From 1e8a5690d455200aa37b6621491bfef362baf3a5 Mon Sep 17 00:00:00 2001 From: Han-Wen Nienhuys Date: Mon, 1 Mar 2004 10:21:23 +0000 Subject: [PATCH] Patch by Edward Sutton. --- ChangeLog | 2 + Documentation/topdocs/NEWS.texi | 17 +++-- Documentation/user/converters.itely | 22 +++---- Documentation/user/internals.itely | 4 +- Documentation/user/invoking.itexi | 4 +- Documentation/user/lilypond-book.itely | 6 +- Documentation/user/lilypond.tely | 4 +- Documentation/user/literature.itely | 2 +- Documentation/user/music-glossary.tely | 4 +- Documentation/user/refman.itely | 88 +++++++++++++------------- 10 files changed, 80 insertions(+), 73 deletions(-) diff --git a/ChangeLog b/ChangeLog index 8bf4939e59..2e1867198f 100644 --- a/ChangeLog +++ b/ChangeLog @@ -43,6 +43,8 @@ 2004-02-29 Han-Wen Nienhuys + * VERSION: 2.1.28 released + * scripts/convert-ly.py (conv): 2004-02-29 Heikki Junes diff --git a/Documentation/topdocs/NEWS.texi b/Documentation/topdocs/NEWS.texi index 1a83b04de6..7984a9b606 100644 --- a/Documentation/topdocs/NEWS.texi +++ b/Documentation/topdocs/NEWS.texi @@ -18,16 +18,23 @@ Version 2.1.13 @itemize @bullet +@item Property functions can now be used as arguments of @code{set!}, +for example + +@example + (set! (ly:grob-property grob 'beam) ... ) +@end example + @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains images. @item Cue notes can be quoted directly from the parts that -contain them. This will take into account tunings of source and target +contain them. This will take into account transposition of source and target instrument. For example, @verbatim \addquote clarinet \notes\relative c' { - \tuning bes + \transposition bes fis4 fis fis fis } @@ -39,11 +46,11 @@ instrument. For example, @end verbatim @item The transposition of an instrument can be specified using the -@code{\tuning} command. The following command specifies an E-flat alto -saxophone: +@code{\transposition} command. The following command specifies an +E-flat alto saxophone: @example - \tuning es' + \transposition es' @end example @item The naming of exported Scheme functions now follows Scheme conventions. diff --git a/Documentation/user/converters.itely b/Documentation/user/converters.itely index 2103832043..8e2e7e8ba8 100644 --- a/Documentation/user/converters.itely +++ b/Documentation/user/converters.itely @@ -106,7 +106,7 @@ The following options are supported by midi2ly: @item -a, --absolute-pitches Print absolute pitches. @item -d, --duration-quant=@var{DUR} - Quantise note durations on @var{DUR}. + Quantize note durations on @var{DUR}. @item -e, --explicit-durations Print explicit durations. @item -h,--help @@ -117,7 +117,7 @@ The following options are supported by midi2ly: @item -o, --output=@var{file} Write output to @var{file}. @item -s, --start-quant=@var{DUR} - Quantise note starts on DUR. + Quantize note starts on DUR. @item -t, --allow-tuplet=@var{DUR}*@var{NUM}/@var{DEN} Allow tuplet durations @var{DUR}*@var{NUM}/@var{DEN}. @item -V, --verbose @@ -170,7 +170,7 @@ etf2ly. Sequences of grace notes are ended improperly sometimes. @cindex ABC -ABC is a fairly simple ASCII based format. It is described at the abc site: +ABC is a fairly simple ASCII based format. It is described at the ABC site: @quotation @uref{http://www.gre.ac.uk/~c.walshaw/abc2mtex/abc.txt}. @end quotation @@ -214,7 +214,7 @@ into the current line of lyrics. @refbugs The ABC standard is not very ``standard''. For extended features -(eg. polyphonic music) different conventions exist. +(e.g. polyphonic music) different conventions exist. Multiple tunes in one file cannot be converted. @@ -264,13 +264,13 @@ distribution. pmx2ly cannot parse more recent PMX files. @node Invoking musedata2ly @section Invoking musedata2ly -@cindex Musedata +@cindex MuseData @cindex CCARH -Musedata (see @uref{http://www.musedata.org/}) is an electronic library of +MuseData (see @uref{http://www.musedata.org/}) is an electronic library of classical music scores, currently comprising about 800 composition -dating from 1700 to 1825. The music is encoded in so-called Musedata -format. musedata2ly converts a set of musedata files to one .ly file, +dating from 1700 to 1825. The music is encoded in so-called MuseData +format. musedata2ly converts a set of MuseData files to one .ly file, and will include a @code{\header} field if a @file{.ref} file is supplied. It is invoked as follows: @@ -294,17 +294,17 @@ version information @refbugs -@file{musedata2ly} converts only a small subset of musedata. +@file{musedata2ly} converts only a small subset of MuseData. @node Invoking mup2ly @section Invoking mup2ly -MUP (Music Publisher) is a shareware music notation program by Arkkra +Mup (Music Publisher) is a shareware music notation program by Arkkra Enterprises. Mup2ly will convert part of a Mup file to LilyPond format. It is invoked as follows: @cindex Music Publisher -@cindex MUP +@cindex Mup @cindex Arkkra @example diff --git a/Documentation/user/internals.itely b/Documentation/user/internals.itely index 9e8f6f307d..5a1e814e63 100644 --- a/Documentation/user/internals.itely +++ b/Documentation/user/internals.itely @@ -3,7 +3,7 @@ @c @c A menu is needed before every deeper *section nesting of @nodes @c Run M-x texinfo-all-menus-update -@c to automagically fill in these menus +@c to automatically fill in these menus @c before saving changes @@ -678,7 +678,7 @@ foo = \foo * 2.0 @end example When a variable is referenced in LilyPond syntax, the information it -points to is copied. For this reason, an variable reference must +points to is copied. For this reason, a variable reference must always be the first item in a block. @example diff --git a/Documentation/user/invoking.itexi b/Documentation/user/invoking.itexi index 21910a2db4..dd53374614 100644 --- a/Documentation/user/invoking.itexi +++ b/Documentation/user/invoking.itexi @@ -88,7 +88,7 @@ Show version information. Be verbose. This prints out commands as they are executed, and more information about the formatting process is printed. @item --debug -Print even more information. This is useful when generating bugreports. +Print even more information. This is useful when generating bug reports. @item -w,--warranty Show the warranty with which GNU LilyPond comes. (It comes with @strong{NO WARRANTY}!) @@ -173,7 +173,7 @@ so you can add multiple packages using multiple @code{-s=latexpackages} options. Specify additional options for the La@TeX{} @code{\documentclass}. You can put any valid value here. This was designed to allow @code{lilypond} to produce output for double-sided -paper, with balanced margins and pagenumbers on alternating sides. To +paper, with balanced margins and page numbers on alternating sides. To achieve this specify @code{twoside}. @item orientation diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely index f553978e8a..0d2df547ef 100644 --- a/Documentation/user/lilypond-book.itely +++ b/Documentation/user/lilypond-book.itely @@ -30,7 +30,7 @@ This procedure may be applied to La@TeX{}, @code{html} or Texinfo documents. A tutorial on using lilypond-book is in @ref{Integrating text and music}. For more information about La@TeX{} @uref{http://www.ctan.org/tex-archive/info/lshort/english/,The not so -Short Introduction to LaTeX} provides a introction to using La@TeX{}. +Short Introduction to LaTeX} provides a introduction to using La@TeX{}. @@ -227,7 +227,7 @@ music fragments: \key c \minor r8 c16 b c8 g as c16 b c8 d | g,4 @end lilypond -For inline pictures, use @code{} syntax, eg. +For inline pictures, use @code{} syntax, e.g. @example Some music in a line of text. @end example @@ -407,7 +407,7 @@ La@TeX{} commands that change margins and line widths are ignored. Only the first @code{\score} of a LilyPond block is processed. @c CHECKME--FIXME -The size of a music block is limited to 1.5 kb, due to technical +The size of a music block is limited to 1.5 KB, due to technical problems with the Python regular expression engine. For longer files, use @code{\lilypondfile}. diff --git a/Documentation/user/lilypond.tely b/Documentation/user/lilypond.tely index 4ed2d829f9..f06cc203af 100644 --- a/Documentation/user/lilypond.tely +++ b/Documentation/user/lilypond.tely @@ -23,8 +23,8 @@ Distributions will want to install lilypond.info in postinstall, doing: * etf2ly: (./lilypond/lilypond)Invoking etf2ly. Importing Finale. * abc2ly: (./lilypond/lilypond)Invoking abc2ly. Importing ABC. * pmx2ly: (./lilypond/lilypond)Invoking pmx2ly. Importing PMX. -* musedata2ly: (./lilypond/lilypond)Invoking musedata2ly. Importing Musedata. -* mup2ly: (./lilypond/lilypond)Invoking mup2ly. Importing MUP. +* musedata2ly: (./lilypond/lilypond)Invoking musedata2ly. Importing MuseData. +* mup2ly: (./lilypond/lilypond)Invoking mup2ly. Importing Mup. @end direntry diff --git a/Documentation/user/literature.itely b/Documentation/user/literature.itely index 74450e59a5..a59139278c 100644 --- a/Documentation/user/literature.itely +++ b/Documentation/user/literature.itely @@ -67,7 +67,7 @@ The G.Schirmer/AMP Manual of Style and Usage. G.Schirmer/AMP, NY, 2001. This manual specifically focuses on preparing print for publication by Schirmer. It discusses many details that are not in other, normal -notation books. It als gives a good idea of what is necessary to bring +notation books. It also gives a good idea of what is necessary to bring printouts to publication quality. @item Stone 1980 diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 7cc282f806..5e0ab64907 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -994,7 +994,7 @@ FI: kontratenori. @aitem{Copying, Music} A music copyist did fast freehand scores and parts on preprinted staff lines -for performance. Some of their conventions (e.g., the placement of noteheads +for performance. Some of their conventions (e.g., the placement of note heads on stems) varied slightly from those of engravers. Some of their working methods were superior and could well be adopted by music typesetters. This required more skill than engraving. @@ -3488,7 +3488,7 @@ S: staccato, FI: staccato, lyhyesti, ter@"av@"asti. Playing the note(s) short. Staccato is indicated by a dot above or below the -notehead. +note head. @lilypond \key d \major diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely index d1586f0059..8fbb560470 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -3,7 +3,7 @@ @c A menu is needed before every deeper *section nesting of @node's; run @c M-x texinfo-all-menus-update -@c to automagically fill in these menus before saving changes +@c to automatically fill in these menus before saving changes @c @c FIXME: singular vs. plural: Beams/Beam @@ -1101,7 +1101,6 @@ of bar lines can be forced with the @code{\bar} command: @end lilypond The following bar types are available: - @lilypond[fragment,relative,raggedright,verbatim] c4 \bar "|" c @@ -1115,12 +1114,11 @@ c4 \bar "|." c \bar ":" c @end lilypond - For allowing line breaks, there is a special command, @example \bar "empty" @end example -This will insert an invisible bar line, and allow linebreaks at this +This will insert an invisible bar line, and allow line breaks at this point. In scores with many staves, a @code{\bar} command in one staff is @@ -1350,7 +1348,7 @@ Internals: @internalsref{Beam}. @cindex @code{[} In some cases it may be necessary to override the automatic beaming -algorithm. For example, the auto beamer will not put beams over rests +algorithm. For example, the autobeamer will not put beams over rests or bar lines. Such beams are specified by manually: the begin and end point are marked with @code{[} and @code{]}: @@ -1509,7 +1507,7 @@ So, while it is possible to have different ending rules for eight beams and sixteenth beams, a beam that contains both eight and sixteenth notes will use the rules for the sixteenth beam. -In the example below, the auto beamer makes eight beams and sixteenth +In the example below, the autobeamer makes eight beams and sixteenth end at 3 eights; the third beam can only be corrected by specifying manual beaming. @@ -1614,7 +1612,7 @@ instead. @item modern-voice is used for multivoice accidentals to be read both by musicians playing one voice and musicians playing all voices. Accidentals are -typeset for each voice, but they @emph{are} cancelled across voices in +typeset for each voice, but they @emph{are} canceled across voices in the same @internalsref{Staff}. @cindex @code{modern-voice-cautionary} @@ -1628,7 +1626,7 @@ some of them are typeset as cautionaries. @item piano @cindex @code{piano} accidentals 20th century practice for piano notation. Very similar to - @code{modern} but accidentals also get cancelled + @code{modern} but accidentals also get canceled across the staves in the same @internalsref{GrandStaff} or @internalsref{PianoStaff}. @@ -1689,7 +1687,7 @@ voices in the same staff share accidentals, but staves do not. @item laziness - Over how many barlines the accidental lasts. + Over how many bar lines the accidental lasts. If @var{laziness} is @code{-1} then the accidental is forget immediately, and if @var{laziness} is @code{#t} then the accidental lasts forever. @@ -1903,7 +1901,7 @@ Examples: @inputfileref{input/regression,breathing-sign.ly}. Metronome settings can be entered as follows: @example - \tempo @var{duration} = @var{perminute} + \tempo @var{duration} = @var{per-minute} @end example In the MIDI output, they are interpreted as a tempo change, and in the @@ -2010,7 +2008,7 @@ put them up: Other symbols can be added using the syntax @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they can be forced up or down using @code{^} and @code{_}, -eg. +e.g. @lilypond[verbatim,fragment,relative=2] c\fermata c^\fermata c_\fermata @@ -2301,7 +2299,7 @@ A score that starts with an @code{\grace} section needs an explicit note end up on different staves. Grace note synchronization can also lead to surprises. Staff notation, -such as key signatures, barlines, etc. are also synchronized. Take +such as key signatures, bar lines, etc. are also synchronized. Take care when you mix staves with grace notes and staves without, for example, @lilypond[relative=2,verbatim,fragment] @@ -2472,7 +2470,7 @@ output, and entering repetitive music. @item volta This is the normal notation: Repeats are not written out, but -alternative endings (voltas) are printed, left to right. +alternative endings (volte) are printed, left to right. @ignore @item fold @@ -2648,7 +2646,7 @@ A similar mechanism is the tremolo subdivision, described in In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}. Internals: tremolo beams are @internalsref{Beam} objects. Single stem -tremolos are @internalsref{StemTremolo}s. The music expression is +tremolos are @internalsref{StemTremolo} objects. The music expression is @internalsref{TremoloEvent}. Example files: @inputfileref{input/regression,chord-tremolo.ly}, @@ -2967,7 +2965,7 @@ Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}. Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not work for @internalsref{DrumVoices}. -Because general MIDI does not contain rimshots the sidestick is used +Because general MIDI does not contain rim shots, the sidestick is used for this purpose instead. @node Piano music @@ -3123,7 +3121,7 @@ c'4\sustainUp\sustainDown f'4 g'4 a'4\sustainUp @end lilypond -The default `*Ped' style for sustain and damper pedals corresponds to +The default `*Ped.' style for sustain and damper pedals corresponds to style @code{#'text}. The sostenuto pedal uses @code{mixed} style by default. @@ -3583,7 +3581,7 @@ performers. The ambitus is typically notated on a per-voice basis at the very beginning of a piece, e.g. nearby the initial clef or time signature of -each staff. The range is graphically specified by two noteheads, that +each staff. The range is graphically specified by two note heads, that represent the minimum and maximum pitch. Some publishers use a textual notation: they put the range in words in front of the corresponding staff. LilyPond only supports the graphical ambitus notation. @@ -3996,7 +3994,7 @@ alteration. The transformation from pitch to letter is done by this function. Special note names (for example, the German ``H'' for a B-chord) can be produced by storing a new function in this property. -The pre-defined variables @code{\germanChords}, +The predefined variables @code{\germanChords}, @code{\semiGermanChords} set these variables. @@ -4153,7 +4151,7 @@ formatting functions. @cindex bar lines, symbols on The @code{\mark} command can also be used to put signs like coda, -segno and fermatas on a barline. Use @code{\markup} to +segno and fermatas on a bar line. Use @code{\markup} to to access the appropriate symbol: @lilypond[fragment,verbatim,relative=1] @@ -4172,7 +4170,7 @@ that behavior: @cindex fermatas @cindex coda @cindex segno -@cindex barlines, putting symbols on +@cindex bar lines, putting symbols on @seealso @@ -4288,7 +4286,7 @@ For example, consider a piece written in the key of D major. If this piece is a little too low for its performer, it can be transposed up to E major with @example - \tranpose d e @dots{} + \transpose d e @dots{} @end example Consider a part written for violin (a C instrument). If @@ -4716,8 +4714,8 @@ Many graphical objects provide a @code{style} property, see @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time signatures}. By manipulating such a grob property, the typographical -appearance of the affected graphical objects can be accomodated for a -specific notation flavour without need for introducing any new +appearance of the affected graphical objects can be accommodated for a +specific notation flavor without need for introducing any new notational concept. @@ -4779,7 +4777,7 @@ the @code{baroque} style in that it uses rhomboidal heads for whole notes and all smaller durations. Stems are centered on the note heads. This style is in particular useful when transcribing mensural music, e.g. for the incipit. The @code{mensural} style finally -produces note heads that mimick the look of note heads in historic +produces note heads that mimic the look of note heads in historic printings of the 16th century. The following example demonstrates the @code{neo_mensural} style: @@ -4896,7 +4894,7 @@ ancient accidentals. Supported styles are @code{classical}, from the @code{default} style only in that the quarter rest looks like a horizontally mirrored 8th rest. The @code{neo_mensural} style suits well for e.g. the incipit of a transcribed mensural piece of music. -The @code{mensural} style finally mimicks the appearance of rests as +The @code{mensural} style finally mimics the appearance of rests as in historic prints of the 16th century. The following example demonstrates the @code{neo_mensural} style: @@ -4963,8 +4961,8 @@ modern style mensural C clef @tab @code{clefs-petrucci_c5} @tab -petrucci style mensural C clefs, for use on different stafflines -(the examples shows the 2nd staffline C clef). +petrucci style mensural C clefs, for use on different staff lines +(the examples shows the 2nd staff line C clef). @tab @code{petrucci_c1} @@ -5123,7 +5121,7 @@ editions (other than those of Petrucci)''. @emph{Editio XXX style} means ``as is/was printed in Editio XXX''. Petrucci used C clefs with differently balanced left-side vertical -beams, depending on which staffline it is printed. +beams, depending on which staff line it is printed. @seealso @@ -5161,7 +5159,7 @@ select ancient flags. Besides the @code{default} flag style, Note that the innermost flare of each mensural flag always is vertically aligned with a staff line. If you do not like this -behaviour, you can set the @code{adjust-if-on-staffline} property of +behavior, you can set the @code{adjust-if-on-staffline} property of grob @internalsref{Stem} to @code{##f}. Then, the vertical position of the end of each flare is different between notes on staff lines and notes between staff lines: @@ -5177,7 +5175,7 @@ notes between staff lines: @end lilypond There is no particular flag style for neo-mensural notation. Hence, -when typesetting e.g. the incipit of a transcibed piece of mensural +when typesetting e.g. the incipit of a transcribed piece of mensural music, the default flag style should be used. There are no flags in Gregorian Chant notation. @@ -5249,7 +5247,7 @@ select ancient time signatures. Supported styles are @code{neo_mensural} and @code{mensural}. The above table uses the @code{neo_mensural} style. This style is appropriate e.g. for the incipit of transcriptions of mensural pieces. The @code{mensural} -style mimicks the look of historical printings of the 16th century. +style mimics the look of historical printings of the 16th century. @inputfileref{input/test,time.ly} gives an overview over all available ancient and modern styles. @@ -5288,7 +5286,7 @@ music is subject to change. @cindex custos @cindex custodes -A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a +A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a symbol that appears at the end of a staff. It anticipates the pitch of the first note(s) of the following line and thus helps the player or singer to manage line breaks during performance, thus enhancing @@ -5298,7 +5296,7 @@ Custodes were frequently used in music notation until the 17th century. Nowadays, they have survived only in a few particular forms of musical notation such as contemporary editions of Gregorian chant like the @emph{editio vaticana}. There are different custos glyphs -used in different flavours of notational style. +used in different flavors of notational style. @syntax @@ -5386,14 +5384,14 @@ supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and If the boolean property @code{adjust-if-on-staffline} is set to @code{#t} (which it is by default), lily typesets slightly different variants of the custos glyph, depending on whether the custos, is -typeset on or between stafflines. The glyph will +typeset on or between staff lines. The glyph will optically fit well into the staff, with the appendage on the right of the custos always ending at the same vertical position between two -stafflines regardless of the pitch. If you set +staff lines regardless of the pitch. If you set @code{adjust-if-on-staffline} to @code{#f}, then a compromise between both forms is used. -Just like stems can be attached to noteheads in two directions +Just like stems can be attached to note heads in two directions @emph{up} and @emph{down}, each custos glyph is available with its appendage pointing either up or down. If the pitch of a custos is above a selectable position, the appendage will point downwards; if @@ -5421,7 +5419,7 @@ Examples: @inputfileref{input/regression,custos.ly}. @cindex divisiones @cindex finalis -A @emph{divisio} (plural: @emph{divisiones}; latin word for +A @emph{divisio} (plural: @emph{divisiones}; Latin word for `division') is a staff context symbol that is used to structure Gregorian music into phrases and sections. The musical meaning of @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima} @@ -5476,7 +5474,7 @@ Examples: @inputfileref{input/test,divisiones.ly}. In musical terminology, a ligature is a coherent graphical symbol that represents at least two distinct notes. Ligatures originally appeared in the manuscripts of Gregorian chant notation roughly since the 9th -century as an allusion to the accent symbols of greek lyric poetry to +century as an allusion to the accent symbols of Greek lyric poetry to denote ascending or descending sequences of notes. Both, the shape and the exact meaning of ligatures changed tremendously during the following centuries: In early notation, ligatures were used for @@ -7408,14 +7406,14 @@ support for contemporary notation in LilyPond is limited. In musical terminology, a @emph{cluster} denotes a range of simultaneously sounding pitches that may change over time. The set of -available pitches to apply usually depends on the accoustic source. -Thus, in piano music, a cluster typically consists of a continous range +available pitches to apply usually depends on the acoustic source. +Thus, in piano music, a cluster typically consists of a continuous range of the semitones as provided by the piano's fixed set of a chromatic scale. In choral music, each singer of the choir typically may sing an arbitrary pitch within the cluster's range that is not bound to any diatonic, chromatic or other scale. In electronic music, a cluster (theoretically) may even cover a continuous range of pitches, thus -resulting in coloured noise, such as pink noise. +resulting in colored noise, such as pink noise. Clusters can be denoted in the context of ordinary staff notation by engraving simple geometrical shapes that replace ordinary notation of @@ -7425,7 +7423,7 @@ shape of the note head rather than by the horizontal graphical extent of the note symbol. In contrast, the shape of a cluster geometrically describes the development of a range of pitches (vertical extent) over time (horizontal extent). Still, the geometrical shape of a cluster -covers the area in wich any single pitch contained in the cluster would +covers the area in which any single pitch contained in the cluster would be notated as an ordinary note. From this point of view, it is reasonable to specify a cluster as the envelope of a set of notes. @@ -7723,7 +7721,7 @@ Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty}, @refbugs -The backend is not very strict in type-checking object properties. +The back-end is not very strict in type-checking object properties. Cyclic references in Scheme values for properties can cause hangs and/or crashes. @@ -8500,7 +8498,7 @@ spacing. This is controlled with @code{stem-spacing-correction} property in @internalsref{NoteSpacing}, which are generated for every @internalsref{Voice} context. The @code{StaffSpacing} object (generated at @internalsref{Staff} context) contains the same property -for controlling the stem/barline spacing. The following example +for controlling the stem/bar line spacing. The following example shows these corrections, once with default settings, and once with exaggerated corrections: @@ -8646,7 +8644,7 @@ point. @cindex regular line breaks @cindex four bar music. -For linebreaks at regular intervals use @code{\break} separated by +For line breaks at regular intervals use @code{\break} separated by skips and repeated with @code{\repeat}: @example << \repeat unfold 7 @{ -- 2.39.2