From: Graham Percival <graham@percival-music.ca>
Date: Mon, 23 Jun 2008 00:09:06 +0000 (-0700)
Subject: Clarify / fix.
X-Git-Tag: release/2.11.50-1~20^2~15
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=6873dd9f3aca6f77c4e0d421f3e95a087d610f0e;p=lilypond.git

Clarify / fix.
---

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 44dde8643a..d9f842db05 100644
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -12,9 +12,9 @@
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
 - unless you have a really good reason, use either
-    @lilypond[verbatim,quote,ragged-right]
+    @lilypond[verbatim,quote]
   or
-    @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+    @lilypond[verbatim,quote,relative=2]
 
   Don't use any other relative=X commands (make it a non-fragment
   example), and don't use fragment without relative=2.
@@ -81,7 +81,7 @@ notation.  For example, if we write:
 the result looks like this:
 
 @c  in this case we don't want verbatim
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 {
   c' e' g' e'
 }
@@ -197,7 +197,7 @@ LilyPond will add some notation elements automatically.  In the
 next example, we have only specified four pitches, but LilyPond
 has added a clef, time signature, and rhythms.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 {
   c' e' g' e'
 }
@@ -222,7 +222,7 @@ staff spaces of the previous note.  We begin by entering the most
 elementary piece of music, a @notation{scale}, in which every note
 is within just one staff space of the previous note.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c' {  % set the starting point to middle C
   c d e f
   g a b c
@@ -235,7 +235,7 @@ placed closest to the previous note -- in other words, the first
 closest D to the previous note.  We can create melodies which have
 larger intervals, still using only @code{\relative} mode:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c' {
   d f a g
   c b f d
@@ -252,7 +252,7 @@ By adding (or removing) quotes @code{'} or commas @code{,} from
 the @w{@code{\relative c' @{}} command, we can change the starting
 octave:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {  % one octave above middle C
   e c a c
 }
@@ -266,7 +266,7 @@ going up, and an A, G and F within 3 staff spaces going down.  So
 if the note following a B is a C, D or E it will be assumed to be
 above the B, and an A, G or F will be assumed to be below.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   b c  % c is 1 staff space up, so is the c above
   b d  % d is 2 up or 5 down, so is the d above
@@ -288,7 +288,7 @@ raise the @notation{octave} by adding a single quote @code{'} (or
 apostrophe) to the note name.  We can lower the octave by adding a
 comma @code{,} to the note name.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   a a, c' f,
   g g'' a,, f'
@@ -318,7 +318,7 @@ If you do not specify a duration, the previous duration is used
 for the next note.  The duration of the first note defaults to a
 quarter.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   a1
   a2 a4 a8 a
@@ -330,7 +330,7 @@ To create @notation{dotted notes}, add a dot @code{.} to the
 duration number.  The duration of a dotted note must be stated
 explicitly (i.e., with a number).
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   a a a4. a8
   a8. a16 a a8. a8 a4.
@@ -345,7 +345,7 @@ Music Glossary: @rglos{rest}.
 A @notation{rest} is entered just like a note with the name
 @code{r}@tie{}:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   a r r2
   r8 a r4 r4. r8
@@ -360,7 +360,7 @@ Music Glossary: @rglos{time signature}.
 The @notation{time signature} can be set with the @code{\time}
 command:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   \time 3/4
   a4 a a
@@ -378,7 +378,7 @@ Music Glossary: @rglos{clef}.
 
 The @notation{clef} can be set using the @code{\clef} command:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c' {
   \clef treble
   c1
@@ -396,7 +396,7 @@ The @notation{clef} can be set using the @code{\clef} command:
 
 Here is a small example showing all these elements together:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c, {
   \time 3/4
   \clef bass
@@ -547,7 +547,7 @@ LilyPond input that was used to generate that image.  Try it on
 this image:
 
 @c no verbatim here
-@lilypond[quote,ragged-right]
+@lilypond[quote]
 \relative c'' {
   c-\markup { \bold \huge { Click here.  } }
 }
@@ -599,7 +599,7 @@ from note naming conventions in Nordic and Germanic languages,
 like German and Dutch.  To use other names for
 @notation{accidentals}, see @ruser{Note names in other languages}.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 cis1 ees fisis, aeses
 @end lilypond
 
@@ -612,7 +612,7 @@ Music Glossary: @rglos{key signature}, @rglos{major},
 The @notation{key signature} is set with the command @code{\key}
 followed by a pitch and @code{\major} or @code{\minor}.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 \key d \major
 a1
 \key c \minor
@@ -646,7 +646,7 @@ hear.
 
 In this example:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 \key d \major
 d cis fis
 @end lilypond
@@ -660,7 +660,7 @@ the first line of the staff.}  Rather, it means @qq{there is a
 note with pitch E-natural.}  In the key of A-flat major, it
 @emph{does} get an accidental:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 \key aes \major
 e
 @end lilypond
@@ -692,7 +692,7 @@ Music Glossary: @rglos{tie}.
 A @notation{tie} is created by appending a tilde @code{~} to the
 first note being tied.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 g4~ g c2~
 c4 ~ c8 a8 ~ a2
 @end lilypond
@@ -706,7 +706,7 @@ A @notation{slur} is a curve drawn across many notes.  The
 starting note and ending note are marked with @code{(} and
 @code{)} respectively.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 
@@ -721,7 +721,7 @@ Slurs to indicate longer @notation{phrasing} can be entered with
 and phrasing slurs at the same time, but you cannot have
 simultaneous slurs or simultaneous phrasing slurs.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 a8(\( ais b c) cis2 b'2 a4 cis,\)
 @end lilypond
 
@@ -738,7 +738,7 @@ can only be used on pairs of notes with the same pitch.  Slurs
 indicate the @notation{articulation} of notes, and can be used on
 larger groups of notes.  Slurs and ties can be nested.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c2~( c8 fis fis4 ~ fis2 g2)
 @end lilypond
 
@@ -761,7 +761,7 @@ Music Glossary: @rglos{articulation}.
 Common @notation{articulations} can be added to a note using a
 dash @code{-} and a single character:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c-. c-- c-> c-^ c-+ c-_
 @end lilypond
 
@@ -774,7 +774,7 @@ Music Glossary: @rglos{fingering}.
 Similarly, @notation{fingering} indications can be added to a note
 using a dash (@code{-}) and the digit to be printed:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c-3 e-5 b-2 a-1
 @end lilypond
 
@@ -784,7 +784,7 @@ you can specify a direction by replacing the dash (@code{-}) with
 articulations on the same note.  However, in most cases it is best
 to let LilyPond determine the articulation directions.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 
@@ -796,7 +796,7 @@ Music Glossary: @rglos{dynamics}, @rglos{crescendo},
 @notation{Dynamic} signs are made by adding the markings (with a
 backslash) to the note:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c\ff c\mf c\p c\pp
 @end lilypond
 
@@ -809,7 +809,7 @@ the commands @code{\<} and @code{\>}.  The next dynamics sign, for
 example @code{\f}, will end the (de)crescendo, or the command
 @code{\!} can be used:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c2\< c2\ff\> c2 c2\!
 @end lilypond
 
@@ -824,13 +824,13 @@ Notation Reference: @ruser{Articulations and ornamentations},
 
 Text may be added to your scores:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c1^"espr" a_"legato"
 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c1^\markup{ \bold espr}
 a1_\markup{
   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
@@ -851,24 +851,33 @@ Music Glossary: @rglos{beam}.
 @cindex beams, by hand
 All @notation{beams} are drawn automatically:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 a8 ais d ees r d c16 b a8
 @end lilypond
 
-@noindent
 If you do not like the automatic beams, they may be overridden
 manually.  To correct just an occasional beam mark the first note
 to be beamed with @code{[} and the last one with @code{]}.
-If you want to turn off automatic beaming entirely or for an
-extended section of music, use the command @code{\autoBeamingOff}
-to turn off automatic beaming and @code{\autoBeamingOn} to turn
-it on again.  It will usually be necessary to manually beam music
-with lyrics.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 a8[ ais] d[ ees r d] a b
 @end lilypond
 
+If you want to turn off automatic beaming entirely or for an
+extended section of music, use the command @code{\autoBeamOff}
+to turn off automatic beaming and @code{\autoBeamOn} to turn it
+on again.
+@c It will usually be necessary to manually beam music
+@c with lyrics.
+
+@lilypond[verbatim,quote,relative=2]
+a8 c b4 d8. c16 b4
+\autoBeamOff
+a8 c b4 d8. c16 b4
+\autoBeamOn
+a8 c b4 d8. c16 b4
+@end lilypond
+
 @seealso
 
 Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
@@ -888,7 +897,7 @@ A pickup (or @notation{anacrusis}) is entered with the keyword
 @code{\partial}.  It is followed by a duration: @code{\partial 4}
 is a quarter note pickup and @code{\partial 8} an eighth note.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 \partial 8
 f8 c2 d
 @end lilypond
@@ -905,7 +914,7 @@ duration of the piece of music is multiplied by the fraction.
 Triplets make notes occupy 2/3 of their notated duration, so a
 @notation{triplet} has 2/3 as its fraction
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 \times 2/3 { f8 g a }
 \times 2/3 { c r c }
 \times 2/3 { f,8 g16[ a g a] }
@@ -924,7 +933,7 @@ Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
 although they can also be created by prefixing a music expression
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 c2 \grace { a32[ b] } c2
 c2 \appoggiatura b16 c2
 c2 \acciaccatura b16 c2
@@ -962,7 +971,7 @@ than one voice on the same staff.
 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 a4
 @end lilypond
 
@@ -970,7 +979,7 @@ Enclosing a note in braces creates a @emph{compound music
 expression}.  Here we have created a compound music expression
 with two notes:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 { a4 g4 }
 @end lilypond
 
@@ -978,7 +987,7 @@ Putting a group of music expressions (e.g. notes) in braces means
 that they are in sequence (i.e. each one follows the previous
 one).  The result is another music expression:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 { { a4 g } f g }
 @end lilypond
 
@@ -1023,7 +1032,7 @@ enclosing expressions inside @code{<<} and @code{>>}.  In the
 following example, three sequences (all containing two separate
 notes) are combined simultaneously:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   <<
     { a4 g }
@@ -1050,7 +1059,7 @@ the beginning of the first expression.  If is a single note, there
 is one staff; if there is a simultaneous expression, there is more
 than one staff.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   c2 <<c e>>
   << { e f } { c <<b d>> } >>
@@ -1071,7 +1080,7 @@ staff is marked by adding @code{\new Staff} before it.  These
 @code{Staff} elements are then combined in parallel with @code{<<}
 and @code{>>}:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   <<
     \new Staff { \clef treble c }
@@ -1101,7 +1110,7 @@ default.  On the other hand, the key signature of one staff does
 is because scores with transposing instruments are more common
 than polyrhythmic scores.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   <<
     \new Staff { \clef treble \key d \major \time 3/4 c }
@@ -1137,7 +1146,7 @@ inserted inside a @code{PianoStaff}:
 
 Here is a small example:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   \new PianoStaff <<
     \new Staff { \time 2/4 c4 e g g, }
@@ -1172,7 +1181,7 @@ surround the pitches with @emph{single} angle brackets.  Note that
 all the notes in a chord must have the same duration, and that the
 duration is placed after the closing bracket.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 r4 <c e g>4 <c f a>2
 @end lilypond
 
@@ -1182,7 +1191,7 @@ to a chord, and everything must go @emph{outside} the angle
 brackets.  For example, you can combine markings like beams and
 ties with chords.  They must be placed outside the angle brackets.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 r4 <c e g>8[ <c f a>]~ <c f a>2
 r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
 @end lilypond
@@ -1203,7 +1212,7 @@ Entering such parts is done by entering each voice as a sequence
 (with @w{@code{@{...@}}}) and combining these simultaneously,
 separating the voices with @code{\\}:
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 <<
   { a4 g2 f4~ f4 } \\
   { r4 g4 f2 f4 }
@@ -1216,7 +1225,7 @@ for filling up voices that temporarily do not play.  Here is the
 same example with a spacer rest (@code{s}) instead of a normal
 rest (@code{r}),
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 <<
   { a4 g2 f4~ f4 } \\
   { s4 g4 f2 f4 }
@@ -1226,7 +1235,7 @@ rest (@code{r}),
 @noindent
 Again, these expressions can be nested arbitrarily.
 
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
 <<
   \new Staff <<
     { a4 g2 f4~ f4 } \\
@@ -1268,7 +1277,7 @@ Music Glossary: @rglos{lyrics}.
 Here is the start of the melody to a nursery
 rhyme, @qq{Girls and boys come out to play}:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   \key g \major
   \time 6/8
@@ -1280,7 +1289,7 @@ The @notation{lyrics} can be set to these notes, combining both
 with the @code{\addlyrics} keyword.  Lyrics are entered by
 separating each syllable with a space.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
@@ -1311,7 +1320,7 @@ Music Glossary: @rglos{melisma}, @rglos{extender line}.
 The next line in the nursery rhyme is @q{The moon doth shine as
 bright as day}.  Let's extend it:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
@@ -1330,11 +1339,12 @@ We see the extra lyrics do not align properly with the notes.  The
 word @q{shine} should be sung on two notes, not one.  This is
 called a @notation{melisma}, a single syllable sung to more than
 one note.  There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them,
-marking the start of the slur with a left bracket, (, and the
-end with a right bracket, ), for details, see @ref{Ties and slurs}:
+multiple notes, the simplest being to add a slur across them:
 
-@lilypond[verbatim,quote,ragged-right]
+@c marking the start of the slur with a left bracket, (, and the
+@c end with a right bracket, ), for details, see @ref{Ties and slurs}:
+
+@lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
@@ -1352,14 +1362,18 @@ end with a right bracket, ), for details, see @ref{Ties and slurs}:
 The words now line up correctly with the notes, but the automatic
 beaming for the notes above @qq{shine as} does not look right.  We
 can correct this by inserting manual beaming commands to override
-the automatic beaming here.  We mark the start of the beam with a
+the automatic beaming here.
+
+@ignore
+  We mark the start of the beam with a
 left square bracket, [, and the end with a right square bracket, ],
 for details, see @ref{Automatic and manual beams}.  Note that the 
 slur and beam indications do not need to @qq{nest}, i.e., the order
 in which they appear is not important, see @ref{On the 
 un-nestedness of brackets and ties}.
+@end ignore
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
@@ -1378,7 +1392,7 @@ As an alternative to using slurs, the melismata may be indicated
 in just the lyrics by using an underscore, @code{_}, for each
 note that should be included in the melisma:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
@@ -1399,7 +1413,7 @@ syllable extending under all the notes for that syllable.  It is
 entered as two underscores @code{__}.  Here is an example from the
 first three bars of Dido's Lament, from Purcell's Dido and Æneas:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \minor
@@ -1421,6 +1435,7 @@ two dashes, resulting in a centered hyphen between the syllables.
 Here is an example showing this and everything we have learned so
 far about aligning lyrics to notes.
 
+@c TODOgp
 @c no ragged-right here because otherwise the hyphens get lost,
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote]
@@ -1476,7 +1491,7 @@ The simple approach using @code{\addlyrics} can be used for
 placing lyrics under more than one staff.  Here is an
 example from Handel's Judas Maccabæus:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 <<
   {
     \time 6/8
@@ -1548,7 +1563,7 @@ The contents of the music expression @code{namedMusic} can be used
 later by placing a backslash in front of the name
 (@code{\namedMusic}, just like a normal LilyPond command).
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 violin = \new Staff { \relative c'' {
   a4 b c b
 }}
@@ -1574,7 +1589,7 @@ they have been defined.  They may even be used in a later definition
 of another variable, giving a way of shortening the input if a
 section of music is repeated many times.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 tripletA = \times 2/3 { c,8 e g }
 barA = { \tripletA \tripletA \tripletA \tripletA }
 
@@ -1664,7 +1679,7 @@ absolute values.  A @code{c'} will always mean middle C, a
 @code{g,} will always mean the note on the bottom staff of the
 bass clef.
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 {
   \clef bass
   c' b g, g,
@@ -1674,7 +1689,7 @@ bass clef.
 
 Here is a four-octave scale:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 {
   \clef bass
   c, d, e, f,
@@ -1692,7 +1707,7 @@ Here is a four-octave scale:
 As you can see, writing a melody in the treble clef involves a lot
 of quote @code{'} marks.  Consider this fragment from Mozart:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 {
   \key a \major
   \time 6/8
@@ -1705,7 +1720,7 @@ All these quotes makes the input less readable and they are a source
 of errors.  With @code{\relative}, the previous example is much
 easier to read and type:
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
 \relative c'' {
   \key a \major
   \time 6/8