From ae2dea9f2eb3b52580d76ffa1179a0384ad4b248 Mon Sep 17 00:00:00 2001
From: Graham Percival <graham@percival-music.ca>
Date: Fri, 1 Aug 2008 17:05:53 -0700
Subject: [PATCH] Index entry updates from Ralph.

---
 Documentation/user/pitches.itely | 35 +++++++++++++---
 Documentation/user/repeats.itely | 72 ++++++++++++++++++++++++++++----
 2 files changed, 92 insertions(+), 15 deletions(-)

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index bb2c81e7ce..615191a0f8 100644
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -263,6 +263,7 @@ see @rlearning{Accidentals and key signatures}.}
 @cindex double flat
 @cindex flat, double
 @cindex natural sign
+@cindex natural pitch
 
 A @notation{sharp} pitch is made by adding @code{is} to the note
 name, and a @notation{flat} pitch by adding @code{es}.  As you
@@ -377,14 +378,17 @@ any standard.
 @node Note names in other languages
 @unnumberedsubsubsec Note names in other languages
 
+@cindex note names, other languages
+@cindex pitch names, other languages
+@cindex language, note names in other
+@cindex language, pitch names in other
+
 There are predefined sets of note names for various other
 languages.  To use them, include the language-specific init file.
 For example, to use English notes names, add
 @w{@code{\include "english.ly"}} to the top of the input file.
 The available language files and the note names they define are:
 
-@cindex note names, other languages
-@cindex pitch names, other languages
 
 @smallexample
 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
@@ -509,8 +513,10 @@ This section discusses how to modify pitches.
 
 @cindex octave correction
 @cindex octave check
+@cindex control pitch
 @funindex =
 @funindex \octaveCheck
+@funindex controlpitch
 
 In relative mode, it is easy to forget an octave changing mark.
 Octave checks make such errors easier to find by displaying a
@@ -874,6 +880,15 @@ at the start of the staff.  The key signature may be altered:
 @funindex \dorian
 @cindex church modes
 @cindex modes
+@cindex major
+@cindex minor
+@cindex ionian
+@cindex locrian
+@cindex aeolian
+@cindex mixolydian
+@cindex lydian
+@cindex phrygian
+@cindex dorian
 
 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
 key signature of @var{pitch}-major or @var{pitch}-minor,
@@ -929,6 +944,7 @@ Internals Reference:
 @cindex 8va
 @cindex 8ve
 @cindex octavation
+@funindex set-octavation
 
 @notation{Ottava brackets} introduce an extra transposition of an
 octave for the staff:
@@ -1070,6 +1086,7 @@ Snippets:
 @cindex automatic accidentals
 @cindex default accidental style
 @funindex set-accidental-style
+@funindex voice
 
 There are many different conventions on how to typeset
 accidentals.  LilyPond provides a function to specify which
@@ -1096,6 +1113,8 @@ 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 = {
   <<
@@ -1168,6 +1187,7 @@ both staves.
 
 @cindex default accidental style
 @cindex accidental style, default
+@funindex default
 
 This is the default typesetting behavior.  It corresponds to
 eighteenth-century common practice: accidentals are remembered to
@@ -1230,6 +1250,7 @@ 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
 @code{Staff}-level.  In this style, however, accidentals are
@@ -1296,6 +1317,7 @@ musicB = {
 
 @cindex accidentals, modern style
 @cindex modern style accidentals
+@funindex modern
 
 This rule corresponds to the common practice in the twentieth
 century.  It prints the same accidentals as @code{default}, with
@@ -1544,6 +1566,7 @@ musicB = {
 @cindex accidentals, piano
 @cindex piano accidental style
 @cindex piano accidentals
+@funindex piano
 
 This rule reflects twentieth-century practice for piano notation.
 Its behavior is very similar to @code{modern} style, but here
@@ -1601,7 +1624,7 @@ musicB = {
 
 @item piano-cautionary
 
-@funindex piano-cautionary
+@funindex piano-cautionary 
 @cindex accidentals, piano cautionary
 @cindex cautionary accidentals, piano
 @cindex piano cautionary accidentals
@@ -1659,7 +1682,7 @@ musicB = {
 
 @item no-reset
 
-@funindex no-reset accidental style
+@funindex no-reset
 @cindex accidental style, no reset
 @cindex no reset accidental style
 
@@ -1714,7 +1737,7 @@ musicB = {
 
 @item forget
 
-@funindex forget accidental style
+@funindex forget
 @cindex forget accidental style
 @cindex accidental style, forget
 
@@ -1905,6 +1928,7 @@ 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:
 
@@ -2005,7 +2029,6 @@ Internals Reference:
 @cindex Aiken shape note heads
 @cindex sacred harp note heads
 @funindex \key
-@funindex shapeNoteStyles
 @funindex \aikenHeads
 @funindex \sacredHarpHeads
 
diff --git a/Documentation/user/repeats.itely b/Documentation/user/repeats.itely
index f38722e010..c411d4a1ab 100644
--- a/Documentation/user/repeats.itely
+++ b/Documentation/user/repeats.itely
@@ -65,6 +65,10 @@ Repeat signs can also be controlled manually.
 @cindex seconda volta
 @cindex volta, prima
 @cindex volta, seconda
+@cindex repeat, normal
+@cindex normal repeat
+@cindex repeat with alternate endings
+@cindex alternate endings
 @funindex \repeat
 @funindex \alternative
 @funindex \partial
@@ -104,6 +108,14 @@ c1
 @end lilypond
 
 
+@cindex repeat with upbeat
+@cindex upbeat in a repeat
+@cindex anacrucis in a repeat
+@cindex repeat with anacrucis
+@cindex repeat with pickup
+@cindex pickup in a repeat
+@funindex \partial
+
 Repeats with upbeats can be entered in two ways:
 
 @lilypond[verbatim,quote,relative=2]
@@ -170,6 +182,14 @@ Internals Reference: @rinternals{VoltaBracket},
 @knownissues
 
 @cindex repeat, ambiguous
+@cindex nested repeat
+@cindex repeat, nested
+@cindex repeat timing information
+@cindex repeat and measure number
+@cindex timing information and repeats
+@cindex measure number and repeats
+@cindex repeat and slur
+@cindex slur and repeat
 
 A nested repeat like
 
@@ -195,7 +215,18 @@ example, by setting @code{Score.measurePosition} or entering
 @node Manual repeat marks
 @unnumberedsubsubsec Manual repeat marks
 
+@cindex manual repeat mark
+@cindex repeat, manual
+@cindex start repeat
+@cindex repeat, start
+@cindex end repeat
+@cindex repeat, end
+@cindex repeat number, changing
+@cindex repeat volta, changing
+@cindex volta bracket
+@cindex bracket, volta
 @funindex repeatCommands
+@funindex start-repeat
 
 @warning{These methods are only used for displaying unusual repeat
 constructs, and may produce unexpected behavior.  In most cases,
@@ -255,6 +286,9 @@ c1
 b1
 @end lilypond
 
+@cindex volta bracket with text
+@cindex text in volta bracket
+
 Text can be included with the volta bracket.  The text can be a
 number or numbers or markup text, see @ref{Formatting text}.  The
 simplest way to use markup text is to define the markup first,
@@ -299,6 +333,13 @@ Internals Reference:
 @cindex written-out repeats
 @cindex repetitious music
 @cindex repeats, written-out
+@cindex repeat, unfold
+@cindex unfold music
+@cindex unfold repeat
+@cindex unfold repeat with alternate endings
+@cindex unfold music with alternate endings
+@cindex alternate ending in written-out repeats
+@funindex unfold
 
 By using the @code{unfold} command, repeats can be used to simplify
 the writing out of repetitious music.  The syntax is
@@ -307,8 +348,8 @@ the writing out of repetitious music.  The syntax is
 \repeat unfold @var{repeatcount} @var{musicexpr}
 @end example
 
-where @var{musicexpr} is a music expressionand @var{repeatcount}
-is the number of times @var{musicexpr} is repeated.
+where @var{musicexpr} is a music expression and @var{repeatcount} is
+the number of times @var{musicexpr} is repeated.
 
 @lilypond[verbatim,quote,relative=2]
 c1
@@ -354,6 +395,11 @@ represented by slashes or percent signs; and tremolos.
 
 @cindex percent repeats
 @cindex measure repeats
+@cindex repeat, percent
+@cindex repeat, measure
+@cindex repeat, short
+@funindex \repeat percent
+@funindex percent
 
 Repeated short patterns of notes are supported.  The music is printed
 once, and the pattern is replaced with a special sign.  Patterns that
@@ -406,14 +452,18 @@ durations, are supported.
 @node Tremolo repeats
 @unnumberedsubsubsec Tremolo repeats
 
-Tremolos can take two forms: alternation between two chords or two
-notes, and rapid repetition of a single
-note or chord. Tremolos consisting of an alternation are indicated by
-adding beams between the notes or chords being alternated, while
-tremolos consisting of the rapid repetition of a single note are
-indicated by adding beams or slashes to a single note.
-
 @cindex tremolo beams
+@cindex tremolo
+@cindex repeat, tremolo
+@funindex \repeat tremolo
+@funindex tremolo
+
+Tremolos can take two forms: alternation between two chords or two
+notes, and rapid repetition of a single note or chord. Tremolos
+consisting of an alternation are indicated by adding beams between the
+notes or chords being alternated, while tremolos consisting of the
+rapid repetition of a single note are indicated by adding beams or
+slashes to a single note.
 
 To place tremolo marks between notes, use @code{\repeat} with
 tremolo style:
@@ -445,6 +495,7 @@ the note should not be surrounded by braces:
 
 @cindex tremolo marks
 @funindex tremoloFlags
+@funindex :
 
 The same output can be obtained by adding
 @q{@code{:}[@var{number}]} after the note.  The number indicates
@@ -462,6 +513,9 @@ c: c:
 
 Snippets: @rlsr{Repeats}.
 
+@cindex tremolo, cross-staff
+@cindex cross-staff tremolo
+
 @knownissues
 
 Cross-staff tremolos do not work well.
-- 
2.39.2