From 671821ba1f1e9a065593b25ef427b2c66be83518 Mon Sep 17 00:00:00 2001
From: gpercival <gpercival>
Date: Thu, 23 Sep 2004 17:32:33 +0000
Subject: [PATCH] More editing.

---
 ChangeLog                         |   6 +
 Documentation/user/notation.itely | 100 ++++++-----
 Documentation/user/tutorial.itely | 279 +++++++++++++-----------------
 3 files changed, 181 insertions(+), 204 deletions(-)

diff --git a/ChangeLog b/ChangeLog
index 13525cd03e..5d5bcc9e55 100644
--- a/ChangeLog
+++ b/ChangeLog
@@ -1,3 +1,9 @@
+2004-09-23  Graham Percival  <gperlist@shaw.ca>
+
+	* Documentation/user/tutorial.itely: do manual style 2-space indents in examples
+
+	* Documentation/user/notation.itely: more editing.
+
 2004-09-23  Jan Nieuwenhuizen  <janneke@gnu.org>
 
 	* lily/slur-scoring.cc (get_bezier): Fix for broken beziers.
diff --git a/Documentation/user/notation.itely b/Documentation/user/notation.itely
index d5d39e02ea..bea79c5414 100644
--- a/Documentation/user/notation.itely
+++ b/Documentation/user/notation.itely
@@ -2120,7 +2120,7 @@ Metronome settings can be entered as follows
 In the MIDI output, they are interpreted as a tempo change.  In the
 paper output, a metronome marking is printed
 @cindex @code{\tempo}
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,verbatim,fragment]
   \tempo 8.=120 c''1
 @end lilypond
 
@@ -2727,27 +2727,37 @@ objects.  Vertical positioning of these symbols is handled by the
 @node Repeats
 @section Repeats
 
+Repetition is a central concept in music, and multiple notations exist
+for repetitions.
 
-@cindex repeats
-@cindex @code{\repeat}
+@menu
+* Repeat types::
+* Repeat syntax::               
+* Repeats and MIDI::            
+* Manual repeat commands::      
+* Tremolo repeats::             
+* Tremolo subdivisions::        
+* Measure repeats::             
+@end menu
 
+@node Repeat types
+@subsection Repeat types
 
-Repetition is a central concept in music, and multiple notations exist
-for repetitions.  In LilyPond, most of these notations can be captured
-in a uniform syntax.  One of the advantages is that repeats entered in
-this way can be rendered in MIDI accurately.
+@cindex repeats
+@cindex @code{\repeat}
 
 The following types of repetition are supported
 
 @table @code
 @item unfold
-Repeated music is fully written (played) out.  Useful for MIDI
-output, and entering repetitive music.
+Repeated music is fully written (played) out.  This is useful when
+entering repetitious music.  This is the only kind of repeat that
+is included in MIDI output.
 
 @item volta
 Repeats are not written out, but alternative endings (volte) are
 printed, left to right with brackets.  This is the standard notation
-for repeats with alternatives.
+for repeats with alternatives.  These are not played in MIDI output by default.
 
 @ignore
 @item fold
@@ -2758,22 +2768,14 @@ used to typeset two lines of lyrics in songs with repeats, see
 
 @c tremolo, beamed
 @item tremolo
-Make tremolo beams.
+Make tremolo beams.  These are not played in MIDI output by default.
 
 @item percent
-Make beat or measure repeats.  These look like percent signs.
+Make beat or measure repeats.  These look like percent signs.  These are not played
+in MIDI output by default.
 
 @end table  
 
-@menu
-* Repeat syntax::               
-* Repeats and MIDI::            
-* Manual repeat commands::      
-* Tremolo repeats::             
-* Tremolo subdivisions::        
-* Measure repeats::             
-@end menu
-
 @node Repeat syntax
 @subsection Repeat syntax
 
@@ -2879,27 +2881,28 @@ example by setting @code{Score.measurePosition} or entering
 
 @cindex expanding repeats
 
-An advantage of the unified syntax for repeats, is that all repeats
-may be played out for the MIDI output.  This is achieved by
-applying the @code{\unfoldrepeats} music function.
-
-@lilypond[verbatim,raggedright]
-\new Staff
-  \unfoldrepeats {
-    \repeat tremolo 8 {c'32 e' }
-    \repeat percent 2 { c''8 d'' }
-    \repeat volta 2 {c'4 d' e' f'} 
-    \alternative {
-      { g' a' a' g' }
-      {f' e' d' c' }
-    }
-    \bar "|."
+With a little bit of tweaking, all types of repeats can be present
+in the MIDI output.  This is achieved by applying the
+@code{\unfoldrepeats} music function.  This functions changes all
+repeats to unfold repeats.
+
+@lilypond[verbatim,raggedright,fragment]
+\unfoldrepeats {
+  \repeat tremolo 8 {c'32 e' }
+  \repeat percent 2 { c''8 d'' }
+  \repeat volta 2 {c'4 d' e' f'} 
+  \alternative {
+    { g' a' a' g' }
+    {f' e' d' c' }
   }
+}
+\bar "|."
 @end lilypond
 
 When creating a score file using @code{\unfoldrepeats} for midi, then
-it is necessary to make two @code{\score} blocks.  One for MIDI, with
-unfolded repeats, and one for notation, eg.
+it is necessary to make two @code{\score} blocks.  One for MIDI (with
+unfolded repeats) and one for notation (with volta, tremolo, and
+percent repeats).  For example,
 
 @example
   \score @{
@@ -2959,17 +2962,17 @@ Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
 To place tremolo marks between notes, use @code{\repeat} with tremolo
 style
 @lilypond[quote,verbatim,raggedright]
-  \context Voice \relative c' {
-    \repeat "tremolo" 8 { c16 d16 }
-    \repeat "tremolo" 4 { c16 d16 }    
-    \repeat "tremolo" 2 { c16 d16 }
-  }
+\new Voice \relative c' {
+  \repeat "tremolo" 8 { c16 d16 }
+  \repeat "tremolo" 4 { c16 d16 }    
+  \repeat "tremolo" 2 { c16 d16 }
+}
 @end lilypond
 
 Tremolo marks can also be put on a single note.  In this case, the
 note should not be surrounded by braces.
 @lilypond[quote,verbatim,raggedright]
-\repeat "tremolo" 4 c'16
+  \repeat "tremolo" 4 c'16
 @end lilypond
 
 Similar output is obtained using the tremolo subdivision, described in
@@ -2999,10 +3002,11 @@ length is omitted, the last value (stored in @code{tremoloFlags}) is
 used
 
 @lilypond[quote,verbatim,fragment]
-c'2:8 c':32 | c': c': |
+  c'2:8 c':32 | c': c': |
 @end lilypond
 
 @c [TODO : stok is te kort bij 32en]
+@c   somebody want to translate that into English?  :)
 
 @refbugs
 
@@ -3026,9 +3030,9 @@ Patterns of one and two measures are replaced by percent-like signs,
 patterns that divide the measure length are replaced by slashes
 
 @lilypond[quote,verbatim,raggedright]
-\new Voice {
-  \repeat "percent" 4  { c'4 }
-  \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+\new Voice \relative c' {
+  \repeat "percent" 4  { c4 }
+  \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
 }
 @end lilypond
 
diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 0840e96c46..3cb6f8e3d7 100644
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -24,7 +24,7 @@ LilyPond input that was used to generate that image.
 Try it on this image
 
 @lilypond[fragment,quote,raggedright,relative=2]
-c-\markup { \bold \huge { Click here.  } }
+  c-\markup { \bold \huge { Click here.  } }
 @end lilypond
 @end ifhtml
 
@@ -68,14 +68,14 @@ of music, a scale.  A note can be entered by typing its name, from
 @samp{a} through @samp{g}.  So, if you enter
 
 @example
-c d e f g a b
+  c d e f g a b
 @end example
 
 @noindent
 the result looks like this
 
 @lilypond[fragment,quote,notime,relative=1]
-c d e f g a b
+  c d e f g a b
 @end lilypond
 
 The duration of a note is specified by a number after the note name.
@@ -88,9 +88,9 @@ a1 a2 a4 a16 a32
 
 @c FIXME: have NOTIME also remove Score.timing?
 @lilypond[fragment,quote,notime,relative=2]
-\set Score.timing = ##f
-\set Staff.autoBeaming = ##f
-{ a1 a2 a4 a16 a32 s16_" " }
+  \set Score.timing = ##f
+  \set Staff.autoBeaming = ##f
+  { a1 a2 a4 a16 a32 s16_" " }
 @end lilypond
 
 If you do not specify a @rglos{duration}, the duration last entered is
@@ -98,12 +98,12 @@ used for the next notes.  The duration of the first note in input
 defaults to a quarter
 
 @example
-a a8 a a2 a
+  a a8 a a2 a
 @end example
 
 @lilypond[fragment,quote,notime,relative=2]
-\set Score.timing = ##f
-{ a a8 a a2 a s16_" " }
+  \set Score.timing = ##f
+  { a a8 a a2 a s16_" " }
 @end lilypond
 
 
@@ -111,67 +111,64 @@ Rests are entered just like notes, but with the name @samp{r}
 
 @cindex rests
 @example
-r2 r4 r8 r16
+  r2 r4 r8 r16
 @end example
 
 @lilypond[fragment,quote,notime]
-\set Score.timing = ##f
-r2 r4 r8 r16 s16_" "
+  \set Score.timing = ##f
+  r2 r4 r8 r16 s16_" "
 @end lilypond
 
 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
 
 @example
-a2. a4 a8. a16
+  a2. a4 a8. a16
 @end example
 
 @lilypond[fragment,quote,notime,relative=1]
-\set Score.timing = ##f
-{ a2. a4 a8. a16 s16_" " }
+  \set Score.timing = ##f
+  { a2. a4 a8. a16 s16_" " }
 @end lilypond
 
 The @rglos{meter} (or @rglos{time signature}) can be set with the
 @code{\time} command
 
 @example
-\time 3/4
-\time 6/8
-\time 4/4
+  \time 3/4
+  \time 6/8
+  \time 4/4
 @end example
 
 @c A clef here may lead to confusion, remove it.
 @lilypond[fragment,quote]
-\override Staff.Clef #'transparent = ##t 
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-s16_" "
+  \override Staff.Clef #'transparent = ##t 
+  \time 3/4
+  s4_" "
+  \time 6/8
+  s4_" "
+  \time 4/4
+  s16_" "
 @end lilypond
 
 The @rglos{clef} can be set using the @code{\clef} command
 
-@c what is more common name treble or violin?
-@c in Dutch, it is violin.
-@c in English it is definitely treble.
 @example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
+  \clef treble
+  \clef bass
+  \clef alto
+  \clef tenor
 @end example
 
 @lilypond[fragment,quote,notime]
-\set Score.timing = ##f
-\clef violin
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
+  \set Score.timing = ##f
+  \clef treble
+  s4_" "
+  \clef bass
+  s4_" "
+  \clef alto
+  s4_" "
+  \clef tenor
+  s16_" "
 @end lilypond
 
 
@@ -179,12 +176,10 @@ Remember to enclose the notes and commands in curly braces
 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
 
 @lilypond[fragment,quote,noindent,linewidth=55\staffspace]
-{
   \time 3/4
   \clef bass
   c2 e4 g2.
   f4 e d c2 r4
-}
 @end lilypond
 
 For more elaborate information on
@@ -227,7 +222,7 @@ the file @file{INSTALL.txt}.}  In your text editor, enter the following
 input and save the file as @file{test.ly}
 
 @example
-@{ c'4 e' g' @}
+  @{ c'4 e' g' @}
 @end example
 
 @noindent
@@ -277,7 +272,7 @@ word processor, since these insert formatting codes that will confuse
 LilyPond.} and enter
 
 @example
-@{ c'4 e' g' @}
+  @{ c'4 e' g' @}
 @end example
 
 Save it on the desktop as @file{test.ly} and make sure that it is not
@@ -296,12 +291,12 @@ derived from note naming conventions in Nordic and Germanic languages,
 like German and Dutch.}
 
 @example
-cis1 ees fisis aeses
+  cis1 ees fisis aeses
 @end example
 
 @lilypond[fragment,quote,notime]
-\set Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
+  \set Score.timing = ##f
+  \transpose c c' { cis1 ees fisis aeses s16_" " }
 @end lilypond
 
 @cindex key signature, setting
@@ -309,17 +304,17 @@ The key signature is set with the command @code{\key}, followed by
 a pitch and @code{\major} or @code{\minor}
 
 @example
-\key d \major
-g1
-\key c \minor
-g
+  \key d \major
+  g1
+  \key c \minor
+  g
 @end example
 
 @lilypond[fragment,quote,notime,fragment]
-\key d \major
-g'1
-\key c \minor
-g'
+  \key d \major
+  g'1
+  \key c \minor
+  g'
 @end lilypond
 
 @noindent
@@ -341,33 +336,28 @@ not be added automatically, and you must enter what you want to hear.
 In this example
 
 @lilypond[quote,notime,fragment]
-\key d \major
-d' cis' fis'
+  \key d \major
+  d' cis' fis'
 @end lilypond
 
 @noindent
 no note has an explicit accidental, but you still must enter
 
 @example
-\key d \major
-d cis fis
+  \key d \major
+  d cis fis
 @end example
 
 @noindent
 The code @samp{d} does not mean `print a black dot just below the
 staff.'  Rather, it means: `a note with pitch D-natural.'  In the key
-of A-flat, it does get an accidental
+of A-flat major, it does get an accidental
 
-@lilypond[quote,notime,fragment]
-\key as \major
-d'
+@lilypond[quote,notime,fragment,relative=1,verbatim]
+  \key as \major
+  d
 @end lilypond
 
-@example
-\key as \major
-d
-@end example
-
 Adding all alterations explicitly might require a little more effort
 when typing, but the advantage is that transposing is easier, and
 accidentals can be printed according to different conventions.  See
@@ -395,7 +385,7 @@ A tie is created by appending a tilde @samp{~} to the first note
 being tied
 
 @lilypond[quote,notime,fragment,verbatim,relative=3]
-g4~ g a2~ a4
+  g4~ g a2~ a4
 @end lilypond
 
 For more information on Ties see @ref{Ties}.
@@ -409,7 +399,7 @@ For more information on Ties see @ref{Ties}.
 Beams are drawn automatically
 
 @lilypond[quote,fragment,relative=2,verbatim]
-a8 ais d es r d
+  a8 ais d es r d
 @end lilypond
 
 @noindent
@@ -418,7 +408,7 @@ hand.  Mark the first note to be beamed with @samp{[} and the last one
 with @samp{]}.
 
 @lilypond[quote,fragment,relative=2,verbatim]
-a8[ ais] d[ es r d]
+  a8[ ais] d[ es r d]
 @end lilypond
 
 For more information on beams, see @ref{Beaming}.
@@ -426,32 +416,13 @@ For more information on beams, see @ref{Beaming}.
 
 Here are key signatures, accidentals and ties in action
 
-@example
-@{
+@lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
+\relative c'' {
   \time 4/4
   \key g \minor
   \clef violin
   r4 r8 a8 gis4 b
-  a8 d4.~ d e8
-  fis4 fis8 fis8 eis4 a8 gis~
-  gis2 r2
-@}
-@end example
-
-@ignore
-FIXME
-ugr: removing the ignore block, leaving the comment line below
-@c TODO: use relative mode, verbatim, junk \transpose and above @example
-@end ignore
-
-
-@lilypond[fragment,quote,noindent,linewidth=50\staffspace]
-\transpose c c' {
-  \time 4/4
-  \key g \minor
-  \clef violin
-  r4 r8 a8 gis4 b
-  a8 d4.~ d e8
+  a8 d4.~ d e,8
   fis4 fis8 fis8 eis4 a8 gis~
   gis2 r2
 }
@@ -484,21 +455,17 @@ To raise a note by an octave, add a high quote @code{'} (apostrophe) to
 the note name, to lower a note one octave, add a `low quote' @code{,}
 (a comma).  Middle C is @code{c'}
 
-@example
-c'4 c'' c''' \clef bass c c,
-@end example
-
-@lilypond[quote,notime,fragment]
+@lilypond[quote,notime,fragment,verbatim]
 c'4 c'' c''' \clef bass c c,
 @end lilypond
 
 An example of the use of quotes is in the following Mozart fragment
 
 @lilypond[quote,raggedright,fragment,verbatim]
-\key a \major
-\time 6/8
-cis''8. d''16 cis''8 e''4 e''8
-b'8. cis''16 b'8 d''4 d''8 
+  \key a \major
+  \time 6/8
+  cis''8. d''16 cis''8 e''4 e''8
+  b'8. cis''16 b'8 d''4 d''8 
 @end lilypond
 
 @noindent
@@ -569,14 +536,14 @@ expression}.  We have already seen in the previous examples;
 a single note is a music expression
 
 @lilypond[fragment,quote,verbatim,relative=3]
-a4
+  a4
 @end lilypond
 
 Enclosing group of notes in braces creates a new music
 expression
 
 @lilypond[fragment,quote,verbatim,relative=3]
-{ a4 g4 }
+  { a4 g4 }
 @end lilypond
 
 Putting a bunch of music expressions (notes) in braces, means that
@@ -586,7 +553,7 @@ Here, the expression from the previous example is combined with two
 notes
 
 @lilypond[fragment,quote,verbatim,relative=3]
-{ { a4 g } f g } 
+  { { a4 g } f g } 
 @end lilypond
 
 This technique is useful for non-monophonic music.  To enter music
@@ -599,9 +566,9 @@ two other notes) are combined simultaneously
 
 @lilypond[fragment,quote,verbatim,relative=3]
 <<
-   { a4 g }
-   { f e }
-   { d b }
+  { a4 g }
+  { f e }
+  { d b }
 >>
 @end lilypond
 
@@ -735,7 +702,7 @@ Common accents can be added to a note using a dash (@samp{-}) and a
 single character
 
 @lilypond[fragment,quote,verbatim,relative=2]
-c-.  c-- c-> c-^ c-+ c-_
+  c-.  c-- c-> c-^ c-+ c-_
 @end lilypond
 
 @cindex fingering
@@ -743,7 +710,7 @@ Similarly, fingering indications can be added to a note using a dash
 (@samp{-}) and the digit to be printed
 
 @lilypond[fragment,quote,verbatim,relative=2]
-c-3 e-5 b-2 a-1
+  c-3 e-5 b-2 a-1
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but you
@@ -752,14 +719,14 @@ also use multiple articulations on the same note.  In most cases, it is
 best to let LilyPond determine the articulation directions.
 
 @lilypond[fragment,quote,verbatim,relative=2]
-c_-^1 d^. f^4_2-> e^-_+
+  c_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 
 Dynamic signs are made by adding the markings (with a backslash) to
 the note
 
 @lilypond[fragment,quote,verbatim,relative=2]
-c\ff c\mf
+  c\ff c\mf
 @end lilypond
 
 @cindex dynamics
@@ -771,7 +738,7 @@ Crescendi and decrescendi are started with the commands @code{\<} and
 crescendo, or the command @code{\!} can be used
 
 @lilypond[fragment,quote,verbatim,relative=2]
-c2\< c2\ff\> c2 c2\!
+  c2\< c2\ff\> c2 c2\!
 @end lilypond
 
 
@@ -783,7 +750,7 @@ articulation.  The starting note and ending note are marked with
 @samp{(} and @samp{)}, respectively
 
 @lilypond[fragment,quote,fragment,relative=2,verbatim]
-d4( c16) cis( d e c cis d) e( d4)
+  d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 
 @cindex slurs versus ties
@@ -794,7 +761,7 @@ and can be used on larger groups of notes.  Slurs and ties can be
 nested
 
 @lilypond[quote,fragment,relative=2]
-c2~( c8 fis fis4 ~ fis2 g2)
+  c2~( c8 fis fis4 ~ fis2 g2)
 @end lilypond
 
 @cindex phrasing slurs
@@ -803,7 +770,7 @@ Slurs to indicate phrasing can be entered with @code{\(} and
 same time.
 
 @lilypond[quote,fragment,relative=2,verbatim]
-a8(\( ais b c) cis2 b'2 a4 cis, c\)
+  a8(\( ais b c) cis2 b'2 a4 cis, c\)
 @end lilypond
 
 
@@ -833,7 +800,7 @@ Chords can be made by surrounding pitches with angle brackets.
 Angle brackets are the symbols @samp{<} and @samp{>}.
 
 @lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>4 <c f a>8
+  r4 <c e g>4 <c f a>8
 @end lilypond
 
 
@@ -841,16 +808,16 @@ You can combine markings like beams and ties with chords.  They must
 be placed outside the angled brackets
 
 @lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
+  r4 <c e g>8[ <c f a>]~ <c f a>
 @end lilypond
 
 @example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
+  r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
 @end example
 
 @lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
+  \slurUp
+  r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
 @end lilypond
 
 
@@ -865,8 +832,8 @@ is followed by a duration: @code{\partial 4} is a quarter note upstep
 and @code{\partial 8} an eighth note
 
 @lilypond[quote,relative=2,verbatim,fragment]
-\partial 8
-f8 c2 d e
+  \partial 8
+  f8 c2 d e
 @end lilypond
 
 @cindex tuplets
@@ -877,8 +844,8 @@ of music is multiplied by the fraction.  Triplets make notes occupy
 2/3 of their notated duration, so a triplet has 2/3 as its fraction
 
 @lilypond[quote,relative=1,verbatim,fragment]
-\times 2/3 { f8 g a }
-\times 2/3 { c r c }
+  \times 2/3 { f8 g a }
+  \times 2/3 { c r c }
 @end lilypond
 
 @cindex grace notes
@@ -889,8 +856,8 @@ keyword @code{\appoggiatura} or @code{\acciaccatura}
 @cindex acciaccatura
 
 @lilypond[quote,relative=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
+  c4 \appoggiatura b16 c4
+  c4 \acciaccatura b16 c4
 @end lilypond
 
 @noindent
@@ -925,7 +892,7 @@ ignored.  The following fragment shows possible uses for comments
 
 @example
 % notes for twinkle twinkle follow
-c4 c g' g a a g2
+  c4 c g' g a a g2
 
 %@{
     This line, and the notes below
@@ -947,7 +914,7 @@ statement marks for which version of LilyPond the file was written.
 To mark a file for version 3.0.0, use
 
 @example
-\version "3.0.0"
+  \version "3.0.0"
 @end example
 
 @noindent
@@ -975,8 +942,8 @@ Consider the melody
 
 @lilypond[quote,verbatim,fragment,raggedright]
 \relative {
-    r4 c \times 2/3 { f g g }
-    \times 2/3 { g4( a2) }
+  r4 c \times 2/3 { f g g }
+  \times 2/3 { g4( a2) }
 }
 @end lilypond
 
@@ -1024,10 +991,10 @@ Twin -- kle twin -- kle
 @lilypond[fragment,quote,raggedright]
 <<
   \relative {
-     \time 2/4
-     f4 f c' c
-   }
-   \addlyrics { Twin -- kle twin -- kle }
+    \time 2/4
+    f4 f c' c
+  }
+  \addlyrics { Twin -- kle twin -- kle }
 >>
 @end lilypond
 
@@ -1046,7 +1013,7 @@ In popular music, it is common to denote accompaniment with chord names.
 Such chords can be entered like notes,
 
 @lilypond[quote,verbatim,raggedright]
-\chordmode { c2 f4. g8 }
+  \chordmode { c2 f4. g8 }
 @end lilypond
 
 @noindent
@@ -1058,7 +1025,7 @@ Other chords can be created by adding modifiers after a colon.  The
 following example shows a few common modifiers
 
 @lilypond[quote,verbatim]
-\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
+  \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
 @end lilypond
 
 For lead sheets, chords are not printed on staves, but as names on a
@@ -1067,7 +1034,7 @@ line of themselves.  Hence, we have to override the context with
 context
 
 @lilypond[quote,verbatim]
-\chordmode { c2 f4.:m g4.:maj7 gis8:dim7 }
+  \chordmode { c2 f4.:m g4.:maj7 gis8:dim7 }
 @end lilypond
 
 @cindex lead sheet
@@ -1090,7 +1057,7 @@ a lead sheet, for example,
     r4 c' \times 2/3 { f g g }
     \times 2/3 { g4( a2) }
   }
- \addlyrics { I want to break free __ }
+  \addlyrics { I want to break free __ }
 >>
 @end lilypond
 
@@ -1192,7 +1159,7 @@ but now this entire expression must be interpreted as a
 @code{PianoStaff}
 
 @example
-\new PianoStaff << \new Staff @dots{} >>
+  \new PianoStaff << \new Staff @dots{} >>
 @end example
 
 Here is a small example
@@ -1219,7 +1186,7 @@ By using variables, also known as identifiers, it is possible to break
 up complex music expressions.  An identifier is assigned as follows
 
 @example
-namedMusic = @{ @dots{} @}
+  namedMusic = @{ @dots{} @}
 @end example
 
 @noindent
@@ -1243,9 +1210,9 @@ It is possible to use variables for many other types of objects in the
 input.  For example,
 
 @example
-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+  width = 4.5\cm
+  name = "Wendy"
+  aFivePaper = \paper @{ paperheight = 21.0 \cm @}
 @end example
 
 Depending on its contents, the identifier can be used in different
@@ -1328,14 +1295,14 @@ duration, longer rests can be constructed.  For example, this rest
 takes 3@tie{}measures in 2/4 time
 
 @example
-R2*3
+  R2*3
 @end example
 
 When printing the part, multi-rests
 must be condensed.  This is done by setting a run-time variable
 
 @example
-\set Score.skipBars = ##t
+  \set Score.skipBars = ##t
 @end example
 
 @noindent
@@ -1345,11 +1312,11 @@ this option to the music above, leads to the following result
 
 @lilypond[quote,raggedright]
 \transpose f c' \relative c {
-    \time 2/4
-    \set Score.skipBars = ##t 
-    R2*3
-    r4 f8 a cis4 f e d
-  }
+  \time 2/4
+  \set Score.skipBars = ##t 
+  R2*3
+  r4 f8 a cis4 f e d
+}
 @end lilypond
 
 
@@ -1361,10 +1328,10 @@ that the other voice is in @code{bassoonNotes} in the file
 \include "bassoon-music.ly"
 \include "horn-music.ly"
 
-  <<
-    \new Staff \hornNotes
-    \new Staff \bassoonNotes
-  >>
+<<
+  \new Staff \hornNotes
+  \new Staff \bassoonNotes
+>>
 @end example
 
 @noindent
-- 
2.39.5