is usually printed right after the root of
-the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
-between the root and @q{m}. The spacer is not used when the root
+the chord.  By setting @code{chordPrefixSpacer}, you can fix a spacer
+between the root and @q{m}.  The spacer is not used when the root
 is altered.
 
 @end table
diff --git a/Documentation/user/educational.itely b/Documentation/user/educational.itely
index fe7f7fb6f2..a3fce19362 100644
--- a/Documentation/user/educational.itely
+++ b/Documentation/user/educational.itely
@@ -209,7 +209,7 @@ closest to the desired size.  The standard font size (for
 a 20pt staff, a 10pt font is selected.
 
 The @code{font-size} property can only be set on layout objects that
-use fonts. These are the ones supporting the
+use fonts.  These are the ones supporting the
 @internalsref{font-interface} layout interface.
 
 @refcommands
@@ -559,7 +559,7 @@ The following example demonstrates its use.
 
 @noindent
 There are two music functions, @code{balloonText} and
-@code{balloonGrobText}. The latter takes the name of the grob to
+@code{balloonGrobText}.  The latter takes the name of the grob to
 adorn, while the former may be used as an articulation on a note. 
 The other arguments  are the offset and the text of the label.
 
diff --git a/Documentation/user/expressive.itely b/Documentation/user/expressive.itely
index 7992006bbf..0d5a2a9646 100644
--- a/Documentation/user/expressive.itely
+++ b/Documentation/user/expressive.itely
@@ -187,7 +187,7 @@ c\< c\! d\> e\!
 A hairpin normally starts at the left edge of the beginning note
 and ends on the right edge of the ending note.  If the ending
 note falls on the downbeat, the hairpin ends on the immediately
-preceding barline. This may be modified by setting the
+preceding barline.  This may be modified by setting the
 @code{hairpinToBarline} property,
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
@@ -363,7 +363,7 @@ lines.
 @funindex \repeatTie
 
 When a second alternative of a repeat starts with a tied note, you
-have to repeat the tie. This can be achieved with @code{\repeatTie},
+have to repeat the tie.  This can be achieved with @code{\repeatTie},
 
 @lilypond[fragment,quote,ragged-right,relative=2]
 r <c e g>\repeatTie
@@ -376,8 +376,8 @@ r <c e g>\repeatTie
 
 Ties are sometimes used to write out arpeggios.  In this case, two tied
 notes need not be consecutive.  This can be achieved by setting the
-@code{tieWaitForNote} property to true. The same feature is also useful,
-for example, to tie a tremolo to a chord. For example,
+@code{tieWaitForNote} property to true.  The same feature is also useful,
+for example, to tie a tremolo to a chord.  For example,
 
 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
 \set tieWaitForNote = ##t
@@ -536,8 +536,8 @@ Program reference: @internalsref{PhrasingSlur}.
 @cindex Ties, laissez vibrer
 
 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
-end. It is used in notation for piano, harp and other string and
-percussion instruments. They can be entered using @code{\laissezVibrer},
+end.  It is used in notation for piano, harp and other string and
+percussion instruments.  They can be entered using @code{\laissezVibrer},
 
 @lilypond[fragment,ragged-right,verbatim,relative=1]
 <c f g>\laissezVibrer
diff --git a/Documentation/user/install.itely b/Documentation/user/install.itely
index b6f509b7e9..ef7e4ffaa2 100644
--- a/Documentation/user/install.itely
+++ b/Documentation/user/install.itely
@@ -120,7 +120,7 @@ FOO-devel, libFOO-dev or FOO-dev package too.
 
 @item @uref{http://fontforge.sf.net/,FontForge} 20060125 or newer.
 
-@item New Century Schoolbook fonts, as PFB files. These are shipped with
+@item New Century Schoolbook fonts, as PFB files.  These are shipped with
 X11 and Ghostscript, and are named @file{c059033l.pfb}
 @file{c059036l.pfb}, @file{c059013l.pfb} and @file{c059016l.pfb}
 
@@ -288,8 +288,8 @@ the input/* stuff.
 @end html
 
 LilyPond comes with an extensive suite that exercises the entire
-program. This suite can be used to automatically check the impact of a
-change. This is done as follows
+program.  This suite can be used to automatically check the impact of a
+change.  This is done as follows
 
 @example
 make test-baseline
@@ -337,7 +337,7 @@ Bugs that are not fault of LilyPond are documented here.
 @unnumberedsubsubsec Bison 1.875
 
 There is a bug in bison-1.875: compilation fails with "parse error
-before `goto'" in line 4922 due to a bug in bison. To fix, please
+before `goto'" in line 4922 due to a bug in bison.  To fix, please
 recompile bison 1.875 with the following fix
 
 @example
diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely
index 865fbfb78c..c10d6fcc63 100644
--- a/Documentation/user/instrument-notation.itely
+++ b/Documentation/user/instrument-notation.itely
@@ -81,14 +81,14 @@ notes in the appropriate octaves, so you do not need to worry about
 @end lilypond
 
 Bagpipe music nominally uses the key of D Major (even though that
-isn't really true). However, since that is the only key that can be used,
-the key signature is normally not written out. To set this up correctly,
-always start your music with @code{\hideKeySignature}. If you for some
+isn't really true).  However, since that is the only key that can be used,
+the key signature is normally not written out.  To set this up correctly,
+always start your music with @code{\hideKeySignature}.  If you for some
 reason want to show the key signature, you can use @code{\showKeySignature}
 instead.
 
 Some modern music use cross fingering on c and f to flatten those notes.
-This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
+This can be indicated by @code{cflat} or @code{fflat}.  Similarly, the
 piobaireachd high g can be written @code{gflat} when it occurs in light
 music.
 
diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely
index 9234ab531d..08f50350cd 100644
--- a/Documentation/user/lilypond-book.itely
+++ b/Documentation/user/lilypond-book.itely
@@ -314,7 +314,7 @@ command line:
 
 @noindent
 where the @var{file}@command{psfonts} file is obtained from
-@command{lilypond-book}, @xref{Invoking lilypond-book}, for details. PDF
+@command{lilypond-book}, @xref{Invoking lilypond-book}, for details.  PDF
 can then be produced with a PostScript to PDF translator like
 @code{ps2pdf} (which is part of GhostScript).  Running @command{dvips}
 will produce some warnings about fonts; these are harmless and may
@@ -503,13 +503,13 @@ based on the standard DocBook elements.
 
 For inserting all type of snippets we use the @code{mediaobject} and @code{inlinemediaobject} element, so our snippets can be
 formatted inline or not inline.
-The snippet formatting options are always provided in the @code{role} property of the innermost element (see in next sections). Tags are
+The snippet formatting options are always provided in the @code{role} property of the innermost element (see in next sections).  Tags are
 chosen to allow DocBook editors format the content gracefully.
 The DocBook files to be processed with @command{lilypond-book} should have the extension @file{.lyxml}.
 
 @subheading Including a LilyPond file
 
-This is the most simple case. We must use the @file{.ly} extension for the included file, and insert it as a standard @code{imageobject},
+This is the most simple case.  We must use the @file{.ly} extension for the included file, and insert it as a standard @code{imageobject},
 with the following structure:
 
 @example
@@ -695,7 +695,7 @@ a link.
 
 @item fontload
 This option includes fonts in all of the generated EPS-files for this
-snippet. This should be used if the snippet uses any font that LaTeX
+snippet.  This should be used if the snippet uses any font that LaTeX
 cannot find on its own.
 
 @end table
@@ -800,7 +800,7 @@ music stick out of the right margin.
 
 The width of a tightly clipped systems can vary, due to notation
 elements that stick into the left margin, such as bar numbers and
-instrument names. This option will shorten each line and move each 
+instrument names.  This option will shorten each line and move each 
 line to the right by the same amount.
 
 
diff --git a/Documentation/user/non-music.itely b/Documentation/user/non-music.itely
index 6b108627e6..ec0516d6e6 100644
--- a/Documentation/user/non-music.itely
+++ b/Documentation/user/non-music.itely
@@ -81,9 +81,9 @@ A @code{\book} block logically combines multiple movements
 (i.e., multiple @code{\score} blocks) in one document.  If there are
 a number of @code{\scores}, one output file will be created for
 each @code{\book} block, in which all corresponding movements are
-concatenated. The only reason to explicitly specify @code{\book} blocks
+concatenated.  The only reason to explicitly specify @code{\book} blocks
 in a @code{.ly} file is if you wish multiple output files from a single
-input file. One exception is within lilypond-book documents, where you
+input file.  One exception is within lilypond-book documents, where you
 explicitly have to add a @code{\book} block if you want more than a
 single @code{\score} or @code{\markup} in the same example.
 
@@ -262,10 +262,10 @@ will normally be typeset in the form of a single output file.
 
 However, if you want multiple output files from the same @code{.ly}
 file, then you can add multiple @code{\book} blocks, where each such
-@code{\book} block will result in a separate output. If you do not
+@code{\book} block will result in a separate output.  If you do not
 specify any @code{\book} block in the file, LilyPond will implicitly
 treat the full file as a single @code{\book} block, see @ref{File
-structure}. One important exception is within lilypond-book documents,
+structure}.  One important exception is within lilypond-book documents,
 where you explicitly have to add a @code{\book} block, otherwise only
 the first @code{\score} or @code{\markup} will appear in the output.
 
@@ -300,11 +300,11 @@ the top of the file is inserted.
 @subsection Extracting fragments of notation
 
 It is possible to quote small fragments of a large score directly from
-the output. This can be compared to clipping a piece of a paper score
+the output.  This can be compared to clipping a piece of a paper score
 with scissors.
 
 This is done by definining the measures that need to be cut out
-separately. For example, including the following definition
+separately.  For example, including the following definition
 
 
 @verbatim
@@ -319,14 +319,14 @@ separately. For example, including the following definition
 
 @noindent
 will extract a fragment starting halfway the fifth measure, ending in
-the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
+the seventh measure.  The meaning of @code{5 1 2} is: after a 1/2 note
 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
 
 More clip regions can be defined by adding more pairs of
 rhythmic-locations to the list. 
 
 In order to use this feature, LilyPond must be invoked with
-@code{-dclip-systems}. The clips are output as EPS files, and are
+@code{-dclip-systems}.  The clips are output as EPS files, and are
 converted to PDF and PNG if these formats are switched on as well.
 
 For more information on output formats, see @rprogram{Invoking lilypond}.
@@ -852,10 +852,10 @@ top-level, or inside a music expression.
 @end verbatim
 
 The markups which are used to format the table of contents are defined
-in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
+in the @code{\paper} block.  The default ones are @code{tocTitleMarkup},
 for formatting the title of the table, and @code{tocItemMarkup}, for
 formatting the toc elements, composed of the element title and page
-number. These variables may be changed by the user:
+number.  These variables may be changed by the user:
 
 @verbatim
 \paper {
@@ -993,11 +993,11 @@ to a score, for example,
 The tempo can be specified using the @code{\tempo} command within the 
 actual music, see @ref{Metronome marks}.  An alternative, which does not
 result in a metronome mark in the printed score, is shown in the example
-above. In this example the tempo of quarter notes is set to 72 beats per
+above.  In this example the tempo of quarter notes is set to 72 beats per
 minute. 
 This kind of tempo
-specification can not take dotted note lengths as an argument. In this
-case, break the dotted notes into smaller units. For example, a tempo
+specification can not take dotted note lengths as an argument.  In this
+case, break the dotted notes into smaller units.  For example, a tempo
 of 90 dotted quarter notes per minute can be specified as 270 eighth
 notes per minute
 
@@ -1090,7 +1090,7 @@ enclose the @code{\new Score} and the @code{\midi} in a @code{\score} block.
 
 
 The MIDI block is analogous to the layout block, but it is somewhat
-simpler.  The @code{\midi} block is similar to @code{\layout}. It can contain
+simpler.  The @code{\midi} block is similar to @code{\layout}.  It can contain
 context definitions.
 
 
@@ -1165,7 +1165,7 @@ When entering or copying music, usually only the music near the end (where
 you
 are adding notes) is interesting to view and correct.  To speed up
 this correction process, it is possible to skip typesetting of all but
-the last few measures. This is achieved by putting
+the last few measures.  This is achieved by putting
 
 @verbatim
 showLastLength = R1*5
@@ -1173,17 +1173,17 @@ showLastLength = R1*5
 @end verbatim
 
 @noindent
-in your source file. This will render only the last 5 measures
+in your source file.  This will render only the last 5 measures
 (assuming 4/4 time signature) of every @code{\score} in the input
-file. For longer pieces, rendering only a small part is often an order
+file.  For longer pieces, rendering only a small part is often an order
 of magnitude quicker than rendering it completely
 
 Skipping parts of a score can be controlled in a more fine-grained
 fashion with the property @code{Score.skipTypesetting}.  When it is
 set, no typesetting is performed at all.
 
-This property is also used to control output to the MIDI file. Note that
-it skips all events, including tempo and instrument changes. You have
+This property is also used to control output to the MIDI file.  Note that
+it skips all events, including tempo and instrument changes.  You have
 been warned.
 
 @lilypond[quote,fragment,ragged-right,verbatim]
diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index caa1d3fc72..2fb9c41be4 100644
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -255,23 +255,23 @@ espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b        -ss
 Note that in Dutch, German, Norwegian, and Swedish, the flat
 alterations of @samp{a} like for example @code{aes} and
 @code{aeses} are usually contracted to @code{as} and @code{ases}
-(or more commonly @code{asas}). Sometimes only these contracted
+(or more commonly @code{asas}).  Sometimes only these contracted
 names are defined in the corresponding language files (this also
 applies to the suffixes for quartertones below).
 
 @noindent
 Some music uses microtones whose alterations are fractions of a
-@q{regular} sharp or flat. The note names for quartertones defined
+@q{regular} sharp or flat.  The note names for quartertones defined
 in the various language files are listed in the following table.
 Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and
-@q{one and a half}, respectively. For Norwegian, Swedish, Catalan
+@q{one and a half}, respectively.  For Norwegian, Swedish, Catalan
 and Spanish no special names have been defined yet.
 
 @c What about Turkish Maquam music and similar microtonal systems?
 @c
 @c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code 
 @c is actually misleading since the alteration is in fact one and a half
-@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
+@c of a regular sharp/flat.  Whence the naming "sesqui-sharp/-flat" used below.
 
 @example
                         Note Names             semi-   semi-  sesqui-  sesqui-
diff --git a/Documentation/user/programming-interface.itely b/Documentation/user/programming-interface.itely
index 537da3bc4e..1a657b60d6 100644
--- a/Documentation/user/programming-interface.itely
+++ b/Documentation/user/programming-interface.itely
@@ -230,7 +230,7 @@ turning off Point and Click).  To do this, we return a @code{void}
 music expression.
 
 That is why the form
-that is returned is the @code{(make-music ...)}. With the
+that is returned is the @code{(make-music ...)}.  With the
 @code{'void} property set to @code{#t}, the parser is told to
 actually disregard this returned music
 expression.  Thus the important part of the void music function is the
@@ -359,7 +359,7 @@ traLaLa = { c'4 d'4 }
 Due to parser lookahead
 
 In this example, the assignment happens after parser has verified that
-nothing interesting happens after @code{traLaLa = @{ ... @}}. Without
+nothing interesting happens after @code{traLaLa = @{ ... @}}.  Without
 the dummy statement in the above example, the @code{newLa} definition
 is executed before @code{traLaLa} is defined, leading to a syntax
 error.
@@ -1143,8 +1143,8 @@ First, the function gets the indent width, a property here named
 is not found, the default value is @code{2}.  Then, a list of justified
 lines is made using the @code{make-justified-lines-markup-list}
 function, which is related to the @code{\justified-lines}
-built-in markup list command. An horizontal space is added at the
-begining using the @code{make-hspace-markup} function. Finally, the
+built-in markup list command.  An horizontal space is added at the
+begining using the @code{make-hspace-markup} function.  Finally, the
 markup list is interpreted using the @code{interpret-markup-list}
 function.
 
@@ -1159,8 +1159,8 @@ This new markup list command can be used as follows:
   @}
   \override-lines #'(par-indent . 4) \paragraph @{
     The plate would be inked, the depressions caused by the cutting
-    and stamping would hold ink. An image was formed by pressing paper
-    to the plate. The stamping and cutting was completely done by
+    and stamping would hold ink.  An image was formed by pressing paper
+    to the plate.  The stamping and cutting was completely done by
     hand.
   @}
 @}
@@ -1299,8 +1299,8 @@ can be inserted with a grob closure.  Here is a setting from
 @noindent
 In this example, both @code{ly:self-alignment-interface::x-aligned-on-self} and
 @code{ly:self-alignment-interface::centered-on-x-parent} are called
-with the grob as argument. The results are added with the @code{+}
-function. To ensure that this addition is properly executed, the whole
+with the grob as argument.  The results are added with the @code{+}
+function.  To ensure that this addition is properly executed, the whole
 thing is enclosed in @code{ly:make-simple-closure}.
 
 In fact, using a single procedure as property value is equivalent to
diff --git a/Documentation/user/repeats.itely b/Documentation/user/repeats.itely
index 8eaacf806b..77fe6b9ca6 100644
--- a/Documentation/user/repeats.itely
+++ b/Documentation/user/repeats.itely
@@ -385,7 +385,7 @@ on the @code{countPercentRepeats} property,
 
 
 
-Isolated percents can also be printed. This is done by putting a
+Isolated percents can also be printed.  This is done by putting a
 multi-measure rest with a different print function,
 
 @lilypond[fragment,verbatim,quote]
diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index 1f47fdb978..53618279e4 100644
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -707,7 +707,7 @@ to indicate where breaks can occur.
 Double time signatures are not supported explicitly, but they can
 be faked.  In the next example, the markup for the time signature
 is created with a markup text.  This markup text is inserted in
-the @internalsref{TimeSignature} grob. See also
+the @internalsref{TimeSignature} grob.  See also
 @lsr{contemporary,compound-time-signature}.
 
 @lilypond[verbatim,ragged-right]
@@ -807,7 +807,7 @@ for each staff but replacing it manually using
 printed durations in each staff are scaled to the common time
 signature.  The latter is done with @code{\compressMusic}, which
 is used similar to @code{\times}, but does not create a tuplet
-bracket. The syntax is @example \compressMusic #'(@var{numerator}
+bracket.  The syntax is @example \compressMusic #'(@var{numerator}
 . @var{denominator}) @var{musicexpr} @end example
 
 
@@ -1580,7 +1580,7 @@ staves without, for example,
 
 @noindent
 This can be remedied by inserting grace skips of the corresponding
-durations in the other staves. For the above example
+durations in the other staves.  For the above example
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 << \new Staff { e4 \bar "|:" \grace c16 d4 }
diff --git a/Documentation/user/running.itely b/Documentation/user/running.itely
index 0b992069c1..88cb790510 100644
--- a/Documentation/user/running.itely
+++ b/Documentation/user/running.itely
@@ -130,7 +130,7 @@ Example: @code{lilypond -fpng filename.ly}
 
 @item -d,--define-default=@var{var}=@var{val}
 This sets the internal program option @var{var} to the Scheme value
-@var{val}. If @var{val} is not supplied, then @var{#t} is used. To
+@var{val}.  If @var{val} is not supplied, then @var{#t} is used.  To
 switch off an option, @code{no-} may be prefixed to @var{var}, e.g.
 
 @cindex point and click, command line
@@ -311,7 +311,7 @@ accomplished in a safe way using @command{sudo}.
 
 Setting up a jail is a slightly delicate matter, as we must be sure that
 LilyPond is able to find whatever it needs to compile the source
-@emph{inside the jail}. A typical setup comprises the following items:
+@emph{inside the jail}.  A typical setup comprises the following items:
 
 @table @asis
 @item Setting up a separate filesystem
@@ -383,9 +383,9 @@ This selects the language for the warning messages.
 
 @item LILYPOND_GC_YIELD
 With this variable the memory footprint and performance can be
-adjusted. It is a percentage tunes memory management behavior. With
+adjusted.  It is a percentage tunes memory management behavior.  With
 higher values, the program uses more memory, with smaller values, it
-uses more CPU time. The default value is @code{70}.
+uses more CPU time.  The default value is @code{70}.
 
 @end table
 
@@ -564,7 +564,7 @@ interfaces is quite unlikely; be prepared to tweak scheme code
 manually.
 
 @verbatim
-There are a few things that the convert-ly cannot handle. Here's a list
+There are a few things that the convert-ly cannot handle.  Here's a list
 of limitations that the community has complained about.
 
 This bug report structure has been chosen because convert-ly has a
@@ -573,12 +573,12 @@ Thus this is just a wishlist, placed here for reference.
 
 1.6->2.0:
  Doesn't always convert figured bass correctly, specifically things like {<
->}. Mats' comment on working around this:
+>}.  Mats' comment on working around this:
    To be able to run convert-ly
    on it, I first replaced all occurencies of '{<' to some dummy like '{#'
-   and similarly I replaced '>}' with '&}'. After the conversion, I could
+   and similarly I replaced '>}' with '&}'.  After the conversion, I could
    then change back from '{ #' to '{ <' and from '& }' to '> }'.
- Doesn't convert all text markup correctly. In the old markup syntax,
+ Doesn't convert all text markup correctly.  In the old markup syntax,
  it was possible to group a number of markup commands together within
 parentheses, e.g.
    -#'((bold italic) "string")
@@ -625,7 +625,7 @@ converted.
 @cindex reporting bugs
 
 If you have input that results in a crash or an erroneous output, then
-that is a bug. There is a list of current bugs on our google bug tracker,
+that is a bug.  There is a list of current bugs on our google bug tracker,
 
 @uref{http://code.google.com/p/lilypond/issues/list}
 
diff --git a/Documentation/user/scheme-tutorial.itely b/Documentation/user/scheme-tutorial.itely
index 1655535cb5..1c002ffc2e 100644
--- a/Documentation/user/scheme-tutorial.itely
+++ b/Documentation/user/scheme-tutorial.itely
@@ -151,7 +151,7 @@ is put into the @code{thickness} variable of a @code{Stem}
 object.  @code{thickness} is measured relative to the thickness of
 staff lines, so these stem lines will be @code{2.6} times the
 width of staff lines.  This makes stems almost twice as thick as their
-normal size. To distinguish between variables defined in input files (like
+normal size.  To distinguish between variables defined in input files (like
 @code{twentyFour} in the example above) and variables of internal
 objects, we will call the latter @q{properties} and the former
 @q{identifiers.}  So, the stem object has a @code{thickness} property,
diff --git a/Documentation/user/setup.itely b/Documentation/user/setup.itely
index 0283957fa5..63599d440d 100644
--- a/Documentation/user/setup.itely
+++ b/Documentation/user/setup.itely
@@ -36,7 +36,7 @@ operating systems.
 @subsection MacOS X on the command-line
 
 The scripts (such as lilypond-book, convert-ly, abc2ly, and even
-lilypond itself) are included inside MacOS X .app. They can be run from
+lilypond itself) are included inside MacOS X .app.  They can be run from
 the command line by invoking them directly, e.g.
 
 @example
@@ -206,7 +206,7 @@ in the PDF viewer.  This makes it easier to find input that causes
 some error in the sheet music.
 
 When this functionality is active, LilyPond adds hyperlinks to the PDF
-file. These hyperlinks are sent to the web-browser, which opens a
+file.  These hyperlinks are sent to the web-browser, which opens a
 text-editor with the cursor in the right place.
 
 To make this chain work, you should configure your PDF viewer to
@@ -222,7 +222,7 @@ urlCommand     "lilypond-invoke-editor %s"
 @end example
 
 The program @file{lilypond-invoke-editor} is a small helper
-program. It will invoke an editor for the special @code{textedit}
+program.  It will invoke an editor for the special @code{textedit}
 URIs, and run a web browser for others.  It tests the environment
 variable @code{EDITOR} for the following patterns,
 
@@ -245,10 +245,10 @@ this will invoke
 @end example
 @end table
 
-The environment variable @code{LYEDITOR} is used to override this. It
+The environment variable @code{LYEDITOR} is used to override this.  It
 contains the command line to start the editor, where @code{%(file)s},
 @code{%(column)s}, @code{%(line)s} is replaced with the file, column
-and line respectively. The  setting
+and line respectively.  The  setting
 
 @example
 emacsclient --no-wait +%(line)s:%(column)s %(file)s
@@ -261,7 +261,7 @@ invocation.
 
 @cindex file size, output
 
-The point and click links enlarge the output files significantly. For
+The point and click links enlarge the output files significantly.  For
 reducing the size of PDF and PS files, point and click may be switched
 off by issuing
 
diff --git a/Documentation/user/spacing.itely b/Documentation/user/spacing.itely
index 04379519f6..36c7c7a87c 100644
--- a/Documentation/user/spacing.itely
+++ b/Documentation/user/spacing.itely
@@ -23,8 +23,8 @@ many pages a piece of music takes.
 Globally speaking, this procedure happens in four steps: first,
 flexible distances (@q{springs}) are chosen, based on durations.  All
 possible line breaking combinations are tried, and a @q{badness} score
-is calculated for each. Then the height of each possible system is
-estimated. Finally, a page breaking and line breaking combination is chosen
+is calculated for each.  Then the height of each possible system is
+estimated.  Finally, a page breaking and line breaking combination is chosen
 so that neither the horizontal nor the vertical spacing is too cramped
 or stretched.
 
@@ -124,58 +124,58 @@ false.
 
 @funindex print-page-number
 @item print-page-number
-If set to false, page numbers will not be printed. Default is true.
+If set to false, page numbers will not be printed.  Default is true.
 
 @funindex paper-width
 @item paper-width
-The width of the page. The default is taken from the current paper size,
+The width of the page.  The default is taken from the current paper size,
 see @ref{Paper size}. 
 
 @funindex paper-height
 @item paper-height
-The height of the page. The default is taken from the current paper size,
+The height of the page.  The default is taken from the current paper size,
 see @ref{Paper size}. 
 
 @funindex top-margin
 @item top-margin
-Margin between header and top of the page. Default is@tie{}5mm.
+Margin between header and top of the page.  Default is@tie{}5mm.
 
 @funindex bottom-margin
 @item bottom-margin
-Margin between footer and bottom of the page. Default is@tie{}6mm.
+Margin between footer and bottom of the page.  Default is@tie{}6mm.
 
 @funindex left-margin
 @item left-margin
 Margin between the left side of the page and the beginning of the
-music. Unset by default, which means that the margins is determined
+music.  Unset by default, which means that the margins is determined
 based on the @code{paper-width} and @code{line-width} to center the
 score on the paper. 
 
 @funindex line-width
 @item line-width
-The length of the systems. Default is @code{paper-width} minus @tie{}20mm.
+The length of the systems.  Default is @code{paper-width} minus @tie{}20mm.
 
 @funindex head-separation
 @item head-separation
-Distance between the top-most music system and the page header. Default
+Distance between the top-most music system and the page header.  Default
 is@tie{}4mm. 
 
 @funindex foot-separation
 @item foot-separation
 Distance between the bottom-most music system and the page
-footer. Default is@tie{}4mm.
+footer.  Default is@tie{}4mm.
 
 @funindex page-top-space
 @item page-top-space
 Distance from the top of the printable area to the center of the first
-staff. This only works for staves which are vertically small. Big staves
+staff.  This only works for staves which are vertically small.  Big staves
 are set with the top of their bounding box aligned to the top of the
-printable area. Default is@tie{}12mm.
+printable area.  Default is@tie{}12mm.
 
 @funindex ragged-bottom
 @item ragged-bottom
 If set to true, systems will not be spread vertically across the page.  This
-does not affect the last page. Default is false.
+does not affect the last page.  Default is false.
 
 This should be set to true for pieces that have only two or three
 systems per page, for example orchestral scores.
@@ -183,7 +183,7 @@ systems per page, for example orchestral scores.
 @funindex ragged-last-bottom
 @item ragged-last-bottom
 If set to false, systems will be spread vertically to fill the last
-page. Default is true.
+page.  Default is true.
 
 Pieces that amply fill two pages or more should have this set to
 true.
@@ -191,13 +191,13 @@ true.
 @funindex system-count
 @item system-count
 This variable, if set, specifies into how many lines a score should be
-broken. Unset by default.
+broken.  Unset by default.
 
 @funindex between-system-space
 @item between-system-space
 This dimensions determines the distance between systems.  It is the
 ideal distance between the center of the bottom staff of one system
-and the center of the top staff of the next system. Default is@tie{}20mm.
+and the center of the top staff of the next system.  Default is@tie{}20mm.
 
 Increasing this will provide a more even appearance of the page at the
 cost of using more vertical space.
@@ -206,7 +206,7 @@ cost of using more vertical space.
 @item between-system-padding
 This dimension is the minimum amount of white space that will always
 be present between the bottom-most symbol of one system, and the
-top-most of the next system. Default is@tie{}4mm.
+top-most of the next system.  Default is@tie{}4mm.
 
 Increasing this will put systems whose bounding boxes almost touch
 farther apart.
@@ -215,30 +215,30 @@ farther apart.
 @item page-breaking-between-system-padding
 This variable tricks the page breaker into thinking that
 @code{between-system-padding} is set to something different than it
-really is. For example, if this variable is set to something substantially
+really is.  For example, if this variable is set to something substantially
 larger than @code{between-system-padding}, then the page-breaker will put
 fewer systems on each page.
 
 @funindex horizontal-shift
 @item horizontal-shift
 All systems (including titles and system separators) are shifted by
-this amount to the right. Page markup, such as headers and footers are
-not affected by this. The purpose of this variable is to make space
-for instrument names at the left. Default is@tie{}0.
+this amount to the right.  Page markup, such as headers and footers are
+not affected by this.  The purpose of this variable is to make space
+for instrument names at the left.  Default is@tie{}0.
 
 @funindex after-title-space
 @item after-title-space
-Amount of space between the title and the first system. Default is@tie{}5mm.
+Amount of space between the title and the first system.  Default is@tie{}5mm.
 
 @funindex before-title-space
 @item before-title-space
 Amount of space between the last system of the previous piece and the
-title of the next. Default is@tie{}10mm.
+title of the next.  Default is@tie{}10mm.
 
 @funindex between-title-space
 @item between-title-space
 Amount of space between consecutive titles (e.g., the title of the
-book and the title of a piece). Default is@tie{}2mm.
+book and the title of a piece).  Default is@tie{}2mm.
 
 @funindex printallheaders
 @item printallheaders
@@ -248,7 +248,7 @@ output.  Normally only the piece and opus \headers are printed.
 @funindex systemSeparatorMarkup
 @item systemSeparatorMarkup
 This contains a markup object, which will be inserted between
-systems.  This is often used for orchestral scores. Unset by default.
+systems.  This is often used for orchestral scores.  Unset by default.
 
 The markup command @code{\slashSeparator} is provided as a sensible
 default,  for example
@@ -268,8 +268,8 @@ default,  for example
 @funindex blank-page-force
 @item blank-page-force
 The penalty for having a blank page in the middle of a
-score. This is not used by @code{ly:optimal-breaking} since it will
-never consider blank pages in the middle of a score. Default value
+score.  This is not used by @code{ly:optimal-breaking} since it will
+never consider blank pages in the middle of a score.  Default value
 is 10.
 
 @funindex blank-last-page-force
@@ -280,7 +280,7 @@ Default value is 0.
 @funindex page-spacing-weight
 @item page-spacing-weight
 The relative importance of page (vertical) spacing and line (horizontal)
-spacing. High values will make page spacing more important. Default
+spacing.  High values will make page spacing more important.  Default
 value is 10.
 
 @funindex auto-first-page-number
@@ -297,17 +297,17 @@ result in the first page number remaining as is or being increased by one.
 @commonprop
 
 The header and footer are created by the functions make-footer and
-make-header, defined in \paper. The default implementations are in
+make-header, defined in \paper.  The default implementations are in
 ly/paper-defaults.ly and ly/titling-init.ly.
 
 The page layout itself is done by two functions in the \paper block,
-page-music-height and page-make-stencil. The former tells the
+page-music-height and page-make-stencil.  The former tells the
 line-breaking algorithm how much space can be spent on a page, the
 latter creates the actual page given the system to put on it.
 
-You can define paper block values in Scheme. In that case mm, in, pt,
+You can define paper block values in Scheme.  In that case mm, in, pt,
 and cm are variables defined in paper-defaults.ly with values in
-millimeters. That is why the value 2 cm must be multiplied in the
+millimeters.  That is why the value 2 cm must be multiplied in the
 example
 
 @example
@@ -666,7 +666,7 @@ inserted at top-level, between scores and top-level markups.
 Page breaks are computed by the @code{page-breaking} function.  LilyPond
 provides three algorithms for computing page breaks,
 @code{ly:optimal-breaking}, @code{ly:page-turn-breaking} and
-@code{ly:minimal-breaking}. The default is @code{ly:optimal-breaking},
+@code{ly:minimal-breaking}.  The default is @code{ly:optimal-breaking},
 but the value can be changed in the @code{\paper} block:
 
 @example
@@ -676,7 +676,7 @@ but the value can be changed in the @code{\paper} block:
 @end example
 
 The old page breaking algorithm is called
-@code{optimal-page-breaks}. If you are having trouble with the new page
+@code{optimal-page-breaks}.  If you are having trouble with the new page
 breakers, you can enable the old one as a workaround.
 
 @refcommands
@@ -693,8 +693,8 @@ breakers, you can enable the old one as a workaround.
 @funindex ly:optimal-breaking
 
 The @code{ly:optimal-breaking} function is LilyPond's default method of
-determining page breaks. It attempts to find a page breaking that minimizes
-cramping and stretching, both horizontally and vertically. Unlike
+determining page breaks.  It attempts to find a page breaking that minimizes
+cramping and stretching, both horizontally and vertically.  Unlike
 @code{ly:page-turn-breaking}, it has no concept of page turns.
 
 
@@ -704,26 +704,26 @@ cramping and stretching, both horizontally and vertically. Unlike
 @funindex ly:page-turn-breaking
 
 Often it is necessary to find a page breaking configuration so that there is
-a rest at the end of every second page. This way, the musician can turn the
-page without having to miss notes. The @code{ly:page-turn-breaking} function
+a rest at the end of every second page.  This way, the musician can turn the
+page without having to miss notes.  The @code{ly:page-turn-breaking} function
 attempts to find a page breaking minimizing cramping and stretching, but with
 the additional restriction that it is only allowed to introduce page turns
 in specified places.
 
-There are two steps to using this page breaking function. First, you
+There are two steps to using this page breaking function.  First, you
 must enable it in the @code{\paper} block, as explained in @ref{Page
-breaking}. Then you must tell the function where you would like to allow
+breaking}.  Then you must tell the function where you would like to allow
 page breaks.
 
-There are two ways to achieve the second step. First, you can specify each
+There are two ways to achieve the second step.  First, you can specify each
 potential page turn manually, by inserting @code{\allowPageTurn} into your
 input file at the appropriate places.
 
 If this is too tedious, you can add a @code{Page_turn_engraver} to a Staff or
-Voice context. The @code{Page_turn_engraver} will scan the context for
+Voice context.  The @code{Page_turn_engraver} will scan the context for
 sections without notes (note that it does not scan for rests; it scans for
-the absence of notes. This is so that single-staff polyphony with rests in one
-of the parts does not throw off the @code{Page_turn_engraver}). When it finds
+the absence of notes.  This is so that single-staff polyphony with rests in one
+of the parts does not throw off the @code{Page_turn_engraver}).  When it finds
 a sufficiently long section without notes, the @code{Page_turn_engraver} will
 insert an @code{\allowPageTurn} at the final barline in that section, unless
 there is a @q{special} barline (such as a double bar), in which case the
@@ -733,8 +733,8 @@ the section.
 @funindex minimumPageTurnLength
 The @code{Page_turn_engraver} reads the context property
 @code{minimumPageTurnLength} to determine how long a note-free section must
-be before a page turn is considered. The default value for
-@code{minimumPageTurnLength} is @code{#(ly:make-moment 1 1)}. If you want
+be before a page turn is considered.  The default value for
+@code{minimumPageTurnLength} is @code{#(ly:make-moment 1 1)}.  If you want
 to disable page turns, you can set it to something very large.
 
 @example
@@ -752,10 +752,10 @@ to disable page turns, you can set it to something very large.
 @end example
 
 @funindex minimumRepeatLengthForPageTurn
-The @code{Page_turn_engraver} detects volta repeats. It will only allow a page
+The @code{Page_turn_engraver} detects volta repeats.  It will only allow a page
 turn during the repeat if there is enough time at the beginning and end of the
-repeat to turn the page back. The @code{Page_turn_engraver} can also disable
-page turns if the repeat is very short. If you set the context property
+repeat to turn the page back.  The @code{Page_turn_engraver} can also disable
+page turns if the repeat is very short.  If you set the context property
 @code{minimumRepeatLengthForPageTurn} then the @code{Page_turn_engraver} will
 only allow turns in repeats whose duration is longer than this value.
 
@@ -774,7 +774,7 @@ top-level markups.
 
 @refbugs
 
-There should only be one @code{Page_turn_engraver} in a score. If there is more
+There should only be one @code{Page_turn_engraver} in a score.  If there is more
 than one, they will interfere with each other.
 
 @node Minimal page breaking
@@ -974,17 +974,17 @@ After page breaks are determined, the vertical spacing within each
 system is reevaluated in order to fill the page more evenly; if a page
 has space left over, systems are stretched in order to fill that space.
 The amount of stretching can be configured though the @code{max-stretch}
-property of the @internalsref{VerticalAlignment} grob. To disable this
+property of the @internalsref{VerticalAlignment} grob.  To disable this
 stretching entirely, set @code{max-stretch} to zero.
 
 In some situations, you may want to stretch most of a system while
-leaving some parts fixed. For example, if a piano part occurs in the
+leaving some parts fixed.  For example, if a piano part occurs in the
 middle of an orchestral score, you may want to leave the piano staves
-close to each other while stretching the rest of the score. The
+close to each other while stretching the rest of the score.  The
 @code{keep-fixed-while-stretching} property of
-@internalsref{VerticalAxisGroup} can be used to achieve this. When set
+@internalsref{VerticalAxisGroup} can be used to achieve this.  When set
 to @code{##t}, this property keeps its staff (or line of lyrics) from
-moving relative to the one directly above it. In the example above,
+moving relative to the one directly above it.  In the example above,
 you would override @code{keep-fixed-while-stretching} to @code{##t} in
 the second piano staff:
 
@@ -1029,7 +1029,7 @@ the second piano staff:
 @seealso
 
 Internals: Vertical alignment of staves is handled by the
-@internalsref{VerticalAlignment} object. The context parameters
+@internalsref{VerticalAlignment} object.  The context parameters
 specifying the vertical extent are described in connection with
 the @internalsref{Axis_group_engraver}.
 
@@ -1053,19 +1053,19 @@ Space between systems are controlled by four @code{\paper} variables,
 
 When only a couple of flat systems are placed on a page, the resulting
 vertical spacing may be non-eleguant: one system at the top of the page,
-and the other at the bottom, with a huge gap between them. To avoid this
-situation, the space added between the systems can be limited. This
+and the other at the bottom, with a huge gap between them.  To avoid this
+situation, the space added between the systems can be limited.  This
 feature is activated by setting to @code{#t} the
 @code{page-limit-inter-system-space} variable in the @code{\paper}
-block. The paper variable @code{page-limit-inter-system-space-factor}
+block.  The paper variable @code{page-limit-inter-system-space-factor}
 determines how much the space can be increased: for instance, the value
 @code{1.3} means that the space can be 30% larger than what it would be
 on a ragged-bottom page.
 
 In the following example, if the inter system space were not limited,
-the second system of page 1 would be placed at the page bottom. By
+the second system of page 1 would be placed at the page bottom.  By
 activating the space limitation, the second system is placed closer to
-the first one. By setting @code{page-limit-inter-system-space-factor} to
+the first one.  By setting @code{page-limit-inter-system-space-factor} to
 @code{1}, the spacing would the same as on a ragged-bottom page, like
 the last one.
 
@@ -1168,7 +1168,7 @@ by looking at an example that includes no overrides at all.
 @end lilypond
 
 This score isolates line- and page-breaking information in a dedicated
-voice. This technique of creating a breaks voice will help keep layout
+voice.  This technique of creating a breaks voice will help keep layout
 separate from music entry as our example becomes more complicated.
 See @ref{Using an extra voice for breaks}.
 
@@ -1297,8 +1297,8 @@ passed to these different settings will avoid this.
 @subsection Two-pass vertical spacing
 
 Warning: two-pass vertical spacing is deprecated and will be removed in
-a future version of LilyPond. Systems are now stretched automatically
-in a single pass. See @ref{Vertical spacing inside a system}.
+a future version of LilyPond.  Systems are now stretched automatically
+in a single pass.  See @ref{Vertical spacing inside a system}.
 
 In order to automatically stretch systems so that they should fill the
 space left on a page, a two-pass technique can be used:
@@ -1705,8 +1705,8 @@ paragraph, the last line simply takes its natural horizontal length.
 
 LilyPond supports proportional notation, a type of horizontal spacing
 in which each note consumes an amount of horizontal space exactly
-equivalent to its rhythmic duration. This type of proportional spacing
-is comparable to horizontal spacing on top of graph paper. Some late
+equivalent to its rhythmic duration.  This type of proportional spacing
+is comparable to horizontal spacing on top of graph paper.  Some late
 20th- and early 21st-century scores use proportional notation to
 clarify complex rhythmic relationships or to faciliate the placement
 of timelines or other graphics directly in the score.
@@ -1786,8 +1786,8 @@ The @code{proportionalNotationDuration} setting takes a single argument,
 which is the reference duration against which all music will be
 spaced.  The LilyPond Scheme function make-moment takes two arguments
 -- a numerator and denominator which together express some fraction of
-a whole note. The call @code{#(ly:make-moment 1 20)} therefore produces a
-reference duration of a twentieth note. The values
+a whole note.  The call @code{#(ly:make-moment 1 20)} therefore produces a
+reference duration of a twentieth note.  The values
 @code{#(ly:make-moment 1 16)}, @code{#(ly:make-moment 1 8)}, and
 @code{#(ly:make-moment 3 97)} are all possible as well.
 
diff --git a/Documentation/user/staff.itely b/Documentation/user/staff.itely
index fc726644ed..af33def579 100644
--- a/Documentation/user/staff.itely
+++ b/Documentation/user/staff.itely
@@ -129,7 +129,7 @@ of lines, using properties.  This is demonstrated in the example files
 @lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
 @lsr{staff,changing-the-staff-size.ly}.
 
-In addition, staves may be started and stopped at will. This is done
+In addition, staves may be started and stopped at will.  This is done
 with @code{\startStaff} and @code{\stopStaff}.
 
 @lilypond[verbatim,relative=2,fragment]
@@ -143,7 +143,7 @@ b b
 @end lilypond
 
 In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is shown here
+sections.  An example is shown here
 
 @cindex ossia
 
diff --git a/Documentation/user/text.itely b/Documentation/user/text.itely
index 496127b0f5..f1d13a127f 100644
--- a/Documentation/user/text.itely
+++ b/Documentation/user/text.itely
@@ -116,8 +116,8 @@ over many measures with lines, sometimes dotted or wavy.
 
 These all use the same routines as the glissando for drawing the texts
 and the lines, and tuning their behavior is therefore also done in the
-same way. It is done with a spanner, and the routine responsible for
-drawing the spanners is @code{ly:line-interface::print}. This
+same way.  It is done with a spanner, and the routine responsible for
+drawing the spanners is @code{ly:line-interface::print}.  This
 routine determines the exact location of the two @i{span
 points} and draws a line in between, in the style requested.
 
@@ -147,9 +147,9 @@ e2 \glissando f
 
 The @code{Glissando} object, like any other using the
 @code{ly:line-interface::print} routine, carries a nested
-association list. In the above statement, the value for @code{Y}
+association list.  In the above statement, the value for @code{Y}
 is set to @code{-2} for the association list corresponding to the right
-end point. Of course, it is also possible to adjust the left side with
+end point.  Of course, it is also possible to adjust the left side with
 @code{left} instead of @code{right}.
 
 If @code{Y} is not set, the value is computed from the vertical
@@ -184,7 +184,7 @@ relative to the bound object.  So, a value of @code{-1} (or
 head it is attached to.
 
 @item X
-This is the absolute coordinate of the end point. It is usually
+This is the absolute coordinate of the end point.  It is usually
 computed on the fly, and there is little use in overriding it. 
 
 @item stencil
@@ -193,7 +193,7 @@ contained in this sub-property.  This is for internal use, it is
 recommended to use @code{text}.
 
 @item text
-This is a markup that is evaluated to yield stencil. It is
+This is a markup that is evaluated to yield stencil.  It is
 used to put @i{cresc.} and @i{tr} on horizontal spanners.
 
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
@@ -681,7 +681,7 @@ can spread over multiple pages:
 @end verbatim
 
 @code{\markuplines} accepts a list of markup, that is either the result
-of a markup list command, or a list of markups or of markup lists. The
+of a markup list command, or a list of markups or of markup lists.  The
 built-in markup list commands are described in
 @ref{Overview of text markup list commands}.
 
@@ -704,8 +704,8 @@ This manual: @ref{Overview of text markup list commands},
 
 By setting the object properties described below, you can select a
 font from the preconfigured font families.  LilyPond has default
-support for the feta music fonts. Text fonts are selected through
-Pango/FontConfig. The serif font defaults to New Century Schoolbook,
+support for the feta music fonts.  Text fonts are selected through
+Pango/FontConfig.  The serif font defaults to New Century Schoolbook,
 the sans and typewriter to whatever the Pango installation defaults
 to.
 
@@ -736,7 +736,7 @@ several font series for each font family and shape.  Choices are
 @end itemize
 
 Fonts selected in the way sketched above come from a predefined style
-sheet. If you want to use a font from outside the style sheet,
+sheet.  If you want to use a font from outside the style sheet,
 then set the
 @code{font-name} property,
 
@@ -762,7 +762,7 @@ lilypond -dshow-available-fonts blabla
 
 
 The size of the font may be set with the @code{font-size}
-property. The resulting size is taken relative to the
+property.  The resulting size is taken relative to the
 @code{text-font-size} as defined in the @code{\paper} block.
 
 @cindex font size
@@ -770,9 +770,9 @@ property. The resulting size is taken relative to the
 
 
 It is also possible to change the default font family for the entire
-document. This is done by calling the @code{make-pango-font-tree} from
-within the @code{\paper} block. The function takes names for the font
-families to use for roman, sans serif and monospaced text. For
+document.  This is done by calling the @code{make-pango-font-tree} from
+within the @code{\paper} block.  The function takes names for the font
+families to use for roman, sans serif and monospaced text.  For
 example,
 
 @cindex font families, setting
diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 7a66a32b2e..40b1147a56 100644
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -156,7 +156,7 @@ is to drag and drop it onto the LilyPond icon using your mouse
 pointer.
 
 To edit an existing @file{.ly} file, right-click on it and
-select @qq{Edit source}. To get an empty file to start from, run
+select @qq{Edit source}.  To get an empty file to start from, run
 the editor as described above and use @qq{New} in
 the @qq{File} menu.
 
@@ -1024,7 +1024,7 @@ expression, so @math{-(4+5)} is a bigger expression.
 
 Time signatures entered in one staff affects all other
 staves@footnote{This behavior may be changed if desired; see
-@ruser{Polymetric notation}, for details.}. On the other hand, the
+@ruser{Polymetric notation}, for details.}.  On the other hand, the
 key signature of one staff does @emph{not} affect other staves.
 
 @lilypond[verbatim,quote,ragged-right]
diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely
index 5bdf658916..695b0c5391 100644
--- a/Documentation/user/tweaks.itely
+++ b/Documentation/user/tweaks.itely
@@ -52,7 +52,7 @@ The easiest solution is to increase the distance between the object
 instead) and the note.  In LilyPond, this is called the
 @code{padding} property; it is measured in staff spaces.  For most
 objects, this value is around 1.0 or less (it varies with each
-object). We want to increase it, so let's try 1.5
+object).  We want to increase it, so let's try 1.5
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
   % temporary code to break this example:
diff --git a/Documentation/user/vocal.itely b/Documentation/user/vocal.itely
index e0e936c436..467f63f274 100644
--- a/Documentation/user/vocal.itely
+++ b/Documentation/user/vocal.itely
@@ -350,7 +350,7 @@ is the same as
 Lyrics can also be entered without @code{\addlyrics} or
 @code{\lyricsto}.  In this case,
 syllables are entered like notes -- but with pitches replaced by text -- and the
-duration of each syllable must be entered explicitly. For example:
+duration of each syllable must be entered explicitly.  For example:
  
 @example
 play2 the4 game2.
@@ -533,7 +533,7 @@ Program reference: @internalsref{LyricExtender},
 @cindex lyrics, identifiers
 
 To define identifiers containing lyrics, the function @code{\lyricmode}
-must be used. You do not have to enter durations though, if you add
+must be used.  You do not have to enter durations though, if you add
 @code{\addlyrics} or @code{\lyricsto}
 when invoking your identifier.
  
@@ -976,8 +976,8 @@ its fleece was white as snow.
 @unnumberedsubsubsec Printing stanzas at the end in multiple columns 
 
 When a piece of music has many verses, they are often printed in
-multiple columns across the page. An outdented verse number often
-introduces each verse. The following example shows how to produce such
+multiple columns across the page.  An outdented verse number often
+introduces each verse.  The following example shows how to produce such
 output in Lilypond.
 
 @lilypond[ragged-right,quote,verbatim]