From: James Lowe <james.lowe@datacore.com>
Date: Sat, 30 Oct 2010 22:23:13 +0000 (+0100)
Subject: Doc: Removed [fragment] from @lilypond examples NR
X-Git-Tag: release/2.13.39-1~49
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=44099a932d98a8757b27ee92f9b0533170b516e3;p=lilypond.git

Doc: Removed [fragment] from @lilypond examples NR

Where appropriate replaced with [relative] or added { } construct within
@lilypond example

All except ancient.itely have been amended because some ancient music
examples gave unexpected results.
---

diff --git a/Documentation/notation/changing-defaults.itely b/Documentation/notation/changing-defaults.itely
index 8c4ea21884..f4e574633c 100644
--- a/Documentation/notation/changing-defaults.itely
+++ b/Documentation/notation/changing-defaults.itely
@@ -300,7 +300,7 @@ A practical application of @code{\new} is a score with many
 staves.  Each part that should be on its own staff, is preceded with
 @code{\new Staff}.
 
-@lilypond[quote,verbatim,relative=2,ragged-right,fragment]
+@lilypond[quote,verbatim,relative=2,ragged-right]
 <<
   \new Staff { c4 c }
   \new Staff { d4 d }
@@ -612,7 +612,7 @@ where the @dots{} should be the name of an engraver.  Here is a simple
 example which removes @code{Time_signature_engraver} and
 @code{Clef_engraver} from a @code{Staff} context,
 
-@lilypond[quote,relative=1,verbatim,fragment]
+@lilypond[quote,relative=1,verbatim]
 <<
   \new Staff {
     f2 g
@@ -1020,7 +1020,7 @@ context from the @qq{accepts} list.
 Suppose we want to move the fingering indication in the fragment
 below:
 
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
 c-2
 \stemUp
 f
@@ -1238,7 +1238,7 @@ is directly generated from this definition.
 
 Recall that we wanted to change the position of the @b{2} in
 
-@lilypond[quote,fragment,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
 c-2
 \stemUp
 f
@@ -1281,7 +1281,7 @@ between the note and the fingering:
 Inserting this command before the Fingering object is created,
 i.e., before @code{c2}, yields the following result:
 
-@lilypond[quote,relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
 \once \override Voice.Fingering #'padding = #3
 c-2
 \stemUp
@@ -1389,7 +1389,7 @@ unit).  Since the command specifies @code{Staff} as context, it only
 applies to the current staff.  Other staves will keep their normal
 appearance.  Here we see the command in action:
 
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
 c4
 \override Staff.Stem #'thickness = #4.0
 c4
@@ -1405,7 +1405,7 @@ Analogous to @code{\set}, the @var{context} argument may be left out,
 causing the default context @code{Voice} to be used.  Adding
 @code{\once} applies the change during one timestep only.
 
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 c4
 \once \override Stem #'thickness = #4.0
 c4
@@ -1417,7 +1417,7 @@ started.  Therefore, when altering @emph{Spanner} objects such as slurs
 or beams, the @code{\override} command must be executed at the moment
 when the object is created.  In this example,
 
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 \override Slur #'thickness = #3.0
 c8[( c
 \override Beam #'beam-thickness = #0.6
@@ -1502,7 +1502,7 @@ this.  Context properties are modified with @code{\set}.
 For example, multimeasure rests will be combined into a single bar
 if the context property @code{skipBars} is set to @code{#t}:
 
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
 R1*2
 \set Score.skipBars = ##t
 R1*2
@@ -1512,7 +1512,7 @@ If the @var{context} argument is left out, then the property will be
 set in the current bottom context (typically @code{ChordNames},
 @code{Voice}, @code{TabVoice}, or @code{Lyrics}).
 
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
 \set Score.autoBeaming = ##f
 <<
   {
@@ -1534,7 +1534,7 @@ that you wish to change -- for example, attempting to set the
 @code{Voice}, will have no effect, because skipBars is a property of
 the @code{Score} context.
 
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
 R1*2
 \set skipBars = ##t
 R1*2
@@ -1559,7 +1559,7 @@ the definition only if it is set in @var{context}.
 Properties that have been set in enclosing contexts will
 not be altered by an unset in an enclosed context:
 
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
 \set Score.autoBeaming = ##t
 <<
   {
@@ -1589,7 +1589,7 @@ are equivalent if the current bottom context is @code{Voice}.
 Preceding a @code{\set} command by @code{\once} makes the
 setting apply to only a single time-step:
 
-@lilypond[quote,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
 c4
 \once \set fontSize = #4.7
 c4
@@ -1655,7 +1655,7 @@ For example, we can increase the thickness of a note stem by
 overriding the @code{thickness} property of the @code{Stem}
 object:
 
-@lilypond[quote, verbatim, relative=2, fragment]
+@lilypond[quote,verbatim,relative=2]
 c4 c
 \override Voice.Stem #'thickness = #3.0
 c4 c
@@ -1664,7 +1664,7 @@ c4 c
 If no context is specified in an @code{\override}, the bottom
 context is used:
 
-@lilypond[quote, verbatim, relative=2, fragment]
+@lilypond[quote,verbatim,relative=2]
 { \override Staff.Stem #'thickness = #3.0
   <<
     {
@@ -1684,7 +1684,7 @@ context is used:
 
 The effects of @code{\override} can be undone by @code{\revert}:
 
-@lilypond[quote, verbatim, relative=2, fragment]
+@lilypond[quote,verbatim,relative=2]
 c4
 \override Voice.Stem #'thickness = #3.0
 c4 c
@@ -1695,7 +1695,7 @@ c4
 The effects of @code{\override} and @code{\revert} apply to all
 grobs in the affected context from the current time forward:
 
-@lilypond[quote, verbatim, relative=2, fragment]
+@lilypond[quote,verbatim,relative=2]
 {
   <<
     {
@@ -1717,7 +1717,7 @@ grobs in the affected context from the current time forward:
 @code{\once} can be used with @code{\override}
 to affect only the current time step:
 
-@lilypond[quote, verbatim, relative=2, fragment]
+@lilypond[quote,verbatim,relative=2]
 {
   <<
     {
@@ -2652,7 +2652,7 @@ recommended that @code{text} be used instead.
 This is a markup that is evaluated to yield the stencil.  It is used
 to put @i{cresc.}, @i{tr} and other text on horizontal spanners.
 
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,relative=2,verbatim]
 \override TextSpanner #'(bound-details left text)
    = \markup { \small \bold Slower }
 c2\startTextSpan b c a\stopTextSpan
@@ -2702,7 +2702,7 @@ is terminated after exactly one note, or at the following bar line
 if @code{to-barline} is true and a bar line occurs before the next
 note.
 
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=2]
 \endSpanners
 c2 \startTextSpan c2 c2
 \endSpanners
diff --git a/Documentation/notation/cheatsheet.itely b/Documentation/notation/cheatsheet.itely
index 7b3ef9f24f..319d4557a0 100644
--- a/Documentation/notation/cheatsheet.itely
+++ b/Documentation/notation/cheatsheet.itely
@@ -26,7 +26,7 @@
 @item @code{1 2 8 16}
 @tab durations
 @tab
-@lilypond[fragment,relative=2,notime]
+@lilypond[relative=2,notime]
 \set Staff.autoBeaming = ##f
 \override Staff.Clef #'break-visibility = #all-invisible
 c1 c2 c8 c16
@@ -35,7 +35,7 @@ c1 c2 c8 c16
 @item @code{c4. c4..}
 @tab augmentation dots
 @tab
-@lilypond[fragment,relative=2,notime]
+@lilypond[relative=2,notime]
 \override Staff.Clef #'break-visibility = #all-invisible
 c4. c4..
 @end lilypond
@@ -43,21 +43,21 @@ c4. c4..
 @item @code{c d e f g a b }
 @tab scale
 @tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
 c d e f g a b
 @end lilypond
 
 @item @code{fis bes}
 @tab alteration
 @tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
 fis bes
 @end lilypond
 
 @item @code{\clef treble \clef bass }
 @tab clefs
 @tab
-@lilypond[fragment,notime]
+@lilypond[relative=1,notime]
 \clef treble
 s4_" "
 \clef bass
@@ -67,7 +67,7 @@ s4_" "
 @item @code{\time 3/4 \time 4/4 }
 @tab time signature
 @tab
-@lilypond[fragment]
+@lilypond[relative=1]
 \override Staff.Clef #'stencil = #empty-stencil
 \time 3/4
 s4_" "
@@ -79,7 +79,7 @@ s16_" "
 @item @code{r4 r8}
 @tab rest
 @tab
-@lilypond[relative=2,notime,fragment]
+@lilypond[relative=2,notime]
 \override Staff.Clef #'break-visibility = #all-invisible
 r4 r8
 @end lilypond
@@ -87,7 +87,7 @@ r4 r8
 @item @code{d ~ d}
 @tab tie
 @tab
-@lilypond[relative=2,notime,fragment]
+@lilypond[relative=2,notime]
 \set Score.timing = ##f
 \set Staff.autoBeaming = ##f
 d ~ d
@@ -96,7 +96,7 @@ d ~ d
 @item @code{\key es \major }
 @tab key signature
 @tab
-@lilypond[notime,fragment]
+@lilypond[notime,relative=1]
 \clef treble
 \key es \major
 \hideNotes
@@ -106,7 +106,7 @@ c128
 @item @var{note}@code{'}
 @tab raise octave
 @tab
-@lilypond[relative=2,notime,fragment]
+@lilypond[relative=2,notime]
 \set Score.timing = ##f
 \set Staff.autoBeaming = ##f
 a a'
@@ -115,7 +115,7 @@ a a'
 @item @var{note}@code{,}
 @tab lower octave
 @tab
-@lilypond[relative=2,notime,fragment]
+@lilypond[relative=2,notime]
 \set Score.timing = ##f
 \set Staff.autoBeaming = ##f
 c c,
@@ -125,7 +125,7 @@ c c,
 @item @code{c( d e)}
 @tab slur
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Score.timing = ##f
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \set Staff.autoBeaming = ##f
@@ -136,7 +136,7 @@ c( d e)
 @item @code{c\( c( d) e\)}
 @tab phrasing slur
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Score.timing = ##f
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \set Staff.autoBeaming = ##f
@@ -147,7 +147,7 @@ c\( c( d) e\)
 @item @code{a8[ b]}
 @tab beam
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Score.timing = ##f
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \set Staff.autoBeaming = ##f
@@ -158,7 +158,7 @@ a8-[ b-]
 @item @code{<< \new Staff ... >>}
 @tab more staves
 @tab
-@lilypond[fragment]
+@lilypond[relative=1]
 << \new Staff {
      \set Staff.implicitTimeSignatureVisibility = #all-invisible
      c'1
@@ -173,7 +173,7 @@ a8-[ b-]
 @item @code{c-> c-.}
 @tab articulations
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 c-> c-.
 @end lilypond
@@ -182,7 +182,7 @@ c-> c-.
 @item @code{c2\mf c\sfz}
 @tab dynamics
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 c2\mf c\sfz
 @end lilypond
@@ -191,7 +191,7 @@ c2\mf c\sfz
 @item @code{a\< a a\!}
 @tab crescendo
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Score.timing = ##f
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \set Staff.autoBeaming = ##f
@@ -201,7 +201,7 @@ a\< a a\!
 @item @code{a\> a a\!}
 @tab decrescendo
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Score.timing = ##f
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \set Staff.autoBeaming = ##f
@@ -212,7 +212,7 @@ a\> a a\!
 @item @code{< >}
 @tab chord
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 <c e>
 @end lilypond
@@ -221,7 +221,7 @@ a\> a a\!
 @item @code{\partial 8}
 @tab pickup / upbeat
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \partial 8
 f8 c2 d e
 @end lilypond
@@ -230,7 +230,7 @@ f8 c2 d e
 @item @code{\times 2/3 @{f g a@}}
 @tab triplets
 @tab
-@lilypond[relative=1,fragment]
+@lilypond[relative=1]
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \times 2/3 { f8 g a }
 @end lilypond
@@ -239,7 +239,7 @@ f8 c2 d e
 @item @code{\grace}
 @tab grace notes
 @tab
-@lilypond[relative=2,fragment]
+@lilypond[relative=2]
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \context Voice { \grace b16 c4 }
 @end lilypond
@@ -253,14 +253,14 @@ twinkle
 @item @code{\new Lyrics}
 @tab printing lyrics
 @tab
-@lilypond[fragment]
+@lilypond[relative=1]
 \new Lyrics \lyricmode { twinkle }
 @end lilypond
 
 @item @code{twin -- kle}
 @tab lyric hyphen
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 <<
    { g'1 g }
@@ -271,7 +271,7 @@ twinkle
 @item @code{\chordmode @{ c:dim f:maj7 @}}
 @tab chords
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \chordmode { c:dim f:maj7 }
 @end lilypond
@@ -279,14 +279,14 @@ twinkle
 @item @code{\context ChordNames}
 @tab printing chord names
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \chords { c:dim f:maj7 }
 @end lilypond
 
 @item @code{<<@{e f@} \\ @{c d@}>>}
 @tab polyphony
 @tab
-@lilypond[fragment,relative=2]
+@lilypond[relative=2]
 \set Staff.implicitTimeSignatureVisibility = #all-invisible
 \context Staff <<{e f} \\ {c d}>>
 @end lilypond
diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely
index 377f6330c2..500c808201 100644
--- a/Documentation/notation/chords.itely
+++ b/Documentation/notation/chords.itely
@@ -137,7 +137,7 @@ Minor, augmented, and diminished triads are entered by placing
 
 Seventh chords can be created:
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim,relative=1]
 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
 @end lilypond
 
@@ -269,7 +269,7 @@ highest third below the extent, and then the step of the extent is
 added.  The largest possible value for the extent is 13.  Any
 larger value is interpreted as 13.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim,relative=1]
 \chordmode {
   c1:2 c:3 c:4 c:5
   c1:6 c:7 c:8 c:9
@@ -285,7 +285,7 @@ Since an unaltered 11 does not sound good when combined with an
 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
 is added explicitly).
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim,relative=1]
 \chordmode {
   c1:13 c:13.11 c:m13
 }
@@ -298,7 +298,7 @@ extent and are prefixed by a dot (@code{.}).  The basic seventh
 step added to a chord is the minor or flatted seventh, rather than
 the major seventh.
 
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
 \chordmode {
   c1:5.6 c:3.7.8 c:3.6.13
 }
@@ -306,7 +306,7 @@ the major seventh.
 
 Added steps can be as high as desired.
 
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
 \chordmode {
   c4:5.15 c:5.20 c:5.25 c:5.30
 }
@@ -318,7 +318,7 @@ Added chord steps can be altered by suffixing a @code{-} or @code{+}
 sign to the number.  To alter a step that is automatically included
 as part of the basic chord structure, add it as an altered step.
 
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
 \chordmode {
   c1:7+ c:5+.3- c:3-.5-.7-
 }
@@ -334,7 +334,7 @@ If more than one step is to be removed, the steps to be
 removed are separated by @code{.} following the
 initial @code{^}.
 
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
 \chordmode {
   c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
 }
@@ -348,7 +348,7 @@ Append either @code{2} or @code{4} to add the 2nd or 4th step to the
 chord.  @code{sus} is equivalent to @code{^3}; @code{sus4} is
 equivalent to @code{.4^3}.
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=1,verbatim]
 \chordmode {
   c1:sus c:sus2 c:sus4 c:5.4^3
 }
@@ -362,7 +362,7 @@ Inversions (putting a pitch other than the root on the bottom of the
 chord) and added bass notes can be specified by appending
 @code{/}@var{pitch} to the chord.
 
-@lilypond[quote,ragged-right,fragment,verbatim, relative=2]
+@lilypond[quote,ragged-right,verbatim,relative=2]
 \chordmode {
   c1 c/g c/f
 }
@@ -373,7 +373,7 @@ chord) and added bass notes can be specified by appending
 A bass note that is part of the chord can be added, instead of
 moved as part of an inversion, by using @code{/+}@var{pitch}.
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=1,verbatim]
 \chordmode {
   c1 c/g c/+g
 }
@@ -398,7 +398,7 @@ Each step can only be present in a chord once.  The following
 simply produces the augmented chord, since @code{5+} is
 interpreted last.
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=1]
 \chordmode { c1:5.5-.5+ }
 @end lilypond
 
@@ -406,7 +406,7 @@ Only the second inversion can be created by adding a bass
 note.  The first inversion requires changing the root of
 the chord.
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=1]
 \chordmode {
   c'1: c':/g e:6-3-^5 e:m6-^5
 }
@@ -756,7 +756,7 @@ Figured bass notation can be displayed.
 LilyPond has support for figured bass, also called thorough bass
 or basso continuo:
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,]
 <<
   \new Voice { \clef bass dis4 c d ais g fis}
   \new FiguredBass {
@@ -811,7 +811,7 @@ found at @ref{Input modes}.
 In figure mode, a group of bass figures is delimited by
 @code{<} and @code{>}.  The duration is entered after the @code{>}.
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=1]
 \new FiguredBass {
   \figuremode {
     <6 4>2
@@ -822,7 +822,7 @@ In figure mode, a group of bass figures is delimited by
 
 Accidentals (including naturals) can be added to figures:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=1]
 \figures {
   <7! 6+ 4-> <5++> <3-->
 }
@@ -830,7 +830,7 @@ Accidentals (including naturals) can be added to figures:
 
 Augmented and diminished steps can be indicated:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=1]
 \figures {
   <6\+ 5/> <7/>
 }
@@ -839,7 +839,7 @@ Augmented and diminished steps can be indicated:
 A backward slash through a figure (typically used for raised
 sixth steps) can be created:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=1]
 \figures {
   <6> <6\\>
 }
@@ -847,7 +847,7 @@ sixth steps) can be created:
 
 Vertical spaces and brackets can be included in figures:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=1]
 \figures {
   <[12 _!] 8 [6  4]>
 }
@@ -855,7 +855,7 @@ Vertical spaces and brackets can be included in figures:
 
 Any text markup can be inserted as a figure:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=1]
 \figures {
   <\markup { \tiny \number 6 \super (1) } 5>
 }
@@ -867,7 +867,7 @@ Any text markup can be inserted as a figure:
 
 Continuation lines can be used to indicate repeated figures:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 <<
   {
     \clef bass
@@ -887,7 +887,7 @@ Continuation lines can be used to indicate repeated figures:
 In this case, the extender lines replace existing figures,
 unless the continuation lines have been explicitly terminated.
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 <<
   \figures {
     \bassFigureExtendersOn
@@ -1017,7 +1017,7 @@ or in most staff contexts.
 When displayed in a @code{FiguredBass} context, the vertical location
 of the figures is independent of the notes on the staff.
 
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
 <<
   \relative c'' {
     c4 c'8 r8 c,4 c'
@@ -1040,7 +1040,7 @@ Figured bass can also be added to @code{Staff} contexts
 directly.  In this case, the vertical position of the
 figures is adjusted automatically.
 
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
 <<
   \new Staff = myStaff
   \figuremode {
@@ -1060,7 +1060,7 @@ figures is adjusted automatically.
 When added in a @code{Staff} context, figured bass can be displayed above
 or below the staff.
 
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
 <<
   \new Staff = myStaff
   \figuremode {
@@ -1123,7 +1123,7 @@ To ensure that continuation lines work properly, it is
 safest to use the same rhythm in the figure line as in
 the bass line.
 
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
 <<
   {
     \clef bass
@@ -1153,7 +1153,7 @@ the bass line.
 When using extender lines, adjacent figures with the same number in
 a different figure location can cause the figure positions to invert.
 
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+@lilypond[verbatim,ragged-right,quote]
 <<
  { fis4 g g, e' }
   \figures {
@@ -1166,7 +1166,7 @@ a different figure location can cause the figure positions to invert.
 To avoid this problem, simply turn on extenders after the figure that
 begins the extender line and turn them off at the end of the extender line.
 
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+@lilypond[verbatim,ragged-right,quote]
 <<
  { fis4 g g, e' }
   \figures {
diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely
index bf79867266..b89a0b2b23 100644
--- a/Documentation/notation/fretted-strings.itely
+++ b/Documentation/notation/fretted-strings.itely
@@ -1671,7 +1671,7 @@ correct fret numbers for the fifth string:
 
 @c due to crazy intervals of banjo music, absolute pitch is recommended
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=1,verbatim]
 \new TabStaff <<
   \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
   \set TabStaff.stringTunings = #banjo-open-g-tuning
diff --git a/Documentation/notation/input.itely b/Documentation/notation/input.itely
index d8746a651d..c764dce6ca 100644
--- a/Documentation/notation/input.itely
+++ b/Documentation/notation/input.itely
@@ -1526,7 +1526,7 @@ 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]
+@lilypond[quote,relative=1,ragged-right,verbatim]
 \relative c'' {
   c8 d
   \set Score.skipTypesetting = ##t
diff --git a/Documentation/notation/percussion.itely b/Documentation/notation/percussion.itely
index 4845dad583..6bc5aa4da4 100644
--- a/Documentation/notation/percussion.itely
+++ b/Documentation/notation/percussion.itely
@@ -589,7 +589,7 @@ Ghost notes for drums and percussion may be created using the
 However, the default @code{\drummode} does not include the
 @code{Parenthesis_engraver} plugin which allows this.
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=1]
 \new DrumStaff \with {
   \consists "Parenthesis_engraver"
 }
diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index ba39c967c4..afc7e65f48 100644
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -57,11 +57,13 @@ through@tie{}@code{g}.  The note names @code{c} to @code{b} are
 engraved in the octave below middle C.
 
 @c don't use c' here.
-@lilypond[verbatim,quote,fragment]
-\clef bass
-c d e f
-g a b c
-d e f g
+@lilypond[verbatim,quote]
+{
+  \clef bass
+  c4 d e f
+  g4 a b c
+  d4 e f g
+}
 @end lilypond
 
 @cindex octave changing mark
@@ -74,13 +76,15 @@ or comma@tie{}(@code{,}) character.  Each@tie{}@code{'} raises the
 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
 octave.
 
-@lilypond[verbatim,quote,fragment]
-\clef treble
-c' c'' e' g
-d'' d' d c
-\clef bass
-c, c,, e, g
-d,, d, d c
+@lilypond[verbatim,quote]
+{
+  \clef treble
+  c'4 c'' e' g
+  d''4 d' d c
+  \clef bass
+  c,4 c,, e, g
+  d,,4 d, d c
+}
 @end lilypond
 
 
diff --git a/Documentation/notation/spacing.itely b/Documentation/notation/spacing.itely
index 5848a90a9b..59a75ef7db 100644
--- a/Documentation/notation/spacing.itely
+++ b/Documentation/notation/spacing.itely
@@ -1073,7 +1073,7 @@ Snippets:
 Line breaks can only occur if there is a @q{proper} bar line.  A note
 which is hanging over a bar line is not proper, such as
 
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,verbatim]
 c4 c2 << c2 {s4 \break } >>  % this does nothing
 c2 c4 |           % a break here would work
 c4 c2 c4 ~ \break % as does this break
@@ -1967,7 +1967,7 @@ is, if two outside-staff grobs are competing for the same space, the one
 with the lower @code{outside-staff-priority} will be placed closer to
 the staff.
 
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,verbatim]
 c4_"Text"\pp
 r2.
 \once \override TextScript #'outside-staff-priority = #1
@@ -1984,7 +1984,7 @@ The vertical padding between an outside-staff object and the
 previously-positioned grobs can be controlled with
 @code{outside-staff-padding}.
 
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,verbatim]
 \once \override TextScript #'outside-staff-padding = #0
 a'^"This text is placed very close to the note"
 \once \override TextScript #'outside-staff-padding = #3
@@ -2002,7 +2002,7 @@ Setting @code{outside-staff-horizontal-padding}
 causes an object to be offset vertically so that such a situation
 doesn't occur.
 
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,verbatim]
 % the markup is too close to the following note
 c4^"Text"
 c4
@@ -2052,7 +2052,7 @@ For example, the following piece contains lots of half, quarter, and
 8th notes; the eighth note is followed by 1 note head width (NHW).
 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
 
-@lilypond[quote,fragment,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
 c2 c4. c8 c4. c8 c4. c8 c8
 c8 c4 c4 c4
 @end lilypond
@@ -2095,7 +2095,7 @@ followed by a space that is proportional to their duration relative to
 the common shortest note.  So if we were to add only a few 16th notes
 to the example above, they would be followed by half a NHW:
 
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
 @end lilypond
 
@@ -2158,7 +2158,7 @@ sections with a different notions of long and short notes.
 In the following example, the time signature change introduces a new
 section, and hence the 16ths notes are spaced wider.
 
-@lilypond[relative,fragment,verbatim,quote]
+@lilypond[relative=1,verbatim,quote]
 \time 2/4
 c4 c8 c
 c8 c c4 c16[ c c8] c4
@@ -2258,7 +2258,7 @@ property can only be changed at the beginning of a score,
 When @code{strict-note-spacing} is set, notes are spaced without
 regard for clefs, bar lines, and grace notes,
 
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,verbatim]
 \override Score.SpacingSpanner #'strict-note-spacing = ##t
 \new Staff { c8[ c \clef alto c \grace { c16[ c] } c8 c c]  c32[ c32] }
 @end lilypond
diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely
index c1cb1fea67..9f6eb4049d 100644
--- a/Documentation/notation/vocal.itely
+++ b/Documentation/notation/vocal.itely
@@ -416,7 +416,7 @@ More stanzas can be added by adding more
 @code{\addlyrics} sections:
 
 
-@lilypond[ragged-right,verbatim,fragment,quote]
+@lilypond[ragged-right,verbatim,relative=1,quote]
 \time 3/4
 \relative c' { c2 e4 g2. }
 \addlyrics { play the game }
@@ -574,7 +574,7 @@ tie is implemented with the Unicode character U+203F, so be
 sure to have a font (like DejaVuLGC) installed that includes this
 glyph.
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=1,verbatim]
 \time 3/4
 \relative c' { c2 e4 g2 e4 }
 \addlyrics { gran- de_a- mi- go }
@@ -1057,7 +1057,7 @@ Notation Reference:
 To increase the spacing between lyrics, set the @code{minimum-distance}
 property of @code{LyricSpace}.
 
-@lilypond[relative,verbatim,fragment,quote,ragged-right]
+@lilypond[relative=1,verbatim,quote,ragged-right]
 {
   c c c c
   \override Lyrics.LyricSpace #'minimum-distance = #1.0
@@ -1589,7 +1589,7 @@ attaching lyrics to those specific contexts:
 
 Stanza numbers can be added by setting @code{stanza}, e.g.,
 
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2]
 \new Voice {
   \time 3/4 g2 e4 a2 f4 g2.
 } \addlyrics {
@@ -1673,7 +1673,7 @@ Names of singers can also be added.  They are printed at the start of
 the line, just like instrument names.  They are created by setting
 @code{vocalName}.  A short version may be entered as @code{shortVocalName}.
 
-@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
+@lilypond[ragged-right,quote,verbatim,relative=2]
 \new Voice {
   \time 3/4 g2 e4 a2 f4 g2.
 } \addlyrics {