From 3e28a8d6ac352cb26dcd454dc6d6b67a44376579 Mon Sep 17 00:00:00 2001
From: Carl Sorensen <c_sorensen@byu.edu>
Date: Wed, 10 Dec 2008 21:09:27 -0700
Subject: [PATCH] DOC -- Index editorial, pitches, staff.  Ralph Palmer's work

---
 Documentation/user/editorial.itely |   38 +-
 Documentation/user/pitches.itely   |  105 +-
 Documentation/user/staff.itely     | 1475 ++++++++++------------------
 3 files changed, 607 insertions(+), 1011 deletions(-)

diff --git a/Documentation/user/editorial.itely b/Documentation/user/editorial.itely
index c8d021a84a..568356bef9 100644
--- a/Documentation/user/editorial.itely
+++ b/Documentation/user/editorial.itely
@@ -45,6 +45,7 @@ inside the staff.
 @cindex selecting font size (notation)
 @cindex notation font size
 @cindex note heads
+
 @funindex fontSize
 @funindex font-size
 @funindex magstep
@@ -105,6 +106,7 @@ c4.-> d8---3
 
 @cindex standard font size (notation)
 @cindex font size (notation), standard
+
 @funindex font-interface
 @funindex font-size
 
@@ -119,17 +121,11 @@ that use fonts.  These are the ones supporting the
 
 
 @predefined
-@funindex \teeny
 @code{\teeny},
-@funindex \tiny
 @code{\tiny},
-@funindex \small
 @code{\small},
-@funindex \normalsize
 @code{\normalsize},
-@funindex \large
 @code{\large},
-@funindex \huge
 @code{\huge}.
 @endpredefined
 
@@ -147,6 +143,7 @@ Internals Reference:
 
 @cindex fingering
 @cindex finger change
+
 @funindex \finger
 @funindex finger
 
@@ -164,6 +161,7 @@ c4-1 d-2 f-4 c^\markup { \finger "2 - 3" }
 @end lilypond
 
 @cindex thumb-script
+
 @funindex \thumb
 @funindex thumb
 
@@ -224,6 +222,7 @@ Internals Reference:
 @cindex notes, hidden
 @cindex notes, invisible
 @cindex notes, transparent
+
 @funindex \hideNotes
 @funindex hideNotes
 @funindex \unHideNotes
@@ -273,6 +272,7 @@ Internals Reference:
 @unnumberedsubsubsec Coloring objects
 
 @cindex colored objects
+@cindex objects, colored
 @cindex colors
 @cindex coloring objects
 @cindex colored notes
@@ -281,6 +281,7 @@ Internals Reference:
 @cindex x11 color
 @cindex x11-color
 @cindex with-color
+
 @funindex color
 @funindex \with-color
 @funindex with-color
@@ -330,6 +331,7 @@ b2 cis
 @cindex rgb-color
 @cindex color, rgb
 @cindex rgb color
+
 @funindex rgb-color
 
 Exact RGB colors can be specified using the Scheme function
@@ -363,6 +365,7 @@ Snippets:
 @cindex colored notes in chords
 @cindex notes, colored in chords
 @cindex color in chords
+
 @funindex x11-color
 
 @knownissues
@@ -386,6 +389,7 @@ Notes in a chord cannot be colored with @code{\override}; use
 @cindex notes, ghost
 @cindex notes, parenthesized
 @cindex parentheses
+
 @funindex \parenthesize
 @funindex parenthesize
 
@@ -431,17 +435,21 @@ chord.
 @cindex stem, invisible
 @cindex invisible stem
 
+@funindex \stemUp
+@funindex stemUp
+@funindex \stemDown
+@funindex stemDown
+@funindex \stemNeutral
+@funindex stemNeutral
+
 Whenever a note is found, a @code{Stem} object is created
 automatically.  For whole notes and rests, they are also created but
 made invisible.
 
 
 @predefined
-@funindex \stemUp
 @code{\stemUp},
-@funindex \stemDown
 @code{\stemDown},
-@funindex \stemNeutral
 @code{\stemNeutral}.
 @endpredefined
 
@@ -489,11 +497,16 @@ from outside of the staff.
 @cindex notation, explaining
 @cindex balloon help
 @cindex help, balloon
+
 @funindex \balloonGrobText
 @funindex \balloonText
 @funindex Balloon_engraver
 @funindex balloonGrobText
 @funindex balloonText
+@funindex \balloonLengthOn
+@funindex balloonLengthOn
+@funindex \balloonLengthOff
+@funindex balloonLengthOff
 
 Elements of notation can be marked and named with the help of a
 square balloon.  The primary purpose of this feature is to explain
@@ -535,11 +548,7 @@ altered:
 
 
 @predefined
-@funindex balloonLengthOn
-@funindex \balloonLengthOn
 @code{\balloonLengthOn},
-@funindex \balloonLengthOff
-@funindex balloonLengthOff
 @code{\balloonLengthOff}.
 @endpredefined
 
@@ -561,6 +570,7 @@ Internals Reference:
 @cindex lines, grid
 @cindex vertical lines between staves
 @cindex lines, vertical between staves
+
 @funindex Grid_point_engraver
 @funindex Grid_line_span_engraver
 @funindex gridInterval
@@ -630,9 +640,11 @@ Internals Reference:
 @cindex bracket, phrasing
 @cindex phrasing bracket
 @cindex musicological analysis
+@cindex analysis, musicological
 @cindex note grouping bracket
 @cindex horizontal bracket
 @cindex bracket, horizontal
+
 @funindex Horizontal_bracket_engraver
 @funindex \startGroup
 @funindex startGroup
diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index 977ac59fe3..9224f8e1bb 100644
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -47,7 +47,9 @@ mode.  In most cases, relative mode will be more convenient.
 @cindex pitches
 @cindex absolute
 @cindex absolute octave specification
+@cindex octave specification, absolute
 @cindex absolute octave entry
+@cindex octave entry, absolute
 
 A pitch name is specified using lowercase letters@tie{}@code{a}
 through@tie{}@code{g}.  The note names @code{c} to @code{b} are
@@ -62,6 +64,7 @@ d e f g
 @end lilypond
 
 @cindex octave changing mark
+
 @funindex '
 @funindex ,
 
@@ -93,7 +96,11 @@ Snippets:
 
 @cindex relative
 @cindex relative octave entry
+@cindex octave entry, relative
 @cindex relative octave specification
+@cindex ocatve specification, relative
+
+@funindex relative
 @funindex \relative
 
 When octaves are specified in absolute mode it is easy to
@@ -168,6 +175,9 @@ large intervals:
 }
 @end lilypond
 
+@cindex chords and relative octave entry
+@cindex relative octave entry and chords
+
 If the preceding item is a chord, the first note of the chord is
 used as the reference point for the octave placement of a
 following note or chord.  Inside chords, the next note is always
@@ -219,9 +229,13 @@ Internals Reference:
 
 @cindex relative octave entry and transposition
 @cindex transposition and relative octave entry
+
 @funindex \transpose
+@funindex transpose
 @funindex \chordmode
+@funindex chordmode
 @funindex \relative
+@funindex relative
 
 
 @knownissues
@@ -256,6 +270,7 @@ see @rlearning{Accidentals and key signatures}.}
 
 @cindex note names, Dutch
 @cindex note names, default
+@cindex default note names
 @cindex sharp
 @cindex flat
 @cindex double sharp
@@ -286,7 +301,8 @@ a4 aes a2
 @end lilypond
 
 @cindex quarter tones
-@cindex semi-flats, semi-sharps
+@cindex semi-flats
+@cindex semi-sharps
 
 Quarter tones may be added; the following is a series of Cs with
 increasing pitches:
@@ -301,11 +317,13 @@ ceseh1 ces ceh c cih cis cisih
 @cindex accidental, cautionary
 @cindex accidental, parenthesized
 @cindex reminder accidental
-@funindex ?
 @cindex cautionary accidental
 @cindex parenthesized accidental
+
+@funindex ?
 @funindex !
 
+
 Normally accidentals are printed automatically, but you may also
 print them manually.  A reminder accidental can be forced by
 adding an exclamation mark@tie{}@code{!} after the pitch.  A
@@ -530,8 +548,10 @@ This section discusses how to modify pitches.
 @cindex octave correction
 @cindex octave check
 @cindex control pitch
+
 @funindex =
 @funindex \octaveCheck
+@funindex octaveCheck
 @funindex controlpitch
 
 In relative mode, it is easy to forget an octave changing mark.
@@ -605,7 +625,9 @@ Internals Reference:
 @cindex transposition of notes
 @cindex pitches, transposition of
 @cindex notes, transposition of
+
 @funindex \transpose
+@funindex transpose
 
 A music expression can be transposed with @code{\transpose}.  The
 syntax is
@@ -670,8 +692,6 @@ music = \relative c' { c d e f }
 }
 @end lilypond
 
-@cindex transposing instruments
-@cindex instruments, transposing
 
 @code{\transpose} may also be used in a different way, to input
 written notes for a transposing instrument.  The previous examples
@@ -719,8 +739,11 @@ Internals Reference:
 
 
 @funindex \transpose
+@funindex transpose
 @funindex \chordmode
+@funindex chordmode
 @funindex \relative
+@funindex relative
 
 @knownissues
 
@@ -748,7 +771,6 @@ This section discusses how to alter the output of pitches.
 @node Clef
 @unnumberedsubsubsec Clef
 
-@funindex \clef
 @cindex G clef
 @cindex C clef
 @cindex F clef
@@ -781,6 +803,9 @@ This section discusses how to alter the output of pitches.
 @cindex clef, varbaritone
 @cindex subbass clef, subbass
 
+@funindex \clef
+@funindex clef
+
 The clef may be altered.  Middle C is shown in every example.
 
 @lilypond[verbatim,quote,relative=1]
@@ -825,6 +850,7 @@ and @ref{Gregorian clefs}.
 @cindex clef, transposing
 @cindex octave transposition
 @cindex choral tenor clef
+@cindex tenor clef, choral
 
 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
 clef is transposed one octave down or up, respectively,
@@ -866,7 +892,9 @@ Internals Reference:
 @unnumberedsubsubsec Key signature
 
 @cindex key signature
+
 @funindex \key
+@funindex key
 
 @c duplicated in Key signature and Accidentals
 @warning{New users are sometimes confused about accidentals and
@@ -885,14 +913,24 @@ at the start of the staff.  The key signature may be altered:
 @end example
 
 @funindex \major
+@funindex major
 @funindex \minor
+@funindex minor
 @funindex \ionian
+@funindex ionian
 @funindex \locrian
+@funindex locrian
 @funindex \aeolian
+@funindex aeolian
 @funindex \mixolydian
+@funindex mixolydian
 @funindex \lydian
+@funindex lydian
 @funindex \phrygian
+@funindex phrygian
 @funindex \dorian
+@funindex dorian
+
 @cindex church modes
 @cindex modes
 @cindex major
@@ -958,7 +996,10 @@ Internals Reference:
 @cindex 8va
 @cindex 8ve
 @cindex octavation
+
 @funindex set-octavation
+@funindex \ottava
+@funindex ottava
 
 @notation{Ottava brackets} introduce an extra transposition of an
 octave for the staff:
@@ -1002,7 +1043,9 @@ Internals Reference:
 @cindex transposing instrument
 @cindex MIDI
 @cindex MIDI transposition
+
 @funindex \transposition
+@funindex transposition
 
 When typesetting scores that involve transposing instruments, some
 parts can be typeset in a different pitch than the
@@ -1096,8 +1139,10 @@ Snippets:
 @cindex accidentals, automatic
 @cindex automatic accidentals
 @cindex default accidental style
+
 @funindex set-accidental-style
 @funindex voice
+@funindex default
 
 There are many different conventions on how to typeset
 accidentals.  LilyPond provides a function to specify which
@@ -1124,7 +1169,6 @@ style in all staves of the current @code{StaffGroup}, use:
 The following accidental styles are supported.  To demonstrate
 each style, we use the following example:
 
-@funindex default
 
 @lilypond[verbatim,quote]
 musicA = {
@@ -1198,6 +1242,7 @@ both staves.
 
 @cindex default accidental style
 @cindex accidental style, default
+
 @funindex default
 
 This is the default typesetting behavior.  It corresponds to
@@ -1261,6 +1306,7 @@ musicB = {
 @cindex modern accidental style
 @cindex accidental style, modern-cautionary
 @cindex modern-cautionary accidental style
+
 @funindex voice
 
 The normal behavior is to remember the accidentals at
@@ -1328,6 +1374,7 @@ musicB = {
 
 @cindex accidentals, modern style
 @cindex modern style accidentals
+
 @funindex modern
 
 This rule corresponds to the common practice in the twentieth
@@ -1392,6 +1439,7 @@ musicB = {
 @cindex modern cautionary accidental style
 @cindex modern style accidentals
 @cindex modern style cautionary accidentals
+
 @funindex modern-cautionary
 
 This rule is similar to @code{modern}, but the @q{extra}
@@ -1455,6 +1503,7 @@ musicB = {
 @cindex modern accidental style
 @cindex modern accidentals
 @cindex multivoice accidentals
+
 @funindex modern-voice
 
 This rule is used for multivoice accidentals to be read both by
@@ -1515,6 +1564,7 @@ musicB = {
 @cindex accidental style, cautionary, modern voice
 @cindex accidental style, modern voice cautionary
 @cindex accidental style, voice, modern cautionary
+
 @funindex modern-voice-cautionary
 
 @item modern-voice-cautionary
@@ -1577,6 +1627,7 @@ musicB = {
 @cindex accidentals, piano
 @cindex piano accidental style
 @cindex piano accidentals
+
 @funindex piano
 
 This rule reflects twentieth-century practice for piano notation.
@@ -1635,7 +1686,6 @@ musicB = {
 
 @item piano-cautionary
 
-@funindex piano-cautionary
 @cindex accidentals, piano cautionary
 @cindex cautionary accidentals, piano
 @cindex piano cautionary accidentals
@@ -1643,6 +1693,8 @@ musicB = {
 @cindex cautionary accidental style, piano
 @cindex piano cautionary accidental style
 
+@funindex piano-cautionary
+
 This is the same as @code{piano} but with the extra accidentals
 typeset as cautionaries.
 
@@ -1694,10 +1746,11 @@ musicB = {
 
 @item neo-modern
 
-@funindex neo-modern
 @cindex neo-modern accidental style
 @cindex accidental style, neo-modern
 
+@funindex neo-modern
+
 This rule reproduces a common practice in contemporary music:
 accidentals are printed like with @code{modern}, but they are printed
 again if the same note appears later in the same measure -- except
@@ -1751,10 +1804,11 @@ musicB = {
 
 @item neo-modern-cautionary
 
-@funindex neo-modern-cautionary
 @cindex neo-modern-cautionary accidental style
 @cindex accidental style, neo-modern-cautionary
 
+@funindex neo-modern-cautionary
+
 This rule is similar to @code{neo-modern}, but the extra
 accidentals are printed as cautionary accidentals.
 
@@ -1807,10 +1861,11 @@ musicB = {
 
 @item dodecaphonic
 
-@funindex dodecaphonic
 @cindex dodecaphonic accidental style
 @cindex dodecaphonic style, neo-modern
 
+@funindex dodecaphonic
+
 This rule reflects a practice introduced by composers at
 the beginning of the 20th century, in an attempt to
 abolish the hierarchy between natural and non-natural notes.
@@ -1866,10 +1921,11 @@ musicB = {
 
 @item teaching
 
-@funindex teaching
 @cindex teaching accidental style
 @cindex accidental style, teaching
 
+@funindex teaching
+
 This rule is intended for students, and makes it easy to create
 scale sheets with automagically created cautionary accidentals.
 Accidentals are printed like with @code{modern}, but cautionary
@@ -1928,10 +1984,11 @@ musicB = {
 
 @item no-reset
 
-@funindex no-reset
 @cindex accidental style, no reset
 @cindex no reset accidental style
 
+@funindex no-reset
+
 This is the same as @code{default} but with accidentals lasting
 @q{forever} and not only within the same measure:
 
@@ -1983,10 +2040,11 @@ musicB = {
 
 @item forget
 
-@funindex forget
 @cindex forget accidental style
 @cindex accidental style, forget
 
+@funindex forget
+
 This is the opposite of @code{no-reset}: Accidentals are not
 remembered at all -- and hence all accidentals are typeset
 relative to the key signature, regardless of what came before in
@@ -2173,6 +2231,7 @@ This section suggests ways of altering note heads.
 @cindex guitar note heads
 @cindex note head styles
 @cindex styles, note heads
+
 @funindex cross
 
 Note heads may be altered:
@@ -2227,6 +2286,11 @@ Internals Reference:
 @cindex easy play note heads
 @cindex note heads, easy play
 
+@funindex \easyHeadsOn
+@funindex easyHeadsOn
+@funindex \easyHeadsOff
+@funindex easyHeadsOff
+
 The @q{easy play} note head includes a note name inside the head.
 It is used in music for beginners.  To make the letters readable,
 it should be printed in a large font size.  To print with a larger
@@ -2245,9 +2309,7 @@ font, see @ref{Setting the staff size}.
 
 
 @predefined
-@funindex \easyHeadsOn
 @code{\easyHeadsOn},
-@funindex \easyHeadsOff
 @code{\easyHeadsOff}.
 @endpredefined
 
@@ -2275,9 +2337,13 @@ Internals Reference:
 @cindex shape notes
 @cindex Aiken shape note heads
 @cindex sacred harp note heads
+
 @funindex \key
+@funindex key
 @funindex \aikenHeads
+@funindex aikenHeads
 @funindex \sacredHarpHeads
+@funindex sacredHarpHeads
 
 In shape note head notation, the shape of the note head
 corresponds to the harmonic function of a note in the scale.  This
@@ -2296,9 +2362,7 @@ base of the scale is determined by the @code{\key} command.
 
 
 @predefined
-@funindex \aikenHeads
 @code{\aikenHeads},
-@funindex \sacredHarpHeads
 @code{\sacredHarpHeads}.
 @endpredefined
 
@@ -2334,6 +2398,11 @@ Internals Reference:
 @cindex note heads, improvisation
 @cindex note heads, slashed
 
+@funindex \improvisationOn
+@funindex improvisationOn
+@funindex \improvisationOff
+@funindex improvisationOff
+
 Improvisation is sometimes denoted with slashed note heads, where
 the performer may choose any pitch but should play the specified
 rhythm.  Such note heads can be created:
@@ -2354,9 +2423,7 @@ rhythm.  Such note heads can be created:
 
 
 @predefined
-@funindex \improvisationOn
 @code{\improvisationOn},
-@funindex \improvisationOff
 @code{\improvisationOff}.
 @endpredefined
 
diff --git a/Documentation/user/staff.itely b/Documentation/user/staff.itely
index 3791eacb71..acb129d021 100644
--- a/Documentation/user/staff.itely
+++ b/Documentation/user/staff.itely
@@ -6,852 +6,412 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.11.64"
-
 @node Staff notation
 @section Staff notation
 
-@lilypondfile[quote]{staff-headword.ly}
+@lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
+{staff-headword.ly}
+
+Notes, dynamic signs, rests, etc., are grouped with a set of horizontal
+lines, called a staff (plural @q{staves}).  In LilyPond, these
+lines are drawn using a separate layout object called @code{staff
+symbol}.
+
+Two or more staves can be grouped vertically in a @code{GrandStaff}, a
+@code{StaffGroup}, or a @code{ChoirStaff}.
 
-This section explains how to influence the appearance of staves,
-how to print scores with more than one staff, and how to add tempo
-indications and cue notes to staves.
 
 @menu
-* Displaying staves::
-* Modifying single staves::
-* Writing parts::
+* Displaying staves::           
+* Writing parts::               
 @end menu
 
 
 @node Displaying staves
 @subsection Displaying staves
 
-This section describes the different methods of creating and
-grouping staves.
-
 @menu
-* Instantiating new staves::
-* Grouping staves::
-* Nested staff groups::
+* System start delimiters::     
+* Staff symbol::                
+* Hiding staves::               
 @end menu
 
-
-@node Instantiating new staves
-@unnumberedsubsubsec Instantiating new staves
-
-@cindex new staff
-@cindex staff initiation
-@cindex staff instantiation
-@cindex staff, new
-@cindex staff, single
-@cindex drum staff
-@cindex percussion staff
-@cindex Gregorian transcription staff
-@cindex rhythmic staff
-@cindex tabstaff
-@cindex tablature
-
-@notation{Staves} (singular: @notation{staff}) are created with
-the @code{\new} or @code{\context} commands.  For details, see
-@ref{Creating contexts}.
-
-The basic staff context is @code{Staff}:
-
-@lilypond[verbatim,quote,relative=2]
-\new Staff { c4 d e f }
-@end lilypond
-
-The @code{DrumStaff} context creates a five-line staff set up for
-a typical drum set.  Each instrument is shown with a different
-symbol.  The instruments are entered in drum mode following a
-@code{\drummode} command, with each instrument specified by name.
-For details, see @ref{Percussion staves}.
-
-@lilypond[verbatim,quote]
-\new DrumStaff {
-  \drummode { cymc hh ss tomh }
-}
-@end lilypond
-
-@code{RhythmicStaff} creates a single-line staff that only
-displays the rhythmic values of the input.  Real durations are
-preserved. For details, see @ref{Showing melody rhythms}.
-
-@lilypond[verbatim,quote,relative=2]
-\new RhythmicStaff { c4 d e f }
-@end lilypond
-
-@code{TabStaff} creates a tablature with six strings in standard
-guitar tuning.  For details, see @ref{Default tablatures}.
-
-@lilypond[verbatim,quote,relative=2]
-\new TabStaff { c4 d e f }
-@end lilypond
-
-There are two staff contexts specific for the notation of ancient
-music: @code{MensuralStaff} and @code{VaticanaStaff}.  They are
-described in @ref{Pre-defined contexts}.
-
-The @code{GregorianTranscriptionStaff} context creates a staff to
-notate modern Gregorian chant.  It does not show bar lines.
-
-@lilypond[verbatim,quote,relative=2]
-\new GregorianTranscriptionStaff { c4 d e f e d }
-@end lilypond
-
-New single staff contexts may be defined.  For details, see
-@ref{Defining new contexts}.
-
-
-@seealso
-Music Glossary:
-@rglos{staff},
-@rglos{staves}.
-
-Notation Reference:
-@ref{Creating contexts},
-@ref{Percussion staves},
-@ref{Showing melody rhythms},
-@ref{Default tablatures},
-@ref{Pre-defined contexts},
-@ref{Staff symbol},
-@ref{Gregorian chant contexts},
-@ref{Mensural contexts},
-@ref{Defining new contexts}.
-
-Snippets:
-@rlsr{Staff notation}.
-
-Internals Reference:
-@rinternals{Staff},
-@rinternals{DrumStaff},
-@rinternals{GregorianTranscriptionStaff},
-@rinternals{RhythmicStaff},
-@rinternals{TabStaff},
-@rinternals{MensuralStaff},
-@rinternals{VaticanaStaff},
-@rinternals{StaffSymbol}.
-
-
-@node Grouping staves
-@unnumberedsubsubsec Grouping staves
+@node System start delimiters
+@unnumberedsubsubsec System start delimiters
 
 @cindex start of system
 @cindex staff, multiple
-@cindex staves, multiple
-@cindex system start delimiters
+@cindex vertical bracket
 @cindex bracket, vertical
 @cindex brace, vertical
-@cindex choir staff
+@cindex vertical brace
 @cindex grand staff
-@cindex piano staff
 @cindex staff group
 @cindex staff, choir
-@cindex staff, piano
 @cindex system
 
-Various contexts exist to group single staves together in order to
-form multi-stave systems.  Each grouping context sets the style of
-the system start delimiter and the behavior of bar lines.
+Many scores consist of more than one staff.  These staves can be
+grouped in several different ways:
 
-If no context is specified, the default properties will be used:
-the group is started with a vertical line, and the bar lines are
-not connected.
+@itemize
+@item
+In a @code{GrandStaff}, the group is started with a brace
+at the left, and bar lines are connected between the staves. 
 
-@lilypond[verbatim,quote,relative=2]
-<<
-  \new Staff { c1 c }
+@lilypond[verbatim,ragged-right,quote]
+\new GrandStaff
+\relative <<
   \new Staff { c1 c }
+  \new Staff { c c }
 >>
 @end lilypond
 
-In the @code{StaffGroup} context, the group is started with a
-bracket and bar lines are drawn through all the staves.
+@item
+In a @code{StaffGroup}, the bar lines will be drawn through
+all the staves, but the group is started with a bracket.
 
-@lilypond[verbatim,quote,relative=2]
-\new StaffGroup <<
-  \new Staff { c1 c }
+@lilypond[verbatim,ragged-right,quote]
+\new StaffGroup
+\relative <<
   \new Staff { c1 c }
+  \new Staff { c c }
 >>
 @end lilypond
 
-In a @code{ChoirStaff}, the group starts with a bracket, but bar
-lines are not connected.
+@item
+In a @code{ChoirStaff}, the group is started with a
+bracket, but bar lines are not connected. 
 
-@lilypond[verbatim,quote,relative=2]
-\new ChoirStaff <<
-  \new Staff { c1 c }
+@lilypond[verbatim,ragged-right,quote]
+\new ChoirStaff
+\relative <<
   \new Staff { c1 c }
+  \new Staff { c c }
 >>
 @end lilypond
 
-In a @code{GrandStaff}, the group begins with a brace, and bar
-lines are connected between the staves.
+@item
+If no context is specified, the default properties for the score
+will be used: the group is started with a vertical line, and the
+bar lines are not connected.  
 
-@lilypond[verbatim,quote,relative=2]
-\new GrandStaff <<
-  \new Staff { c1 c }
+@lilypond[verbatim,ragged-right,quote]
+\relative <<
   \new Staff { c1 c }
+  \new Staff { c c }
 >>
 @end lilypond
+@end itemize
 
-The @code{PianoStaff} is identical to a @code{GrandStaff}, except
-that it supports printing the instrument name directly.  For
-details, see @ref{Instrument names}.
+@cindex Mensurstriche layout
+@cindex Renaissance music
 
-@lilypond[verbatim,quote,relative=2]
-\new PianoStaff <<
-  \set PianoStaff.instrumentName = "Piano"
-  \new Staff { c1 c }
-  \new Staff { c1 c }
->>
-@end lilypond
-
-Each staff group context sets the property
-@code{systemStartDelimiter} to one of the following values:
-@code{SystemStartBar}, @code{SystemStartBrace}, or
-@code{SystemStartBracket}.  A fourth delimiter,
-@code{SystemStartSquare}, is also available, but it must be
-explicitly specified.
-
-New staff group contexts may be defined.  For details, see
-@ref{Defining new contexts}.
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{use-square-bracket-at-the-start-of-a-staff-group.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{display-bracket-with-only-one-staff-in-a-system.ly}
-
-@cindex mensurstriche layout
-@cindex renaissance music
-@cindex transcription of mensural music
-@cindex mensural music, transcription of
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{mensurstriche-layout-bar-lines-between-the-staves.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{brace},
-@rglos{bracket},
-@rglos{grand staff}.
-
-Notation Reference:
-@ref{Instrument names},
-@ref{Defining new contexts}.
-
-Snippets:
-@rlsr{Staff notation}.
-
-Internals Reference:
-@rinternals{Staff},
-@rinternals{StaffGroup},
-@rinternals{ChoirStaff},
-@rinternals{GrandStaff},
-@rinternals{PianoStaff},
-@rinternals{SystemStartBar},
-@rinternals{SystemStartBrace},
-@rinternals{SystemStartBracket},
-@rinternals{SystemStartSquare}.
-
-
-@node Nested staff groups
-@unnumberedsubsubsec Nested staff groups
+In addition to these four staff group types, other groupings can
+be produced by changing various properties. E.g., the
+@q{Mensurstriche} layout common in Renaissance music, with
+bar lines running between but not through the staves, can be
+produced from a @code{StaffGroup} or @code{GrandStaff} context if
+the bar lines are made transparent in the @code{Staff} itself, with
+the command @code{\override Staff.BarLine #'transparent = ##t}
 
 @cindex staff, nested
-@cindex staves, nested
-@cindex nesting of staves
-@cindex system start delimiters, nested
-@cindex nested staff brackets
-@cindex brackets, nesting of
-@cindex braces, nesting of
-
-Staff-group contexts can be nested to arbitrary depths.  In this
-case, each child context creates a new bracket adjacent to the
-bracket of its parent group.
-
-@lilypond[verbatim,quote,relative=2]
-\new StaffGroup <<
-  \new Staff { c2 c | c2 c }
-  \new StaffGroup <<
-    \new Staff { g2 g | g2 g }
-    \new StaffGroup \with {
-      systemStartDelimiter = #'SystemStartSquare
-    }
-    <<
-      \new Staff { e2 e | e2 e }
-      \new Staff { c2 c | c2 c }
-    >>
-  >>
+
+Staff groups can be nested, using the context
+@code{InnerStaffGroup} or @code{InnerChoirStaff}; see
+@lsr{staff,staff-brackets.ly}
+@c snippet 137
+
+@commonprop
+
+More complex nesting can be accomplished using the property
+@code{systemStartDelimiterHierarchy}: 
+
+@lilypond[quote,ragged-right,verbatim]
+\new StaffGroup
+\relative <<
+  \set StaffGroup.systemStartDelimiterHierarchy
+    = #'(SystemStartSquare (SystemStartBracket a
+                             (SystemStartSquare b)) d)
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
+  \new Staff { c1 }
 >>
 @end lilypond
 
-New nested staff group contexts can be defined.  For details, see
-@ref{Defining new contexts}.
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{nesting-staves.ly}
-
+Each staff group context sets the property
+@code{systemStartDelimiter} to one of the values
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace},
+and @internalsref{SystemStartBracket}.  A fourth delimiter,
+@code{systemStartSquare}, is also available, but must be
+instantiated manually.
+
+@c FIXME: Graham will deal with this.  -gp
+@c snippet 201
+To display a bracket even if there is only one staff, see
+@lsr{staff,display-bracket-with-only-one-staff-in-a
+system.ly}
 
 @seealso
-Notation Reference:
-@ref{Grouping staves},
-@ref{Instrument names},
-@ref{Defining new contexts}.
-
-Snippets:
-@rlsr{Staff notation}.
 
-Internals Reference:
-@rinternals{StaffGroup},
-@rinternals{ChoirStaff},
-@rinternals{SystemStartBar},
-@rinternals{SystemStartBrace},
-@rinternals{SystemStartBracket},
-@rinternals{SystemStartSquare}.
+Music Glossary: @rglos{brace}, @rglos{staff}, @rglos{staves}
+@rglos{bracket}.
 
+Snippets: @lsrdir{staff}
 
-@node Modifying single staves
-@subsection Modifying single staves
-
-This section explains how to change specific attributes of one
-staff: for example, modifying the number of staff lines or the
-staff size.  Methods to start and stop staves and set ossia
-sections are also described.
-
-@menu
-* Staff symbol::
-* Ossia staves::
-* Hiding staves::
-@end menu
+Internals Reference: @internalsref{ChoirStaff},
+@internalsref{GrandStaff}, @internalsref{StaffGroup},
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace},
+@internalsref{SystemStartBracket},
+@internalsref{systemStartDelimiterHierarchy}.
 
 
 @node Staff symbol
 @unnumberedsubsubsec Staff symbol
 
-@cindex adjusting staff symbol
-@cindex drawing staff symbol
-@cindex staff symbol, setting of
-@cindex stop staff lines
-@cindex start staff lines
-@cindex staff lines, amount of
-@cindex staff lines, number of
-@cindex staff line, thickness of
-@cindex amount of staff lines
-@cindex thickness of staff lines
-@cindex ledger lines, setting
-@cindex setting of ledger lines
-@cindex spacing of ledger lines
-@cindex number of staff lines
-
-The lines of a staff belong to the @code{StaffSymbol} grob.
-@code{StaffSymbol} properties can be modified to change the
-appearance of a staff, but they must be modified before the staff
-is created.
-
-The number of staff lines may be changed.  The clef position and
-the position of middle C may need to be modified to fit the new
-staff.  For an explanation, refer to the snippet section in
-@ref{Clef}.
-
-@lilypond[verbatim,quote,relative=2]
-\new Staff \with {
-  \override StaffSymbol #'line-count = #3
-}
-{ d4 d d d }
-@end lilypond
-
-Staff line thickness can be modified.  The thickness of ledger
-lines and stems are also affected, since they depend on staff line
-thickness.
+@cindex staff symbol, adjusting
+@cindex staff, starting
+@cindex staff, stopping
 
-@lilypond[verbatim,quote,relative=1]
-\new Staff \with {
-  \override StaffSymbol #'thickness = #3
-}
-{ e4 d c b }
-@end lilypond
-
-Ledger line thickness can be set independently of staff line
-thickness.  In the example the two numbers are factors multiplying
-the staff line thickness and the staff line spacing.  The two
-contributions are added to give the ledger line thickness.
-
-@lilypond[verbatim,quote,relative=1]
-\new Staff \with {
-  \override StaffSymbol #'ledger-line-thickness = #'(1 . 0.2)
-}
-{ e4 d c b }
-@end lilypond
-
-The distance between staff lines can be changed.  This setting
-affects the spacing of ledger lines as well.
-
-@lilypond[verbatim,quote,relative=1]
-\new Staff \with {
-  \override StaffSymbol #'staff-space = #1.5
-}
-{ a4 b c d }
-@end lilypond
-
-Further details about the properties of @code{StaffSymbol} can be
-found in @rinternals{staff-symbol-interface}.
-
-@funindex \startStaff
+@fundindex \startStaff
+@funindex startStaff
 @funindex \stopStaff
-
-Modifications to staff properties in the middle of a score can be
-placed between @code{\stopStaff} and @code{\startStaff}:
-
-@lilypond[verbatim,quote,relative=2]
-c2 c
-\stopStaff
-\override Staff.StaffSymbol #'line-count = #2
-\startStaff
-b2 b
-\stopStaff
+@funindex stopStaff
+
+The layout object which draws the lines of a staff is called
+@code{staff symbol}.  The staff symbol may be tuned in the number,
+thickness and distance of lines, using properties.  This is
+demonstrated in the example files
+@lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
+@lsr{staff,changing-the-staff-size.ly}.
+
+In addition, staves may be started and stopped at will.  This is
+done with @code{\startStaff} and @code{\stopStaff}.
+
+@lilypond[verbatim,relative=2,fragment]
+b4 b
+\override Staff.StaffSymbol #'line-count = 2
+\stopStaff \startStaff
+b b
 \revert Staff.StaffSymbol #'line-count
-\startStaff
-a2 a
+\stopStaff \startStaff
+b b
 @end lilypond
 
-@cindex stopping a staff
-
-@noindent
-In general, @code{\startStaff} and @code{\stopStaff} can be used
-to stop or start a staff in the middle of a score.
-
-@lilypond[verbatim,quote,relative=2]
-c4 b a2
-\stopStaff
-b4 c d2
-\startStaff
-e4 d c2
-@end lilypond
-
-
-@predefined
-@code{\startStaff},
-@code{\stopStaff}.
-@endpredefined
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{making-some-staff-lines-thicker-than-the-others.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{line},
-@rglos{ledger line},
-@rglos{staff}.
-
-Notation Reference:
-@ref{Clef}.
-
-Snippets:
-@rlsr{Staff notation}.
-
-Internals Reference:
-@rinternals{StaffSymbol},
-@rinternals{staff-symbol-interface}.
-
-
-@knownissues
-
-When setting vertical staff line positions manually, bar lines are
-always centered on position 0, so the maximum distance between the
-outermost bar lines in either direction must be equal.
-
-
-@node Ossia staves
-@unnumberedsubsubsec Ossia staves
-
-@cindex staff, Frenched
+@cindex staves, Frenched
 @cindex ossia
 @cindex Frenched staves
-@cindex staff, resizing of
-@cindex resizing of staves
-
-@notation{Ossia} staves can be set by creating a new simultaneous
-staff in the appropriate location:
-
-@lilypond[verbatim,quote]
-\new Staff \relative c'' {
-  c4 b d c
-  <<
-    { c4 b d c }
-    \new Staff { e4 d f e }
-  >>
-  c4 b c2
-}
-@end lilypond
 
-@noindent
-However, the above example is not what is usually desired.  To
-create ossia staves that are above the original staff, have no
-time signature or clef, and have a smaller font size, tweaks must
-be used.  The Learning Manual describes a specific technique to
-achieve this goal, beginning with
-@rlearning{Nesting music expressions}.
-
-The following example uses the @code{alignAboveContext} property
-to align the ossia staff.  This method is most appropriate when
-only a few ossia staves are needed.
-
-@lilypond[verbatim,quote]
-\new Staff = main \relative c'' {
-  c4 b d c
-  <<
-    { c4 b d c }
-
-    \new Staff \with {
-      \remove "Time_signature_engraver"
-      alignAboveContext = #"main"
-      fontSize = #-3
-      \override StaffSymbol #'staff-space = #(magstep -3)
-      \override StaffSymbol #'thickness = #(magstep -3)
-      firstClef = ##f
-    }
-    { e4 d f e }
-  >>
-  c4 b c2
-}
-@end lilypond
-
-If many isolated ossia staves are needed, creating an empty
-@code{Staff} context with a specific @emph{context id} may be more
-appropriate; the ossia staves may then be created by
-@emph{calling} this context and using @code{\startStaff} and
-@code{\stopStaff} at the desired locations.  The benefits of this
-method are more apparent if the piece is longer than the following
-example.
+In combination with Frenched staves, this may be used to typeset
+@emph{ossia} sections.  An example is shown here
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,relative=2,quote]
 <<
-  \new Staff = ossia \with {
+  \new Staff \with
+  {
     \remove "Time_signature_engraver"
-    \override Clef #'transparent = ##t
-    fontSize = #-3
-    \override StaffSymbol #'staff-space = #(magstep -3)
-    \override StaffSymbol #'thickness = #(magstep -3)
+    fontSize = #-2
+    \override StaffSymbol #'staff-space = #(magstep -2)
+    firstClef = ##f
   }
-  { \stopStaff s1*6 }
-
-  \new Staff \relative c' {
-    c4 b c2
-    <<
-      { e4 f e2 }
-      \context Staff = ossia {
-        \startStaff e4 g8 f e2 \stopStaff
-      }
-    >>
-    g4 a g2 \break
-    c4 b c2
-    <<
-      { g4 a g2 }
-      \context Staff = ossia {
-        \startStaff g4 e8 f g2 \stopStaff
-      }
-    >>
-    e4 d c2
-  }
->>
-@end lilypond
+  \relative c'' {
+    \stopStaff
+    \skip 2
 
-Using the @code{\RemoveEmptyStaffContext} command to create ossia
-staves may be used as an alternative.  This method is most
-convenient when ossia staves occur immediately following a line
-break.  In this case, spacer rests do not need to be used at all;
-only @code{\startStaff} and @code{\stopStaff} are necessary.  For
-more information about @code{\RemoveEmptyStaffContext}, see
-@ref{Hiding staves}.
+    \startStaff
+    \clef treble
+    bes8[^"ossia" g bes g]
+    \stopStaff
 
-@lilypond[verbatim,quote,ragged-right]
-<<
-  \new Staff = ossia \with {
-    \remove "Time_signature_engraver"
-    \override Clef #'transparent = ##t
-    fontSize = #-3
-    \override StaffSymbol #'staff-space = #(magstep -3)
-    \override StaffSymbol #'thickness = #(magstep -3)
+    s2
+
+    \startStaff
+    f8 d g4 
   }
-  \new Staff \relative c' {
-    c4 b c2
-    e4 f e2
-    g4 a g2 \break
-    <<
-      { c4 b c2 }
-      \context Staff = ossia {
-        c4 e8 d c2 \stopStaff
-      }
-    >>
-    g4 a g2
-    e4 d c2
+  \new Staff  \relative
+  {
+    \time 2/4
+    c4 c g' g a a g2
   }
->>
 
-\layout {
-  \context {
-    \RemoveEmptyStaffContext
-    \override VerticalAxisGroup #'remove-first = ##t
-  }
-}
+>>
 @end lilypond
 
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{vertically-aligning-ossias-and-lyrics.ly}
-
+@cindex staff lines, setting number of
+@cindex staff lines, setting thickness of
+@cindex thickness of staff lines, setting
+@cindex number of staff lines, setting
 
 @seealso
-Music Glossary:
-@rglos{ossia},
-@rglos{staff},
-@rglos{Frenched staff}.
 
-Learning Manual:
-@rlearning{Nesting music expressions},
-@rlearning{Size of objects},
-@rlearning{Length and thickness of objects}.
+Music Glossary: @rglos{ossia}, @rglos{staff}, @rglos{Frenched staff}.
 
-Notation Reference:
-@ref{Hiding staves}.
+Snippets: @lsrdir{staff}
 
-Snippets:
-@rlsr{Staff notation}.
-
-Internals Reference:
-@rinternals{StaffSymbol}.
+Internals Reference: @internalsref{StaffSymbol},
+@internalsref{DrumStaff}.
 
 
 @node Hiding staves
 @unnumberedsubsubsec Hiding staves
 
-@cindex Frenched score
-@cindex Frenched staff
-@cindex staff, hiding
-@cindex staff, empty
-@cindex hiding of staves
-@cindex empty staves
-
-Staff lines can be hidden by removing the
-@code{Staff_symbol_engraver} from the @code{Staff} context.  As an
-alternative, @code{\stopStaff} may be used.
-
-@lilypond[verbatim,quote]
-\new Staff \with {
-  \remove "Staff_symbol_engraver"
-}
-\relative c''' { a8 f e16 d c b a2 }
-@end lilypond
-
-@funindex \RemoveEmptyStaffContext
+@cindex Frenched scores
+@cindex staves, hiding empty
+@cindex hiding empty staves
 
-Empty staves can be hidden by setting the
-@code{\RemoveEmptyStaffContext} command in the @code{\layout}
-block.  In orchestral scores, this style is known as @q{Frenched
-Score}.  By default, this command hides and removes all empty
-staves in a score except for those in the first system.
+In orchestral scores, staff lines that only have rests are usually
+removed; this saves some space.  This style is called @q{French
+Score}.  For @code{Lyrics}, @code{ChordNames} and
+@code{FiguredBass}, this is switched on by default.  When
+the lines of these contexts turn out empty after the line-breaking
+process, they are removed.
 
-@warning{A staff is considered empty when it contains only
-multi-measure rests, skips, spacer rests, or a combination of these
-elements.}
+For normal staves, a specialized @code{Staff} context is
+available, which does the same: staves containing nothing (or only
+multi-measure rests) are removed.  The context definition is
+stored in @code{\RemoveEmptyStaffContext} variable.  Observe how
+the second staff in this example disappears in the second line
 
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
 \layout {
-  \context {
-    \RemoveEmptyStaffContext
-  }
+  \context { \RemoveEmptyStaffContext }
 }
 
-\relative c' <<
-  \new Staff {
-    e4 f g a \break
-    b1 \break
-    a4 b c2
-  }
-  \new Staff {
-    c,4 d e f \break
-    R1 \break
-    f4 g c,2
-  }
->>
+{
+  \relative c' <<
+    \new Staff { e4 f g a \break c1 }
+    \new Staff { c4 d e f \break R1 }
+  >>
+}
 @end lilypond
 
-@cindex ossia
-
-@noindent
-@code{\RemoveEmptyStaffContext} can also be used to create ossia
-sections for a staff.  For details, see @ref{Ossia staves}.
-
-@cindex hiding ancient staves
-@cindex hiding rhythmic staves
-@funindex \AncientRemoveEmptyStaffContext
-@funindex \RemoveEmptyRhythmicStaffContext
-
-The @code{\AncientRemoveEmptyStaffContext} command may be used to
-hide empty staves in ancient music contexts.  Similarly,
-@code{\RemoveEmptyRhythmicStaffContext} may be used to hide empty
-@code{RhythmicStaff} contexts.
+The first system shows all staves in full.  If empty staves should
+be removed from the first system too, set @code{remove-first} to
+true in @code{VerticalAxisGroup}.
 
+@example
+\override Score.VerticalAxisGroup #'remove-first = ##t
+@end example
 
-@predefined
-@code{\RemoveEmptyStaffContext},
-@code{\AncientRemoveEmptyStaffContext},
+To remove other types of contexts, use
+@code{\AncientRemoveEmptyStaffContext} or
 @code{\RemoveEmptyRhythmicStaffContext}.
-@endpredefined
-
-
-@snippets
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{removing-the-first-empty-line.ly}
+@cindex ossia
 
+Another application of the @code{\RemoveEmptyStaffContext} is to
+make ossia sections, i.e., alternative melodies on a separate
+piece of staff, with help of a Frenched staff.  See @ref{Staff
+symbol}. 
 
-@seealso
-Music Glossary:
-@rglos{Frenched staff}.
+You can make the staff lines invisible by removing the
+@code{Staff_symbol_engraver} from the @code{Staff} context.
 
-Notation Reference:
-@ref{Staff symbol},
-@ref{Ossia staves}.
 
-Snippets:
-@rlsr{Staff notation}.
+@lilypond[quote,ragged-right,verbatim]
+\score {
+  \context Staff \relative c'' { c8 c c16 c c c }
+  \layout{
+    \context {
+      \Staff
+      \remove Staff_symbol_engraver
+    }
+  }
+}
+@end lilypond
 
-Internals Reference:
-@rinternals{ChordNames},
-@rinternals{FiguredBass},
-@rinternals{Lyrics},
-@rinternals{Staff},
-@rinternals{VerticalAxisGroup},
-@rinternals{Staff_symbol_engraver}.
+@seealso
 
+Notation Reference: @ref{Staff symbol}.
 
-@knownissues
-
-Removing @code{Staff_symbol_engraver} also hides bar lines.  If
-bar line visibility is forced, formatting errors may occur.  In
-this case, use the following overrides instead of removing the
-engraver:
-
-@example
-\override StaffSymbol #'stencil = ##f
-\override NoteHead #'no-ledgers = ##t
-@end example
+Snippets: @lsrdir{staff}
 
+Internals Reference: @internalsref{ChordNames},
+@internalsref{FiguredBass}, @internalsref{Lyrics},
+@internalsref{Staff}, @internalsref{VerticalAxisGroup}.
 
 @node Writing parts
 @subsection Writing parts
 
-This section explains how to insert tempo indications and
-instrument names into a score.  Methods to quote other voices and
-format cue notes are also described.
-
 @menu
-* Metronome marks::
-* Instrument names::
-* Quoting other voices::
-* Formatting cue notes::
+* Metronome marks::             
+* Instrument names::            
+* Quoting other voices::        
+* Formatting cue notes::        
 @end menu
 
-
 @node Metronome marks
 @unnumberedsubsubsec Metronome marks
 
 @cindex tempo
 @cindex beats per minute
 @cindex metronome marking
-@cindex metronome marking with text
-@funindex \tempo
 
-A basic metronome mark is simple to write:
+@funindex \tempo
+@funindex tempo
 
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
-@end lilypond
+Metronome settings can be entered as follows
 
-Tempo indications with text can be used instead:
+@example
+\tempo @var{duration} = @var{per-minute}
+@end example
 
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
-@end lilypond
+In the MIDI output, they are interpreted as a tempo change.  In
+the layout output, a metronome marking is printed
 
-Combining a metronome mark and text will automatically place the
-metronome mark within parentheses:
 
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
+@lilypond[quote,ragged-right,verbatim,fragment]
+\tempo 8.=120 c''1
 @end lilypond
 
-In general, the text can be any markup object:
 
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
-@end lilypond
+@commonprop
 
-A parenthesized metronome mark with no textual indication may be
-written by including an empty string in the input:
+To change the tempo in the MIDI output without printing anything,
+make the metronome marking invisible @example \once \override
+Score.MetronomeMark #'transparent = ##t @end example
 
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
+To print other metronome markings, use these markup commands
+@lilypond[quote,ragged-right,verbatim,relative,fragment]
+c4^\markup {
+  (
+  \smaller \general-align #Y #DOWN \note #"16." #1
+  =
+  \smaller \general-align #Y #DOWN \note #"8" #1
+  ) }
 @end lilypond
 
+@noindent
+For more details, see @ref{Text markup}.
 
-@snippets
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
+@seealso
 
-@c perhaps also an example of how to move it horizontally?
+Music Glossary: @rglos{metronome}, @rglos{metronomic indication},
+@rglos{tempo indication}, @rglos{metronome mark}.
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{changing-the-tempo-without-a-metronome-mark.ly}
+Notation Reference: @ref{Text markup}.
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{creating-metronome-marks-in-markup-mode.ly}
+Snippets: @lsrdir{staff}.
 
-For more details, see @ref{Formatting text}.
+Internals Reference: @internalsref{MetronomeMark}, @ref{MIDI
+output}.
 
 
-@seealso
-Music Glossary:
-@rglos{metronome},
-@rglos{metronomic indication},
-@rglos{tempo indication},
-@rglos{metronome mark}.
+@refbugs
 
-Notation Reference:
-@ref{Formatting text},
-@ref{MIDI output}.
+Collisions are not checked.  If you have notes above the top line
+of the staff (or notes with articulations, slurs, text, etc), then
+the metronome marking may be printed on top of musical symbols.
+If this occurs, increase the padding of the metronome mark to
+place it further away from the staff.
 
-Snippets:
-@rlsr{Staff notation}.
+@example
+\override Score.MetronomeMark #'padding = #2.5
+@end example
 
-Internals Reference:
-@rinternals{MetronomeMark}.
+@c perhaps also an example of how to move it horizontally?
 
 
 @node Instrument names
@@ -860,92 +420,100 @@ Internals Reference:
 @cindex instrument names
 @cindex instrument names, short
 
-Instrument names can be printed on the left side of staves in the
-@code{Staff} and @code{PianoStaff} contexts.  The value of
-@code{instrumentName} is used for the first staff, and the value
-of @code{shortInstrumentName} is used for all succeeding staves.
+In an orchestral score, instrument names are printed at the left
+side of the staves.
 
-@lilypond[verbatim,quote,ragged-right,relative=1]
-\set Staff.instrumentName = "Violin "
-\set Staff.shortInstrumentName = "Vln "
-c4.. g'16 c4.. g'16
-\break
+This can be achieved by setting @code{Staff}.@code{instrumentName} and
+@code{Staff}.@code{shortInstrumentName}, or
+@code{PianoStaff}.@code{instrumentName} and
+@code{PianoStaff}.@code{shortInstrumentName}.  This will print text
+before the start of the staff.  For the first staff,
+@code{instrumentName} is used.  If set, @code{shortInstrumentName} is
+used for the following staves.
+
+@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
+\set Staff.instrumentName = "Ploink "
+\set Staff.shortInstrumentName = "Plk "
 c1
+\break
+c''
 @end lilypond
 
-Markup mode can be used to create more complicated instrument
-names:
+You can also use markup texts to construct more complicated
+instrument names, for example
 
-@lilypond[verbatim,quote,relative=2]
+@lilypond[quote,fragment,verbatim,ragged-right]
 \set Staff.instrumentName = \markup {
   \column { "Clarinetti"
             \line { "in B" \smaller \flat } } }
-c4 c,16 d e f g2
+c''1
 @end lilypond
 
 @cindex instrument names, centering
-
-When two or more staff contexts are grouped together, the
-instrument names and short instrument names are centered by
-default.  To center multi-line instrument names,
-@code{\center-column} must be used:
-
-@lilypond[verbatim,quote,indent=1.5\cm,relative=2]
-<<
-  \new Staff {
-    \set Staff.instrumentName = "Flute"
-    f2 g4 f
-  }
-  \new Staff {
-    \set Staff.instrumentName = \markup \center-column {
-      Clarinet
-      \line { "in B" \smaller \flat }
-    }
-    c4 b c2
-  }
+@cindex centering instrument names
+@cindex aligning instrument names
+@cindex instrument names, aligning
+
+If you wish to center the instrument names, you must center all of
+them individually:
+
+@lilypond[quote,verbatim,ragged-right]
+{ <<
+\new Staff {
+  \set Staff.instrumentName = \markup {
+    \center-align { "Clarinetti"
+      \line { "in B" \smaller \flat } } }
+  c''1
+}
+\new Staff {
+  \set Staff.instrumentName =
+       \markup{ \center-align { Vibraphone }}
+  c''1
+}
 >>
+}
 @end lilypond
 
-@cindex indent
-@cindex short-indent
-
-However, if the instrument names are longer, the instrument names
-in a staff group may not be centered unless the @code{indent} and
-@code{short-indent} settings are increased.  For details about
-these settings, see @ref{Horizontal dimensions}.
+For longer instrument names, it may be useful to increase the
+@code{indent} setting in the @code{\layout} block.
 
-@lilypond[verbatim,quote,ragged-right]
-\layout {
-  indent = 3.0\cm
-  short-indent = 1.5\cm
-}
+To center instrument names while leaving extra space to the right,
 
-\relative c'' <<
+@lilypond[quote,verbatim,ragged-right]
+\new StaffGroup \relative
+<<
   \new Staff {
-    \set Staff.instrumentName = "Alto Flute in G"
-    \set Staff.shortInstrumentName = "Fl."
-    f2 g4 f \break
-    g4 f g2
+    \set Staff.instrumentName =
+        \markup { \hcenter-in #10 "blabla" }
+    c1 c1
   }
   \new Staff {
-    \set Staff.instrumentName = "Clarinet"
-    \set Staff.shortInstrumentName = "Clar."
-    c,4 b c2 \break
-    c2 b4 c
+    \set Staff.instrumentName =
+         \markup { \hcenter-in #10 "blo" }
+    c1 c1
   }
 >>
 @end lilypond
 
 To add instrument names to other contexts (such as
-@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}),
-@code{Instrument_name_engraver} must be added to that context.
-For details, see @ref{Modifying context plug-ins}.
+@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}), the
+engraver must be added to that context.
+
+@example
+\layout@{
+  \context @{\GrandStaff \consists "Instrument_name_engraver"@}
+@}
+@end example
+
+@noindent
+More information about adding and removing engravers can be found
+in @ref{Modifying context plug-ins}.
 
 @cindex instrument names, changing
 
-Instrument names may be changed in the middle of a piece:
+Instrument names may be changed in the middle of a piece,
 
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[quote,fragment,verbatim,ragged-right]
 \set Staff.instrumentName = "First"
 \set Staff.shortInstrumentName = "one"
 c1 c c c \break
@@ -956,56 +524,15 @@ c1 c c c \break
 c1 c c c \break
 @end lilypond
 
-@cindex instrument switch
-@cindex switching instruments
-
-If an instrument @emph{switch} is needed,
-@code{\addInstrumentDefinition} may be used in combination with
-@code{\instrumentSwitch} to create a detailed list of the
-necessary changes for the switch.  The
-@code{\addInstrumentDefinition} command has two arguments: an
-identifying string, and an association list of context properties
-and values to be used for the instrument.  It must be placed in
-the toplevel scope.  @code{\instrumentSwitch} is used in the music
-expression to declare the instrument switch:
-
-@lilypond[verbatim,quote,ragged-right]
-\addInstrumentDefinition #"contrabassoon"
-  #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
-     (shortInstrumentName . "Cbsn.")
-     (clefGlyph . "clefs.F")
-     (middleCPosition . 6)
-     (clefPosition . 2)
-     (instrumentCueName . ,(make-bold-markup "cbsn."))
-     (midiInstrument . "bassoon"))
-
-\new Staff \with {
-  instrumentName = "Bassoon"
-}
-\relative c' {
-  \clef tenor
-  \compressFullBarRests
-  c2 g'
-  R1*16
-  \instrumentSwitch "contrabassoon"
-  c,,2 g \break
-  c,1 ~ | c1
-}
-@end lilypond
-
 
 @seealso
-Notation Reference:
-@ref{Horizontal dimensions},
-@ref{Modifying context plug-ins}.
 
-Snippets:
-@rlsr{Staff notation}.
+Notation Reference: @ref{Modifying context plug-ins}.
 
-Internals Reference:
-@rinternals{InstrumentName},
-@rinternals{PianoStaff},
-@rinternals{Staff}.
+Snippets: @lsrdir{staff}
+
+Internals Reference: @internalsref{InstrumentName},
+@internalsref{PianoStaff}, @internalsref{Staff}.
 
 
 @node Quoting other voices
@@ -1015,113 +542,114 @@ Internals Reference:
 @cindex quoting other voices
 @cindex fragments
 @cindex cue notes
-
-It is very common for one voice to double some of the music from
-another voice.  For example, the first and second violins may play the
-same notes during a passage of music.  In LilyPond this is accomplished
-by letting one voice @emph{quote} the other voice without having to
-re-enter it.
-
-Before a part can be quoted, the @code{\addQuote} command must be used
-to initialize the quoted fragment.  This command must be used in the
-toplevel scope.  The first argument is an identifying string, and the
-second is a music expression:
+@cindex cue transposition
+@cindex trasposition of cue notes
+@cindex quote transposition
+@cindex transposition of quotes
+
+@funindex \addQuote
+@funindex addQuote
+@funindex \quoteDuring
+@funindex quoteDuring
+@funindex \cueDuring
+@funindex cueDuring
+@funindex \transposition
+@funindex transposition
+
+With quotations, fragments of other parts can be inserted into a
+part directly.  Before a part can be quoted, it must be marked
+especially as quotable.  This is done with the @code{\addQuote}
+command.
 
 @example
-flute = \relative c'' @{
-  a4 gis g gis
-@}
-\addQuote "flute" @{ \flute @}
+\addQuote @var{name} @var{music}
 @end example
 
-The @code{\quoteDuring} command is used to indicate the point where the
-quotation begins.  It is followed by two arguments: the name of the
-quoted voice, as defined with @code{\addQuote}, and a music expression
-that indicates the duration of the quote, usually spacer rests or
-multi-measure rests.  The corresponding music from the quoted voice is
-inserted into the music expression:
 
-@lilypond[verbatim,quote]
-flute = \relative c'' {
-  a4 gis g gis
-}
-\addQuote "flute" { \flute }
+@noindent
+Here, @var{name} is an identifying string.  The @var{music} is any
+kind of music.  Here is an example of @code{\addQuote}
 
-\relative c' {
-  c4 cis \quoteDuring #"flute" { s2 }
-}
-@end lilypond
+@example
+\addQuote clarinet \relative c' @{
+  f4 fis g gis
+@}
+@end example
 
-If the music expression used for @code{\quoteDuring} contains
-anything but a spacer rest or multi-measure rest, a polyphonic
-situation is created, which is often not desirable:
+This command must be entered at toplevel, i.e., outside any music
+blocks.  Typically, one would use an already defined music event
+as the @var{music}:
 
-@lilypond[verbatim,quote]
-flute = \relative c'' {
-  a4 gis g gis
-}
-\addQuote "flute" { \flute }
-
-\relative c' {
-  c4 cis \quoteDuring #"flute" { c4 b }
-}
-@end lilypond
+@example
+clarinet = \relative c' @{
+  f4 fis g gis
+@}
+\addQuote clarinet @{ \clarinet @}
+@end example
 
-Quotations recognize instrument transposition settings for both
-the source and target instruments if the @code{\transposition}
-command is used.  For details about @code{\transposition}, see
-@ref{Instrument transpositions}.
 
-@lilypond[verbatim,quote]
-clarinet = \relative c'' {
-  \transposition bes
-  a4 gis g gis
-}
-\addQuote "clarinet" { \clarinet }
+After calling @code{\addQuote}, the quotation may then be done
+with @code{\quoteDuring} or @code{\cueDuring},
 
-\relative c' {
-  c4 cis \quoteDuring #"clarinet" { s2 }
-}
-@end lilypond
+@example
+\quoteDuring #@var{name} @var{music}
+@end example
 
-It is possible to tag quotations with unique names in order to
-process them in different ways.  For details about this procedure,
-see @ref{Using tags}.
+During a part, a piece of music can be quoted with the
+@code{\quoteDuring} command.
 
+@example
+\quoteDuring #"clarinet" @{ s2. @}
+@end example
 
-@snippets
+This would cite three quarter notes (the duration of @code{s2.})
+of the previously added @code{clarinet} voice.
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{quoting-another-voice-with-transposition.ly}
+More precisely, it takes the current time-step of the part being
+printed, and extracts the notes at the corresponding point of the
+@code{\addQuote}d voice.  Therefore, the argument to
+@code{\addQuote} should be the entire part of the voice to be
+quoted, including any rests at the beginning.
 
-@cindex note-event
-@cindex articulation-event
-@cindex dynamic-event
-@cindex rest-event
-@funindex quotedEventTypes
+It is possible to use another music expression instead of
+@code{s}, thus creating a polyphonic section, but this may not
+always give the desired result.
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{quoting-another-voice.ly}
+Quotations take into account the transposition of both source and
+target instruments, if they are specified using the
+@code{\transposition} command.
 
+@lilypond[quote,ragged-right,verbatim]
+\addQuote clarinet \relative c' {
+  \transposition bes
+  f4 fis g gis
+}
 
-@seealso
-Notation Reference:
-@ref{Instrument transpositions},
-@ref{Using tags}.
+{
+  e'8 f'8 \quoteDuring #"clarinet" { s2 }
+}
+@end lilypond
 
-Snippets:
-@rlsr{Staff notation}.
+The type of events that are present in the quoted music can be
+trimmed with the @code{quotedEventTypes} property.  The default
+value is @code{(note-event rest-event)}, which means that only
+notes and rests of the quoted voice end up in the
+@code{\quoteDuring}.  Setting
 
-Internals Reference:
-@rinternals{QuoteMusic},
-@rinternals{Voice}.
+@example
+\set Staff.quotedEventTypes =
+       #'(note-event articulation-event dynamic-event)
+@end example
 
+@noindent
+will quote notes (but no rests), together with scripts and
+dynamics.
 
-@knownissues
+@refbugs
 
 Only the contents of the first @code{Voice} occurring in an
 @code{\addQuote} command will be considered for quotation, so
-@var{music} cannot contain @code{\new} and @code{\context Voice}
+@var{music} can not contain @code{\new} and @code{\context Voice}
 statements that would switch to a different Voice.
 
 Quoting grace notes is broken and can even cause LilyPond to
@@ -1132,6 +660,14 @@ Quoting nested triplets may result in poor notation.
 In earlier versions of LilyPond (pre 2.11), @code{addQuote} was
 written entirely in lower-case letters: @code{\addquote}.
 
+@seealso
+
+Notation Reference: @ref{Instrument transpositions}.
+
+Snippets: @lsrdir{staff}
+
+Internals Reference: @internalsref{QuoteMusic}, @internalsref{Voice}.
+
 
 @node Formatting cue notes
 @unnumberedsubsubsec Formatting cue notes
@@ -1140,138 +676,119 @@ written entirely in lower-case letters: @code{\addquote}.
 @cindex cue notes
 @cindex cue notes, formatting
 @cindex fragments
-@cindex quoting other voices
+@cindex quoting other voices 
 @cindex cues, formatting
+@cindex transposing cue notes
+@cindex transposing cues
+@cindex cues, transposing
+@cindex cue notes, transposing
+
+@funindex \cueDuring
+@funindex cueDuring
+@funindex \transposedCueDuring
+@funindex transposedCueDuring
 
-The previous section explains how to create quotations.  The
-@code{\cueDuring} command is a more specialized form of
-@code{\quoteDuring}, being particularly useful for inserting cue
-notes into a part.  The syntax is as follows:
+The previous section deals with inserting notes from another
+voice.  There is a more advanced music function called
+@code{\cueDuring}, which makes formatting cue notes easier.
+
+The syntax is
 
 @example
-\cueDuring #@var{partname} #@var{voice} @var{music}
+  \cueDuring #@var{name} #@var{updown} @var{music}
 @end example
 
-This command copies the corresponding measures from @var{partname}
-into a @code{CueVoice} context.  The @code{CueVoice} is created
-implicitly, and occurs simultaneously with @var{music}, which
-creates a polyphonic situation.  The @var{voice} argument
-determines whether the cue notes should be notated as a first or
-second voice; @code{UP} corresponds to the first voice, and
-@code{DOWN} corresponds to the second.
-
-@lilypond[verbatim,quote]
-oboe = \relative c'' {
-  r2 r8 d16 f e g f a
-  g8 g16 g g2.
+This will insert notes from the part @var{name} into a
+@code{Voice} called @code{cue}.  This happens
+simultaneously with @var{music}, which usually is a rest.  When
+the cue notes start, the staff in effect becomes polyphonic for a
+moment.  The argument @var{updown} determines whether the cue
+notes should be notated as a first or second voice.
+
+
+@lilypond[verbatim,ragged-right]
+smaller = {
+  \set fontSize = #-2
+  \override Stem #'length-fraction = #0.8
+  \override Beam #'thickness = #0.384
+  \override Beam #'length-fraction = #0.8
 }
-\addQuote "oboe" { \oboe }
 
-\new Voice \relative c'' {
-  \cueDuring #"oboe" #UP { R1 }
-  g2 c,
+\addQuote clarinet \relative {
+  R1*20
+  r2 r8 c' f f
 }
-@end lilypond
 
-@noindent
-In the above example, the @code{Voice} context had to be
-explicitly declared, or else the entire music expression would
-belong to the @code{CueVoice} context.
+\new Staff \relative  <<
 
-The name of the cued instrument can be printed by setting the
-@code{instrumentCueName} property in the @code{CueVoice} context.
+  % setup a context for cue notes.
+  \new Voice = "cue" { \smaller \skip 1*21 }
 
-@lilypond[verbatim,quote]
-oboe = \relative c''' {
-  g4 r8 e16 f e4 d
-}
-\addQuote "oboe" { \oboe }
+  \set Score.skipBars = ##t
 
-\new Staff \relative c'' <<
-  \new CueVoice \with {
-    instrumentCueName = "ob."
-  }
   \new Voice {
-    \cueDuring #"oboe" #UP { R1 }
-    g4. b8 d2
+    R1*20
+    \cueDuring #"clarinet" #UP {
+      R1
+    }
+    g4 g2.
   }
 >>
 @end lilypond
 
-In addition to printing the name of the cued instrument, when cue
-notes end, the name of the original instrument should be printed,
-and any other changes introduced by the cued part should be
-undone.  This can be accomplished by using
-@code{\addInstrumentDefinition} and @code{\instrumentSwitch}.  For
-an example and explanation, see @ref{Instrument names}.
 
-The @code{\killCues} command removes cue notes from a music
-expression.  This can be useful if cue notes need to be removed
-from a part but may be restored at a later time.
+Here are a couple of hints for successful cue notes:
 
-@lilypond[verbatim,quote]
-flute = \relative c''' {
-  r2 cis2 r2 dis2
-}
-\addQuote "flute" { \flute }
+@itemize
+@item
+Cue notes have smaller font sizes.
 
-\new Voice \relative c'' {
-  \killCues {
-    \cueDuring #"flute" #UP { R1 }
-    g4. b8 d2
-  }
-}
-@end lilypond
+@item
+The cued part is marked with the instrument playing the cue.
 
-The @code{\transposedCueDuring} command is useful for adding
-instrumental cues from a completely different register.  The
-syntax is similar to @code{\cueDuring}, but it requires one extra
-argument to specify the transposition of the cued instrument.  For
-more information about transposition, see
-@ref{Instrument transpositions}.
+@item
+When the original part takes over again, this should be marked
+with the name of the original instrument.
 
-@lilypond[verbatim,quote]
-piccolo = \relative c''' {
+@item
+Any other changes introduced by the cued part should also be
+undone.  For example, if the cued instrument plays in a different
+clef, the original clef should be stated once again.
+
+@end itemize
+
+
+The macro @code{\transposedCueDuring} is useful to add cues to
+instruments which use a completely different octave range (for
+example, having a cue of a piccolo flute within a contra bassoon
+part).
+
+@lilypond[verbatim,ragged-right,quote]
+picc = \relative c''' {
   \clef "treble^8"
-  R1
-  c8 c c e g2
-  a4 g g2
+  R1 |
+  c8 c c e g2 |
+  a4 g g2 |
 }
-\addQuote "piccolo" { \piccolo }
+\addQuote "picc" { \picc }
 
-cbassoon = \relative c, {
+cbsn = \relative c, {
   \clef "bass_8"
   c4 r g r
-  \transposedCueDuring #"piccolo" #UP c,, { R1 }
-  c4 r g r
+  \transposedCueDuring #"picc" #UP c,, { R1 } |
+  c4 r g r |
 }
 
 <<
-  \new Staff = "piccolo" \piccolo
-  \new Staff = "cbassoon" \cbassoon
+  \context Staff = "picc" \picc
+  \context Staff = "cbsn" \cbsn
 >>
 @end lilypond
 
-It is possible to tag cued parts with unique names in order to
-process them in different ways.  For details about this procedure,
-see @ref{Using tags}.
-
-
 @seealso
-Notation Reference:
-@ref{Instrument transpositions},
-@ref{Instrument names},
-@ref{Using tags}.
-
-Snippets:
-@rlsr{Staff notation}.
 
-Internals Reference:
-@rinternals{CueVoice},
-@rinternals{Voice}.
+Snippets: @lsrdir{staff}.
 
+Internals Reference: @internalsref{Voice}.
 
-@knownissues
 
-Collisions can occur with rests, when using @code{\cueDuring},
-between @code{Voice} and @code{CueVoice} contexts.
-- 
2.39.2