From: Graham Percival <graham@percival-music.ca>
Date: Thu, 17 Jan 2008 19:43:40 +0000 (-0800)
Subject: notehead -> note head.
X-Git-Tag: release/2.11.38-1~56
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=25538250c3c097ef97d2be51d5426d8012c3d803;p=lilypond.git

notehead -> note head.
---

diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely
index 685ae4d0f8..9e379f688a 100644
--- a/Documentation/user/changing-defaults.itely
+++ b/Documentation/user/changing-defaults.itely
@@ -713,7 +713,7 @@ contexts with different combinations of engraver plug-ins.
 
 The next example shows how to build a different type of
 @code{Voice} context from scratch.  It will be similar to
-@code{Voice}, but only prints centered slash noteheads.  It can be used
+@code{Voice}, but only prints centered slash note heads.  It can be used
 to indicate improvisation in jazz pieces,
 
 @lilypond[quote,ragged-right]
@@ -1131,7 +1131,7 @@ That piece of text is typeset with a font, unlike slurs or beams.
 
 @item
 Horizontally, the center of the symbol should be aligned to the
-center of the notehead.
+center of the note head.
 
 @item
 Vertically, the symbol is placed next to the note and the staff.
@@ -1230,7 +1230,7 @@ Add this much extra space between objects that are next to each other.
 @end quotation
 
 By increasing the value of @code{padding}, we can move the
-fingering away from the notehead.  The following command inserts
+fingering away from the note head.  The following command inserts
 3 staff spaces of white
 between the note and the fingering:
 @example
diff --git a/Documentation/user/educational.itely b/Documentation/user/educational.itely
index 5c9baf0217..ad18dd0818 100644
--- a/Documentation/user/educational.itely
+++ b/Documentation/user/educational.itely
@@ -344,7 +344,7 @@ The following example demonstrates its use.
 \new Voice \with { \consists "Balloon_engraver" }
 {
   \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
-  <f-\balloonText #'(-2 . -2) \markup { "I'm a notehead" }  >8
+  <f-\balloonText #'(-2 . -2) \markup { "I'm a note head" }  >8
 }
 @end lilypond
 
@@ -379,7 +379,7 @@ notes.
 
 \new Score \with {
   \consists "Grid_line_span_engraver"
-  %% centers grid lines  horizontally below noteheads
+  %% centers grid lines  horizontally below note heads
   \override NoteColumn #'X-offset = #-0.5
 }
 
diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely
index 4575278f48..02fdb9e7dc 100644
--- a/Documentation/user/fundamental.itely
+++ b/Documentation/user/fundamental.itely
@@ -521,7 +521,7 @@ must have the same duration.  Neither can they be written
 as sequential notes, as they must start at the same time.
 This section of the bar requires three voices, and the
 normal practice would be to write the whole bar as three
-voices, as shown here, where we have used different noteheads
+voices, as shown here, where we have used different note heads
 and colors for the three voices.
 
 @c The following should appear as music without code
@@ -615,7 +615,7 @@ into or out of a simultaneous construct.  Conversely,
 parallel voices from separate simultaneous constructs on the same
 staff are the same voice.  Other voice-related properties also
 carry across simultaneous constructs.  Here is the same example,
-with different colors and noteheads for each voice.  Note that
+with different colors and note heads for each voice.  Note that
 changes in one Voice do not affect other voices, but they do
 persist in the same Voice later.  Note also that tied notes may be
 split across the same voices in two constructs, shown here in the
@@ -651,8 +651,8 @@ blue triangle voice.
 
 The commands @code{\voiceXXXStyle} are mainly intended for use in
 educational documents such as this one.  They modify the color
-of the notehead, the stem and the beams, and the style of the
-notehead, so that the voices may be easily distinguished.
+of the note head, the stem and the beams, and the style of the
+ note head, so that the voices may be easily distinguished.
 Voice one is set to red diamonds, voice two to blue triangles,
 voice three to green crossed circles, and voice four (not used
 here) to magenta crosses.  We shall see later how commands like 
@@ -724,7 +724,7 @@ commands.  This results in the following:
 
 @noindent
 and exposes a problem commonly encountered with multiple
-voices: the stems of notes can collide with noteheads
+voices: the stems of notes can collide with note heads
 in other voices.  In laying out the notes, LilyPond allows the
 notes or chords from two voices to occupy the same vertical
 note column provided the stems are in opposite directions, but
@@ -914,7 +914,7 @@ as here:
 
 Closely spaced notes in a chord, or notes occuring at the same
 time in different voices, are arranged in two, occasionally more,
-columns to prevent the noteheads overlapping.  These are called
+columns to prevent the note heads overlapping.  These are called
 note columns.  There are separate columns for each voice, and 
 the currently specified voice-dependent shift is applied to the 
 note column if there would otherwise be a collision.  This can
@@ -1207,7 +1207,7 @@ lyrics in @ref{Voices and vocals}.
 
 Every mark on the printed output of a score produced by LilyPond
 is produced by an @code{Engraver}.  Thus there is an engraver
-to print staves, one to print noteheads, one for stems, one for
+to print staves, one to print note heads, one for stems, one for
 beams, etc, etc.  In total there are over 120 such engravers!
 Fortunately, for most scores it is not necessary to know about 
 more than a few, and for simple scores you do not need to know 
@@ -1259,7 +1259,7 @@ the name, or vice versa.
 @item Metronome_mark_engraver
   @tab Engraves metronome marking
 @item Note_heads_engraver
-  @tab Engraves noteheads
+  @tab Engraves note heads
 @item Rest_engraver
   @tab Engraves rests
 @item Staff_symbol_engraver
@@ -1437,10 +1437,10 @@ other things) several times.
 
 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
 c4 
-% make noteheads smaller
+% make note heads smaller
 \set fontSize = #-4
 d e
-% make noteheads larger
+% make note heads larger
 \set fontSize = #2.5
 f g
 % return to original size
@@ -1513,9 +1513,9 @@ staff lines are produced by the Staff_symbol_engraver.
 }
 \relative c' {
   c4 
-  \set fontSize = #-4  % make noteheads smaller
+  \set fontSize = #-4  % make note heads smaller
   d e
-  \set fontSize = #2.5  % make noteheads larger
+  \set fontSize = #2.5  % make note heads larger
   f g
   \unset fontSize  % return to original size
   a b
diff --git a/Documentation/user/guitar.itely b/Documentation/user/guitar.itely
index 301a573242..5670acca01 100644
--- a/Documentation/user/guitar.itely
+++ b/Documentation/user/guitar.itely
@@ -348,7 +348,7 @@ Stopped (X) note heads are used in guitar music to signal a place where the
 guitarist must play a certain note or chord, with its fingers just
 touching the strings instead of fully pressing them.  This gives the sound a
 percussive noise-like sound that still maintains part of the original
-pitch.  It is notated with cross noteheads; this is
+pitch.  It is notated with cross note heads; this is
 demonstrated in @ref{Special note heads}.
 
 
diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely
index 01b80a37ab..a31ab03874 100644
--- a/Documentation/user/lilypond-book.itely
+++ b/Documentation/user/lilypond-book.itely
@@ -758,7 +758,7 @@ ps2pdf yourfile.ps
 
 @noindent
 The @file{.dvi} file created by this process will not contain
-noteheads.  This is normal; if you follow the instructions, they
+ note heads.  This is normal; if you follow the instructions, they
 will be included in the @file{.ps} and @file{.pdf} files.
 
 Running @command{dvips} will produce some warnings about fonts; these
diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index ade6604089..b5b91a5113 100644
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -1355,7 +1355,7 @@ Internals Reference: @internalsref{Beam}.
 Automatically kneed cross-staff beams cannot be used together with
 hidden staves.  See @ref{Hiding staves}.
 
-Beams can collide with noteheads and accidentals in other voices
+Beams can collide with note heads and accidentals in other voices
 
 
 @node Setting automatic beam behavior
diff --git a/Documentation/user/spacing.itely b/Documentation/user/spacing.itely
index 5b16ffe65f..ede0209436 100644
--- a/Documentation/user/spacing.itely
+++ b/Documentation/user/spacing.itely
@@ -1844,7 +1844,7 @@ reference durations space music tightly.
 @end lilypond
 
 Note that too large a reference duration -- such as the eighth note,
-above -- spaces music too tightly and can cause notehead collisions.
+above -- spaces music too tightly and can cause note head collisions.
 Note also that proportional notation in general takes up more
 horizontal space that does classical spacing.  Proportional spacing
 provides rhythmic clarity at the expense of horizontal space.
diff --git a/Documentation/user/strings.itely b/Documentation/user/strings.itely
index 83a0b57e8d..09a03aba95 100644
--- a/Documentation/user/strings.itely
+++ b/Documentation/user/strings.itely
@@ -30,7 +30,7 @@ strings.
 
 @cindex artificial harmonics
 
-Artificial harmonics are notated with a different notehead style.  They
+Artificial harmonics are notated with a different note head style.  They
 are entered by marking the harmonic pitch with @code{\harmonic}.
 
 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]
diff --git a/Documentation/user/templates.itely b/Documentation/user/templates.itely
index f5517998aa..e57a04968e 100644
--- a/Documentation/user/templates.itely
+++ b/Documentation/user/templates.itely
@@ -1095,7 +1095,7 @@ bassusLyrics = \lyricmode {
 
 This example demonstrates how to do modern transcription of Gregorian
 music.  Gregorian music has no measure, no stems; it uses only half and
-quarter noteheads, and special marks, indicating rests of different length.
+quarter note heads, and special marks, indicating rests of different length.
 
 @lilypond[quote,verbatim,ragged-right]
 \include "gregorian-init.ly"
diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely
index 13a12cc5b8..93f5ceaf73 100644
--- a/Documentation/user/tweaks.itely
+++ b/Documentation/user/tweaks.itely
@@ -83,12 +83,12 @@ name and its key signature, together with details of the engravers
 which have been assigned to operate within that staff's context.
 Similarly, there are @code{Voice} objects, @code{Score} objects,
 @code{Lyric} objects, and objects to represent barlines,
-noteheads, ties, dynamics, etc, each with their own set of
+ note heads, ties, dynamics, etc, each with their own set of
 properties.
 
 Some types of object are given special names.  Objects which
 represent items of notation on the printed output such as
-noteheads, stems, slurs, ties, fingering, clefs, etc are called
+ note heads, stems, slurs, ties, fingering, clefs, etc are called
 @q{Layout objects}, often known as @q{Graphical Objects}, or
 @q{Grobs} for short.  These are still objects in the generic sense
 above, and so they too all have properties associated with them,
@@ -1079,7 +1079,7 @@ So we could replace the example above with
 Finally we come to changing the size of layout objects.
 
 Some layout objects are created as glyphs selected from
-a typeface font.  These include noteheads, accidentals, markup, 
+a typeface font.  These include note heads, accidentals, markup, 
 clefs, time signatures, dynamics and lyrics.  
 Their size is changed by modifying the
 @code{font-size} property, as we shall shortly see.  Other
@@ -1137,7 +1137,7 @@ Let's try it in our ossia example:
 }
 @end lilypond
 
-This is still not quite right.  The noteheads and flags are 
+This is still not quite right.  The note heads and flags are 
 smaller, but the stems are too long in proportion and the
 staff lines are spaced too widely apart.  These need to be
 scaled down in proportion to the font reduction.
@@ -1213,7 +1213,7 @@ Within-staff objects are those that are located on the staff
 these are usually fixed by the music itself -- they are
 vertically positioned on specific lines of the staff or are 
 tied to other objects that are so positioned.  Collisions of
-noteheads, stems and accidentals in closely set chords are
+ note heads, stems and accidentals in closely set chords are
 normally avoided automatically.  There are commands and
 overrides which can modify this automatic behaviour, as we
 shall shortly see.
@@ -1811,7 +1811,7 @@ is controlled by @code{left-padding} and @code{right-padding}.
 These properties are to be found in the @code{AccidentalPlacement}
 object which, note, lives in the @strong{staff} context.  Because
 accidentals are always positioned after and to the left of
-noteheads only the @code{right-padding} property has any effect.
+ note heads only the @code{right-padding} property has any effect.
 
 The @code{staff-padding} property is closely related to the
 @code{padding} property:  @code{padding}
@@ -1884,7 +1884,7 @@ and notes in different voices.
 
 Closely spaced notes in a chord, or notes occuring at the same
 time in different voices, are arranged in two, occasionally more,
-columns to prevent the noteheads overlapping.  These are called
+columns to prevent the note heads overlapping.  These are called
 note columns, and an object called @code{NoteColumn} is created
 to lay out the notes in that column.
 
@@ -1899,7 +1899,7 @@ not resolve the note conflict.  It is preferable to the
 @code{extra-offset} property for this purpose as there is no need
 to work out the distance in staff-spaces, and moving the notes
 into or out of a @code{NoteColumn} affects other actions such as
-merging noteheads.
+merging note heads.
 
 @end itemize
 
@@ -2131,7 +2131,7 @@ note column of the higher two notes.  To correct this we set
 @code{NoteColumn}, of these notes to zero.
 The lower note of the second chord is best placed just to the
 right of the higher notes.  We achieve this by setting
-@code{force-hshift} of this note to 0.5, ie half a notehead's
+@code{force-hshift} of this note to 0.5, ie half a note head's
 width to the right of the note column of the higher notes.
 
 Here's the final result:
diff --git a/Documentation/user/vocal.itely b/Documentation/user/vocal.itely
index e610c14589..6ddaf4f9a8 100644
--- a/Documentation/user/vocal.itely
+++ b/Documentation/user/vocal.itely
@@ -1085,8 +1085,8 @@ examples, and that might get them more involved in the docs.  -gp
 
 
 @q{Parlato} is spoken without pitch but still with rhythm; it is
-notated by cross noteheads.  This is demonstrated in
-@ref{Special noteheads}.
+notated by cross note heads.  This is demonstrated in
+@ref{Special note heads}.
 @end ignore
 
 
diff --git a/Documentation/user/working.itely b/Documentation/user/working.itely
index 242ce1f5d3..7b1e1cd5b1 100644
--- a/Documentation/user/working.itely
+++ b/Documentation/user/working.itely
@@ -379,7 +379,7 @@ tempoMark = #(define-music-function (parser location markp) (string?)
 @end lilypond
 
 That looks better, but let's make a few changes.  The glissando is hard
-to see, so let's make it thicker and closer to the noteheads.  Let's
+to see, so let's make it thicker and closer to the note heads.  Let's
 put the metronome marking above the clef, instead of over the first
 note.  And finally, my composition professor hates @q{C} time signatures,
 so we'd better make that @q{4/4} instead.