From: Trevor Daniels Date: Mon, 13 Aug 2012 09:59:40 +0000 (+0100) Subject: Doc: standardise level 5 headings (2730) X-Git-Tag: release/2.17.6-1~46^2~3^2~37 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=35d565c89b853ed87b1bb2feb59f6ce8bef6263b;p=lilypond.git Doc: standardise level 5 headings (2730) - add subsubsubheading macro for use as level 5 heading - update CG to document its use - amend entire Chapter 1 of NR --- diff --git a/Documentation/common-macros.itexi b/Documentation/common-macros.itexi index 1fda210772..123c1aa31a 100644 --- a/Documentation/common-macros.itexi +++ b/Documentation/common-macros.itexi @@ -77,6 +77,11 @@ @c ***** Headers ***** +@c For use as the Level 5 header +@macro subsubsubheading {TEXT} +@subsubheading @i{\TEXT\} +@end macro + @ifclear snippets-sections @macro lydoctitle {TEXT} @need 600 diff --git a/Documentation/contributor/doc-work.itexi b/Documentation/contributor/doc-work.itexi index 8695d340ee..ff6e0f0721 100644 --- a/Documentation/contributor/doc-work.itexi +++ b/Documentation/contributor/doc-work.itexi @@ -221,15 +221,33 @@ how to modify the snippet files and SL, see @ref{LSR work}. @node Sectioning commands @subsection Sectioning commands -Most of the manual operates at the +The Notation Reference uses section headings at four, occasionally +five, levels. + +@itemize + +@item Level 1: @@chapter +@item Level 2: @@section +@item Level 3: @@subsection +@item Level 4: @@unnumberedsubsubsec +@item Level 5: @@subsubsubheading +@end itemize + +The first three levels are numbered in html, the last two are not. +Numbered sections correspond to a single html page in the split html +documents. + +The first four levels always have accompanying nodes so they can be +referenced and are also included in the ToC in html. + +Most of the manual is written at level 4 under headings created with @example @@node Foo -@@subsubsection Foo +@@unnumberedsubsubsec Foo @end example -@noindent -level. Sections are created with +Level 3 subsections are created with @example @@node Foo @@ -263,11 +281,10 @@ match the node name exactly. No commas may be used in the node names. @item -If a heading is desired without creating a @code{@@node}, please use -the following: +If a heading is desired without creating a @code{@@node}, please use: @example -@@subheading Foo +@@subsubsubheading Foo @end example @item diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index 0b2271e71b..c9e99f5eb7 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -900,7 +900,7 @@ It may also be reversed to produce its @notation{retrograde}, see @warning{Any note that does not lie within the given scale will be left untransformed.} -@subsubheading Modal transposition +@subsubsubheading Modal transposition @cindex modal transposition @cindex transposition, modal @@ -957,7 +957,7 @@ motif = \relative c' { c8 d e f g a b c } } @end lilypond -@subsubheading Modal inversion +@subsubsubheading Modal inversion @cindex modal inversion @cindex inversion, modal diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely index 8ff7c07858..61c7b65b92 100644 --- a/Documentation/notation/rhythms.itely +++ b/Documentation/notation/rhythms.itely @@ -1560,7 +1560,7 @@ Explicitly create a @code{Voice} context when starting a piece with Polymetric notation is supported explicitly or by manually modifying the visible time signature symbol and/or scaling note durations. -@subsubheading Different time signatures with equal-length measures +@subsubsubheading Different time signatures with equal-length measures Set a common time signature for each staff, and set the @code{timeSignatureFraction} to the desired fraction. Then use the @@ -1602,7 +1602,7 @@ affect the autobeaming rules. >> @end lilypond -@subsubheading Different time signatures with unequal-length measures +@subsubsubheading Different time signatures with unequal-length measures Each staff can be given its own independent time signature by moving the @code{Timing_translator} and the @@ -1650,7 +1650,7 @@ moving the @code{Timing_translator} and the @cindex compound time signatures @cindex time signature, compound -@subsubheading Compound time signatures +@subsubsubheading Compound time signatures These are created using the @code{\compoundMeter} function. The syntax for this is: @@ -2004,7 +2004,7 @@ by @end example -@subsubheading @i{Beaming based on @code{baseMoment} and @code{beatStructure}} +@subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure} In most instances, automatic beams will end at the end of a beat. The ending points for beats are determined by the context properties @@ -2106,7 +2106,7 @@ By default @code{baseMoment} is set to one over the denominator of the time signature. Any exceptions to this default can be found in @file{scm/time-signature-settings.scm}. -@subsubheading @i{Beaming based on @code{beamExceptions}} +@subsubsubheading Beaming based on @code{beamExceptions} Special autobeaming rules (other than ending a beam on a beat) are defined in the @code{beamExceptions} property. @@ -2219,7 +2219,7 @@ r4. a8 a a | r4. a8 a a | @end lilypond -@subsubheading @i{How automatic beaming works} +@subsubsubheading How automatic beaming works When automatic beaming is enabled, the placement of automatic beams is determined by the context properties diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely index 72d3fbb03a..30e682b74a 100644 --- a/Documentation/notation/simultaneous.itely +++ b/Documentation/notation/simultaneous.itely @@ -384,7 +384,7 @@ multiple staves. @funindex \oneVoice @funindex oneVoice -@strong{@i{Explicitly instantiating voices}} +@subsubsubheading Explicitly instantiating voices The basic structure needed to achieve multiple independent voices in a single staff is illustrated in the following example: @@ -408,7 +408,7 @@ automatically moved to avoid collisions. The @code{\oneVoice} command returns all the voice settings to the neutral default directions. -@strong{@i{Temporary polyphonic passages}} +@subsubsubheading Temporary polyphonic passages A temporary polyphonic passage can be created with the following construct: @@ -455,7 +455,7 @@ during and after a polyphonic section: Here, the @code{\voiceOne} and @code{\voiceTwo} commands are required to define the settings of each voice. -@strong{@i{The double backslash construct}} +@subsubsubheading The double backslash construct The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or more) expressions are separated by double backslashes, behaves @@ -500,7 +500,7 @@ In all but the simplest works it is advisable to create explicit @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and @rlearning{Explicitly instantiating voices}. -@strong{@i{Voice order}} +@subsubsubheading Voice order When entering multiple voices in the input file, use the following order: @@ -539,7 +539,7 @@ upstems, and the even-numbered voices are given downstems: @warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be created @q{across} voices.} -@strong{@i{Identical rhythms}} +@subsubsubheading Identical rhythms In the special case that we want to typeset parallel pieces of music that have the same rhythm, we can combine them into a single