From d36171e34d236d890f5dc511b895037188c6c7cb Mon Sep 17 00:00:00 2001
From: David Kastrup <dak@gnu.org>
Date: Sun, 17 May 2015 19:28:06 +0200
Subject: [PATCH] Run scripts/auxiliar/update-with-convert-ly.sh

Afterwards revert all changes in Documentation/snippets/*.ly (thus
retaining Documentation/snippets/new), then run
scripts/auxiliar/makelsr.py, leaving only the files in
Documentation/snippets/new and their versions in Documentation/snippets
converted: if we don't want to retain the automatic conversion rule, we
only want to keep those files which do not get reconverted on reimport.
---
 .../ca/learning/common-notation.itely         |  68 ++--
 Documentation/ca/learning/fundamental.itely   | 216 ++++++-------
 Documentation/ca/learning/tutorial.itely      |  46 +--
 Documentation/ca/learning/tweaks.itely        | 106 +++----
 Documentation/ca/usage/running.itely          |   6 +-
 Documentation/ca/usage/suggestions.itely      |  14 +-
 .../cs/learning/common-notation.itely         |  68 ++--
 Documentation/cs/learning/fundamental.itely   | 220 ++++++-------
 Documentation/cs/learning/tutorial.itely      |  46 +--
 Documentation/cs/learning/tweaks.itely        | 102 +++---
 Documentation/cs/usage/lilypond-book.itely    |  24 +-
 Documentation/cs/usage/running.itely          |   6 +-
 Documentation/cs/usage/suggestions.itely      |  16 +-
 Documentation/de/essay/engraving.itely        |  20 +-
 .../de/extending/programming-interface.itely  |  22 +-
 .../de/extending/scheme-tutorial.itely        |   6 +-
 .../de/learning/common-notation.itely         |  64 ++--
 Documentation/de/learning/fundamental.itely   | 220 ++++++-------
 Documentation/de/learning/tutorial.itely      |  46 +--
 Documentation/de/learning/tweaks.itely        | 102 +++---
 Documentation/de/notation/ancient.itely       |  10 +-
 .../de/notation/changing-defaults.itely       |  76 ++---
 Documentation/de/notation/chords.itely        |   6 +-
 Documentation/de/notation/editorial.itely     |  10 +-
 Documentation/de/notation/expressive.itely    |  26 +-
 .../de/notation/fretted-strings.itely         |  20 +-
 Documentation/de/notation/input.itely         |  70 ++---
 Documentation/de/notation/keyboards.itely     |   4 +-
 Documentation/de/notation/pitches.itely       | 262 ++++++++--------
 Documentation/de/notation/repeats.itely       |   6 +-
 Documentation/de/notation/rhythms.itely       |  22 +-
 Documentation/de/notation/simultaneous.itely  |  22 +-
 Documentation/de/notation/spacing.itely       |  32 +-
 Documentation/de/notation/staff.itely         |  88 +++---
 Documentation/de/notation/text.itely          |   4 +-
 Documentation/de/notation/vocal.itely         | 148 ++++-----
 Documentation/de/notation/world.itely         |   6 +-
 Documentation/de/usage/external.itely         |  18 +-
 Documentation/de/usage/lilypond-book.itely    |  28 +-
 Documentation/de/usage/running.itely          |   6 +-
 Documentation/de/usage/suggestions.itely      |  16 +-
 Documentation/es/essay/engraving.itely        |  20 +-
 .../es/extending/programming-interface.itely  |  22 +-
 .../es/extending/scheme-tutorial.itely        |   6 +-
 .../es/learning/common-notation.itely         |  68 ++--
 Documentation/es/learning/fundamental.itely   | 216 ++++++-------
 Documentation/es/learning/tutorial.itely      |  46 +--
 Documentation/es/learning/tweaks.itely        | 106 +++----
 Documentation/es/notation/ancient.itely       |  10 +-
 .../es/notation/changing-defaults.itely       | 104 +++----
 Documentation/es/notation/chords.itely        |  10 +-
 Documentation/es/notation/editorial.itely     |  10 +-
 Documentation/es/notation/expressive.itely    |  30 +-
 .../es/notation/fretted-strings.itely         |  20 +-
 Documentation/es/notation/input.itely         |  72 ++---
 Documentation/es/notation/keyboards.itely     |   4 +-
 Documentation/es/notation/pitches.itely       | 270 ++++++++--------
 Documentation/es/notation/repeats.itely       |   6 +-
 Documentation/es/notation/rhythms.itely       |  18 +-
 Documentation/es/notation/simultaneous.itely  |  22 +-
 Documentation/es/notation/spacing.itely       |  32 +-
 Documentation/es/notation/staff.itely         |  88 +++---
 Documentation/es/notation/text.itely          |   4 +-
 Documentation/es/notation/vocal.itely         | 148 ++++-----
 Documentation/es/notation/world.itely         |   6 +-
 Documentation/es/usage/external.itely         |  18 +-
 Documentation/es/usage/lilypond-book.itely    |  28 +-
 Documentation/es/usage/running.itely          |   6 +-
 Documentation/es/usage/suggestions.itely      |  14 +-
 Documentation/essay/engraving.itely           |  20 +-
 .../extending/programming-interface.itely     |  26 +-
 Documentation/extending/scheme-tutorial.itely |   6 +-
 Documentation/fr/essay/engraving.itely        |  20 +-
 .../fr/extending/programming-interface.itely  |  26 +-
 .../fr/extending/scheme-tutorial.itely        |   6 +-
 .../fr/learning/common-notation.itely         |  72 ++---
 Documentation/fr/learning/fundamental.itely   | 218 ++++++-------
 Documentation/fr/learning/tutorial.itely      |  50 +--
 Documentation/fr/learning/tweaks.itely        | 114 +++----
 Documentation/fr/notation/ancient.itely       |  10 +-
 .../fr/notation/changing-defaults.itely       | 104 +++----
 Documentation/fr/notation/chords.itely        |  10 +-
 Documentation/fr/notation/editorial.itely     |  10 +-
 Documentation/fr/notation/expressive.itely    |  30 +-
 .../fr/notation/fretted-strings.itely         |  20 +-
 Documentation/fr/notation/input.itely         |  72 ++---
 Documentation/fr/notation/keyboards.itely     |   4 +-
 Documentation/fr/notation/pitches.itely       | 290 +++++++++---------
 Documentation/fr/notation/repeats.itely       |   6 +-
 Documentation/fr/notation/rhythms.itely       |  18 +-
 Documentation/fr/notation/simultaneous.itely  |  22 +-
 Documentation/fr/notation/spacing.itely       |  24 +-
 Documentation/fr/notation/staff.itely         |  92 +++---
 Documentation/fr/notation/text.itely          |   4 +-
 Documentation/fr/notation/vocal.itely         | 148 ++++-----
 Documentation/fr/notation/world.itely         |   6 +-
 Documentation/fr/usage/external.itely         |  18 +-
 Documentation/fr/usage/lilypond-book.itely    |  28 +-
 Documentation/fr/usage/suggestions.itely      |  20 +-
 Documentation/hu/essay/engraving.itely        |  20 +-
 .../hu/learning/common-notation.itely         |  64 ++--
 Documentation/hu/learning/fundamental.itely   | 236 +++++++-------
 Documentation/hu/learning/tutorial.itely      |  50 +--
 Documentation/hu/usage/lilypond-book.itely    |  24 +-
 Documentation/hu/usage/running.itely          |   4 +-
 Documentation/included/engraver-example.ily   |  16 +-
 Documentation/included/gonville.ly            |   6 +-
 Documentation/included/simple.ly              |   6 +-
 .../it/learning/common-notation.itely         |  68 ++--
 Documentation/it/learning/fundamental.itely   | 212 ++++++-------
 Documentation/it/learning/tutorial.itely      |  46 +--
 Documentation/it/learning/tweaks.itely        | 114 +++----
 Documentation/it/notation/editorial.itely     |  10 +-
 Documentation/it/notation/expressive.itely    |  30 +-
 Documentation/it/notation/pitches.itely       | 290 +++++++++---------
 Documentation/it/notation/repeats.itely       |   6 +-
 Documentation/it/notation/rhythms.itely       |  22 +-
 Documentation/it/notation/simultaneous.itely  |  22 +-
 Documentation/it/notation/staff.itely         |  88 +++---
 Documentation/it/notation/text.itely          |   4 +-
 Documentation/it/notation/vocal.itely         | 148 ++++-----
 Documentation/it/usage/external.itely         |  18 +-
 Documentation/it/usage/lilypond-book.itely    |  28 +-
 Documentation/it/usage/suggestions.itely      |  14 +-
 .../ja/learning/common-notation.itely         |  64 ++--
 Documentation/ja/learning/fundamental.itely   | 216 ++++++-------
 Documentation/ja/learning/tutorial.itely      |  46 +--
 Documentation/ja/learning/tweaks.itely        | 106 +++----
 .../ja/notation/changing-defaults.itely       |  96 +++---
 Documentation/ja/notation/chords.itely        |   6 +-
 Documentation/ja/notation/editorial.itely     |  10 +-
 Documentation/ja/notation/expressive.itely    |  30 +-
 .../ja/notation/fretted-strings.itely         |  20 +-
 Documentation/ja/notation/input.itely         |  74 ++---
 Documentation/ja/notation/keyboards.itely     |   4 +-
 Documentation/ja/notation/pitches.itely       | 264 ++++++++--------
 Documentation/ja/notation/repeats.itely       |   6 +-
 Documentation/ja/notation/rhythms.itely       |  22 +-
 Documentation/ja/notation/simultaneous.itely  |  22 +-
 Documentation/ja/notation/spacing.itely       |  32 +-
 Documentation/ja/notation/staff.itely         |  88 +++---
 Documentation/ja/notation/text.itely          |   4 +-
 Documentation/ja/notation/vocal.itely         | 148 ++++-----
 Documentation/ja/notation/world.itely         |   6 +-
 Documentation/ja/usage/external.itely         |  18 +-
 Documentation/ja/usage/lilypond-book.itely    |  28 +-
 Documentation/ja/usage/running.itely          |   6 +-
 Documentation/ja/usage/suggestions.itely      |  14 +-
 Documentation/learning/common-notation.itely  |  72 ++---
 Documentation/learning/fundamental.itely      | 218 ++++++-------
 Documentation/learning/tutorial.itely         |  46 +--
 Documentation/learning/tweaks.itely           | 114 +++----
 Documentation/ly-examples/aucun-snippet.ly    |   8 +-
 Documentation/ly-examples/orchestra.ly        |  34 +-
 .../nl/learning/common-notation.itely         |  64 ++--
 Documentation/nl/learning/fundamental.itely   | 216 ++++++-------
 Documentation/nl/learning/tutorial.itely      |  46 +--
 Documentation/nl/learning/tweaks.itely        | 106 +++----
 Documentation/notation/ancient.itely          |  10 +-
 .../notation/changing-defaults.itely          | 104 +++----
 Documentation/notation/chords.itely           |  10 +-
 Documentation/notation/editorial.itely        |  10 +-
 Documentation/notation/expressive.itely       |  30 +-
 Documentation/notation/fretted-strings.itely  |  20 +-
 Documentation/notation/input.itely            |  40 +--
 Documentation/notation/keyboards.itely        |   4 +-
 Documentation/notation/pitches.itely          | 290 +++++++++---------
 Documentation/notation/repeats.itely          |   6 +-
 Documentation/notation/rhythms.itely          |  22 +-
 Documentation/notation/simultaneous.itely     |  28 +-
 Documentation/notation/spacing.itely          |  24 +-
 Documentation/notation/staff.itely            |  92 +++---
 Documentation/notation/text.itely             |   4 +-
 Documentation/notation/vocal.itely            | 148 ++++-----
 Documentation/notation/world.itely            |   6 +-
 ...creating-custom-dynamics-in-midi-output.ly |   8 +-
 ...creating-custom-dynamics-in-midi-output.ly |   6 +-
 ...ng-default-midi-instrument-equalization.ly |  10 +-
 ...template-with-automatic-piano-reduction.ly |  14 +-
 .../snippets/new/vocal-ensemble-template.ly   |  14 +-
 ...ng-default-midi-instrument-equalization.ly |  12 +-
 ...template-with-automatic-piano-reduction.ly |  16 +-
 .../snippets/vocal-ensemble-template.ly       |  16 +-
 Documentation/usage/external.itely            |  18 +-
 Documentation/usage/lilypond-book.itely       |  28 +-
 Documentation/usage/suggestions.itely         |  20 +-
 input/regression/accidental-clef-change.ly    |   6 +-
 input/regression/accidental-collision.ly      |   4 +-
 input/regression/accidental-forced-tie.ly     |   6 +-
 input/regression/accidental-grouping.ly       |   6 +-
 input/regression/accidental-ledger.ly         |   4 +-
 .../accidental-placement-samepitch.ly         |   6 +-
 input/regression/accidental-placement.ly      |   6 +-
 input/regression/accidental-quarter.ly        |   6 +-
 input/regression/accidental-single-double.ly  |   4 +-
 input/regression/accidental-tie.ly            |   6 +-
 .../accidental-unbroken-tie-spacing.ly        |   6 +-
 input/regression/accidental.ly                |   4 +-
 input/regression/alignment-order.ly           |   6 +-
 .../alignment-vertical-manual-setting.ly      |   6 +-
 input/regression/alter-broken.ly              |   6 +-
 input/regression/ambitus-cue.ly               |   4 +-
 input/regression/ambitus.ly                   |  10 +-
 input/regression/apply-context.ly             |   6 +-
 input/regression/arpeggio-no-staff-symbol.ly  |   6 +-
 input/regression/arpeggio-span-one-staff.ly   |   6 +-
 .../regression/articulation-snappizzicato.ly  |   4 +-
 input/regression/auto-beam-no-beam.ly         |   4 +-
 input/regression/auto-beam.ly                 |   6 +-
 input/regression/auto-change.ly               |   4 +-
 input/regression/autobeam-tuplet-recheck.ly   |   6 +-
 input/regression/bar-line-define-bar-glyph.ly |   6 +-
 input/regression/bar-line-define-bar-line.ly  |   6 +-
 input/regression/bar-line-segno.ly            |   6 +-
 input/regression/bar-lines.ly                 |   6 +-
 input/regression/bar-number-check-warning.ly  |   6 +-
 input/regression/beam-beamlet-grace.ly        |   6 +-
 input/regression/beam-collision-classic.ly    |  18 +-
 .../regression/beam-collision-cross-staff.ly  |  10 +-
 .../regression/beam-collision-cross-staff2.ly |   4 +-
 input/regression/beam-collision-grace.ly      |   6 +-
 input/regression/beam-collision-off.ly        |   6 +-
 .../beam-collision-opposite-stem.ly           |  34 +-
 .../beam-collision-prefatory-matter.ly        |   6 +-
 .../regression/beam-collision-scaled-staff.ly |   4 +-
 input/regression/beam-collision-voice-only.ly |   6 +-
 input/regression/beam-concave-chord.ly        |   6 +-
 input/regression/beam-concave-damped.ly       |   6 +-
 input/regression/beam-concave.ly              |  10 +-
 input/regression/beam-cross-staff-rest.ly     |   6 +-
 input/regression/beam-forced-direction.ly     |   6 +-
 input/regression/beam-funky.ly                |   4 +-
 input/regression/beam-length.ly               |   4 +-
 input/regression/beam-manual-beaming.ly       |   6 +-
 input/regression/beam-multiple-cross-staff.ly |   4 +-
 .../beam-multiplicity-over-rests.ly           |   6 +-
 input/regression/beam-over-barline.ly         |   4 +-
 input/regression/beam-position.ly             |   4 +-
 input/regression/beam-quanting-horizontal.ly  |   6 +-
 input/regression/beam-quarter.ly              |   6 +-
 input/regression/beam-rest-extreme.ly         |   6 +-
 input/regression/beam-rest.ly                 |   6 +-
 input/regression/beam-single-stem.ly          |   6 +-
 input/regression/beaming-ternary-metrum.ly    |   6 +-
 input/regression/beaming.ly                   |   6 +-
 input/regression/beamlet-point-toward-beat.ly |   6 +-
 input/regression/beams.ly                     |   6 +-
 input/regression/bend-dot.ly                  |   4 +-
 input/regression/book-identifier-markup.ly    |   4 +-
 input/regression/bookpart-variable.ly         |   6 +-
 input/regression/breathing-sign-ancient.ly    |  10 +-
 input/regression/breathing-sign.ly            |   6 +-
 input/regression/cadenza-grace-autobeam.ly    |   6 +-
 .../regression/chord-names-in-grand-staff.ly  |  10 +-
 input/regression/chord-repetition-relative.ly |   4 +-
 .../chord-repetition-script-stack.ly          |   6 +-
 input/regression/chord-repetition-times.ly    |   6 +-
 input/regression/chord-repetition.ly          |   6 +-
 input/regression/chord-scripts.ly             |   6 +-
 input/regression/chromatic-scales.ly          |   4 +-
 input/regression/clef-ottava.ly               |   6 +-
 input/regression/clef-transposition.ly        |   6 +-
 input/regression/cluster-break.ly             |   6 +-
 input/regression/cluster-cross-staff.ly       |   4 +-
 input/regression/cluster-style.ly             |   6 +-
 input/regression/cluster.ly                   |   6 +-
 input/regression/collision-alignment.ly       |   6 +-
 input/regression/collision-dots-invert.ly     |   6 +-
 .../collision-dots-up-space-dotted.ly         |   6 +-
 .../regression/collision-harmonic-no-dots.ly  |   6 +-
 input/regression/collision-head-chords.ly     |   6 +-
 input/regression/collision-heads.ly           |   6 +-
 input/regression/collision-manual.ly          |   6 +-
 .../collision-merge-differently-dotted.ly     |   6 +-
 input/regression/collision-merge-dots.ly      |   6 +-
 input/regression/collision-seconds.ly         |   4 +-
 input/regression/collisions.ly                |  14 +-
 input/regression/completion-heads-lyrics.ly   |   6 +-
 .../completion-heads-polyphony-2.ly           |   6 +-
 .../regression/completion-heads-polyphony.ly  |   6 +-
 input/regression/completion-heads-tie.ly      |   4 +-
 input/regression/complex-once.ly              |   6 +-
 input/regression/context-mod-context.ly       |   4 +-
 input/regression/context-mod-with.ly          |   4 +-
 input/regression/context-nested-staffgroup.ly |   6 +-
 input/regression/cue-clef-after-barline.ly    |   6 +-
 input/regression/cue-clef-manually.ly         |   6 +-
 input/regression/cue-clef-new-line.ly         |   4 +-
 .../cue-clef-transposition-optional.ly        |   6 +-
 input/regression/cue-clef-transposition.ly    |   6 +-
 input/regression/cue-clef.ly                  |   4 +-
 input/regression/define-event-function.ly     |   6 +-
 input/regression/display-lily-tests.ly        |   4 +-
 input/regression/dot-column-engraver.ly       |   6 +-
 input/regression/dot-dot-count-override.ly    |   6 +-
 input/regression/dot-rest-beam-trigger.ly     |   6 +-
 input/regression/dot-up-voice-collision.ly    |   6 +-
 input/regression/dots.ly                      |   6 +-
 input/regression/double-repeat.ly             |   6 +-
 .../duration-identifier-compressed.ly         |   6 +-
 .../dynamics-alignment-autobreak.ly           |   6 +-
 .../dynamics-alignment-breaker-linebreak.ly   |   6 +-
 .../dynamics-alignment-breaker-order.ly       |   4 +-
 ...cs-alignment-breaker-subsequent-spanner.ly |   6 +-
 .../regression/dynamics-alignment-breaker.ly  |   6 +-
 .../regression/dynamics-alignment-no-line.ly  |   6 +-
 .../dynamics-avoid-cross-staff-stem-3.ly      |   6 +-
 input/regression/dynamics-broken-hairpin.ly   |   6 +-
 input/regression/dynamics-context-textspan.ly |  10 +-
 .../dynamics-custom-text-spanner-postfix.ly   |   6 +-
 input/regression/dynamics-glyphs.ly           |   6 +-
 input/regression/dynamics-hairpin-length.ly   |   6 +-
 input/regression/dynamics-rest-positioning.ly |   6 +-
 .../dynamics-text-dynamics-context.ly         |   6 +-
 .../dynamics-text-spanner-postfix.ly          |   6 +-
 input/regression/empty-chord.ly               |   6 +-
 input/regression/figured-bass-alteration.ly   |   6 +-
 .../figured-bass-continuation-center.ly       |   6 +-
 .../figured-bass-continuation-modifiers.ly    |   6 +-
 input/regression/figured-bass-continuation.ly |   6 +-
 input/regression/figured-bass-implicit.ly     |   6 +-
 input/regression/figured-bass-staff.ly        |   6 +-
 input/regression/finger-chords-order.ly       |  10 +-
 input/regression/fingering.ly                 |   6 +-
 input/regression/follow-voice-consecutive.ly  |   6 +-
 input/regression/font-family-override.ly      |   6 +-
 .../footnote-auto-numbering-page-reset.ly     |   8 +-
 .../footnote-auto-numbering-vertical-order.ly |  10 +-
 input/regression/footnote-auto-numbering.ly   |   8 +-
 input/regression/footnote-break-visibility.ly |   6 +-
 input/regression/footnote-spanner.ly          |   6 +-
 input/regression/footnote.ly                  |   8 +-
 input/regression/fret-boards.ly               |   4 +-
 input/regression/full-measure-rest-fermata.ly |   6 +-
 input/regression/glissando-accidental.ly      |   6 +-
 input/regression/glissando-chord.ly           |   6 +-
 input/regression/glissando-consecutive.ly     |   6 +-
 input/regression/glissando-dots.ly            |   6 +-
 input/regression/glissando-no-break.ly        |   6 +-
 input/regression/glissando-skip.ly            |   4 +-
 input/regression/grace-bar-line.ly            |   6 +-
 input/regression/grace-bar-number.ly          |   4 +-
 input/regression/grace-beam.ly                |   6 +-
 input/regression/grace-end.ly                 |   6 +-
 input/regression/grace-nest3.ly               |   6 +-
 input/regression/grace-nest5.ly               |   6 +-
 input/regression/grace-part-combine.ly        |  10 +-
 input/regression/grace-stem-length.ly         |   6 +-
 input/regression/grace-sync.ly                |   6 +-
 input/regression/grace-types.ly               |   6 +-
 input/regression/hairpin-barline-break.ly     |   6 +-
 input/regression/hairpin-clef.ly              |   6 +-
 input/regression/hairpin-key-signature.ly     |   6 +-
 input/regression/hairpin-span-bar.ly          |  12 +-
 input/regression/hairpin-to-barline-mark.ly   |   6 +-
 input/regression/hairpin-to-rest.ly           |   6 +-
 .../hara-kiri-keep-previous-settings.ly       |  14 +-
 input/regression/harp-pedals.ly               |   6 +-
 .../regression/header-book-multiplescores.ly  |   4 +-
 input/regression/horizontal-bracket-tweak.ly  |   6 +-
 input/regression/horizontal-bracket.ly        |   6 +-
 .../identifier-following-chordmode.ly         |   4 +-
 input/regression/include-string.ly            |   4 +-
 input/regression/instrument-cue-name.ly       |   6 +-
 .../instrument-name-pedal-lyrics.ly           |  10 +-
 .../instrument-switch-invalid-warning.ly      |   6 +-
 input/regression/instrument-switch.ly         |   6 +-
 input/regression/key-clefs.ly                 |   6 +-
 input/regression/key-signature-left-edge.ly   |   4 +-
 input/regression/laissez-vibrer-chords.ly     |   6 +-
 .../laissez-vibrer-tie-head-direction.ly      |   6 +-
 input/regression/laissez-vibrer-ties.ly       |   6 +-
 input/regression/landscape.ly                 |   4 +-
 input/regression/layout-from.ly               |   4 +-
 input/regression/ledger-line-minimum.ly       |   6 +-
 input/regression/ledger-line-shorten.ly       |   6 +-
 input/regression/ledger-lines-dynamics.ly     |   6 +-
 .../regression/ledger-lines-varying-staves.ly |   6 +-
 .../lilypond-book/include/example.ly          |   4 +-
 input/regression/lilypond-book/include2.ly    |   4 +-
 input/regression/lilypond-book/include3.ily   |   6 +-
 input/regression/lilypond-book/melody.ly      |   4 +-
 input/regression/line-style-zigzag-spacing.ly |   6 +-
 .../regression/lyric-combine-derived-voice.ly |   6 +-
 .../lyric-combine-switch-voice-2.ly           |   6 +-
 input/regression/lyric-combine.ly             |   4 +-
 .../lyric-extender-includegraces.ly           |   6 +-
 input/regression/lyric-extender-no-heads.ly   |   6 +-
 input/regression/lyric-extender-rest.ly       |   6 +-
 .../regression/lyric-extender-right-margin.ly |   6 +-
 input/regression/lyric-hyphen-break.ly        |   6 +-
 input/regression/lyric-hyphen-retain.ly       |   6 +-
 input/regression/lyric-melisma-alignment.ly   |   6 +-
 input/regression/lyric-melisma-melisma.ly     |   6 +-
 .../regression/lyric-no-association-rhythm.ly |   6 +-
 input/regression/lyrics-includegraces.ly      |   6 +-
 input/regression/lyrics-no-notes.ly           |   6 +-
 input/regression/lyrics-pass-under-bar.ly     |   4 +-
 input/regression/lyrics-tenor-clef.ly         |   4 +-
 input/regression/markup-note-dot.ly           |   6 +-
 input/regression/markup-note.ly               |   6 +-
 input/regression/markup-score-multi-system.ly |   6 +-
 input/regression/measure-grouping.ly          |   6 +-
 .../regression/metronome-mark-loose-column.ly |  10 +-
 input/regression/midi-grace-after-rest.ly     |   4 +-
 input/regression/midi-grace-after-tie.ly      |   4 +-
 input/regression/midi-grace.ly                |   6 +-
 input/regression/midi-key-signature.ly        |   6 +-
 input/regression/midi-microtone-off.ly        |   4 +-
 input/regression/midi-pedal.ly                |   6 +-
 input/regression/midi-scales.ly               |   4 +-
 input/regression/midi-tuplets.ly              |   4 +-
 .../regression/midi/key-option-all-staves.ly  |   8 +-
 input/regression/midi/lyrics-addlyrics.ly     |   6 +-
 input/regression/midi/partcombine.ly          |  10 +-
 input/regression/midi/quantize-duration-2.ly  |   4 +-
 input/regression/midi/rest-dynamic.ly         |   6 +-
 input/regression/midi/staff-map-instrument.ly |   6 +-
 input/regression/midi/staff-map-voice.ly      |   6 +-
 input/regression/midi/voice-5.ly              |   4 +-
 input/regression/modern-tab-clef-scaled.ly    |   4 +-
 input/regression/modern-tab-clef.ly           |   8 +-
 input/regression/monochords.ly                |   6 +-
 input/regression/mozart-hrn3-romanze.ily      |   6 +-
 input/regression/mozart-hrn3-rondo.ily        |   8 +-
 .../regression/music-function-end-spanners.ly |   6 +-
 input/regression/music-function-post-event.ly |   6 +-
 .../newaddlyrics-music-identifiers.ly         |   4 +-
 input/regression/newaddlyrics.ly              |  10 +-
 input/regression/note-head-chord.ly           |   6 +-
 input/regression/note-head-harmonic-dotted.ly |   6 +-
 input/regression/note-head-harmonic-whole.ly  |   6 +-
 input/regression/note-names-context.ly        |   4 +-
 input/regression/note-names.ly                |   6 +-
 input/regression/number-staff-lines.ly        |   4 +-
 input/regression/offsets.ly                   |   6 +-
 input/regression/optional-args.ly             |   4 +-
 input/regression/ottava-broken.ly             |   6 +-
 input/regression/ottava.ly                    |   6 +-
 .../page-breaking-good-estimation.ly          |   6 +-
 input/regression/page-label-loose-column.ly   |   6 +-
 .../page-spacing-nonstaff-lines-between.ly    |   6 +-
 .../page-spacing-nonstaff-lines-bottom.ly     |   6 +-
 .../page-spacing-nonstaff-lines-top.ly        |   6 +-
 input/regression/page-spacing.ly              |   6 +-
 input/regression/page-top-space.ly            |   6 +-
 .../page-turn-page-breaking-badturns.ly       |   4 +-
 input/regression/page-turn-page-breaking.ly   |   4 +-
 input/regression/parenthesize-markup.ly       |   4 +-
 input/regression/parenthesize.ly              |   6 +-
 input/regression/part-combine-a2.ly           |   6 +-
 input/regression/part-combine-chord-range.ly  |  10 +-
 input/regression/part-combine-cross.ly        |   6 +-
 .../part-combine-force-mmrest-position.ly     |   6 +-
 input/regression/part-combine-force-once.ly   |  10 +-
 input/regression/part-combine-force.ly        |  10 +-
 input/regression/part-combine-global.ly       |  10 +-
 input/regression/part-combine-markup.ly       |   6 +-
 .../part-combine-mmrest-after-solo.ly         |   4 +-
 input/regression/part-combine-silence.ly      |  10 +-
 input/regression/part-combine-solo-global.ly  |  10 +-
 input/regression/part-combine-solo.ly         |   6 +-
 input/regression/part-combine-strings.ly      |   6 +-
 input/regression/part-combine-text-wait.ly    |   6 +-
 input/regression/part-combine-text.ly         |   6 +-
 input/regression/part-combine-tuplet-end.ly   |   4 +-
 input/regression/part-combine.ly              |  10 +-
 input/regression/pdfmark-metadata.ly          |   4 +-
 input/regression/phrasing-slur-multiple.ly    |   6 +-
 input/regression/point-and-click-types.ly     |   6 +-
 input/regression/prefatory-separation.ly      |  10 +-
 input/regression/property-nested-revert.ly    |   6 +-
 input/regression/property-once.ly             |   6 +-
 input/regression/quote-cue-during.ly          |   8 +-
 input/regression/quote-cue-event-types.ly     |  10 +-
 input/regression/quote-cyclic.ly              |   4 +-
 input/regression/quote-during-subvoice.ly     |  38 +--
 input/regression/quote-during.ly              |   6 +-
 input/regression/quote-kill-cues.ly           |   8 +-
 input/regression/quote-overrides.ly           |   6 +-
 input/regression/quote-tie.ly                 |  10 +-
 input/regression/quote.ly                     |   6 +-
 .../rehearsal-mark-align-staff-context.ly     |   6 +-
 input/regression/rehearsal-mark-align.ly      |   6 +-
 .../regression/rehearsal-mark-final-score.ly  |   6 +-
 input/regression/rehearsal-mark-letter.ly     |   6 +-
 input/regression/relative-repeat.ly           |  10 +-
 .../remove-empty-staves-auto-knee.ly          |   8 +-
 input/regression/repeat-sign.ly               |   4 +-
 input/regression/repeat-tie.ly                |   6 +-
 input/regression/repeat-tremolo-chord-rep.ly  |   6 +-
 input/regression/repeat-tremolo-dots.ly       |   6 +-
 input/regression/repeat-unfold-all.ly         |   6 +-
 input/regression/repeat-volta-segno.ly        |   6 +-
 input/regression/rest-collision-beam-note.ly  |   6 +-
 .../rest-collision-beam-quantized.ly          |   4 +-
 .../rest-collision-note-duration.ly           |   4 +-
 input/regression/rest-collision.ly            |  10 +-
 input/regression/rest-note-collision.ly       |  10 +-
 input/regression/rest-pitch.ly                |   6 +-
 input/regression/rest-polyphonic-2.ly         |  10 +-
 input/regression/rest-polyphonic.ly           |   4 +-
 input/regression/scheme-engraver-instance.ly  |   6 +-
 input/regression/scheme-engraver.ly           |   6 +-
 input/regression/scheme-text-spanner.ly       |   4 +-
 input/regression/score-text.ly                |   4 +-
 input/regression/script-collision.ly          |   6 +-
 input/regression/script-shift-staccato.ly     |   6 +-
 input/regression/script-stack-order.ly        |   6 +-
 input/regression/script-tie-collision.ly      |   6 +-
 input/regression/semi-tie-cross-staff.ly      |   6 +-
 input/regression/shape-other-curves.ly        |   6 +-
 input/regression/shape-slurs.ly               |   6 +-
 input/regression/shorthands.ly                |   6 +-
 input/regression/skip-of-length.ly            |   6 +-
 input/regression/skiptypesetting-bar-check.ly |   6 +-
 input/regression/slur-broken-trend.ly         |  10 +-
 input/regression/slur-cross-staff-beam.ly     |   4 +-
 input/regression/slur-dot-collision.ly        |   4 +-
 input/regression/slur-dots.ly                 |   6 +-
 input/regression/slur-dynamics.ly             |   4 +-
 input/regression/slur-grace.ly                |   6 +-
 input/regression/slur-height-capping.ly       |   4 +-
 input/regression/slur-multiple-linebreak.ly   |  10 +-
 input/regression/slur-multiple.ly             |   6 +-
 input/regression/slur-rest.ly                 |   6 +-
 input/regression/slur-script.ly               |   4 +-
 input/regression/slur-shift-region.ly         |   6 +-
 input/regression/slur-tie-control-points.ly   |   6 +-
 input/regression/slur-tilt.ly                 |   6 +-
 input/regression/slur-vertical-skylines.ly    |   6 +-
 input/regression/song-basic-nonenglish.ly     |   4 +-
 input/regression/song-basic.ly                |   4 +-
 input/regression/song-breathe.ly              |   4 +-
 input/regression/song-melisma.ly              |   6 +-
 input/regression/song-repetition.ly           |   6 +-
 input/regression/song-skip-noword.ly          |   4 +-
 input/regression/song-skip.ly                 |   4 +-
 input/regression/song-splitpart.ly            |   6 +-
 input/regression/song-stanzas.ly              |   4 +-
 input/regression/song-tempo.ly                |   4 +-
 input/regression/spacing-accidental-staffs.ly |   6 +-
 input/regression/spacing-accidental-tie.ly    |   6 +-
 input/regression/spacing-accidental.ly        |   6 +-
 .../spacing-correction-accidentals.ly         |   6 +-
 input/regression/spacing-end-of-line.ly       |   6 +-
 input/regression/spacing-ended-voice.ly       |   6 +-
 input/regression/spacing-folded-clef.ly       |   6 +-
 input/regression/spacing-folded-clef2.ly      |   6 +-
 input/regression/spacing-folded-clef3.ly      |  10 +-
 input/regression/spacing-grace-duration.ly    |   6 +-
 input/regression/spacing-grace.ly             |   6 +-
 .../spacing-horizontal-skyline-grace.ly       |   4 +-
 input/regression/spacing-loose-polyphony.ly   |   6 +-
 .../spacing-non-adjacent-columns1.ly          |   8 +-
 .../spacing-non-adjacent-columns2.ly          |   8 +-
 input/regression/spacing-rest.ly              |   6 +-
 input/regression/spacing-section.ly           |   6 +-
 input/regression/spacing-short-notes.ly       |   6 +-
 input/regression/spacing-stick-out.ly         |   6 +-
 input/regression/spacing-to-grace.ly          |   6 +-
 input/regression/span-bar-allow-span-bar.ly   |  14 +-
 input/regression/span-bar-partial.ly          |   6 +-
 input/regression/span-bar-spacing.ly          |   6 +-
 input/regression/span-bar.ly                  |   4 +-
 input/regression/staccato-pos.ly              |   6 +-
 input/regression/staff-halfway.ly             |   6 +-
 .../regression/staff-online-symbol-absence.ly |   6 +-
 input/regression/staff-tweak.ly               |   4 +-
 input/regression/stanza-number.ly             |   4 +-
 input/regression/stem-direction.ly            |   6 +-
 input/regression/stem-tremolo-position.ly     |   6 +-
 input/regression/stem-tremolo-staff-space.ly  |   6 +-
 input/regression/stencil-hacking.ly           |   6 +-
 input/regression/string-number-styles.ly      |   6 +-
 input/regression/string-number.ly             |   6 +-
 input/regression/system-separator.ly          |   6 +-
 .../tablature-chord-repetition-finger.ly      |   4 +-
 .../regression/tablature-chord-repetition.ly  |   4 +-
 input/regression/tablature-default-strings.ly |   4 +-
 input/regression/tablature-dot-placement.ly   |   6 +-
 input/regression/tablature-glissando.ly       |   4 +-
 input/regression/tablature-grace-notes.ly     |   4 +-
 input/regression/tablature-harmonic-tie.ly    |   6 +-
 input/regression/tablature-harmonic.ly        |   6 +-
 input/regression/tablature-letter.ly          |   6 +-
 input/regression/tablature-negative-fret.ly   |   6 +-
 input/regression/tablature-slide.ly           |   6 +-
 input/regression/tablature-string-tunings.ly  |   4 +-
 input/regression/tablature-tie-behaviour.ly   |   8 +-
 input/regression/tag-filter.ly                |   6 +-
 input/regression/test-output-distance.ly      |   4 +-
 input/regression/text-spanner-full-rest.ly    |   6 +-
 .../regression/text-spanner-override-order.ly |   6 +-
 input/regression/tie-arpeggio-collision.ly    |   6 +-
 input/regression/tie-arpeggio.ly              |   6 +-
 input/regression/tie-broken.ly                |   4 +-
 input/regression/tie-chord-broken-extremal.ly |   6 +-
 input/regression/tie-chord-debug.ly           |   6 +-
 input/regression/tie-chord-partial.ly         |   6 +-
 input/regression/tie-chord.ly                 |   6 +-
 input/regression/tie-direction-broken.ly      |   6 +-
 input/regression/tie-direction-manual.ly      |   6 +-
 input/regression/tie-dot.ly                   |   6 +-
 input/regression/tie-grace.ly                 |   6 +-
 input/regression/tie-manual.ly                |   6 +-
 input/regression/tie-single-chord.ly          |   6 +-
 input/regression/tie-single.ly                |   6 +-
 input/regression/tie-unterminated.ly          |   6 +-
 input/regression/tie-whole.ly                 |   6 +-
 input/regression/trill-spanner-auto-stop.ly   |   6 +-
 input/regression/trill-spanner-chained.ly     |   6 +-
 input/regression/trill-spanner-grace.ly       |   6 +-
 input/regression/trill-spanner-scaled.ly      |  10 +-
 input/regression/trill-spanner.ly             |   6 +-
 input/regression/typography-demo.ly           |   4 +-
 input/regression/utf-8.ly                     |   6 +-
 input/regression/volta-markup-text.ly         |   6 +-
 .../warn-expected-warning-missing.ly          |   4 +-
 input/regression/woodwind-diagrams-empty.ly   |  34 +-
 input/regression/zero-staff-space.ly          |   6 +-
 ly/Welcome-to-LilyPond-MacOS.ly               |   6 +-
 ly/Welcome_to_LilyPond.ly                     |   6 +-
 623 files changed, 6359 insertions(+), 6359 deletions(-)

diff --git a/Documentation/ca/learning/common-notation.itely b/Documentation/ca/learning/common-notation.itely
index e08333b9fb..fa380958ec 100644
--- a/Documentation/ca/learning/common-notation.itely
+++ b/Documentation/ca/learning/common-notation.itely
@@ -7,7 +7,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
@@ -795,9 +795,9 @@ l'exemple que segueix, tres seqüències (cadascuna de les quals
 conté dues notes diferents) es combinen de forma simultània:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -827,8 +827,8 @@ expressió complexa, però com comença amb una sola nota, es
 disposa sobre un sols pentagrama.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e2 f } { c2 <<b d>> } >> |
 }
 @end lilypond
@@ -866,9 +866,9 @@ abans d'ell. Aquests elements @code{Staff} es combinen després en
 paral·lel amb @code{<<} y @code{>>}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -899,9 +899,9 @@ de què les partitures amb instruments transpositors són més
 comunes que les partitures polirítmiques.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -944,9 +944,9 @@ cas l'expressió completa es col·loca dins d'un @code{PianoStaff}:
 Heus aquí un petit exemple:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef "bass" c,,4 c' | e c | }
   >>
 }
@@ -1069,10 +1069,10 @@ Presentem a continuació l'inici de la melodia d'una cançó
 infantil, @qq{Girls and boys come out to play}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -1082,10 +1082,10 @@ separant cada síl·laba mitjançant un espai.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Girls and boys come | out to play,
@@ -1119,10 +1119,10 @@ shine as bright as day}.  A continuació l'ampliarem:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1155,10 +1155,10 @@ lligadura d'expressió sobre elles (vegeu @ref{Lligadures d'unió i d'expressió
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1176,10 +1176,10 @@ detalls consulteu @ref{Barres automàtiques i manuals}.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1196,10 +1196,10 @@ melisma:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1219,10 +1219,10 @@ Enees} de Purcell:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes | bes2( a) b2 |
+    g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1273,11 +1273,11 @@ del @notation{Barber de Sevilla} de Rossini, on la síl·laba
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef "bass"
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- | to -- tum del -- la cit -- | tà
@@ -1386,13 +1386,13 @@ usar posteriorment col·locant una barra invertida davant del nom
 
 @lilypond[verbatim,quote]
 violin = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 
 cello = \new Staff {
-  \relative c {
+  \relative {
     \clef "bass"
     e2 d
   }
@@ -1550,10 +1550,10 @@ serà origen de nombrosos errors.  Amb @code{\relative}, l'exemple
 anterior és molt més fàcil de llegir:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8 |
+  cis''8. d16 cis8 e4 e8 |
   b8. cis16 b8 d4 d8 |
 }
 @end lilypond
@@ -1575,7 +1575,7 @@ usant @code{\relative} dins de @code{\relative}, les seccions
 relatives externa i interna són independents:
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \relative c'' { f g } c }
+\relative { c'4 \relative { f'' g } c }
 @end lilypond
 
 @funindex \absolute
@@ -1585,7 +1585,7 @@ instrucció @code{\absolute} per evitar que s'incorpori a la música
 relativa:
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \absolute { f'' g'' } c }
+\relative { c'4 \absolute { f'' g'' } c }
 @end lilypond
 
 @node Més enllà del tutorial
diff --git a/Documentation/ca/learning/fundamental.itely b/Documentation/ca/learning/fundamental.itely
index 18916186ab..59ddb2ecc8 100644
--- a/Documentation/ca/learning/fundamental.itely
+++ b/Documentation/ca/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Conceptes fonamentals
 @chapter Conceptes fonamentals
@@ -89,8 +89,8 @@ quan li proporcionem una entrada senzilla.  El LilyPond tracta una
 entrada com aquesta:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -102,8 +102,8 @@ com una abreviatura d'aquesta altra:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -242,8 +242,8 @@ variables com es mostra a @ref{Organitzar les peces mitjançant
 variables}.  Totes les plantilles fan servir el següent:
 
 @example
-melodia = \relative c' @{
-  c4 a b c
+melodia = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -371,8 +371,8 @@ claudàtors que segueixen a @code{\new Voice = "vocal"}, podríem
 començar escrivint
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -392,10 +392,10 @@ Així doncs, tot escrivint algunes notes, i una clau de Fa per a la
 mà esquerra, ara tenim un fragment musical de debò:
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e }
 
 \score {
   <<
@@ -444,8 +444,8 @@ notes:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -471,8 +471,8 @@ manera següent:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -720,9 +720,9 @@ de les lligadures, pliques, matisos dinàmics, etc., s'ajusta de
 forma correcta.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Veu principal
-  c16 d e f
+  c'16 d e f
   %    Veu "1"       Veu "2"                 Veu "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -746,9 +746,9 @@ lligades es poden dividir entre les mateixes veus de dues
 construccions, com s'indica aquí a la veu de triangles blaus.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Veu principal
-  c16 d e f
+  c'16 d e f
   <<  % Bar 1
     {
       \voiceOneStyle
@@ -840,10 +840,10 @@ li sembli misteriós i tan sols es concentri a la música i les veus
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Veu u
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     {
       % Ignoreu aquestes expressions per ara, s'explicaran al Cap. 4
@@ -918,10 +918,10 @@ après, usant la construcció @code{<< \\ >>} per introduir la
 música del primer compàs a tres veus:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -942,10 +942,10 @@ veu quatre.  Això es fa escrivint un altre parell de barres
 invertides (@code{\\}).
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Veu u
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Veu dos
     { <ees, c>2 des }
   \\  % Omet Veu tres
@@ -1009,8 +1009,8 @@ prèvia:
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -1020,8 +1020,8 @@ equival a
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -1030,8 +1030,8 @@ Els dos exemples anteriors produeixen:
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1054,9 +1054,9 @@ l'escriptura, les lligadures d'unió i d'expressió i les
 indicacions de dinàmica:
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Comportament predeterminat o comportament després de \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1128,8 +1128,8 @@ possibles, i si hi ha una veu que apareix sols breument podria
 haver-hi una forma més natural d'escriure la música.
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e) | }
     \new Voice {
@@ -1306,14 +1306,14 @@ que s'interpreti com a lletra i no com a música.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1367,10 +1367,10 @@ pentagrames.  A d'altres exemples se li sol donar el nom de @q{global}.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1558,8 +1558,8 @@ pràctica, heus aquí un exemple anotat de música real:
       \clef "treble"
       \key g \minor
       \new Voice {  % crea la veu per a les notes de la mà dreta
-        \relative c'' {  % inici de les notes de la mà dreta
-          d4 ees16 c8. |
+        \relative {  % inici de les notes de la mà dreta
+          d''4 ees16 c8. |
           d4 ees16 c8. |
         }  % fi de les notes de la mà dreta
       }  % fi de la veu de la mà dreta
@@ -1569,14 +1569,14 @@ pràctica, heus aquí un exemple anotat de música real:
       \key g \minor
       \new Voice {  % crea la veu de la mà esquerra
         \voiceOne
-        \relative g {  % inicia les notes de la veu u de la mà esquerra
+        \relative {  % inicia les notes de la veu u de la mà esquerra
           g8 <bes d> ees, <g c> |
           g8 <bes d> ees, <g c> |
         }  % fi de les notes de la veu u de la mà esquerra
       }  % fi de la veu u de la mà esquerra
       \new Voice {  % crea la veu dos de la mà esquerra
         \voiceTwo
-        \relative g {  % inici de les notes de la veu dos de la mà esquerra
+        \relative {  % inici de les notes de la veu dos de la mà esquerra
           g4 ees |
           g4 ees |
         }  % fi de les notes de la veu dos de la mà esquerra
@@ -1856,8 +1856,8 @@ Així, això desactivarà els bequadres addicionals a un pentagrama:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1871,8 +1871,8 @@ i això els desactivarà a tots els pentagrames:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1951,13 +1951,13 @@ de la forma següent:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -2000,8 +2000,8 @@ continuació presentem un exemple que mostra el format:
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -2020,13 +2020,13 @@ pentagrames de la partitura:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -2093,8 +2093,8 @@ les línies del pentagrama estan dibuixades pel gravador
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % fes més petits els caps de les notes
   e4 f |
   \set fontSize = #2.5  % fes més grans els caps de les notes
@@ -2180,24 +2180,24 @@ pautes, podem escriure
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2264,7 +2264,7 @@ plantilla @q{Notes i lletra} (per a la part de soprano).
 
 @example
 \version @w{"@version{}"}
-melodia = \relative c' @{
+melodia = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2293,7 +2293,7 @@ Ara volem afegir una part de violoncel.  Vegem l'exemple
 
 @example
 \version @w{"@version{}"}
-melodia = \relative c' @{
+melodia = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2330,7 +2330,7 @@ Fa). Així mateix, canviarem algunes del violoncel.
 
 @example
 \version @w{"@version{}"}
-musicaSoprano = \relative c' @{
+musicaSoprano = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2341,7 +2341,7 @@ lletraSoprano = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-musicaVioloncel = \relative c @{
+musicaVioloncel = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2401,7 +2401,7 @@ fàcil solució.  Presentem aquí la plantilla completa per a
 soprano i violoncel.
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-musicaSoprano = \relative c' {
+musicaSoprano = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2412,7 +2412,7 @@ lletraSoprano = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-musicaVioloncel = \relative c {
+musicaVioloncel = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2456,31 +2456,31 @@ aquí un exemple del «Messies» de Haendel:
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-musicaSoprano = \relative c'' {
+musicaSoprano = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 lletraSoprano = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
 
-musicaAlto = \relative a' {
+musicaAlto = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 
 lletraAlto = \lletraSoprano
 
-musicaTenor = \relative c' {
+musicaTenor = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 
 lletraTenor = \lletraSoprano
 
-musicaBaix = \relative c' {
+musicaBaix = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 
 lletraBaix = \lletraSoprano
@@ -2693,26 +2693,26 @@ de l'exemple anterior, obtenim:
 
 @lilypond[quote,verbatim,ragged-right,addversion]
 global = { \key d \major \time 4/4 }
-musicaSoprano = \relative c'' {
+musicaSoprano = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 lletraSoprano = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-musicaAlto = \relative a' {
+musicaAlto = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 lletraAlto = \lletraSoprano
-musicaTenor = \relative c' {
+musicaTenor = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 lletraTenor = \lletraSoprano
-musicaBaix = \relative c' {
+musicaBaix = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 lletraBaix = \lletraSoprano
 upper = \relative a' {
@@ -3029,19 +3029,19 @@ música, i combinar totes les parts.
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-MusicaManualUVeuU = \relative g' {
-  g4 g f ees |
+MusicaManualUVeuU = \relative {
+  g'4 g f ees |
   d2 c |
 }
-MusicaManualUVeuDos = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+MusicaManualUVeuDos = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-MusicaManualDos= \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+MusicaManualDos= \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d ees8~ 16 f ees d |
 }
-MusicaOrganPedal = \relative c {
+MusicaOrganPedal = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -3096,7 +3096,7 @@ Glossari musical:
 Arribats a aquest punt, heu vist coses d'aquest tipus:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 
 \score {
   {
@@ -3109,8 +3109,8 @@ Fins i tot us adonareu que això pot ser útil en música
 minimalista:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 
 violí = \new Staff {
   \fragmentA \fragmentA |
@@ -3194,8 +3194,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative {
+  c'''4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
@@ -3229,7 +3229,7 @@ exemple, suposem que el fitxer @file{trompa.ly} conté la següent
 part d'un duo per a trompa i fagot:
 
 @example
-notesTrompa = \relative c @{
+notesTrompa = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3267,7 +3267,7 @@ normal en@tie{}Fa.  La transposició es pot veure a la següent
 sortida
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3325,7 +3325,7 @@ que l'altra veu es troba dins de @code{notesFagot} al fitxer
 el que ens porta a
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/ca/learning/tutorial.itely b/Documentation/ca/learning/tutorial.itely
index be9d4fbf56..31f7435d6e 100644
--- a/Documentation/ca/learning/tutorial.itely
+++ b/Documentation/ca/learning/tutorial.itely
@@ -10,7 +10,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Tutorial
 @chapter Tutorial
@@ -242,8 +242,8 @@ espai de pentagrama des de la nota anterior.
 
 @lilypond[verbatim,quote]
 % set the starting point to middle C
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -256,8 +256,8 @@ successivament).  Podem crear melodies amb intervals més grans,
 fins i tot sense deixar d'utilitzar el mode relatiu:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -273,8 +273,8 @@ l'ordre @q{@w{@code{@bs{}\relative c'}}}, podem canviar l'octava d'inici:
 @c KEEP LY
 @lilypond[verbatim,quote]
 % una octava per sobre del Do central
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -290,8 +290,8 @@ sota.
 
 @c KEEP LY
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % el Do està 1 espai per sobre, és el Do de dalt
+\relative {
+  b' c  % el Do està 1 espai per sobre, és el Do de dalt
   b d  % el Re està 2 espais per sobre o 5 per sota, és el Re de dalt
   b e  % el Mi està 3 espais per sobre o 4 per sota, és el Mi de dalt
   b a  % el La està 6 espais per sobre o 1 per sota, és el La de sota
@@ -313,8 +313,8 @@ una octava escrivint una coma @code{,} a continuació del nom de la
 nota.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -358,8 +358,8 @@ a la nota següent.  La figura per omissió de la primera nota és
 una negra.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -370,8 +370,8 @@ número de la duració.  La duració d'una nota amb puntet s'ha
 d'especificar de forma explícita (és a dir: mitjançant un número).
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 a a4. a8
+\relative {
+  a'4 a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -390,8 +390,8 @@ Un @notation{silenci} s'introdueix igual que si fos un anota amb
 el nom @code{r}@tie{}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 r r2
+\relative {
+  a'4 r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -413,9 +413,9 @@ La @notation{indicació de compàs} es pot establir amb l'ordre
 @code{\time} :
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -479,9 +479,9 @@ La @notation{clau} es pot establir utilitzant l'ordre
 @code{\clef} :
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef "treble"
-  c1
+  c'1
   \clef "alto"
   c1
   \clef "tenor"
@@ -784,8 +784,8 @@ per generar aquesta imatge.  Proveu-lo sobre aquesta imatge:
 @c no verbatim here
 @c KEEP LY
 @lilypond[quote]
-\relative c'' {
-  c4-\markup { \bold \huge { Cliqueu aquí. } }
+\relative {
+  c''4-\markup { \bold \huge { Cliqueu aquí. } }
 }
 @end lilypond
 
diff --git a/Documentation/ca/learning/tweaks.itely b/Documentation/ca/learning/tweaks.itely
index 5dfeb90bec..830a26f1e3 100644
--- a/Documentation/ca/learning/tweaks.itely
+++ b/Documentation/ca/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Ajustament de la sortida
 @chapter Ajustament de la sortida
@@ -1491,8 +1491,8 @@ introduir un pentagrama temporal, com a un @rglos{ossia}.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1518,8 +1518,8 @@ segell de cadascú d'ells a @code{#f}, com segueix:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1581,8 +1581,8 @@ Així doncs, podem reemplaçar l'exemple anterior amb
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1607,8 +1607,8 @@ resultat següent:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1678,8 +1678,8 @@ Provem-lo en el nostre exemple de l'ossia:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1749,8 +1749,8 @@ S'usa de la següent forma:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1880,10 +1880,10 @@ de les notes sobre pentagrames adjacents:
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -3169,8 +3169,8 @@ contingui els símbols desitjats, com segueix:
 
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
-\relative c'' {
-  c4
+\relative {
+  c''4
   % This prints a sesquisharp but the spacing is too small
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -3418,10 +3418,10 @@ Chopin que present al final de @ref{Sento veus}, que vam deixar
 amb aquest aspecte:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 des }
     \\
@@ -3458,10 +3458,10 @@ Presentem a continuació el resultat final:
 @cindex force-hshift, propietat, exemple
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 \once \override NoteColumn.force-hshift = 0.5 des }
     \\
@@ -3498,9 +3498,9 @@ les indicacions dinàmiques, les digitacions i el pedal.
 @c This example should not be indexed
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3540,8 +3540,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3581,9 +3581,9 @@ produeix el LilyPond de forma predeterminada:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4. g8 |
+    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3607,8 +3607,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3639,9 +3639,9 @@ estudiar al Tutorial. En fer-lo, obtenim:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3665,8 +3665,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3712,9 +3712,9 @@ Amb això es completa el compàs dos, produint el següent resultat:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3740,8 +3740,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3795,9 +3795,9 @@ al final, obtenint com a resultat:
 
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3827,8 +3827,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3870,9 +3870,9 @@ dos Re.  En aplicar aquests canvis obtenim:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3905,8 +3905,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3941,9 +3941,9 @@ resultat final:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3984,8 +3984,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -4260,10 +4260,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/ca/usage/running.itely b/Documentation/ca/usage/running.itely
index 93d4609e74..20c12ee452 100644
--- a/Documentation/ca/usage/running.itely
+++ b/Documentation/ca/usage/running.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 
 @node Execució del LilyPond
@@ -1089,7 +1089,7 @@ un dels quals crea implícitament blocs @code{Staff} i @code{Voice}.
 
 @lilypond[quote,verbatim]
 \repeat unfold 2 {
-  \relative c' { c4 d e f }
+  \relative { c'4 d e f }
 }
 @end lilypond
 
@@ -1099,7 +1099,7 @@ explícitament:
 @lilypond[quote,verbatim]
 \new Voice {
   \repeat unfold 2 {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
   }
 }
 @end lilypond
diff --git a/Documentation/ca/usage/suggestions.itely b/Documentation/ca/usage/suggestions.itely
index 826d716230..0e4dc47cd5 100644
--- a/Documentation/ca/usage/suggestions.itely
+++ b/Documentation/ca/usage/suggestions.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Suggeriments per escriure fitxers d'entrada
 @chapter Suggeriments per escriure fitxers d'entrada
@@ -182,8 +182,8 @@ per contra, és extremadament improbable que canviï la definició de
 
 
 @example
-violí = \relative c'' @{
-g4 c'8. e16
+violí = \relative @{
+g'4 c'8. e16
 @}
 @dots{}
 \score @{
@@ -204,8 +204,8 @@ cop, i encara podrem evitar tocar res dins de @code{violí}.
 @example
 fdesprésp = _\markup@{
   \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
-violí = \relative c'' @{
-g4\fluegop c'8. e16
+violí = \relative @{
+g'4\fluegop c'8. e16
 @}
 @end example
 
@@ -253,9 +253,9 @@ Si no és així, transformeu en comentaris tota la música del baix
 (però deixeu el @code{\baix} de la secció @code{\score} no comentat.
 
 @example
-bajo = \relative c' @{
+bajo = \relative @{
 %@{
-  c4 c c c
+  c'4 c c c
   d d d d
 %@}
 @}
diff --git a/Documentation/cs/learning/common-notation.itely b/Documentation/cs/learning/common-notation.itely
index 49e1325d2c..88ced2b973 100644
--- a/Documentation/cs/learning/common-notation.itely
+++ b/Documentation/cs/learning/common-notation.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @ignore
 Tutorial guidelines:
@@ -680,9 +680,9 @@ Souběžně jsou hudební výrazy spojeny tak, že jsou uzavřeny uvnitř
 tři výrazy (každý obsahuje dvě oddělené noty):
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -711,8 +711,8 @@ příklad začíná jednou notou:
 
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e f } { c <<b d>> } >> |
 }
 @end lilypond
@@ -750,9 +750,9 @@ osnovu) jsou potom uspořádány souběžně se znaky @code{<<} a
 @code{>>}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -787,9 +787,9 @@ notové zápisy s rozdílnými druhy taktů.
 
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -835,9 +835,9 @@ nyní vložen do prostředí @code{PianoStaff}.
 Zde je jeden malý příklad:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef "bass" c,,4 c' | e c | }
   >>
 }
@@ -967,10 +967,10 @@ Zde je začátek jednoduché dětské písně,
 @notation{Dívky a chlapci jdou ven, aby si hráli}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -981,10 +981,10 @@ se zadá tak, že každá slabika je oddělena prázdným znakem.
 @c KEEP LY
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Dívky a chlapci jdou | ven, aby si hráli,
@@ -1026,10 +1026,10 @@ takto:
 @c KEEP LY
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1043,10 +1043,10 @@ V anglickém originále je to:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1080,10 +1080,10 @@ podrobnosti se podívejte v části @ref{Ligatury a legatové obloučky}.
 @c KEEP LY
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1103,10 +1103,10 @@ Na podrobnosti se podívejte v části @ref{Automatické a ruční trámce}.
 @c KEEP LY
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1123,10 +1123,10 @@ podtržítko @code{_}:
 @c KEEP LY
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1147,10 +1147,10 @@ jsem | položen __ na | zemi.}:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes | bes2( a) b2 |
+    g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1201,11 +1201,11 @@ ve Figarově árii @notation{Largo al factotum}.
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef "bass"
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- | to -- tum del -- la cit -- | tà
@@ -1312,13 +1312,13 @@ později tím, že se před ně zapíše obrácené lomítko
 
 @lilypond[verbatim,quote]
 violin = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 
 cello = \new Staff {
-  \relative c {
+  \relative {
     \clef "bass"
     e2 d
   }
@@ -1476,10 +1476,10 @@ možným zdrojem chyb. Pomocí příkazu  @code{\relative} je tento příklad
 mnohem jednodušeji čitelný:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8 |
+  cis''8. d16 cis8 e4 e8 |
   b8. cis16 b8 d4 d8 |
 }
 @end lilypond
diff --git a/Documentation/cs/learning/fundamental.itely b/Documentation/cs/learning/fundamental.itely
index ea58f708d4..c232085074 100644
--- a/Documentation/cs/learning/fundamental.itely
+++ b/Documentation/cs/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 @c Translators: Pavel Fric
 
 @node Základní pojmy
@@ -63,8 +63,8 @@ tak notová sazba vypadá zřídka, když se tento příkaz
 vynechá.
 
 @lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
-  c4 a b c
+\relative {
+  c''4 a b c
 }
 @end lilypond
 
@@ -119,8 +119,8 @@ stavbu.
 Podívejme se na jeden takový jednoduchý příklad:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -135,8 +135,8 @@ takové soubory daly napsat a také správně zapsat, znamená
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -277,8 +277,8 @@ jak je to také ukázáno v @ref{Pořádání děl pomocí proměnných}.
 Všechny předlohy používají tuto možnost:
 
 @example
-melodie = \relative c' @{
-  c4 a b c
+melodie = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -410,8 +410,8 @@ složených závorek vedle @code{\new Voice = "Zpěvní hlas"}
 bychom mohli zapisovat
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -433,10 +433,10 @@ Takže nyní máme, když přidáme několik not a basový klíč
 pro levou ruku, následující příklad:
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e }
 
 \score {
   <<
@@ -485,8 +485,8 @@ jen pro dobu trvání tří not:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -513,8 +513,8 @@ osnovu:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -762,9 +762,9 @@ z těchto prostředí je nastaven svislý směr nožiček, legatových obloučk
 ligatur, značek pro dynamiku atd. tak, jak se patří.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -786,9 +786,9 @@ Všimněte si také, že spojené noty mohou být rozděleny přes stejný hlas
 do dvou staveb, jak je to ukázáno zde na modrém trojúhelníkovém hlase.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<   % Bar 1
     {
       \voiceOneStyle
@@ -878,10 +878,10 @@ a hlasy.  Složitější věci budou vysvětleny v pozdějších částech.
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { aes2 f4 fes }
   \\  % No voice three
@@ -953,10 +953,10 @@ se to naučili, pomocí konstrukcí @code{<< \\  >>},
 kterou zapíšeme tři hlasy prvního taktu:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des }
+    { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des }
   >> |
   <c ees aes c>1 |
 }
@@ -978,10 +978,10 @@ umístíme do čtvrtého hlasu.  To se udělá jednoduše přidáním
 páru @code{\\}.
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { aes2 f4 fes }
   \\  % Omit Voice three
@@ -1043,8 +1043,8 @@ Stavba @code{<< \\ >>}, kterou jsme použili v předchozím
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -1054,8 +1054,8 @@ ist identisch mit
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -1064,8 +1064,8 @@ Obojí výše by vytvořilo následující notový obraz:
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1086,9 +1086,9 @@ mají příkazy @code{\oneVoice}, @code{\voiceOne} a @code{voiceTwo}
 účinek na text, obloučky a označení dynamiky:
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1159,8 +1159,8 @@ hlas objeví jen krátce, může to být přirozenější způsob
 sázení not:
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e2) | }
     \new Voice {
@@ -1334,14 +1334,14 @@ ne jako noty.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1395,10 +1395,10 @@ tóninu.  Taková proměnná se často označuje @qq{global}.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1598,8 +1598,8 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben:
       \clef "treble"
       \key g \minor
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8.
+        \relative {  % start of RH notes
+          d''4 ees16 c8.
           d4 ees16 c8.
         }  % end of RH notes
       }  % end of RH voice
@@ -1609,14 +1609,14 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben:
       \key g \minor
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c>
           g8 <bes d> ees, <g c>
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees
           g4 ees
         }  % end of LH voice two notes
@@ -1914,8 +1914,8 @@ ausgeschaltet sind:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    ais2 aes
+  \new Staff \relative {
+    ais'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1929,8 +1929,8 @@ während das dazu dient, sie in allen Systemen auszuschalten:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    ais2 aes
+  \new Staff \relative {
+    ais'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -2007,12 +2007,12 @@ etwa so:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff
-    \relative c'' {
-      gis4 ges aes ais
+    \relative {
+      gis'4 ges aes ais
     }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gis ges aes ais
+    \relative {
+      gis' ges aes ais
     }
   }
 >>
@@ -2056,8 +2056,8 @@ Funktion anwendet:
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cis4 e d ces
+    \relative {
+      cis''4 e d ces
     }
   }
   \layout {
@@ -2076,13 +2076,13 @@ Wenn die Veränderung der Eigenschaft sich auf alle Systeme einer
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gis4 ges aes ais
+      \relative {
+        gis'4 ges aes ais
       }
     }
     \new Staff {
-      \relative c'' {
-        gis4 ges aes ais
+      \relative {
+        gis'4 ges aes ais
       }
     }
   >>
@@ -2151,8 +2151,8 @@ erstellt werden.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % make note heads smaller
   e4 f |
   \set fontSize = #2.5  % make note heads larger
@@ -2244,24 +2244,24 @@ mit vier Systemen anzeigen wollen, könnte das so aussehen:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2331,7 +2331,7 @@ Fall könnten Sie mit der Vorlage @qq{Noten und Text}
 
 @example
 \version @w{"@version{}"}
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2361,7 +2361,7 @@ Beispiel @qq{Nur Noten} an:
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2405,7 +2405,7 @@ Wir ändern auch die Noten etwas ab.
 @example
 \version @w{"@version{}"}
 
-SopranNoten = \relative c' @{
+SopranNoten = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2416,7 +2416,7 @@ SoprText = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-CelloNoten = \relative c @{
+CelloNoten = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2478,7 +2478,7 @@ nicht mehr.  Das können wir aber schnell in Ordnung bringen.
 Hier also die gesamte Vorlage für Soprán a violoncello:
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2489,7 +2489,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2539,26 +2539,26 @@ notiert wird.  Hier ein Beispiel aus Händels @notation{Messias}:
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2777,26 +2777,26 @@ global = {
   \key d \major
   \time 4/4
 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -3132,19 +3132,19 @@ die Variablen mit einem Backslash in die Partitur einbauen.
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c2 |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d e8~ 8es16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -3199,7 +3199,7 @@ Glossar:
 Bis jetzt wurde immer derartige Notation vorgestellt:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 
 \score {
   {
@@ -3212,8 +3212,8 @@ Sie können sich vorstellen, dass das etwa für minimalistische
 Musik sehr nützlich sein könnte:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 violin = \new Staff {
   \fragmentA \fragmentA |
   \fragmentB \fragmentA |
@@ -3295,8 +3295,8 @@ padText =
      \once \override TextScript.padding = $padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative {
+  c'''4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
@@ -3330,7 +3330,7 @@ Nehmen wir an, dass die Datei @file{horn-music.ly} folgende
 Noten eines Horn/@/Fagott-Duos enthält:
 
 @example
-hornNotes = \relative c @{
+hornNotes = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3368,7 +3368,7 @@ die Stimmung eines normalen F-Hornes verlangt.  Die Transposition
 kann in folgender Notenausgabe gesehen werden:
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3425,7 +3425,7 @@ Partitur erstellt mit:
 woraus sich ergibt:
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/cs/learning/tutorial.itely b/Documentation/cs/learning/tutorial.itely
index 7bef36f3b5..8b940467be 100644
--- a/Documentation/cs/learning/tutorial.itely
+++ b/Documentation/cs/learning/tutorial.itely
@@ -10,7 +10,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 @c Translators: Pavel Fric
 
 @node Cvičení
@@ -248,8 +248,8 @@ vždy jen o jeden notový řádek nad předchozím.
 @c KEEP LY
 @lilypond[verbatim,quote]
 % Počáteční bod napsat na jednočárkovaném C
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -263,8 +263,8 @@ režimu @code{\relative} zobrazit i melodie s většími
 intervaly:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -282,8 +282,8 @@ je odstraňuje, může být oktáva první výšky tónu změněna:
 @c KEEP LY
 @lilypond[verbatim,quote]
 % dvoučárkované C
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -297,8 +297,8 @@ H, když je to A, G nebo F, je napsáno pod ním.
 
 @c KEEP LY
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % c je 1 řádek nahoru, tedy c nad b
+\relative {
+  b' c  % c je 1 řádek nahoru, tedy c nad b
   b d  % d je 2 řádky nahoru, nebo 5 dolů, tedy d nad b
   b e  % e je 3 nahoru, nebo 4 dolů, tedy e pod b
   b a  % a je 6 nahoru, nebo 1 dolů, tedy a pod b
@@ -317,8 +317,8 @@ Aby se zapsaly intervaly, které jsou větší než tři notové řádky, lze ok
 posazeným přímo za název noty se oktáva zvýší o jednu, čárkou @code{,} se oktáva o jednu sníží.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -355,8 +355,8 @@ Není-li označena žádná délka, používá se délka předcházející noty.
 Pro první notu je jako výchozí určena čtvrťová nota.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -368,8 +368,8 @@ tečkované noty musí být udána výslovně, tudíž včetně
 čísla.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 a a4. a8
+\relative {
+  a'4 a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -385,8 +385,8 @@ tečkované noty musí být udána výslovně, tudíž včetně
 označením je @code{r}@tie{}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 r r2
+\relative {
+  a'4 r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -405,9 +405,9 @@ Slovníček: @rglos{time signature}.
 @code{\time}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -461,9 +461,9 @@ Slovníček: @rglos{clef}.
 @code{\clef}:
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef "treble"
-  c1
+  c'1
   \clef "alto"
   c1
   \clef "tenor"
@@ -765,8 +765,8 @@ vyobrazením:
 @c no verbatim here
 @c KEEP LY
 @lilypond[quote]
-\relative c'' {
-  c4-\markup { \bold \huge { Klepněte sem! } }
+\relative {
+  c''4-\markup { \bold \huge { Klepněte sem! } }
 }
 @end lilypond
 
diff --git a/Documentation/cs/learning/tweaks.itely b/Documentation/cs/learning/tweaks.itely
index 0338933cfa..d5b9ebff09 100644
--- a/Documentation/cs/learning/tweaks.itely
+++ b/Documentation/cs/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Ladění výstupu
 @chapter Ladění výstupu
@@ -1476,8 +1476,8 @@ braucht.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f c c }
@@ -1504,8 +1504,8 @@ wir setzen den Stencil von beiden auf @code{#f}:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d
+  \relative {
+    r4 g'8 g c4 c8 d
     e4 r8
     <<
       { f8 c c }
@@ -1573,8 +1573,8 @@ Das obige Beispiel könnte also auch so aussehen:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d
+  \relative {
+    r4 g'8 g c4 c8 d
     e4 r8
     <<
       { f8 c c }
@@ -1644,8 +1644,8 @@ Setzen wir das also in unserem Ossia-Beispiel ein:
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d
+  \relative {
+    r4 g'8 g c4 c8 d
     e4 r8
     <<
       { f8 c c }
@@ -1717,8 +1717,8 @@ sie benutzt:
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d
+  \relative {
+    r4 g'8 g c4 c8 d
     e4 r8
     <<
       { f8 c c }
@@ -1846,10 +1846,10 @@ Im nächsten Beispiel sehen Sie, wie Noten auf zwei Systemen
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -2906,8 +2906,8 @@ wie im folgenden Beispiel:
 
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
- \relative c'' {
-  c4
+ \relative {
+  c''4
   % This prints a sesquisharp but the spacing is too small
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -3150,10 +3150,10 @@ Chopin-Beispiel vornehmen, das wir behandelt haben in
 gebracht:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { aes2 f4 fes }
     \\
@@ -3186,10 +3186,10 @@ Hier das Endergebnis:
 @cindex vertikale Verschiebung, Beispiel
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { aes2 f4 fes }
     \\
@@ -3227,9 +3227,9 @@ zu kompliziert zu machen.
 
 @c This example should not be indexed
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3268,8 +3268,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3312,8 +3312,8 @@ erstellt:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
-  \new Voice {    r2 c4. g8 |
+rhMusic = \relative {
+  \new Voice {    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3337,8 +3337,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3372,9 +3372,9 @@ sind schnell gesetzt, denn sie wurden schon in der
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3398,8 +3398,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3446,9 +3446,9 @@ den Bindebogen (@code{tie}) 3,5 halbe Notenlinienabstände
 Damit ist auch der zweite Takt vollständig:
 
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3474,8 +3474,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3530,9 +3530,9 @@ um das Verhalten wieder auszuschalten. Das sieht so aus:
 @cindex staff-position-Eigenschaft, Beispiel
 
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3562,8 +3562,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3604,9 +3604,9 @@ es die Verschmelzung der Ds nicht stört.  Das sieht jetzt so
 aus:
 
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3638,8 +3638,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3674,9 +3674,9 @@ wir durchsichtig und das C verschieben wir mit der
 @cindex transparent-Eigenschaft, Beispiel
 
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3716,8 +3716,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3956,10 +3956,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/cs/usage/lilypond-book.itely b/Documentation/cs/usage/lilypond-book.itely
index d041f61620..32e6f4ad05 100644
--- a/Documentation/cs/usage/lilypond-book.itely
+++ b/Documentation/cs/usage/lilypond-book.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Pavel Fric
 
@@ -94,8 +94,8 @@ Dokumente für \verb+lilypond-book+ können Musik und Text nach Belieben
 kombinieren. Zum Beispiel:
 
 \begin{lilypond}
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 \end{lilypond}
 
@@ -154,8 +154,8 @@ Dokumente für @command{lilypond-book} können Musik und Text nach Belieben
 kombinieren. Zum Beispiel:
 
 @lilypond
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 @end lilypond
 
@@ -706,8 +706,8 @@ Erzeugung der Grafik im relativen Oktavenmodus interpretiert, der
 wörtlich in das Dokument kopierte LilyPond-Code zeigt den @code{relative}-Befehl jedoch nicht.
 
 @example
-\relative c' @{ % begin verbatim
-  c4 e2 g4
+\relative @{ % begin verbatim
+  c'4 e2 g4
   f2 e % end verbatim
 @}
 @end example
@@ -1067,8 +1067,8 @@ Sie können LilyPond-Fragmente in ein LaTeX-Dokument einfügen:
 Normaler LaTeX-Text.
 
 \begin@{lilypond@}
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 \end@{lilypond@}
 
@@ -1093,7 +1093,7 @@ Handbuch wurde in Texinfo geschrieben.
 Texinfo-Text
 
 @@lilypond
-\relative c' @{
+\relative @{
   a4 b c d
 @}
 @@end lilypond
@@ -1120,8 +1120,8 @@ d4 c b a
 Dokumente für lilypond-book können Noten und Text frei kombinieren. Zum
 Beispiel
 <lilypond>
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 </lilypond>
 </p>
diff --git a/Documentation/cs/usage/running.itely b/Documentation/cs/usage/running.itely
index c0ab293214..9a9b25dfdf 100644
--- a/Documentation/cs/usage/running.itely
+++ b/Documentation/cs/usage/running.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @c Translators: Pavel Fric
 
@@ -791,7 +791,7 @@ erstellen.
 
 @lilypond[quote,verbatim]
 \repeat unfold 2 {
-  \relative c' { c4 d e f }
+  \relative { c'4 d e f }
 }
 @end lilypond
 
@@ -801,7 +801,7 @@ umgangen werden.
 @lilypond[quote,verbatim]
 \new Voice {
   \repeat unfold 2 {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
   }
 }
 @end lilypond
diff --git a/Documentation/cs/usage/suggestions.itely b/Documentation/cs/usage/suggestions.itely
index 96c0618531..b9afaa72b3 100644
--- a/Documentation/cs/usage/suggestions.itely
+++ b/Documentation/cs/usage/suggestions.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Návrhy pro psaní vstupních souborů LilyPond
 @chapter Návrhy pro psaní vstupních souborů LilyPond
@@ -60,7 +60,7 @@ Hier einige Vorschläge, wie Sie Probleme vermeiden oder lösen können:
 @item @strong{Schreiben Sie immer mit @code{\version} die
 Versionsnummer
 in jede Datei}.  Beachten Sie, dass in allen Vorlagen die Versionsnummer
-@code{\version "2.16.0"} eingetragen ist.  Es empfiehlt sich, in alle
+@code{\version "2.19.21"} eingetragen ist.  Es empfiehlt sich, in alle
 Dateien, unabhängig von ihrer Größe, den @code{\version}-Befehl
 einzufügen.  Persönliche Erfahrung hat gezeigt, dass es ziemlich
 frustrierend sein kann zu erinnern, welche Programmversion man etwa
@@ -176,8 +176,8 @@ während die @code{violine}-Definition sich wahrscheinlich mit einer
 neuen Programmversion nicht verändern wird.
 
 @example
-violine = \relative c'' @{
-g4 c'8. e16
+violine = \relative @{
+g'4 c'8. e16
 @}
 ...
 \score @{
@@ -199,8 +199,8 @@ man es nur einmal vorzunehmen und die Noten in der Geigenstimme,
 @example
 fdannp = _\markup@{
   \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
-violin = \relative c'' @{
-g4\fdannp c'8. e16
+violin = \relative @{
+g'4\fdannp c'8. e16
 @}
 @end example
 
@@ -254,9 +254,9 @@ aus, aber nicht den @code{\bass}-Befehl in dem
  @code{\score}-Abschnitt:
 
 @example
-bass = \relative c' @{
+bass = \relative @{
 %@{
-  c4 c c c
+  c'4 c c c
   d d d d
 %@}
 @}
diff --git a/Documentation/de/essay/engraving.itely b/Documentation/de/essay/engraving.itely
index 9215186129..f6aaf54145 100644
--- a/Documentation/de/essay/engraving.itely
+++ b/Documentation/de/essay/engraving.itely
@@ -9,7 +9,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -670,7 +670,7 @@ Der letzte Bogen erhält 10.04 Punkte für die Lücke rechts und
 der drei Varianten, sodass LilyPond ihn auswählt:
 
 @lilypond
-\relative c {
+\relative {
   \clef bass
   e8[(_"12.04" f] g[ a b d,)] r4
 }
@@ -796,10 +796,10 @@ dem Wohltemperierten Clavier 1, BWV 861 von J. S. Bach entschieden,
 mit dem Hauptthema:
 
 @lilypond
-\relative c' {
+\relative {
   \key g \minor
   \clef "treble_8"
-  r8 d ees g, fis4 g
+  r8 d' ees g, fis4 g
   r8 a16 bes c8 bes16 a bes8
 }
 @end lilypond
@@ -1105,12 +1105,12 @@ Nehmen wir etwa die hierarchische Natur der Musiknotation:
 
 @lilypond[quote,fragment]
 <<
-  \new Staff \relative c'' {
+  \new Staff \relative {
     \key g \major
     \time 3/4
-    d4 g,8 a b c d4 g, g
+    d''4 g,8 a b c d4 g, g
   }
-  \new Staff \relative c' {
+  \new Staff \relative {
     \clef "bass"
     \key g \major
     <g b d>2 a4 b2.
@@ -1172,7 +1172,7 @@ Beispiel heranzieht:
     }
   >>
   \new Staff = "LH" <<
-    \new Voice = "III" \relative c' {
+    \new Voice = "III" \relative {
       \time 2/4
       \clef "bass"
       g4 \stopStaff s
@@ -1574,9 +1574,9 @@ ein Liedblatt.
 <<
    \chords { c2 c f2 c }
    \new Staff
-   \relative c' {
+   \relative {
      \time 2/4
-     c4 c g' g a a g2
+     c'4 c g' g a a g2
    }
    \addlyrics { twin -- kle twin -- kle lit -- tle star }
 >>
diff --git a/Documentation/de/extending/programming-interface.itely b/Documentation/de/extending/programming-interface.itely
index d51807a887..78e86f1c39 100644
--- a/Documentation/de/extending/programming-interface.itely
+++ b/Documentation/de/extending/programming-interface.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -457,8 +457,8 @@ AltOff = {
   \revert NoteHead.font-size
 }
 
-\relative c' {
-  c2 \AltOn #0.5 c4 c
+\relative {
+  c'2 \AltOn #0.5 c4 c
   \AltOn #1.5 c c \AltOff c2
 }
 @end lilypond
@@ -481,8 +481,8 @@ withAlt =
      \revert NoteHead.font-size
    #})
 
-\relative c' {
-  c2 \withAlt #0.5 { c4 c }
+\relative {
+  c'2 \withAlt #0.5 { c4 c }
   \withAlt #1.5 { c c } c2
 }
 @end lilypond
@@ -554,7 +554,7 @@ Dynamikbefehle zu schreiben:
 @lilypond[quote,verbatim,ragged-right]
 dyn=#(define-event-function (parser location arg) (markup?)
          (make-dynamic-script arg))
-\relative c' { c\dyn pfsss }
+\relative { c'\dyn pfsss }
 @end lilypond
 
 Man kann das Gleiche auch mit einer musikalischen Funktion erreichen, aber dann
@@ -1187,7 +1187,7 @@ werden kann; sie macht Notenköpfe auf und neben der Mittellinie unsichtbar:
             (< (abs (ly:grob-property grob 'staff-position)) 2))
        (set! (ly:grob-property grob 'transparent) #t)))
 
-\relative c' {
+\relative {
   a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2
 }
 @end lilypond
@@ -1300,8 +1300,8 @@ ergibt einen Syntaxfehler:
 @example
 F = \tweak font-size #-3 -\flageolet
 
-\relative c'' @{
-  c4^\F c4_\F
+\relative @{
+  c''4^\F c4_\F
 @}
 @end example
 
@@ -1319,8 +1319,8 @@ F = #(let ((m (make-music 'ArticulationEvent
                     (ly:music-property m 'tweaks)))
        m)
 
-\relative c'' @{
-  c4^\F c4_\F
+\relative @{
+  c''4^\F c4_\F
 @}
 @end example
 
diff --git a/Documentation/de/extending/scheme-tutorial.itely b/Documentation/de/extending/scheme-tutorial.itely
index 954f1dce5c..3bbd78a357 100644
--- a/Documentation/de/extending/scheme-tutorial.itely
+++ b/Documentation/de/extending/scheme-tutorial.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @node Scheme-Übung
 @chapter Scheme-Übung
@@ -1593,8 +1593,8 @@ padText = #(define-music-function (parser location padding) (number?)
   \once \override TextScript.padding = #padding
 #})
 
-\relative c''' {
-  c4^"piu mosso" b a b
+\relative {
+  c'''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" d e f
   \padText #2.6
diff --git a/Documentation/de/learning/common-notation.itely b/Documentation/de/learning/common-notation.itely
index 649683986a..073fde82a5 100644
--- a/Documentation/de/learning/common-notation.itely
+++ b/Documentation/de/learning/common-notation.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @ignore
 Tutorial guidelines:
@@ -689,9 +689,9 @@ musikalische Ausdrücke kombiniert, indem man sie mit @code{<<} und
 (jeder mit zwei Noten) parallel kombiniert:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -721,8 +721,8 @@ folgende Beispiel beginnt mit einer Note:
 
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e f } { c <<b d>> } >> |
 }
 @end lilypond
@@ -760,9 +760,9 @@ werden dann parallel angeordnet mit den @code{<<} und
 @code{>>}-Zeichen:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -799,9 +799,9 @@ als Partituren mit unterschiedlichen Taktarten.
 
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -850,9 +850,9 @@ eine @code{PianoStaff}-Umgebung eingefügt wird.
 Hier ein kleines Beispiel:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef "bass" c,,4 c' | e c | }
   >>
 }
@@ -986,10 +986,10 @@ Hier ist der Beginn eines einfachen Kinderliedes,
 @notation{Girls and boys come out to play}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -999,10 +999,10 @@ wird eingegeben, indem jede Silbe durch ein Leerzeichen getrennt wird.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Girls and boys come | out to play,
@@ -1043,10 +1043,10 @@ notiert aus:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1079,10 +1079,10 @@ Einzelheiten siehe @ref{Bindebögen und Legatobögen}.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1102,10 +1102,10 @@ für Gesang entspricht. Für Einzelheiten siehe
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1121,10 +1121,10 @@ für jede Note, die übersprungen werden soll, ein Unterstrich
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1144,10 +1144,10 @@ aus Purcells @notation{Dido and Æneas}:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes | bes2( a) b2 |
+    g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1197,11 +1197,11 @@ in Figaros Arie @notation{Largo al factotum} gesungen werden muss.
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef "bass"
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- | to -- tum del -- la cit -- | tà
@@ -1309,12 +1309,12 @@ dann später wieder benutzt werden, indem man einen Backslash davor setzt
 @c KEEP LY
 @lilypond[quote,verbatim]
 Geige = \new Staff
-  { \relative c'' {
-    a4 b c b
+  { \relative {
+    a'4 b c b
   }
 }
 Cello = \new Staff
-  { \relative c {
+  { \relative {
     \clef "bass"
     e2 d
   }
@@ -1473,10 +1473,10 @@ eine mögliche Fehlerquelle. Mit dem  @code{\relative}-Befehl ist das Beispiel
 sehr viel einfacher zu lesen:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8 |
+  cis''8. d16 cis8 e4 e8 |
   b8. cis16 b8 d4 d8 |
 }
 @end lilypond
diff --git a/Documentation/de/learning/fundamental.itely b/Documentation/de/learning/fundamental.itely
index 595a7f5ab0..e466b5e9ae 100644
--- a/Documentation/de/learning/fundamental.itely
+++ b/Documentation/de/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 @c Translators: Till Paala, Reinhold Kainhofer
 
 @node Grundbegriffe
@@ -63,8 +63,8 @@ Fällen sieht der Notensatz seltsam aus, wenn man den Befehl
 weglässt.
 
 @lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
-  c4 a b c
+\relative {
+  c''4 a b c
 }
 @end lilypond
 
@@ -119,8 +119,8 @@ hat.
 Sehen wir uns als ein solches einfaches Beispiel an:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -135,8 +135,8 @@ der vollständige Code, der hier gemeint ist, eigentlich:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -278,8 +278,8 @@ Eine gute Möglichkeit zur Vereinfachung sind selbst definierte Variablen, wie a
 Alle Vorlagen verwenden diese Möglichkeit:
 
 @example
-melodie = \relative c' @{
-  c4 a b c
+melodie = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -413,8 +413,8 @@ geschweiften Klammern neben @code{\new Voice = "Singstimme"}
 könnte man
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -437,10 +437,10 @@ für die linke Hand hinzufügen, folgendes Beispiel:
 
 @c KEEP LY
 @lilypond[verbatim,quote,ragged-right]
-melodie = \relative c'' { r4 d8\noBeam g, c4 r }
+melodie = \relative { r4 d''8\noBeam g, c4 r }
 text    = \lyricmode { And God said, }
-oben    = \relative c'' { <g d g,>2~ <g d g,> }
-unten   = \relative c { b2 e }
+oben    = \relative { <g' d g,>2~ <g d g,> }
+unten   = \relative { b,2 e }
 
 \score {
   <<
@@ -490,8 +490,8 @@ werden kann:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -519,8 +519,8 @@ gesetzt werden:
 @c KEEP LY
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "Hauptzeile" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -773,9 +773,9 @@ jeder dieser Kontexte wird die vertikale Ausrichtung von Bögen, Hälsen,
 Dynamik usw. entsprechend eingestellt.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -798,9 +798,9 @@ auch noch später im Stück.  Beachten Sie auch, dass übergebundene Noten
 hier an der blauen Dreieckstimme gezeigt.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<   % Bar 1
     {
       \voiceOneStyle
@@ -890,10 +890,10 @@ in späteren Abschnitten erklärt werden.
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     {
       % Ignore these for now - they are explained in Ch 4
@@ -969,10 +969,10 @@ wir es gelernt haben, indem wir mit der @code{<< \\  >>}-Konstruktion
 die drei Stimmen des ersten Taktes notieren:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -995,10 +995,10 @@ Noten in die vierte Stimme verschieben.  Das wird einfach vorgenommen,
 indem noch ein Paar @code{\\}-Stimmen hinzugefügt wird.
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { <ees, c>2 des }
   \\  % Omit Voice three
@@ -1060,8 +1060,8 @@ verwendet haben:
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -1071,8 +1071,8 @@ ist identisch mit
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -1081,8 +1081,8 @@ Beide würden folgendes Notenbild erzeugen:
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1103,9 +1103,9 @@ die Befehle @code{\oneVoice}, @code{\voiceOne} und @code{voiceTwo}
 mit Text, Bögen und Dynamikbezeichnung anstellen:
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1178,8 +1178,8 @@ wenn eine Stimme nur kurz auftaucht, kann das der bessere Weg
 sein, Noten zu setzen:
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e2) | }
     \new Voice {
@@ -1367,14 +1367,14 @@ nicht als Noten interpretiert werden kann.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1430,10 +1430,10 @@ Variable wird oft auch mit @qq{global} bezeichnet.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1633,8 +1633,8 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben:
       \clef "treble"
       \key g \minor
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8.
+        \relative {  % start of RH notes
+          d''4 ees16 c8.
           d4 ees16 c8.
         }  % end of RH notes
       }  % end of RH voice
@@ -1644,14 +1644,14 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben:
       \key g \minor
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c>
           g8 <bes d> ees, <g c>
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees
           g4 ees
         }  % end of LH voice two notes
@@ -1949,8 +1949,8 @@ ausgeschaltet sind:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1964,8 +1964,8 @@ während das dazu dient, sie in allen Systemen auszuschalten:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -2042,12 +2042,12 @@ etwa so:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -2091,8 +2091,8 @@ Funktion anwendet:
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -2111,13 +2111,13 @@ Wenn die Veränderung der Eigenschaft sich auf alle Systeme einer
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -2186,8 +2186,8 @@ erstellt werden.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % make note heads smaller
   e4 f |
   \set fontSize = #2.5  % make note heads larger
@@ -2279,24 +2279,24 @@ mit vier Systemen anzeigen wollen, könnte das so aussehen:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2366,7 +2366,7 @@ Fall könnten Sie mit der Vorlage @qq{Noten und Text}
 
 @example
 \version @w{"@version{}"}
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2396,7 +2396,7 @@ Beispiel @qq{Nur Noten} an:
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2440,7 +2440,7 @@ Wir ändern auch die Noten etwas ab.
 @example
 \version @w{"@version{}"}
 
-SopranNoten = \relative c' @{
+SopranNoten = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2451,7 +2451,7 @@ SoprText = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-CelloNoten = \relative c @{
+CelloNoten = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2513,7 +2513,7 @@ nicht mehr.  Das können wir aber schnell in Ordnung bringen.
 Hier also die gesamte Vorlage für Sopran und Cello:
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2524,7 +2524,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2574,26 +2574,26 @@ notiert wird.  Hier ein Beispiel aus Händels @notation{Messias}:
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2812,26 +2812,26 @@ global = {
   \key d \major
   \time 4/4
 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -3167,19 +3167,19 @@ die Variablen mit einem Backslash in die Partitur einbauen.
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c2 |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d e8~ 8es16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -3234,7 +3234,7 @@ Glossar:
 Bis jetzt wurde immer derartige Notation vorgestellt:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 
 \score {
   {
@@ -3247,8 +3247,8 @@ Sie können sich vorstellen, dass das etwa für minimalistische
 Musik sehr nützlich sein könnte:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 violin = \new Staff {
   \fragmentA \fragmentA |
   \fragmentB \fragmentA |
@@ -3330,8 +3330,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative {
+  c'''4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
@@ -3365,7 +3365,7 @@ Nehmen wir an, dass die Datei @file{horn-music.ly} folgende
 Noten eines Horn/@/Fagott-Duos enthält:
 
 @example
-hornNotes = \relative c @{
+hornNotes = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3403,7 +3403,7 @@ die Stimmung eines normalen F-Hornes verlangt.  Die Transposition
 kann in folgender Notenausgabe gesehen werden:
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3460,7 +3460,7 @@ Partitur erstellt mit:
 woraus sich ergibt:
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/de/learning/tutorial.itely b/Documentation/de/learning/tutorial.itely
index 2887e2affd..5c0267795b 100644
--- a/Documentation/de/learning/tutorial.itely
+++ b/Documentation/de/learning/tutorial.itely
@@ -10,7 +10,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 @c Translators: Till Paala, Reinhold Kainhofer
 @c Translation checkers: Hajo Bäß
 
@@ -257,8 +257,8 @@ die nächste Note immer nur eine Notenlinie über der vorherigen steht.
 @c KEEP LY
 @lilypond[verbatim,quote]
 % Beginnpunkt auf das mittlere C setzen
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -272,8 +272,8 @@ auch Melodien mit größeren Intervallen im @code{\relative}-Modus
 gebildet werden:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -291,8 +291,8 @@ Oktave der ersten Tonhöhe verändert werden:
 @c KEEP LY
 @lilypond[verbatim,quote]
 % zweigestrichenes C
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -307,8 +307,8 @@ Hs, wenn es ein A, G oder F ist, wird es darunter gesetzt.
 
 @c KEEP LY
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % c ist 1 Zeile aufwärts, also c über dem b
+\relative {
+  b' c  % c ist 1 Zeile aufwärts, also c über dem b
   b d  % d ist 2 Zeilen aufwärts, oder 5 runter, also d über dem b
   b e  % e ist 3 aufwärts oder 4 runter, also e über dem b
   b a  % a ist 6 aufwärts oder 1 runter, also a unter dem b
@@ -327,8 +327,8 @@ Um Intervalle zu notieren, die größer als drei Notenzeilen sind, kann man die
 direkt hinter dem Notennamen wird die Oktave um eins erhöht, mit einem Komma @code{,} um eins erniedrigt.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -365,8 +365,8 @@ Wenn keine Dauer bezeichnet wird, wird die der vorhergehenden Note
 verwendet. Für die erste Note ist eine Viertel als Standard definiert.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -378,8 +378,8 @@ punktierten Note muss explizit, also inklusive der Nummer,
 angegeben werden.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 a a4. a8
+\relative {
+  a'4 a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -395,8 +395,8 @@ Eine @notation{Pause} wird genauso wie eine Noten eingegeben; ihre
 Bezeichnung ist @code{r}@tie{}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 r r2
+\relative {
+  a'4 r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -415,9 +415,9 @@ Die @notation{Taktart} kann mit dem
 @code{\time}-Befehl definiert werden:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -471,9 +471,9 @@ Der @notation{Notenschlüssel} kann mit dem @code{\clef}-Befehl
 gesetzt werden:
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef "treble"
-  c1
+  c'1
   \clef "alto"
   c1
   \clef "tenor"
@@ -778,8 +778,8 @@ Abbildung:
 @c no verbatim here
 @c KEEP LY
 @lilypond[quote]
-\relative c'' {
-  c4-\markup { \bold \huge { Hier klicken! } }
+\relative {
+  c''4-\markup { \bold \huge { Hier klicken! } }
 }
 @end lilypond
 
diff --git a/Documentation/de/learning/tweaks.itely b/Documentation/de/learning/tweaks.itely
index 013fcd7f50..70b0dfa25a 100644
--- a/Documentation/de/learning/tweaks.itely
+++ b/Documentation/de/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Die Ausgabe verändern
 @chapter Die Ausgabe verändern
@@ -1498,8 +1498,8 @@ braucht.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f c c }
@@ -1526,8 +1526,8 @@ wir setzen den Stencil von beiden auf @code{#f}:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d
+  \relative {
+    r4 g'8 g c4 c8 d
     e4 r8
     <<
       { f8 c c }
@@ -1595,8 +1595,8 @@ Das obige Beispiel könnte also auch so aussehen:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d
+  \relative {
+    r4 g'8 g c4 c8 d
     e4 r8
     <<
       { f8 c c }
@@ -1666,8 +1666,8 @@ Setzen wir das also in unserem Ossia-Beispiel ein:
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d
+  \relative {
+    r4 g'8 g c4 c8 d
     e4 r8
     <<
       { f8 c c }
@@ -1739,8 +1739,8 @@ sie benutzt:
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d
+  \relative {
+    r4 g'8 g c4 c8 d
     e4 r8
     <<
       { f8 c c }
@@ -1868,10 +1868,10 @@ Im nächsten Beispiel sehen Sie, wie Noten auf zwei Systemen
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -2918,8 +2918,8 @@ wie im folgenden Beispiel:
 
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
- \relative c'' {
-  c4
+ \relative {
+  c''4
   % This prints a sesquisharp but the spacing is too small
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -3175,10 +3175,10 @@ Chopin-Beispiel vornehmen, das wir behandelt haben in
 gebracht:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 des }
     \\
@@ -3208,10 +3208,10 @@ Hier das Endergebnis:
 @cindex vertikale Verschiebung, Beispiel
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     {
       <ees, c>2
@@ -3251,9 +3251,9 @@ zu kompliziert zu machen.
 
 @c This example should not be indexed
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3293,8 +3293,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3337,8 +3337,8 @@ erstellt:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
-  \new Voice {    r2 c4. g8 |
+rhMusic = \relative {
+  \new Voice {    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3362,8 +3362,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3397,9 +3397,9 @@ sind schnell gesetzt, denn sie wurden schon in der
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3423,8 +3423,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3471,9 +3471,9 @@ den Bindebogen (@code{tie}) 3,5 halbe Notenlinienabstände
 Damit ist auch der zweite Takt vollständig:
 
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3499,8 +3499,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3555,9 +3555,9 @@ um das Verhalten wieder auszuschalten. Das sieht so aus:
 @cindex staff-position-Eigenschaft, Beispiel
 
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3587,8 +3587,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3629,9 +3629,9 @@ es die Verschmelzung der Ds nicht stört.  Das sieht jetzt so
 aus:
 
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3663,8 +3663,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3699,9 +3699,9 @@ wir durchsichtig und das C verschieben wir mit der
 @cindex transparent-Eigenschaft, Beispiel
 
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3742,8 +3742,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3981,10 +3981,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/de/notation/ancient.itely b/Documentation/de/notation/ancient.itely
index 7362d93062..326d3a615a 100644
--- a/Documentation/de/notation/ancient.itely
+++ b/Documentation/de/notation/ancient.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -306,8 +306,8 @@ folgenden Beispiel gezeigt:
 
 @lilypond[quote,ragged-right]
 \score {
-  \relative c'' {
-    a1
+  \relative {
+    a'1
     \break
     g
   }
@@ -2804,9 +2804,9 @@ werden: entweder als einzelne, links ausgerichtete Silbe:
 
 @lilypond[verbatim,ragged-right]
 \include "gregorian.ly"
-chant = \relative c' {
+chant = \relative {
   \clef "G_8"
-  c\breve c4 b4 a c2 c4  \divisioMaior
+  c'\breve c4 b4 a c2 c4  \divisioMaior
   c\breve c4 c f, f \finalis
 }
 
diff --git a/Documentation/de/notation/changing-defaults.itely b/Documentation/de/notation/changing-defaults.itely
index f505579762..e10634e939 100644
--- a/Documentation/de/notation/changing-defaults.itely
+++ b/Documentation/de/notation/changing-defaults.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.7"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -447,8 +447,8 @@ Im folgenden Beispiel werden sowohl Stimme A als auch B auf diese
 Weise für die gesamte Dauer des Stückes am Leben gehalten.
 
 @lilypond[quote,verbatim]
-musicA = \relative c'' { d4 d d d }
-musicB = \relative c'' { g4 g g g }
+musicA = \relative { d''4 d d d }
+musicB = \relative { g'4 g g g }
 keepVoicesAlive = {
   <<
     \new Voice = "A" { s1*5 }  % Keep Voice "A" alive for 5 bars
@@ -486,8 +486,8 @@ kann, indem man die Stimme am Leben hält.  In wirklichen Situationen
 würden Begleitung und Melodie natürlich aus mehreren Abschnitten bestehen.
 
 @lilypond[quote,verbatim]
-melody = \relative c'' { a4 a a a }
-accompaniment = \relative c' { d4 d d d }
+melody = \relative { a'4 a a a }
+accompaniment = \relative { d'4 d d d }
 words = \lyricmode { These words fol -- low the mel -- o -- dy }
 \score {
   <<
@@ -525,14 +525,14 @@ ist es, einfach unsichtbare Pausen einzufügen, um die Melodie
 mit der Begleitung passend auszurichten:
 
 @lilypond[quote,verbatim]
-melody = \relative c'' {
+melody = \relative {
   s1  % skip a bar
-  a4 a a a
+  a'4 a a a
   s1  % skip a bar
   a4 a a a
 }
-accompaniment = \relative c' {
-  d4 d d d
+accompaniment = \relative {
+  d'4 d d d
   d4 d d d
   d4 d d d
   d4 d d d
@@ -771,8 +771,8 @@ Ein @code{\override}-Befehl, aber ohne die Kontextbezeichnung:
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Thicker stems" a a a
+  \relative {
+    a'4^"Thicker stems" a a a
     a4 a a\ff a
   }
   \layout {
@@ -789,8 +789,8 @@ Eine Kontexteigenschaft kann direkt gesetzt werden:
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Smaller font" a a a
+  \relative {
+    a'4^"Smaller font" a a a
     a4 a a\ff a
   }
   \layout {
@@ -808,8 +808,8 @@ musikalischer Ausdruck wie @code{\accidentalStyle dodecaphonic}:
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Dynamics above" a a a
+  \relative {
+    a'4^"Dynamics above" a a a
     a4 a a\ff a
   }
   \layout {
@@ -837,8 +837,8 @@ StaffDefaults = \with {
 
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Smaller font" a a a
+    \relative {
+      a'4^"Smaller font" a a a
       a4 a a a
     }
   }
@@ -865,8 +865,8 @@ ist die gleiche wie für den Befehl direkt zwischen den Noten geschrieben.
 @lilypond[quote,verbatim]
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Smaller font" a a a
+    \relative {
+      a'4^"Smaller font" a a a
       a4 a a a
     }
   }
@@ -916,8 +916,8 @@ Ein @code{\override}-Befehl, dessen Kontextbezeichnung ausgelassen wird:
       \override Stem.thickness = #4.0
     }
     {
-      \relative c'' {
-        a4^"Thick stems" a a a
+      \relative {
+        a'4^"Thick stems" a a a
         a4 a a a
       }
     }
@@ -932,8 +932,8 @@ Eine Kontexeigenschaft direkt einstellen:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        a4^"Default font" a a a
+      \relative {
+        a'4^"Default font" a a a
         a4 a a a
       }
     }
@@ -941,8 +941,8 @@ Eine Kontexeigenschaft direkt einstellen:
     \with {
       fontSize = #-4
     } {
-      \relative c'' {
-        a4^"Smaller font" a a a
+      \relative {
+        a'4^"Smaller font" a a a
         a4 a a a
       }
     }
@@ -958,8 +958,8 @@ Ein vordefinierter Befehl wie etwa @code{\dynamicUp}
   <<
     \new Staff {
       \new Voice {
-        \relative c'' {
-          a4^"Dynamics below" a a a
+        \relative {
+          a'4^"Dynamics below" a a a
           a4 a a\ff a
         }
       }
@@ -970,8 +970,8 @@ Ein vordefinierter Befehl wie etwa @code{\dynamicUp}
       \new Voice
       \with { \dynamicUp }
       {
-        \relative c'' {
-          a4^"Dynamics above" a a a
+        \relative {
+          a'4^"Dynamics above" a a a
           a4 a a\ff a
         }
       }
@@ -1068,8 +1068,8 @@ in Jazzmusik anzuzeigen.
   \accepts "ImproVoice"
 }}
 
-\relative c'' {
-  a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+\relative {
+  a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c
    c4 c^"ausziehen" c_"während des Spiels :)" c }
   a1
 }
@@ -1199,8 +1199,8 @@ Jetzt kann die Notation zu Beginn des Abschnitts folgendermaßen
 notiert werden:
 
 @example
-\relative c'' @{
-  a4 d8 bes8
+\relative @{
+  a'4 d8 bes8
   \new ImproVoice @{
     c4^"ad lib" c
     c4 c^"ausziehen"
@@ -4055,8 +4055,8 @@ XinO = {
       \musicglyph #"noteheads.s2cross"
   }
 }
-\relative c'' {
-  a a \XinO a a
+\relative {
+  a' a \XinO a a
 }
 @end lilypond
 
@@ -4404,8 +4404,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b
+\relative {
+  c'''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" d e f
   \padText #2.6
@@ -4429,7 +4429,7 @@ custosNote =
      #note
    #})
 
-\relative c' { c4 d e f \custosNote g }
+\relative { c'4 d e f \custosNote g }
 @end lilypond
 
 Ersetzungsfunktionen mit mehrfachen Argumenten können definiert
diff --git a/Documentation/de/notation/chords.itely b/Documentation/de/notation/chords.itely
index fb3336f998..726148bd63 100644
--- a/Documentation/de/notation/chords.itely
+++ b/Documentation/de/notation/chords.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -1105,8 +1105,8 @@ des parallelen Systems.
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \relative c'' {
-    c4 c'8 r8 c,4 c'
+  \relative {
+    c''4 c'8 r8 c,4 c'
   }
   \new FiguredBass {
     \figuremode {
diff --git a/Documentation/de/notation/editorial.itely b/Documentation/de/notation/editorial.itely
index 91a7d839a8..0943ad9902 100644
--- a/Documentation/de/notation/editorial.itely
+++ b/Documentation/de/notation/editorial.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -688,8 +688,8 @@ horizontale Klammern werden von LilyPond unterstützt.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c2\startGroup
+\relative {
+  c''2\startGroup
   d\stopGroup
 }
 @end lilypond
@@ -703,8 +703,8 @@ Analyseklammern können verschachtelt sein.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c4\startGroup\startGroup
+\relative {
+  c''4\startGroup\startGroup
   d4\stopGroup
   e4\startGroup
   d4\stopGroup\stopGroup
diff --git a/Documentation/de/notation/expressive.itely b/Documentation/de/notation/expressive.itely
index 7dafb65025..cb269bdc61 100644
--- a/Documentation/de/notation/expressive.itely
+++ b/Documentation/de/notation/expressive.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.25"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -431,8 +431,8 @@ aufzunehmen.
 
 @lilypond[verbatim,quote]
 <<
-  \new Staff \relative c' {
-    c2 d4 e |
+  \new Staff \relative {
+    c'2 d4 e |
     c4 e e,2 |
     g'4 a g a |
     c1 |
@@ -521,8 +521,8 @@ ist die Benutzung von @code{\markup}-(Textbeschriftungs)-Objekten.
 @lilypond[verbatim,quote]
 moltoF = \markup { molto \dynamic f }
 
-\relative c' {
-  <d e>16_\moltoF <d e>
+\relative {
+  <d' e>16_\moltoF <d e>
   <d e>2..
 }
 @end lilypond
@@ -545,8 +545,8 @@ roundF = \markup {
     \center-align \concat { \bold { \italic ( }
            \dynamic f \bold { \italic ) } } }
 boxF = \markup { \bracket { \dynamic f } }
-\relative c' {
-  c1_\roundF
+\relative {
+  c'1_\roundF
   c1_\boxF
 }
 @end lilypond
@@ -559,8 +559,8 @@ Einfache, mittig gesetzte Dynamikzeichen können schnell mit der
 
 @lilypond[verbatim,quote]
 sfzp = #(make-dynamic-script "sfzp")
-\relative c' {
-  c4 c c\sfzp c
+\relative {
+  c'4 c c\sfzp c
 }
 @end lilypond
 
@@ -588,8 +588,8 @@ mfEspress = \markup { \center-align \line {
 roundFdynamic = #(make-dynamic-script roundF)
 boxFdynamic = #(make-dynamic-script boxF)
 mfEspressDynamic = #(make-dynamic-script mfEspress)
-\relative c' {
-  c4_\roundFdynamic\< d e f
+\relative {
+  c'4_\roundFdynamic\< d e f
   g,1~_\boxFdynamic\>
   g1
   g'1~\mfEspressDynamic
@@ -605,8 +605,8 @@ verwendet werden.  Seine Syntax ist erklärt in
 moltoF = #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF
 }
 @end lilypond
diff --git a/Documentation/de/notation/fretted-strings.itely b/Documentation/de/notation/fretted-strings.itely
index 226e13fa49..aeb07b572d 100644
--- a/Documentation/de/notation/fretted-strings.itely
+++ b/Documentation/de/notation/fretted-strings.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -176,7 +176,7 @@ und darin den @code{TabVoice}-Kontext benutzt.  Ein kalligraphischer
 Tabulaturschlüssel wird automatisch hinzugefügt.
 
 @lilypond[quote,ragged-right,verbatim]
-\new TabStaff \relative c' {
+\new TabStaff \relative {
   a,8 a' <c e> a
   d,8 a' <d f> a
 }
@@ -251,14 +251,14 @@ indem @code{restrainOpenStrings} auf @code{#t} gesetzt wird.
 @lilypond[quote,ragged-right,verbatim]
 \layout { \omit Voice.StringNumber }
 \new StaffGroup <<
-   \new Staff \relative c {
+   \new Staff \relative {
      \clef "treble_8"
      \time 2/4
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      c,16 d e f g4
    }
-   \new TabStaff \relative c {
+   \new TabStaff \relative {
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      \set TabStaff.minimumFret = #5
@@ -287,7 +287,7 @@ Akkordwiederholungen gewünscht sind.  Der Befehl ist so wichtig,
 dass er durch @code{\tabChordRepeats} zur Verfügung gestellt wird.
 
 @lilypond[quote,verbatim]
-guitar = \relative c' {
+guitar = \relative {
   r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4
 }
 
@@ -560,15 +560,15 @@ geschrieben ist:
     \omit StringNumber
   } {
     \clef "bass_8"
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
   \new TabStaff \with {
     stringTunings = #bass-tuning
   } {
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
 >>
@@ -1761,7 +1761,7 @@ Gedämpfte oder gestoppte Noten werden in normalen und Tabulatur-Systemen
 unterstützt:
 
 @lilypond[quote,ragged-right,verbatim]
-music = \relative c' {
+music = \relative {
   < a\3 \deadNote c\2 a'\1 >4
   < b\3 \deadNote d\2 b'\1 >
   < c\3 \deadNote e\2 c'\1 >
diff --git a/Documentation/de/notation/input.itely b/Documentation/de/notation/input.itely
index 81bb7cbad8..eabec21b28 100644
--- a/Documentation/de/notation/input.itely
+++ b/Documentation/de/notation/input.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -850,8 +850,8 @@ handelt.
 @lilypond[papersize=a8landscape]
 \book {
   \score {
-    \relative c' {
-      c4 d e f
+    \relative {
+      c'4 d e f
     }
   }
 }
@@ -867,8 +867,8 @@ höchster Ebene schreibt.
     tagline = "... music notation for Everyone"
   }
   \score {
-    \relative c' {
-      c4 d e f
+    \relative {
+      c'4 d e f
     }
   }
 }
@@ -1325,7 +1325,7 @@ Tagline und Copyright gezeigt wird.
 @lilypond[verbatim,quote,ragged-right,papersize=a8]
 \book {
   \header { copyright = \markup { "Copyright 1970" } }
-  \relative c' {
+  \relative {
     a'4-\footnote #'(-3 . 0) \markup { \bold Forte } \f
     -\footnote #'(0 . 1.5) \markup { Ein Bogen } (
     b8)-\footnote #'(0 . -2) \markup { Balken } [ e]
@@ -1349,7 +1349,7 @@ den Befehl @code{\auto-footnote}:
 \book {
   \header { tagline = ##f }
   \markup { \auto-footnote "Eine einfache Melodie" \italic "Von mir" }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -1417,7 +1417,7 @@ Position der Fußnotentexte zu Tagline und Copyright anzeigen:
 @lilypond[verbatim,quote,ragged-right,papersize=a8]
 \book {
   \header { tagline = ##f }
-  \relative c' {
+  \relative {
     a'4-\footnote
       \markup { \teeny 1 } #'(-3 . 0)
       \markup { 1. \bold Forte } \f
@@ -1455,7 +1455,7 @@ annotiert:
 \book {
   \header { tagline = ##f }
   \markup { "Eine einfache Melodie" \footnote "*" \italic "* Von mir" }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d4
   }
 }
@@ -1866,10 +1866,10 @@ System kombiniert werden, siehe @ref{Automatische Kombination von Stimmen}.
 Hier ein Beispiel:
 
 @lilypond[verbatim,quote]
-sopranoMusic = \relative c'' { a4 b c b8( a) }
-altoMusic = \relative g' { e4 e e f }
-tenorMusic = \relative c' { c4 b e d8( c) }
-bassMusic = \relative c' { a4 gis a d, }
+sopranoMusic = \relative { a'4 b c b8( a) }
+altoMusic = \relative { e'4 e e f }
+tenorMusic = \relative { c'4 b e d8( c) }
+bassMusic = \relative { a4 gis a d, }
 allLyrics = \lyricmode {King of glo -- ry }
 <<
   \new Staff = "Soprano" \sopranoMusic
@@ -1972,8 +1972,8 @@ Im folgenden Beispiel erscheinen zwei Versionen der Noten, eine
 zeigt Triller in normaler Notation, die andere zeigt sie ausgeschrieben:
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills { d8.\trill }
   \tag #'expand { \repeat unfold 3 { e32 d } }
   c32 d
@@ -1992,8 +1992,8 @@ Entsprechend können auch Abschnitte ausgeschlossen werden; das
 erfordert manchmal weniger Schreibarbeit:
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills { d8.\trill }
   \tag #'expand {\repeat unfold 3 { e32 d } }
   c32 d
@@ -2217,8 +2217,8 @@ portuguese = \lyricmode {
   à vo -- cê uma can -- ção legal
 }
 
-\relative c' {
-  c2 d e f g f e
+\relative {
+  c'2 d e f g f e
 }
 \addlyrics { \bulgarian }
 \addlyrics { \hebrew }
@@ -2260,8 +2260,8 @@ im Gesangstext und als normaler Text außerhalb der Partitur.
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    c1 \mark \markup { \char ##x03EE }
+  \relative {
+    c''1 \mark \markup { \char ##x03EE }
     c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
   }
   \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
@@ -2873,8 +2873,8 @@ Standardanweisungen auf:
     \set Staff.midiInstrument = #"cello"
     \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
     \new Voice {
-      \relative c'' {
-        a4\pp b c-\rfz
+      \relative {
+        a'4\pp b c-\rfz
       }
     }
   }
@@ -2917,8 +2917,8 @@ auf den Bereich zwischen 0.2 und 0.5 eingeschränkt.
       \key g \major
       \time 2/2
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -2926,8 +2926,8 @@ auf den Bereich zwischen 0.2 und 0.5 eingeschränkt.
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -2968,8 +2968,8 @@ diese Einstellung korrekt funktioniert.
       \set Staff.midiInstrument = #"flute"
       \set Staff.midiMinimumVolume = #0.7
       \set Staff.midiMaximumVolume = #0.9
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -2979,8 +2979,8 @@ diese Einstellung korrekt funktioniert.
       \set Staff.midiInstrument = #"clarinet"
       \set Staff.midiMinimumVolume = #0.3
       \set Staff.midiMaximumVolume = #0.6
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3041,8 +3041,8 @@ Lautstärkewerte, die denen des vorigen Beispiels entsprechen.
       \time 2/2
       \set Score.instrumentEqualizer = #my-instrument-equalizer
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -3050,8 +3050,8 @@ Lautstärkewerte, die denen des vorigen Beispiels entsprechen.
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
diff --git a/Documentation/de/notation/keyboards.itely b/Documentation/de/notation/keyboards.itely
index d140dbf62d..eedfdfce35 100644
--- a/Documentation/de/notation/keyboards.itely
+++ b/Documentation/de/notation/keyboards.itely
@@ -10,7 +10,7 @@
 
 @c Translators: Till Paala
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @node Tasteninstrumente und andere Instrumente mit mehreren Systemen
 @section Tasteninstrumente und andere Instrumente mit mehreren Systemen
@@ -346,7 +346,7 @@ System gesetzt werden kann:
   \new Staff = "up" {
     \new Voice = "melodieEins" {
       \key g \major
-      \autochange \relative c' {
+      \autochange \relative {
         g8 b a c b d c e
         d8 r fis, g a2
       }
diff --git a/Documentation/de/notation/pitches.itely b/Documentation/de/notation/pitches.itely
index bfe3fa73c7..195ade0c15 100644
--- a/Documentation/de/notation/pitches.itely
+++ b/Documentation/de/notation/pitches.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -166,7 +166,7 @@ Oktave von C zu nehmen.
 So funktioniert der relative Modus:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   \clef bass
   c d e f
   g a b c
@@ -178,8 +178,8 @@ Oktavversetzungen müssen für alle Intervalle angezeigt werden,
 die größer als eine Quarte sind.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c g c f,
+\relative {
+  c'' g c f,
   c' a, e'' c
 }
 @end lilypond
@@ -188,7 +188,7 @@ Eine Sequenz ohne ein einziges Oktavänderungszeichen kann
 aber trotzdem weite Intervalle umfassen:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   c f b e
   a d g c
 }
@@ -198,10 +198,10 @@ Wenn @code{\relative}-Umgebungen geschachtelt werden, gilt
 der innerste @code{\relative}-Abschnitt.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c d e f
-  \relative c'' {
-    c d e f
+\relative {
+  c' d e f
+  \relative {
+    c'' d e f
   }
 }
 @end lilypond
@@ -224,12 +224,12 @@ Tonhöhen innerhalb eines @code{\transpose}-Abschnitts sind absolut,
 es sei denn ein @code{\relativ} wird eingefügt.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d e
+\relative {
+  d' e
   \transpose f g {
     d e
-    \relative c' {
-      d e
+    \relative {
+      d' e
     }
   }
 }
@@ -246,8 +246,8 @@ relativ zur vorherigen.  Betrachten Sie das folgende Beispiel
 aufmerksam, insbesondere die @code{c}-Noten.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c
+\relative {
+  c'
   <c e g>
   <c' e g'>
   <c, e, g''>
@@ -264,8 +264,8 @@ Quinte, unabhängig von der Anzahl an Halbtönen, die jedes
 Intervall enthält.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 fis
+\relative {
+  c''2 fis
   c2 ges
   b2 eisis
   b2 feses
@@ -483,8 +483,8 @@ von italienischen Notenbezeichnungen:
 @lilypond[quote,verbatim]
 \language "italiano"
 
-\relative do' {
-  do re mi sib
+\relative {
+  do' re mi sib
 }
 @end lilypond
 
@@ -663,8 +663,8 @@ ein @code{d''} anstelle von @code{d'} notiert ist,
 wie es die Oktavierungskorrektur markiert.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d='4 d
+\relative {
+  c''2 d='4 d
   e2 f
 }
 @end lilypond
@@ -681,8 +681,8 @@ gemeldet, aber die vorigen Note wird nicht verändert.
 Folgende Noten sind dann relativ zur @var{Kontrolltonhöhe}.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d
+\relative {
+  c''2 d
   \octaveCheck c'
   e2 f
 }
@@ -693,8 +693,8 @@ erste und dritte @code{\octaveCheck}-Überprüfung gibt
 einen Fehler aus, die zweite dagegen ist erfolgreich:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c4 f g f
+\relative {
+  c''4 f g f
 
   c4
   \octaveCheck c'
@@ -750,9 +750,9 @@ werden auch die Vorzeichen entsprechend angepasst:
 
 @lilypond[verbatim,quote]
 \transpose d e {
-  \relative c' {
+  \relative {
     \key d \major
-    d4 fis a d
+    d'4 fis a d
   }
 }
 @end lilypond
@@ -768,9 +768,9 @@ werden:
 
 @lilypond[verbatim,quote]
 \transpose a c' {
-  \relative c' {
+  \relative {
     \key c \major
-    c4 d e g
+    c'4 d e g
   }
 }
 @end lilypond
@@ -787,7 +787,7 @@ die Musik einen Halbton nach oben.  Aber die erste Version gibt als
 Versetzungszeichen Kreuze aus, die zweite dagegen B-Versetzungszeichen.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \transpose c cis { \music }
   \transpose c des { \music }
@@ -885,7 +885,7 @@ Der @code{@var{mus. Ausdruck}} wird Intervall für Intervall um
 nach @code{@var{nachTonhöhe}} transponiert.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \music
   \inversion d' d' \music
@@ -918,7 +918,7 @@ Ein musikalischer Ausdruck kann umgekehrt werden, um im Krebsgang dargestellt
 zu werden:
 
 @lilypond[verbatim,quote]
-music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
+music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
 
 \new Staff {
   \music
@@ -976,8 +976,8 @@ um die Anzahl von Skalenstufen transponiert, die dem Intervall zwischen
 @code{@var{vonTonhöhe}} und @code{@var{nachTonhöhe}} entspricht.
 
 @lilypond[verbatim,quote]
-diatonicScale = \relative c' { c d e f g a b }
-motif = \relative c' { c8 d e f g a b c }
+diatonicScale = \relative { c' d e f g a b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -990,8 +990,8 @@ Eine absteigende Skala beliebiger Länge und mit beliebigen Intervallen kann
 definiert werden:
 
 @lilypond[verbatim,quote]
-pentatonicScale = \relative c' { ges aes bes des ees }
-motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
+pentatonicScale = \relative { ges aes bes des ees }
+motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
 
 \new Staff {
   \motif
@@ -1004,8 +1004,8 @@ entspricht es der Funktion von @code{\transpose} mit dem Unterschied,
 dass die Bezeichnungen der eingesetzten Noten definiert werden können:
 
 @lilypond[verbatim,quote]
-chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
-motif = \relative c' { c8 d e f g a b c }
+chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -1043,8 +1043,8 @@ sollten @code{@var{Umkehrungstonhöhe}} und @code{@var{nachTonhöhe}} gleich
 sein.
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1057,8 +1057,8 @@ wird um eine der Noten die Umkehrung vorgenommen und dann eine Skalenstufe
 transponiert.  Die beiden Noten klammern sozusagen den Drehpunkt ein.
 
 @lilypond[verbatim,quote]
-scale = \relative c' { c g' }
-motive = \relative c' { c c g' c, }
+scale = \relative { c' g' }
+motive = \relative { c' c g' c, }
 
 \new Staff {
   \motive
@@ -1070,8 +1070,8 @@ Die kombinierte Operation von Umkehrung und Krebs erzeugt die
 Krebsumkehrung:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1542,12 +1542,12 @@ benützt:
 @lilypond[verbatim,quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1557,8 +1557,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1624,12 +1624,12 @@ Takt oder dem letzen@tie{}@code{c} gesetzt:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1639,8 +1639,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1701,12 +1701,12 @@ besser.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1716,8 +1716,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1768,12 +1768,12 @@ vor dem H und dem C im zweiten Takt des oberen Systems:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1783,8 +1783,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1830,12 +1830,12 @@ von @code{AccidentalSuggestion} definiert.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1845,8 +1845,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1897,12 +1897,12 @@ vorigen Takt:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1912,8 +1912,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1958,12 +1958,12 @@ auch mit diesem Stil gesetzt werden, sind manche Warnungsversetzungszeichen.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1973,8 +1973,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2022,12 +2022,12 @@ Akkolade (@code{GrandStaff} oder @code{PianoStaff}) aus.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2037,8 +2037,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2080,12 +2080,12 @@ Versetzungszeichen werden als Warnungen ausgegeben:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2095,8 +2095,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2139,12 +2139,12 @@ Takt auftritt -- außer die Note wird unmittelbar wiederholt.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2154,8 +2154,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2197,12 +2197,12 @@ Versetzungszeichen werden als Warnungen gesetzt.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2212,8 +2212,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2259,12 +2259,12 @@ Notensystems mit Auflösungszeichen versehen.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2274,8 +2274,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2317,12 +2317,12 @@ gesetzt.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2332,8 +2332,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2377,12 +2377,12 @@ auch Auflösungszeichen zählen.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2392,8 +2392,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2438,12 +2438,12 @@ gesetzt.  Eine Ausnahme sind direkt wiederholte Noten.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2453,8 +2453,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2499,12 +2499,12 @@ dauern für @qq{immer} an, nicht nur im aktuellen Takt:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2514,8 +2514,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2559,12 +2559,12 @@ vom Kontext der Noten.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes'4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes'4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2574,8 +2574,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2704,8 +2704,8 @@ Tonart definiert werden.
   }
 }
 
-\relative c'' {
-  aes c e2
+\relative {
+  aes' c e2
   cis,1
 }
 @end lilypond
diff --git a/Documentation/de/notation/repeats.itely b/Documentation/de/notation/repeats.itely
index 25c3c7c042..c2d8bbb32f 100644
--- a/Documentation/de/notation/repeats.itely
+++ b/Documentation/de/notation/repeats.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -447,8 +447,8 @@ in einer Scheme-Liste einzufügen.
 
 @lilypond[verbatim,quote]
 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
-\relative c'' {
-  c1
+\relative {
+  c''1
   \set Score.repeatCommands =
     #(list(list 'volta voltaAdLib) 'start-repeat)
   c4 b d e
diff --git a/Documentation/de/notation/rhythms.itely b/Documentation/de/notation/rhythms.itely
index b3499a7101..1f076ec353 100644
--- a/Documentation/de/notation/rhythms.itely
+++ b/Documentation/de/notation/rhythms.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -444,8 +444,8 @@ sollten auch benutzt werden, wenn Notenwerte über die
 inneren Unterteilungen von Takten hinüberreichen:
 
 @lilypond[quote]
-\relative c' {
-  r8 c8 ~ 2 r4 |
+\relative {
+  r8 c'8 ~ 2 r4 |
   r8^"not" c2 ~ 8 r4
 }
 @end lilypond
@@ -1658,10 +1658,10 @@ weil die Skalierung sich auch auf die automatische Bebalkung
 auswirkt.
 
 @lilypond[quote,verbatim]
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -1706,10 +1706,10 @@ verschoben werden.
 
 % Now each staff has its own time signature.
 
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -2164,8 +2164,8 @@ niedrigere befindet.
   \time 7/8
   \set Staff.beatStructure = #'(2 3 2)
   \new Voice = one {
-    \relative c'' {
-        a8 a a a a a a
+    \relative {
+        a'8 a a a a a a
     }
   }
   \new Voice  = two {
@@ -3559,8 +3559,8 @@ als Argument und produzieren entweder Ganztaktpausen oder leere
 Takte, die genauso lang sind wie der Notenabschnitt.
 
 @lilypond[verbatim,quote]
-MyCadenza = \relative c' {
-  c4 d8 e f g g4
+MyCadenza = \relative {
+  c'4 d8 e f g g4
   f2 g4 g
 }
 
diff --git a/Documentation/de/notation/simultaneous.itely b/Documentation/de/notation/simultaneous.itely
index d55ef16849..ceb66224ef 100644
--- a/Documentation/de/notation/simultaneous.itely
+++ b/Documentation/de/notation/simultaneous.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -227,8 +227,8 @@ letzten Note in diesem Beispiel:
 \new Voice
 \relative c'' {
   \chordRepeats #'(articulation-event)
-  \relative c''
-  { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+  \relative
+  { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
   q2 c |
 }
 @end lilypond
@@ -819,10 +819,10 @@ der Stimmen in der Eingabedatei nicht die gleiche sein wie die vertikale
 Anordnung der Stimmen im Notensystem!}
 
 @lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
   %% abbreviated entry
   <<
-    { f2  }  % 1: highest
+    { f''2  }  % 1: highest
     \\
     { g,2 }  % 2: lowest
     \\
@@ -942,17 +942,17 @@ und dann kombiniert gesetzt.  Die gleichen Variablen werden
 für die Stimmen und das kombinierte System benutzt.
 
 @lilypond[quote,verbatim]
-instrumentOne = \relative c' {
-  c4 d e f |
+instrumentOne = \relative {
+  c'4 d e f |
   R1 |
   d'4 c b a |
   b4 g2 f4 |
   e1 |
 }
 
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
   R1 |
-  g4 a b c |
+  g'4 a b c |
   d4 c b a |
   g4 f( e) d |
   e1 |
@@ -1053,8 +1053,8 @@ instrumentOne = \relative c' {
   \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
   c2 c |
 }
-instrumentTwo = \relative c' {
-  c2 c |
+instrumentTwo = \relative {
+  c'2 c |
   e2 e |
   a,2 c |
   c2 c' |
diff --git a/Documentation/de/notation/spacing.itely b/Documentation/de/notation/spacing.itely
index 35748c26f4..90f730c04e 100644
--- a/Documentation/de/notation/spacing.itely
+++ b/Documentation/de/notation/spacing.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.12"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -1009,7 +1009,7 @@ benutzt werden, etwa so:
     tagline = ##f
   }
   \score {
-    \relative c'' { c1 \break c1 \break c1 }
+    \relative { c''1 \break c1 \break c1 }
   }
 }
 @end lilypond
@@ -1399,9 +1399,9 @@ müssen.
 @lilypond[quote,ragged-right,verbatim]
 \new Voice \with {
   \remove "Forbid_line_break_engraver"
-} \relative c'' {
+} \relative {
   <<
-    { c2. \tuplet 3/2 { c4 c c } c2. | }
+    { c''2. \tuplet 3/2 { c4 c c } c2. | }
     { s1 | \break s1 | }
   >>
 }
@@ -1763,7 +1763,7 @@ Wenn @code{line-break-permission} die Einstellung falsch
   ragged-bottom = ##t
 }
 
-music = \relative c'' { c8 c c c }
+music = \relative { c''8 c c c }
 
 \score {
   \new Staff {
@@ -1800,7 +1800,7 @@ Zeilen- und Seitenumbruchbefehle werden normalerweise direkt
 zusammen mit den Noten eingegeben.
 
 @example
-music = \relative c'' @{ c4 c c c @}
+music = \relative @{ c''4 c c c @}
 
 \score @{
   \new Staff @{
@@ -1819,7 +1819,7 @@ Diese zusätzliche Stimme enthält nur unsichtbare Noten und die
 Umbruchbefehle:
 
 @lilypond[quote,verbatim]
-music = \relative c'' { c4 c c c }
+music = \relative { c''4 c c c }
 
 \score {
   \new Staff <<
@@ -1847,7 +1847,7 @@ anderer Eigenschaften von
 @ref{Vertikale Abstände}).
 
 @lilypond[quote,verbatim]
-music = \relative c'' { c4 c c c }
+music = \relative { c''4 c c c }
 
 \score {
   \new Staff <<
@@ -3021,8 +3021,8 @@ eine größere Dauer ist als @code{1 16}.
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -3032,8 +3032,8 @@ eine größere Dauer ist als @code{1 16}.
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -3713,8 +3713,8 @@ Beispiel zeigt die normalen Abstände:
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
@@ -3732,8 +3732,8 @@ angegeben wird:
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
diff --git a/Documentation/de/notation/staff.itely b/Documentation/de/notation/staff.itely
index e2e8895aad..fc243be2d6 100644
--- a/Documentation/de/notation/staff.itely
+++ b/Documentation/de/notation/staff.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -377,15 +377,15 @@ mit einer Option in der @code{\paper}-Umgebung angeschalten.
   \score {
     \new StaffGroup <<
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
       }
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
@@ -620,8 +620,8 @@ gleichzeitige Notensysteme an der entsprechenden Position
 erstellt werden:
 
 @lilypond[verbatim,quote]
-\new Staff \relative c'' {
-  c4 b d c
+\new Staff \relative {
+  c''4 b d c
   <<
     { c4 b d c }
     \new Staff { e4 d f e }
@@ -645,8 +645,8 @@ ein, um den Ossia-Abschnitt auszurichten.  Diese Methode
 bietet sich an, wenn nur einige Ossia-Systeme benötigt werden.
 
 @lilypond[verbatim,quote]
-\new Staff = main \relative c'' {
-  c4 b d c
+\new Staff = main \relative {
+  c''4 b d c
   <<
     { c4 b d c }
 
@@ -684,8 +684,8 @@ Stücke setzt.
   }
   { \stopStaff s1*6 }
 
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     <<
       { e4 f e2 }
       \context Staff = ossia {
@@ -719,12 +719,12 @@ Mehr Information zu @code{\Staff \RemoveEmptyStaves} findet sich in
     fontSize = #-3
     \override StaffSymbol.staff-space = #(magstep -3)
     \override StaffSymbol.thickness = #(magstep -3)
-  } \relative c'' {
+  } \relative {
     R1*3
-    c4 e8 d c2
+    c''4 e8 d c2
   }
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     e4 f e2
     g4 a g2 \break
     c4 b c2
@@ -794,7 +794,7 @@ eingesetzt werden.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c''' { a8 f e16 d c b a2 }
+\relative { a''8 f e16 d c b a2 }
 @end lilypond
 
 Leere Systeme können versteckt werden, wenn der
@@ -815,9 +815,9 @@ der drei enthält.}
   }
 }
 
-\relative c' <<
+\relative <<
   \new Staff {
-    e4 f g a \break
+    e'4 f g a \break
     b1 \break
     a4 b c2
   }
@@ -1139,12 +1139,12 @@ Argumente: die Bezeichnung der zitierten Stimme, wie vorher mit
 für die Dauer des Zitates.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { s1 }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1163,12 +1163,12 @@ unsichtbare Noten oder Ganztaktpausen etwa Noten enthält, wird eine
 polyphone Stelle begonnen, was meistens nicht erwünscht ist:
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1193,8 +1193,8 @@ clarinetNotes = \relative c'' {
   b4 ais a ais | cis4^"quoted" r8 bis\p b4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"clarinet" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"clarinet" { s1 }
 }
 
 \addQuote "clarinet" { \clarinetNotes }
@@ -1223,13 +1223,13 @@ auszuwählen, welche Objekte der zitierten Noten dargestllt werden.
 Das geschieht mit der @code{quotedEventTypes}-Kontexteigenschaft.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a2 g2 |
+fluteNotes = \relative {
+  a'2 g2 |
   b4\<^"quoted" r8 ais a4\f( c->)
  }
 
-oboeNotes = \relative c'' {
-  c2. b4 |
+oboeNotes = \relative {
+  c''2. b4 |
   \quoteDuring #"flute" { s1 }
 }
 
@@ -1370,8 +1370,8 @@ womit die zitierten Noten entweder als erste oder als zweite Stimme
 in einem System gesetzt werden.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 | d8 c d e fis2 | g2 d |
+fluteNotes = \relative {
+  r2. c''4 | d8 c d e fis2 | g2 d |
 }
 
 oboeNotes = \relative c'' {
@@ -1402,8 +1402,8 @@ erstellt werden, weil sonst der gesamte musikalische Ausdruck zum
 @code{CueVoice}-Kontext gehören würde.}
 
 @lilypond[verbatim,quote]
-oboeNotes = \relative c'' {
-  r2 r8 d16(\f f e g f a)
+oboeNotes = \relative {
+  r2 r8 d''16(\f f e g f a)
   g8 g16 g g2.
 }
 \addQuote "oboe" { \oboeNotes }
@@ -1427,8 +1427,8 @@ aber der originale Schlüssel muss auch manuell am Ende der Stichnoten
 wieder hergestellt werden.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1457,8 +1457,8 @@ Schlüsselwechsel anzeigt, den man für die Stichnoten braucht.  Der
 originale Schlüssel wird automatisch wieder hergesetllt.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1492,10 +1492,10 @@ man Stichnoten von einem Instrument mit einem vollständig anderen
 Register benutzt:
 
 @lilypond[verbatim,quote]
-piccoloNotes = \relative c''' {
+piccoloNotes = \relative {
   \clef "treble^8"
   R1
-  c8 c c e g2
+  c'''8 c c e g2
   c4 g g2
 }
 
@@ -1534,8 +1534,8 @@ können mit Marken versehen werden, um sie selektiv einzufügen,
 siehe @ref{Marken benutzen}.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
diff --git a/Documentation/de/notation/text.itely b/Documentation/de/notation/text.itely
index fb2a9fce5c..5edf97cc67 100644
--- a/Documentation/de/notation/text.itely
+++ b/Documentation/de/notation/text.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -1301,7 +1301,7 @@ eine @code{\layout}-Umgebung haben, wie in diesem Beispiel:
 @lilypond[quote,verbatim,relative=1]
 c4 d^\markup {
   \score {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
     \layout { }
   }
 }
diff --git a/Documentation/de/notation/vocal.itely b/Documentation/de/notation/vocal.itely
index 79428ef579..3bf34b39a2 100644
--- a/Documentation/de/notation/vocal.itely
+++ b/Documentation/de/notation/vocal.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Till Paala
 
@@ -183,7 +183,7 @@ die Datei in der UTF-8-Kodierung gespeichert wird.  Zu mehr Information siehe
 @ref{Sonderzeichen}.
 
 @lilypond[quote,verbatim]
-\relative c'' { d8 c16 a bes8 f e' d c4 }
+\relative { d''8 c16 a bes8 f e' d c4 }
 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
 @end lilypond
 
@@ -191,7 +191,7 @@ Normale Anführungszeichen können im Gesangstext auch benutzt werden, aber sie
 müssen mit einem Backslash und weiteren Anführungszeichen begleitet werden:
 
 @lilypond[quote,verbatim]
-\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\relative { \time 3/4 e'4 e4. e8 d4 e d c2. }
 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
 @end lilypond
 
@@ -307,9 +307,9 @@ innerhalb von @code{\lyricmode} notiert:
 
 @lilypond[quote,ragged-right,verbatim]
 <<
-  \new Voice = "one" \relative c'' {
+  \new Voice = "one" \relative {
     \time 2/4
-    c4 b8. a16 g4. f8 e4 d c2
+    c''4 b8. a16 g4. f8 e4 d c2
   }
 
 % uses previous explicit duration of 2;
@@ -456,7 +456,7 @@ Hier ein Beispiel:
 @lilypond[verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
 }
 @end lilypond
@@ -467,7 +467,7 @@ hinzugefügt werden:
 @lilypond[ragged-right,verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
   \addlyrics { speel het spel }
   \addlyrics { joue le jeu }
@@ -558,8 +558,8 @@ Hier zwei Beispiele:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      c2 c2
+    \relative {
+      c''2 c2
       d1
     }
   }
@@ -569,8 +569,8 @@ Hier zwei Beispiele:
     }
   }
   \new Staff {
-    \relative c' {
-      c8 c c c c c c c
+    \relative {
+      c'8 c c c c c c c
       c8 c c c c c c c
     }
   }
@@ -913,8 +913,8 @@ Um Variablen zu definieren, die Gesangstext beinhalten, muss die
 @code{\lyricmode}-Umgebung benutzt werden.
 
 @lilypond[quote,verbatim]
-musicOne = \relative c'' {
-  c4 b8. a16 g4. f8 e4 d c2
+musicOne = \relative {
+  c''4 b8. a16 g4. f8 e4 d c2
 }
 verseOne = \lyricmode {
   Joy to the world, the Lord is come.
@@ -943,8 +943,8 @@ aufzurufen.  Das stellt sicher, dass die Stimmen, die durch @code{\lyricsto}
 angefordert werden, auch immer schon definiert sind.  Beispielsweise:
 
 @lilypond[quote,verbatim]
-sopranoMusic = \relative c'' { c4 c c c }
-contraltoMusic = \relative c'' { a4 a a a }
+sopranoMusic = \relative { c''4 c c c }
+contraltoMusic = \relative { a'4 a a a }
 sopranoWords = \lyricmode { Sop -- ra -- no words }
 contraltoWords = \lyricmode { Con -- tral -- to words }
 
@@ -1005,7 +1005,7 @@ System zu positionieren, was man erreicht, indem man den
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics {
@@ -1027,7 +1027,7 @@ Position des Gesangstextes explizit anzugeben:
   <<
     \new Staff = "staff" {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics \with { alignAboveContext = "staff" } {
@@ -1054,7 +1054,7 @@ verweist, mit @code{\context} angegeben:
     }
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \context Lyrics = "lyrics" {
@@ -1075,7 +1075,7 @@ einesetzt werden können.  Hier ein Beispiel für die zweite Methode:
   \new ChoirStaff <<
     \new Staff {
       \new Voice = "sopranos" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics = "sopranos"
@@ -1085,7 +1085,7 @@ einesetzt werden können.  Hier ein Beispiel für die zweite Methode:
     }
     \new Staff {
       \new Voice = "contraltos" {
-        \relative c'' { a4 a a a }
+        \relative { a'4 a a a }
       }
     }
     \context Lyrics = "sopranos" {
@@ -1150,8 +1150,8 @@ wirkt, muss sie im @code{layout}-Block vorgenommen werden.
 
 @lilypond[verbatim,quote,ragged-right]
 \score {
-  \relative c' {
-  c c c c
+  \relative {
+  c' c c c
   c c c c
   }
   \addlyrics {
@@ -1220,8 +1220,8 @@ sich nicht ändert:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1245,8 +1245,8 @@ mit @code{\unfoldRepeats} ausgeklappt wird:
     <<
       \new Staff {
         \new Voice = "melody" {
-          \relative c'' {
-            a4 a a a
+          \relative {
+            a'4 a a a
             \repeat volta 2 { b4 b b b }
           }
         }
@@ -1270,8 +1270,8 @@ ausgeklappt werden soll, müssen alle Wörter notiert werden:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat unfold 2 { b4 b b b }
         }
       }
@@ -1297,8 +1297,8 @@ parrallelen Abschnitten geschachtelt wird:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1324,8 +1324,8 @@ Neue Strophen können auf die gleiche Art hinzugefügt werden:
   <<
     \new Staff {
       \new Voice = "singleVoice" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1366,8 +1366,8 @@ eingesetzt werden:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1391,8 +1391,8 @@ eingesetzt werden:
       The end sec -- tion.
     }
     \new Voice = "harmony" {
-      \relative c' {
-        f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
+      \relative {
+        f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
       }
     }
   >>
@@ -1418,8 +1418,8 @@ werden.
     \new Staff {
       \time 2/4
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b }
           \alternative { { b b } { b c } }
         }
@@ -1870,8 +1870,8 @@ geändert werden, wie das folgende Beispiel zeigt.
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \new Voice = melody \relative c' {
-    f4 \appoggiatura a32 b4
+  \new Voice = melody \relative {
+    f'4 \appoggiatura a32 b4
     \grace { f16 a16 } b2
     \afterGrace b2 { f16[ a16] }
     \appoggiatura a32 b4
@@ -1994,8 +1994,8 @@ gesetzt.  Es gibt zwei Arten, die Zeilen auszurichten,
 wie das Beispiel zeigt:
 
 @lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
+melody = \relative {
+e' d c d | e e e e |
 d d e d | c1 |
 }
 
@@ -2037,8 +2037,8 @@ zeigt die Strophennummer an.  Dieses Beispiel zeigt eine Methode, diese
 Art von Notensatz zu produzieren.
 
 @lilypond[ragged-right,quote,verbatim]
-melody = \relative c' {
-  c4 c c c | d d d d
+melody = \relative {
+  c'4 c c c | d d d d
 }
 
 text = \lyricmode {
@@ -2329,12 +2329,12 @@ Form genutzt werden, wie das Beispiel zeigt:
   \new ChoirStaff <<
     \new Staff {
       \new Voice {
-        \relative c'' { g4\f g g g }
+        \relative { g'4\f g g g }
       }
     }
     \new Staff {
       \new Voice {
-        \relative c' { d4 d d\p d }
+        \relative { d'4 d d\p d }
       }
     }
   >>
@@ -2511,9 +2511,9 @@ wenn auf dem System nur die Stimme einer Figure notiert ist:
     \new Staff {
       \set Staff.vocalName = \markup \smallCaps Kaspar
       \set Staff.shortVocalName = \markup \smallCaps Kas.
-      \relative c' {
+      \relative {
         \clef "G_8"
-        c4 c c c
+        c'4 c c c
         \break
         c4 c c c
       }
@@ -2522,7 +2522,7 @@ wenn auf dem System nur die Stimme einer Figure notiert ist:
       \set Staff.vocalName = \markup \smallCaps Melchior
       \set Staff.shortVocalName = \markup \smallCaps Mel
       \clef "bass"
-      \relative c' {
+      \relative {
         a4 a a a
         a4 a a a
       }
@@ -2617,13 +2617,13 @@ Instrumentenbezeichnungen sein.  Im folgenden Beispiel gibt es dazu
 einige Hilfestellungen.
 
 @lilypond[quote,verbatim]
-flute = \relative c'' {
-  s4 s4 e g
+flute = \relative {
+  s4 s4 e'' g
 }
 \addQuote "flute" { \flute }
 
-pianoRH = \relative c'' {
-  c4. g8
+pianoRH = \relative {
+  c''4. g8
   % position name of cue-ing instrument just before the cue notes,
   % and above the staff
   \new CueVoice {
@@ -2632,7 +2632,7 @@ pianoRH = \relative c'' {
   }
   \cueDuring "flute" #UP { g4 bes4 }
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   \new PianoStaff <<
@@ -2678,7 +2678,7 @@ pianoRH = \relative c'' {
   \cueDuring "clarinet" #DOWN { c4. g8 }
   g4 bes4
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   <<
@@ -2900,15 +2900,15 @@ auszulassen, kann der @code{Bar_engraver} entfert werden.
 \score {
   \new StaffGroup <<
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -2930,15 +2930,15 @@ Taktstriche können auf nur für ein System entfernt werden:
   \new ChoirStaff <<
     \new Staff
     \with { \remove "Bar_engraver" } {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -3009,8 +3009,8 @@ finalis = {
 }
 
 \score {
-  \relative c'' {
-    g2 a4 g
+  \relative {
+    g'2 a4 g
     \divisioMinima
     g2 a4 g
     \divisioMaior
@@ -3034,8 +3034,8 @@ weggelassen.
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      a4 b c2 |
+    \relative {
+      a'4 b c2 |
       a4 b c2 |
       a4 b c2 |
     }
@@ -3061,22 +3061,22 @@ Der erste Takt jeder Hälfte hat immer eine ganze Note.  Das ist der
 zentriert.
 
 @lilypond[verbatim,quote]
-SopranoMusic = \relative g' {
-  g1 | c2 b | a1 | \bar "||"
+SopranoMusic = \relative {
+  g'1 | c2 b | a1 | \bar "||"
   a1 | d2 c | c b | c1 | \bar "||"
 }
 
-AltoMusic = \relative c' {
-  e1 | g2 g | f1 |
+AltoMusic = \relative {
+  e'1 | g2 g | f1 |
   f1 | f2 e | d d | e1 |
 }
 
-TenorMusic = \relative a {
-  c1 | c2 c | c1 |
+TenorMusic = \relative {
+  c'1 | c2 c | c1 |
   d1 | g,2 g | g g | g1 |
 }
 
-BassMusic =  \relative c {
+BassMusic =  \relative {
   c1 | e2 e | f1 |
   d1 | b2 c | g' g | c,1 |
 }
diff --git a/Documentation/de/notation/world.itely b/Documentation/de/notation/world.itely
index d2a84a57ab..4d9c13b62c 100644
--- a/Documentation/de/notation/world.itely
+++ b/Documentation/de/notation/world.itely
@@ -10,7 +10,7 @@
 
 @c Translators: Till Paala
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Weltmusik
 @section Weltmusik
@@ -194,8 +194,8 @@ Hier ein Beispiel der arabischen @notation{rast}-Tonleiter:
 
 @lilypond[quote,verbatim]
 \include "arabic.ly"
-\relative do' {
-  do re misb fa sol la sisb do sisb la sol fa misb re do
+\relative {
+  do' re misb fa sol la sisb do sisb la sol fa misb re do
 }
 @end lilypond
 
diff --git a/Documentation/de/usage/external.itely b/Documentation/de/usage/external.itely
index 21ec60069d..6f57989516 100644
--- a/Documentation/de/usage/external.itely
+++ b/Documentation/de/usage/external.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @c Translators: Till Paala, Reinhold Kainhofer
 
@@ -152,8 +152,8 @@ Direkt in der @file{.ly}-Datei:
 
 @example
 \pointAndClickTypes #'note-event
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -161,8 +161,8 @@ oder
 
 @example
 #(ly:set-option 'point-and-click 'note-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -183,8 +183,8 @@ Direkt in der @file{.ly}-Datei:
 
 @example
 \pointAndClickTypes #'(note-event dynamic-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -192,8 +192,8 @@ oder
 
 @example
 #(ly:set-option 'point-and-click '(note-event dynamic-event))
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
diff --git a/Documentation/de/usage/lilypond-book.itely b/Documentation/de/usage/lilypond-book.itely
index 02ad688826..225970149f 100644
--- a/Documentation/de/usage/lilypond-book.itely
+++ b/Documentation/de/usage/lilypond-book.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Reinhold Kainhofer
 @c Translation checkers: Till Paala
@@ -95,8 +95,8 @@ Dokumente für \verb+lilypond-book+ können Musik und Text nach Belieben
 kombinieren. Zum Beispiel:
 
 \begin{lilypond}
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 \end{lilypond}
 
@@ -156,8 +156,8 @@ Dokumente für @command{lilypond-book} können Musik und Text nach Belieben
 kombinieren. Zum Beispiel:
 
 @lilypond
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 @end lilypond
 
@@ -182,8 +182,8 @@ Wenn man eine @code{tagline} (die Zeile unten auf der Seite) braucht
     title = "A scale in LilyPond"
   }
 
-  \relative c' {
-    c d e f g a b c
+  \relative {
+    c' d e f g a b c
   }
 }
 @end lilypond
@@ -803,8 +803,8 @@ Erzeugung der Grafik im relativen Oktavenmodus interpretiert, der
 wörtlich in das Dokument kopierte LilyPond-Code zeigt den @code{relative}-Befehl jedoch nicht.
 
 @example
-\relative c' @{ % begin verbatim
-  c4 e2 g4
+\relative @{ % begin verbatim
+  c'4 e2 g4
   f2 e % end verbatim
 @}
 @end example
@@ -1202,8 +1202,8 @@ Sie können LilyPond-Fragmente in ein LaTeX-Dokument einfügen:
 Normaler LaTeX-Text.
 
 \begin@{lilypond@}
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 \end@{lilypond@}
 
@@ -1228,7 +1228,7 @@ Handbuch wurde in Texinfo geschrieben.
 Texinfo-Text
 
 @@lilypond
-\relative c' @{
+\relative @{
   a4 b c d
 @}
 @@end lilypond
@@ -1255,8 +1255,8 @@ d4 c b a
 Dokumente für lilypond-book können Noten und Text frei kombinieren. Zum
 Beispiel
 <lilypond>
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 </lilypond>
 </p>
diff --git a/Documentation/de/usage/running.itely b/Documentation/de/usage/running.itely
index 32149adf02..a0b170a025 100644
--- a/Documentation/de/usage/running.itely
+++ b/Documentation/de/usage/running.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @c Translators: Reinhold Kainhofer, Till Paala
 @c Translation checkers: Till Paala
@@ -1088,7 +1088,7 @@ erstellen.
 
 @lilypond[quote,verbatim]
 \repeat unfold 2 {
-  \relative c' { c4 d e f }
+  \relative { c'4 d e f }
 }
 @end lilypond
 
@@ -1098,7 +1098,7 @@ umgangen werden.
 @lilypond[quote,verbatim]
 \new Voice {
   \repeat unfold 2 {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
   }
 }
 @end lilypond
diff --git a/Documentation/de/usage/suggestions.itely b/Documentation/de/usage/suggestions.itely
index 7b2ccc2d5c..8d019c35a8 100644
--- a/Documentation/de/usage/suggestions.itely
+++ b/Documentation/de/usage/suggestions.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Vorschläge zum Schreiben von LilyPond-Eingabe-Dateien
 @chapter Vorschläge zum Schreiben von LilyPond-Eingabe-Dateien
@@ -60,7 +60,7 @@ Hier einige Vorschläge, wie Sie Probleme vermeiden oder lösen können:
 @item @strong{Schreiben Sie immer mit @code{\version} die
 Versionsnummer
 in jede Datei}.  Beachten Sie, dass in allen Vorlagen die Versionsnummer
-@code{\version "2.16.0"} eingetragen ist.  Es empfiehlt sich, in alle
+@code{\version "2.19.21"} eingetragen ist.  Es empfiehlt sich, in alle
 Dateien, unabhängig von ihrer Größe, den @code{\version}-Befehl
 einzufügen.  Persönliche Erfahrung hat gezeigt, dass es ziemlich
 frustrierend sein kann zu erinnern, welche Programmversion man etwa
@@ -176,8 +176,8 @@ während die @code{violine}-Definition sich wahrscheinlich mit einer
 neuen Programmversion nicht verändern wird.
 
 @example
-violine = \relative c'' @{
-g4 c'8. e16
+violine = \relative @{
+g'4 c'8. e16
 @}
 ...
 \score @{
@@ -199,8 +199,8 @@ man es nur einmal vorzunehmen und die Noten in der Geigenstimme,
 @example
 fdannp = _\markup@{
   \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
-violin = \relative c'' @{
-g4\fdannp c'8. e16
+violin = \relative @{
+g'4\fdannp c'8. e16
 @}
 @end example
 
@@ -254,9 +254,9 @@ aus, aber nicht den @code{\bass}-Befehl in dem
  @code{\score}-Abschnitt:
 
 @example
-bass = \relative c' @{
+bass = \relative @{
 %@{
-  c4 c c c
+  c'4 c c c
   d d d d
 %@}
 @}
diff --git a/Documentation/es/essay/engraving.itely b/Documentation/es/essay/engraving.itely
index f3f1ca40ed..afed93cd89 100644
--- a/Documentation/es/essay/engraving.itely
+++ b/Documentation/es/essay/engraving.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Grabado musical
 @chapter Grabado musical
@@ -677,7 +677,7 @@ puntos por la inclinación hacia arriba, pero es la más atractiva de
 las tres configuraciones, así que LilyPond selecciona ésta:
 
 @lilypond
-\relative c {
+\relative {
   \clef bass
   e8[(_"12.04" f] g[ a b d,)] r4
 }
@@ -801,10 +801,10 @@ Para nuestra comparación elegimos la fuga en Sol menor del Clave bien
 temperado de Bach, libro I, BWV 861, cuyo sujeto inicial es
 
 @lilypond
-\relative c' {
+\relative {
   \key g \minor
   \clef "treble_8"
-  r8 d ees g, fis4 g
+  r8 d' ees g, fis4 g
   r8 a16 bes c8 bes16 a bes8
 }
 @end lilypond
@@ -1113,12 +1113,12 @@ la notación musical:
 
 @lilypond[quote,fragment]
 <<
-  \new Staff \relative c'' {
+  \new Staff \relative {
     \key g \major
     \time 3/4
-    d4 g,8 a b c d4 g, g
+    d''4 g,8 a b c d4 g, g
   }
-  \new Staff \relative c' {
+  \new Staff \relative {
     \clef "bass"
     \key g \major
     <g b d>2 a4 b2.
@@ -1180,7 +1180,7 @@ aparente si tenemos en cuenta un ejemplo musical más complejo:
     }
   >>
   \new Staff = "LH" <<
-    \new Voice = "III" \relative c' {
+    \new Voice = "III" \relative {
       \time 2/4
       \clef "bass"
       g4 \stopStaff s
@@ -1588,9 +1588,9 @@ hoja guía de acordes.
 <<
    \chords { c2 c f2 c }
    \new Staff
-   \relative c' {
+   \relative {
      \time 2/4
-     c4 c g' g a a g2
+     c'4 c g' g a a g2
    }
    \addlyrics { Cam -- pa ni -- ta del lu -- gar }
 >>
diff --git a/Documentation/es/extending/programming-interface.itely b/Documentation/es/extending/programming-interface.itely
index a0a61b0cb9..3f5507c7d0 100644
--- a/Documentation/es/extending/programming-interface.itely
+++ b/Documentation/es/extending/programming-interface.itely
@@ -7,7 +7,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.19.12"
+@c \version "2.19.21"
 
 @node Interfaces para programadores
 @chapter Interfaces para programadores
@@ -552,8 +552,8 @@ AltOff = {
   \revert NoteHead.font-size
 }
 
-\relative c' {
-  c2 \AltOn #0.5 c4 c
+\relative {
+  c'2 \AltOn #0.5 c4 c
   \AltOn #1.5 c c \AltOff c2
 }
 @end lilypond
@@ -576,8 +576,8 @@ withAlt =
      \revert NoteHead.font-size
    #})
 
-\relative c' {
-  c2 \withAlt #0.5 { c4 c }
+\relative {
+  c'2 \withAlt #0.5 { c4 c }
   \withAlt #1.5 { c c } c2
 }
 @end lilypond
@@ -645,7 +645,7 @@ una forma de escribir indicaciones dinámicas arbitrarias:
 @lilypond[quote,verbatim,ragged-right]
 dyn=#(define-event-function (parser location arg) (markup?)
          (make-dynamic-script arg))
-\relative c' { c\dyn pfsss }
+\relative { c'\dyn pfsss }
 @end lilypond
 
 Podríamos hacer lo mismo usando una función musical, pero entonces
@@ -1313,7 +1313,7 @@ cabezas de las notas que están sobre la línea central y junto a ella:
             (< (abs (ly:grob-property grob 'staff-position)) 2))
        (set! (ly:grob-property grob 'transparent) #t)))
 
-\relative c' {
+\relative {
   a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2
 }
 @end lilypond
@@ -1438,8 +1438,8 @@ más bien: así lo hacía en algún momento del pasado):
 @example
 F = \tweak font-size #-3 -\flageolet
 
-\relative c'' @{
-  c4^\F c4_\F
+\relative @{
+  c''4^\F c4_\F
 @}
 @end example
 
@@ -1457,8 +1457,8 @@ F = #(let ((m (make-music 'ArticulationEvent
                     (ly:music-property m 'tweaks)))
        m)
 
-\relative c'' @{
-  c4^\F c4_\F
+\relative @{
+  c''4^\F c4_\F
 @}
 @end example
 
diff --git a/Documentation/es/extending/scheme-tutorial.itely b/Documentation/es/extending/scheme-tutorial.itely
index ad55dbc255..d0ecd4c739 100644
--- a/Documentation/es/extending/scheme-tutorial.itely
+++ b/Documentation/es/extending/scheme-tutorial.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @node Tutorial de Scheme
 @appendix Tutorial de Scheme
@@ -1665,8 +1665,8 @@ padText = #(define-music-function (parser location padding) (number?)
   \once \override TextScript.padding = #padding
 #})
 
-\relative c''' {
-  c4^"piu mosso" b a b
+\relative {
+  c'''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" d e f
   \padText #2.6
diff --git a/Documentation/es/learning/common-notation.itely b/Documentation/es/learning/common-notation.itely
index 7e9e8a4e76..14db679397 100644
--- a/Documentation/es/learning/common-notation.itely
+++ b/Documentation/es/learning/common-notation.itely
@@ -7,7 +7,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
@@ -797,9 +797,9 @@ una de las cuales contiene dos notas diferentes) se combinan de forma
 simultánea:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -829,8 +829,8 @@ pero dado que comienza con una sola nota, se dispone sobre un solo
 pentagrama.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e2 f } { c2 <<b d>> } >> |
 }
 @end lilypond
@@ -868,9 +868,9 @@ de él.  Estos elementos @code{Staff} se combinan después en paralelo
 con @code{<<} y @code{>>}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -901,9 +901,9 @@ partituras con instrumentos transpositores son más comunes que las
 partituras polirrítmicas.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -946,9 +946,9 @@ completa se coloca dentro de un @code{PianoStaff}:
 He aquí un pequeño ejemplo:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef "bass" c,,4 c' | e c | }
   >>
 }
@@ -1073,10 +1073,10 @@ Presentamos a continuación el inicio de la melodía de una canción
 infantil, @qq{Girls and boys come out to play}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -1086,10 +1086,10 @@ cada sílaba mediante un espacio.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Girls and boys come | out to play,
@@ -1123,10 +1123,10 @@ shine as bright as day}.  A continuación vamos a ampliarla:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1159,10 +1159,10 @@ expresión sobre ellas (véase @ref{Ligaduras de unión y de expresión}):
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1180,10 +1180,10 @@ detalles consulte @ref{Barras automáticas y manuales}.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1200,10 +1200,10 @@ melisma:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1222,10 +1222,10 @@ del @notation{Lamento de Dido}, de @notation{Dido y Eneas} de Purcell:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes | bes2( a) b2 |
+    g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1275,11 +1275,11 @@ el aria de Fígaro @notation{Largo al factotum}:
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef "bass"
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- | to -- tum del -- la cit -- | tà
@@ -1389,13 +1389,13 @@ usar posteriormente colocando una barra invertida delante del nombre
 
 @lilypond[verbatim,quote]
 violin = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 
 cello = \new Staff {
-  \relative c {
+  \relative {
     \clef "bass"
     e2 d
   }
@@ -1552,10 +1552,10 @@ origen de numerosos errores.  Con @code{\relative}, el ejemplo
 anterior es mucho más fácil de leer:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8 |
+  cis''8. d16 cis8 e4 e8 |
   b8. cis16 b8 d4 d8 |
 }
 @end lilypond
@@ -1577,7 +1577,7 @@ usando @code{\relative} dentro de @code{\relative}, las secciones
 relativas externa e interna son independientes:
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \relative c'' { f g } c }
+\relative { c'4 \relative { f'' g } c }
 @end lilypond
 
 @funindex \absolute
@@ -1587,7 +1587,7 @@ la instrucción @code{\absolute} para evitar que se incorpore a la
 música relativa:
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \absolute { f'' g'' } c }
+\relative { c'4 \absolute { f'' g'' } c }
 @end lilypond
 
 @node Más allá del tutorial
diff --git a/Documentation/es/learning/fundamental.itely b/Documentation/es/learning/fundamental.itely
index d4b4ae4dad..03bdd50ab5 100644
--- a/Documentation/es/learning/fundamental.itely
+++ b/Documentation/es/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Conceptos fundamentales
 @chapter Conceptos fundamentales
@@ -89,8 +89,8 @@ le proporcionamos una entrada sencilla.  LilyPond trata una entrada
 como esta:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -102,8 +102,8 @@ como una abreviatura de esta otra:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -239,8 +239,8 @@ se muestra en @ref{Organizar las piezas mediante variables}.  Todas las
 plantillas emplean lo siguiente:
 
 @example
-melodia = \relative c' @{
-  c4 a b c
+melodia = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -369,8 +369,8 @@ llaves que siguen a @code{\new Voice = "vocal"}, podríamos empezar
 escribiendo
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -390,10 +390,10 @@ Así pues, escribiendo algunas notas, y una clave de Fa para la mano
 izquierda, ahora tenemos un fragmento musical de verdad:
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e }
 
 \score {
   <<
@@ -443,8 +443,8 @@ fragmento de tres notas:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -470,8 +470,8 @@ siguiente:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -721,9 +721,9 @@ las ligaduras, plicas, matices dinámicos, etc., se ajusta de forma
 correcta.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -746,9 +746,9 @@ ligadas se pueden dividir entre las mismas voces de dos
 construcciones, como se indica aquí en la voz de triángulos azules.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<  % Bar 1
     {
       \voiceOneStyle
@@ -837,10 +837,10 @@ las complicaciones se explicarán en secciones posteriores).
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     {
       % Ignore these for now - they are explained in Ch 4
@@ -916,10 +916,10 @@ hemos aprendido, usando la construcción @code{<< \\ >>} para
 introducir la música del primer compás en tres voces:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -939,10 +939,10 @@ olvidándonos de la voz tres y situando la música en la voz cuatro.
 Esto se hace escribiendo otro par de barras invertidas (@code{\\}).
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { <ees, c>2 des }
   \\  % Omit Voice three
@@ -1003,8 +1003,8 @@ sección previa:
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -1014,8 +1014,8 @@ equivale a
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -1024,8 +1024,8 @@ Los dos ejemplos anteriores producen:
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1048,9 +1048,9 @@ Veamos en algunos ejemplos sencillos exactamente qué efecto tienen
 las ligaduras de unión y de expresión y las indicaciones de dinámica:
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1121,8 +1121,8 @@ si una voz aparece sólo brevemente podría haber una forma más natural
 de tipografiar la música.
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e) | }
     \new Voice {
@@ -1300,14 +1300,14 @@ no como música.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1363,10 +1363,10 @@ ejemplos se le suele dar el nombre de @q{global}.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1557,8 +1557,8 @@ un ejemplo anotado de música real:
       \clef "treble"
       \key g \minor
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8. |
+        \relative {  % start of RH notes
+          d''4 ees16 c8. |
           d4 ees16 c8. |
         }  % end of RH notes
       }  % end of RH voice
@@ -1568,14 +1568,14 @@ un ejemplo anotado de música real:
       \key g \minor
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c> |
           g8 <bes d> ees, <g c> |
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees |
           g4 ees |
         }  % end of LH voice two notes
@@ -1856,8 +1856,8 @@ Así, esto desactivará los becuadros adicionales en un pentagrama:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1871,8 +1871,8 @@ y esto los desactivará en todos los pentagramas:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1949,13 +1949,13 @@ de la siguiente forma:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -1998,8 +1998,8 @@ continuación presentamos un ejemplo que muestra el formato:
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -2018,13 +2018,13 @@ pentagramas de la partitura:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -2091,8 +2091,8 @@ pentagrama están dibujadas por el grabador
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % make note heads smaller
   e4 f |
   \set fontSize = #2.5  % make note heads larger
@@ -2178,24 +2178,24 @@ podemos escribir
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2263,7 +2263,7 @@ cello.  En este caso comenzaríamos con la plantilla @q{Notas y letra}
 
 @example
 \version @w{"@version{}"}
-melodia = \relative c' @{
+melodia = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2292,7 +2292,7 @@ Ahora queremos añadir una parte de violoncello.  Veamos el ejemplo
 
 @example
 \version @w{"@version{}"}
-melodia = \relative c' @{
+melodia = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2329,7 +2329,7 @@ Asimismo, cambiaremos algunas notas del cello.
 
 @example
 \version @w{"@version{}"}
-musicaSoprano = \relative c' @{
+musicaSoprano = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2340,7 +2340,7 @@ letraSoprano = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-musicaCello = \relative c @{
+musicaCello = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2400,7 +2400,7 @@ tiene fácil solución.  Presentamos aquí la plantilla completa para
 soprano y cello.
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2411,7 +2411,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2455,29 +2455,29 @@ un ejemplo del «Mesías» de Haendel:
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
 
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
 
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 
@@ -2687,26 +2687,26 @@ del ejemplo anterior, obtenemos:
 
 @lilypond[quote,verbatim,ragged-right,addversion]
 global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -3024,19 +3024,19 @@ todas las partes.
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d ees8~ 16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -3091,7 +3091,7 @@ Glosario musical:
 Llegado a este punto, usted ha visto cosas de este tipo:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 
 \score {
   {
@@ -3104,8 +3104,8 @@ Incluso se dará cuenta de que esto puede ser útil en música
 minimalista:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 
 violin = \new Staff {
   \fragmentA \fragmentA |
@@ -3189,8 +3189,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative {
+  c'''4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
@@ -3224,7 +3224,7 @@ ejemplo, supongamos que el archivo @file{trompa.ly} contiene la
 siguiente parte de un dúo para trompa y fagot:
 
 @example
-notasTrompa = \relative c @{
+notasTrompa = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3261,7 +3261,7 @@ lo que corresponde con el tono de afinación de una trompa normal
 en@tie{}Fa.  La transposición se puede ver en la siguiente salida
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3321,7 +3321,7 @@ que la otra voz se encuentra dentro de @code{notasFagot} en el archivo
 lo que nos lleva a
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/es/learning/tutorial.itely b/Documentation/es/learning/tutorial.itely
index 7f206ea4c8..892b579443 100644
--- a/Documentation/es/learning/tutorial.itely
+++ b/Documentation/es/learning/tutorial.itely
@@ -10,7 +10,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Tutorial
 @chapter Tutorial
@@ -243,8 +243,8 @@ desde la nota anterior.
 
 @lilypond[verbatim,quote]
 % set the starting point to middle C
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -257,8 +257,8 @@ crear melodías con intervalos mayores, aún sin dejar de utilizar el
 modo relativo:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -276,8 +276,8 @@ de inicio:
 @c KEEP LY
 @lilypond[verbatim,quote]
 % una octava por encima del Do central
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -293,8 +293,8 @@ por debajo.
 
 @c KEEP LY
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % el Do está un espacio por encima, es el Do de arriba
+\relative {
+  b' c  % el Do está un espacio por encima, es el Do de arriba
   b d  % el Re está dos por encima ó 5 por debajo, es el Re de arriba
   b e  % el Mi está 3 por encima ó 4 por debajo, es el Mi de arriba
   b a  % el La está 6 por encima ó 1 por debajo, es el La de abajo
@@ -316,8 +316,8 @@ bajar la octava escribiendo una coma @code{,} a continuación del
 nombre de la nota.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -361,8 +361,8 @@ nota siguiente.  La figura por omisión de la primera nota es una
 negra.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -373,8 +373,8 @@ número de la duración.  La duración de una nota con puntillo se debe
 especificar de forma explícita (es decir: mediante un número).
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 a a4. a8
+\relative {
+  a'4 a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -393,8 +393,8 @@ Un @notation{silencio} se introduce igual que si fuera una nota con el
 nombre @code{r}@tie{}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 r r2
+\relative {
+  a'4 r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -416,9 +416,9 @@ La @notation{indicación de compás} se puede establecer con la orden
 @code{\time} :
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -482,9 +482,9 @@ La @notation{clave} se puede establecer utilizando la orden
 @code{\clef} :
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef "treble"
-  c1
+  c'1
   \clef "alto"
   c1
   \clef "tenor"
@@ -788,8 +788,8 @@ sobre esta imagen:
 @c no verbatim here
 @c KEEP LY
 @lilypond[quote]
-\relative c'' {
-  c4-\markup { \bold \huge { Haga clic aquí. } }
+\relative {
+  c''4-\markup { \bold \huge { Haga clic aquí. } }
 }
 @end lilypond
 
diff --git a/Documentation/es/learning/tweaks.itely b/Documentation/es/learning/tweaks.itely
index 20a4baf477..62ab388ca0 100644
--- a/Documentation/es/learning/tweaks.itely
+++ b/Documentation/es/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Trucar la salida
 @chapter Trucar la salida
@@ -1481,8 +1481,8 @@ introducir un pentagrama temporal, como en un @rglos{ossia}.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1508,8 +1508,8 @@ el sello de cada uno de ellos a @code{#f}, como sigue:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1572,8 +1572,8 @@ Así pues, podemos reemplazar el ejemplo anterior con
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1598,8 +1598,8 @@ resultado siguiente:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1668,8 +1668,8 @@ Vamos a probarlo en nuestro ejemplo del ossia:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1737,8 +1737,8 @@ siguiente forma:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1867,10 +1867,10 @@ pentagramas adyacentes:
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -3160,8 +3160,8 @@ deseados, así:
 
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
-\relative c'' {
-  c4
+\relative {
+  c''4
   % This prints a sesquisharp but the spacing is too small
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -3406,10 +3406,10 @@ Chopin que presentamos al final de @ref{Oigo voces}, que
 dejamos con este aspecto:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 des }
     \\
@@ -3446,10 +3446,10 @@ Presentamos a continuación el resultado final:
 @cindex force-hshift, propiedad, ejemplo
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 \once \override NoteColumn.force-hshift = 0.5 des }
     \\
@@ -3485,9 +3485,9 @@ quitado las indicaciones dinámicas, las digitaciones y el pedal.
 @c This example should not be indexed
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3527,8 +3527,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3568,9 +3568,9 @@ qué produce LilyPond de forma predeterminada:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4. g8 |
+    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3594,8 +3594,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3626,9 +3626,9 @@ Tutorial.  Al hacerlo así obtenemos:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3652,8 +3652,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3700,9 +3700,9 @@ Con esto se completa el compás dos, dando como resultado:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3728,8 +3728,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3781,9 +3781,9 @@ al final, dando como resultado:
 
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3813,8 +3813,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3856,9 +3856,9 @@ aplicar estos cambios obtenemos:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3891,8 +3891,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3927,9 +3927,9 @@ final:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3970,8 +3970,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -4241,10 +4241,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/es/notation/ancient.itely b/Documentation/es/notation/ancient.itely
index b315871178..ec3c35cb34 100644
--- a/Documentation/es/notation/ancient.itely
+++ b/Documentation/es/notation/ancient.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 
 @node Notación antigua
@@ -301,8 +301,8 @@ muestra en el ejemplo siguiente:
 
 @lilypond[quote,ragged-right]
 \score {
-  \relative c'' {
-    a1
+  \relative {
+    a'1
     \break
     g
   }
@@ -2788,9 +2788,9 @@ sola sílaba alineada por la izquierda:
 
 @lilypond[verbatim,ragged-right]
 \include "gregorian.ly"
-chant = \relative c' {
+chant = \relative {
   \clef "G_8"
-  c\breve c4 b4 a c2 c4  \divisioMaior
+  c'\breve c4 b4 a c2 c4  \divisioMaior
   c\breve c4 c f, f \finalis
 }
 
diff --git a/Documentation/es/notation/changing-defaults.itely b/Documentation/es/notation/changing-defaults.itely
index 9446dedd98..dc5864df41 100644
--- a/Documentation/es/notation/changing-defaults.itely
+++ b/Documentation/es/notation/changing-defaults.itely
@@ -8,7 +8,7 @@ Translation of GIT committish: a43fe59b0205af99f84532935b103d0c064b4526
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.7"
+@c \version "2.19.21"
 
 @node Cambiar los valores por omisión
 @chapter Cambiar los valores por omisión
@@ -413,13 +413,13 @@ válidas culaquiera de las dos formas siguientes:
 
     % musical content
     \context Voice = "one" {
-      \relative c'' {
-        c4 c c c
+      \relative {
+        c''4 c c c
       }
     }
     \context Voice = "two" {
-      \relative c'' {
-        g8 g g4 g g
+      \relative {
+        g'8 g g4 g g
       }
     }
   >>
@@ -441,13 +441,13 @@ válidas culaquiera de las dos formas siguientes:
 
     % musical content
     \context Voice = "one" {
-      \relative c'' {
-        c4 c c c
+      \relative {
+        c''4 c c c
       }
     }
     \context Voice = "two" {
-      \relative c'' {
-        g8 g g4 g g
+      \relative {
+        g'8 g g4 g g
       }
     }
   >>
@@ -469,8 +469,8 @@ para establecer el contexto en que se ejecuta un procedimiento de
 Scheme especificado con @code{\applyContext}:
 
 @example
-\new Staff \relative c' @{
-  c1
+\new Staff \relative @{
+  c'1
   \context Timing
   \applyContext #(lambda (ctx)
                    (newline)
@@ -555,8 +555,8 @@ En el ejemplo siguiente, tanto la voz A como la voz B se mantienen
 vivas de esta manera durante la duración de la pieza:
 
 @lilypond[quote,verbatim]
-musicA = \relative c'' { d4 d d d }
-musicB = \relative c'' { g4 g g g }
+musicA = \relative { d''4 d d d }
+musicB = \relative { g'4 g g g }
 keepVoicesAlive = {
   <<
     \new Voice = "A" { s1*5 }  % Keep Voice "A" alive for 5 bars
@@ -594,8 +594,8 @@ situación real la melodía y el acompañamiento consistirían en varias
 secciones diferentes.
 
 @lilypond[quote,verbatim]
-melody = \relative c'' { a4 a a a }
-accompaniment = \relative c' { d4 d d d }
+melody = \relative { a'4 a a a }
+accompaniment = \relative { d'4 d d d }
 words = \lyricmode { These words fol -- low the mel -- o -- dy }
 \score {
   <<
@@ -634,14 +634,14 @@ incluyendo notas espaciadoras para alinearla correctamente con el
 acompañamiento:
 
 @lilypond[quote,verbatim]
-melody = \relative c'' {
+melody = \relative {
   s1  % skip a bar
-  a4 a a a
+  a'4 a a a
   s1  % skip a bar
   a4 a a a
 }
-accompaniment = \relative c' {
-  d4 d d d
+accompaniment = \relative {
+  d'4 d d d
   d4 d d d
   d4 d d d
   d4 d d d
@@ -767,17 +767,17 @@ compás independiente.
       \consists "Timing_translator"
       \consists "Default_bar_line_engraver"
     }
-    \relative c'' {
+    \relative {
         \time 3/4
-        c4 c c c c c
+        c''4 c c c c c
     }
   \new Staff \with {
     \consists "Timing_translator"
     \consists "Default_bar_line_engraver"
   }
-  \relative c'' {
+  \relative {
       \time 2/4
-      c4 c c c c c
+      c''4 c c c c c
   }
 >>
 \layout {
@@ -891,8 +891,8 @@ Una instrucción @code{\override}, pero omitiendo el nombre del contexto
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Thicker stems" a a a
+  \relative {
+    a'4^"Thicker stems" a a a
     a4 a a\ff a
   }
   \layout {
@@ -909,8 +909,8 @@ Estableciendo una propiedad de contexto directamente
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Smaller font" a a a
+  \relative {
+    a'4^"Smaller font" a a a
     a4 a a\ff a
   }
   \layout {
@@ -928,8 +928,8 @@ musical como @code{\accidentalStyle dodecaphonic}
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Dynamics above" a a a
+  \relative {
+    a'4^"Dynamics above" a a a
     a4 a a\ff a
   }
   \layout {
@@ -957,8 +957,8 @@ StaffDefaults = \with {
 
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Smaller font" a a a
+    \relative {
+      a'4^"Smaller font" a a a
       a4 a a a
     }
   }
@@ -987,8 +987,8 @@ estuviera escrita en el propio flujo musical.
 @lilypond[quote,verbatim]
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Smaller font" a a a
+    \relative {
+      a'4^"Smaller font" a a a
       a4 a a a
     }
   }
@@ -1040,8 +1040,8 @@ contexto
   \new Staff {
     \new Voice \with { \override Stem.thickness = #4.0 }
     {
-      \relative c'' {
-        a4^"Thick stems" a a a
+      \relative {
+        a'4^"Thick stems" a a a
         a4 a a a
       }
     }
@@ -1056,15 +1056,15 @@ Estableciendo una propiedad de contexto directamente
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        a4^"Default font" a a a
+      \relative {
+        a'4^"Default font" a a a
         a4 a a a
       }
     }
     \new Staff \with { fontSize = #-4 }
     {
-      \relative c'' {
-        a4^"Smaller font" a a a
+      \relative {
+        a'4^"Smaller font" a a a
         a4 a a a
       }
     }
@@ -1080,8 +1080,8 @@ Una instrucción predefinida tal como @code{\dynamicUp}
   <<
     \new Staff {
       \new Voice {
-        \relative c'' {
-          a4^"Dynamics below" a a a
+        \relative {
+          a'4^"Dynamics below" a a a
           a4 a a\ff a
         }
       }
@@ -1090,8 +1090,8 @@ Una instrucción predefinida tal como @code{\dynamicUp}
     {
       \new Voice \with { \dynamicUp }
       {
-        \relative c'' {
-          a4^"Dynamics above" a a a
+        \relative {
+          a'4^"Dynamics above" a a a
           a4 a a\ff a
         }
       }
@@ -1186,8 +1186,8 @@ de jazz,
   \accepts "ImproVoice"
 }}
 
-\relative c'' {
-  a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+\relative {
+  a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c
    c4 c^"undress" c_"while playing :)" c }
   a1
 }
@@ -1324,8 +1324,8 @@ Así pues, la salida que aparece al comienzo de esta sub-sección se
 puede escribir como
 
 @example
-\relative c'' @{
-  a4 d8 bes8
+\relative @{
+  a'4 d8 bes8
   \new ImproVoice @{
     c4^"ad lib" c
     c4 c^"desvístete"
@@ -4255,8 +4255,8 @@ XinO = {
       \musicglyph #"noteheads.s2cross"
   }
 }
-\relative c'' {
-  a a \XinO a a
+\relative {
+  a' a \XinO a a
 }
 @end lilypond
 
@@ -4860,8 +4860,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c'' {
-  c4^"piu mosso" b a b
+\relative {
+  c''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" b a b
   \padText #2.6
@@ -4885,7 +4885,7 @@ custosNote =
      #note
    #})
 
-\relative c' { c4 d e f \custosNote g }
+\relative { c'4 d e f \custosNote g }
 @end lilypond
 
 Se pueden definir funciones de sustitución con más de un argumento:
diff --git a/Documentation/es/notation/chords.itely b/Documentation/es/notation/chords.itely
index 00907d49a3..644c126040 100644
--- a/Documentation/es/notation/chords.itely
+++ b/Documentation/es/notation/chords.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 @node Notación de acordes
 @section Notación de acordes
@@ -461,8 +461,8 @@ mismo independientemente del modo de entrada, a no ser que existan
 inversiones o bajos añadidos:
 
 @lilypond[verbatim,quote]
-chordmusic = \relative c' {
-  <c e g>2 <f bes c>
+chordmusic = \relative {
+  <c' e g>2 <f bes c>
   <f c' e g>1
   \chordmode {
     c2 f:sus4 c1:/f
@@ -1098,8 +1098,8 @@ están en el pentagrama.
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \relative c'' {
-    c4 c'8 r8 c,4 c'
+  \relative {
+    c''4 c'8 r8 c,4 c'
   }
   \new FiguredBass {
     \figuremode {
diff --git a/Documentation/es/notation/editorial.itely b/Documentation/es/notation/editorial.itely
index 86a8bf4b2d..164da9219c 100644
--- a/Documentation/es/notation/editorial.itely
+++ b/Documentation/es/notation/editorial.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @node Anotaciones editoriales
 @section Anotaciones editoriales
@@ -685,8 +685,8 @@ horizontales simples.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c2\startGroup
+\relative {
+  c''2\startGroup
   d\stopGroup
 }
 @end lilypond
@@ -700,8 +700,8 @@ Los corchetes de análisis se pueden anidar.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c4\startGroup\startGroup
+\relative {
+  c''4\startGroup\startGroup
   d4\stopGroup
   e4\startGroup
   d4\stopGroup\stopGroup
diff --git a/Documentation/es/notation/expressive.itely b/Documentation/es/notation/expressive.itely
index 07b8868e6e..78805af9b9 100644
--- a/Documentation/es/notation/expressive.itely
+++ b/Documentation/es/notation/expressive.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.25"
+@c \version "2.19.21"
 
 @node Expresiones
 @section Expresiones
@@ -449,8 +449,8 @@ texto e indicaciones de pedal de piano.
 
 @lilypond[verbatim,quote]
 <<
-  \new Staff \relative c' {
-    c2 d4 e |
+  \new Staff \relative {
+    c'2 d4 e |
     c4 e e,2 |
     g'4 a g a |
     c1 |
@@ -549,8 +549,8 @@ marcado (@code{\markup}).
 @lilypond[verbatim,quote]
 moltoF = \markup { molto \dynamic f }
 
-\relative c' {
-  <d e>16_\moltoF <d e>
+\relative {
+  <d' e>16_\moltoF <d e>
   <d e>2..
 }
 @end lilypond
@@ -572,8 +572,8 @@ roundF = \markup {
     \center-align \concat { \bold { \italic ( }
            \dynamic f \bold { \italic ) } } }
 boxF = \markup { \bracket { \dynamic f } }
-\relative c' {
-  c1_\roundF
+\relative {
+  c'1_\roundF
   c1_\boxF
 }
 @end lilypond
@@ -586,8 +586,8 @@ con la función @code{make-dynamic-script}.
 
 @lilypond[verbatim,quote]
 sfzp = #(make-dynamic-script "sfzp")
-\relative c' {
-  c4 c c\sfzp c
+\relative {
+  c'4 c c\sfzp c
 }
 @end lilypond
 
@@ -614,8 +614,8 @@ mfEspress = \markup { \center-align \line {
 roundFdynamic = #(make-dynamic-script roundF)
 boxFdynamic = #(make-dynamic-script boxF)
 mfEspressDynamic = #(make-dynamic-script mfEspress)
-\relative c' {
-  c4_\roundFdynamic\< d e f
+\relative {
+  c'4_\roundFdynamic\< d e f
   g,1~_\boxFdynamic\>
   g1
   g'1~\mfEspressDynamic
@@ -630,8 +630,8 @@ sintaxis se explica en @rextend{Construcción del marcado en Scheme}.
 moltoF = #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF
 }
 @end lilypond
@@ -644,8 +644,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT
          #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF <d e>1
 }
 @end lilypond
diff --git a/Documentation/es/notation/fretted-strings.itely b/Documentation/es/notation/fretted-strings.itely
index 27ef24f0b2..9be1407341 100644
--- a/Documentation/es/notation/fretted-strings.itely
+++ b/Documentation/es/notation/fretted-strings.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Instrumentos de cuerda con trastes
 @section Instrumentos de cuerda con trastes
@@ -179,7 +179,7 @@ y @code{TabVoice}.  Se añade automáticamente una clave caligráfica
 de tablatura.
 
 @lilypond[quote,ragged-right,verbatim]
-\new TabStaff \relative c' {
+\new TabStaff \relative {
   a,8 a' <c e> a
   d,8 a' <d f> a
 }
@@ -255,14 +255,14 @@ fijando @code{restrainOpenStrings} al valor @code{#t}.
 @lilypond[quote,ragged-right,verbatim]
 \layout { \omit Voice.StringNumber }
 \new StaffGroup <<
-   \new Staff \relative c {
+   \new Staff \relative {
      \clef "treble_8"
      \time 2/4
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      c,16 d e f g4
    }
-   \new TabStaff \relative c {
+   \new TabStaff \relative {
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      \set TabStaff.minimumFret = #5
@@ -289,7 +289,7 @@ utilicen @ref{Repetición de acordes}.  Esta instrucción en particular
 es tan común que está disponible como @code{\tabChordRepeats}.
 
 @lilypond[quote,verbatim]
-guitar = \relative c' {
+guitar = \relative {
   r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4
 }
 
@@ -570,15 +570,15 @@ para bajo, que suena una octava por debajo de lo escrito.
     \omit StringNumber
   } {
     \clef "bass_8"
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
   \new TabStaff \with {
     stringTunings = #bass-tuning
   } {
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
 >>
@@ -1772,7 +1772,7 @@ Las notas tapadas (llamadas también @notation{notas muertas}) están
 contempladas dentro de los pentagramas normales y de tablatura:
 
 @lilypond[quote,ragged-right,verbatim]
-music = \relative c' {
+music = \relative {
   < a\3 \deadNote c\2 a'\1 >4
   < b\3 \deadNote d\2 b'\1 >
   < c\3 \deadNote e\2 c'\1 >
diff --git a/Documentation/es/notation/input.itely b/Documentation/es/notation/input.itely
index 78de48cc91..e91700f76a 100644
--- a/Documentation/es/notation/input.itely
+++ b/Documentation/es/notation/input.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Entrada y salida generales
 @chapter Entrada y salida generales
@@ -943,8 +943,8 @@ La línea de etiqueta tagline predeterminada se puede cambiar añadiendo un camp
     tagline = "... music notation for Everyone"
   }
   \score {
-    \relative c' {
-      c4 d e f
+    \relative {
+      c'4 d e f
     }
   }
 }
@@ -1433,8 +1433,8 @@ una marca de nota al pie adjunta.  La sintaxis es:
 @lilypond[quote,verbatim,papersize=a8landscape]
 \book {
   \header { tagline = ##f }
-  \relative c'' {
-    a4_\footnote #'(0 . -1) "Ligadura forzada hacia abajo" (
+  \relative {
+    a'4_\footnote #'(0 . -1) "Ligadura forzada hacia abajo" (
     b8^\footnote #'(1 . 0.5) "Barra manual forzada hacia arriba" [
     b8 ]
     c4 )
@@ -1632,7 +1632,7 @@ Por ejemplo:
     \auto-footnote "recent" \italic " Aug 2012"
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -1682,7 +1682,7 @@ De forma alternativa, se pueden usar alias en ASCII (véase
     }
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -1705,7 +1705,7 @@ especificar las marcas (véase @ref{Unicode}):
     }
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -2140,10 +2140,10 @@ puede combinar sobre un solo pentagrama la música de dos variables,
 véase @ref{Combinación automática de las partes}.  He aquí un ejemplo:
 
 @lilypond[verbatim,quote]
-sopranoMusic = \relative c'' { a4 b c b8( a) }
-altoMusic = \relative g' { e4 e e f }
-tenorMusic = \relative c' { c4 b e d8( c) }
-bassMusic = \relative c' { a4 gis a d, }
+sopranoMusic = \relative { a'4 b c b8( a) }
+altoMusic = \relative { e'4 e e f }
+tenorMusic = \relative { c'4 b e d8( c) }
+bassMusic = \relative { a4 gis a d, }
 allLyrics = \lyricmode {King of glo -- ry }
 <<
   \new Staff = "Soprano" \sopranoMusic
@@ -2239,8 +2239,8 @@ que muestra trinos con la notación usual y otra con los trinos
 expandidos explícitamente:
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills { d8.\trill }
   \tag #'expand { \repeat unfold 3 { e32 d } }
   c32 d
@@ -2258,8 +2258,8 @@ music = \relative g' {
 De forma alternativa, a veces es más fácil excluir secciones de música:
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills { d8.\trill }
   \tag #'expand {\repeat unfold 3 { e32 d } }
   c32 d
@@ -2490,8 +2490,8 @@ portuguese = \lyricmode {
   à vo -- cê uma can -- ção legal
 }
 
-\relative c' {
-  c2 d e f g f e
+\relative {
+  c'2 d e f g f e
 }
 \addlyrics { \bulgarian }
 \addlyrics { \hebrew }
@@ -2537,8 +2537,8 @@ partitura:
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    c1 \mark \markup { \char ##x03EE }
+  \relative {
+    c''1 \mark \markup { \char ##x03EE }
     c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
   }
   \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
@@ -3149,8 +3149,8 @@ contrario llama a la función predeterminada.
     \set Staff.midiInstrument = #"cello"
     \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
     \new Voice {
-      \relative c'' {
-        a4\pp b c-\rfz
+      \relative {
+        a'4\pp b c-\rfz
       }
     }
   }
@@ -3192,8 +3192,8 @@ volumen general MIDI está limitado al intervalo desde 0.2 hasta
       \key g \major
       \time 2/2
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -3201,8 +3201,8 @@ volumen general MIDI está limitado al intervalo desde 0.2 hasta
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3242,8 +3242,8 @@ de la flauta.
       \set Staff.midiInstrument = #"flute"
       \set Staff.midiMinimumVolume = #0.7
       \set Staff.midiMaximumVolume = #0.9
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -3253,8 +3253,8 @@ de la flauta.
       \set Staff.midiInstrument = #"clarinet"
       \set Staff.midiMinimumVolume = #0.3
       \set Staff.midiMaximumVolume = #0.6
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3317,8 +3317,8 @@ anterior.
       \time 2/2
       \set Score.instrumentEqualizer = #my-instrument-equalizer
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -3326,8 +3326,8 @@ anterior.
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3356,8 +3356,8 @@ copied out and compiled to test microtones in your MIDI player.
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c' {
-    c4 cih cis cisih
+  \relative {
+    c'4 cih cis cisih
     d4 dih ees eeh
     e4 eih f fih
     fis4 fisih g gih
diff --git a/Documentation/es/notation/keyboards.itely b/Documentation/es/notation/keyboards.itely
index f512aebf73..873d6b1d85 100644
--- a/Documentation/es/notation/keyboards.itely
+++ b/Documentation/es/notation/keyboards.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @node Teclados y otros instrumentos de varios pentagramas
 @section Teclados y otros instrumentos de varios pentagramas
@@ -333,7 +333,7 @@ en el pentagrama inferior:
   \new Staff = "up" {
     \new Voice = "melodiaUno" {
       \key g \major
-      \autochange \relative c' {
+      \autochange \relative {
         g8 b a c b d c e
         d8 r fis, g a2
       }
diff --git a/Documentation/es/notation/pitches.itely b/Documentation/es/notation/pitches.itely
index 86c17e91e8..3e103596b3 100644
--- a/Documentation/es/notation/pitches.itely
+++ b/Documentation/es/notation/pitches.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 
 @node Alturas
@@ -168,10 +168,10 @@ La identificación del Do central con @code{c'} es algo bastante
 básico, por lo que tiende a ser fácil encontrar octavas de
 @code{c}.  Si nuestra música comienza con @code{gis} (un Sol
 sostenido) por encima de @code{c'''}, tendríamos que escribir algo
-como @code{\relative c''' @{ gis' @dots{}  @}}
+como @code{\relative @{ gis''' @dots{}  @}}
 
 @item una nota que está una o más octavas de la primera nota de dentro
-Escribir @code{\relative gis''' @{ gis @dots{} @}} hace que sea
+Escribir @code{\relative @{ gis''' @dots{} @}} hace que sea
 fácil determinar la altura absoluta de la primera nota de dentro.
 
 @item ninguna altura de inicio explícita
@@ -188,7 +188,7 @@ La documentación suele utilizar la primera opción.
 Aquí podemos ver el modo relativo en acción:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   \clef bass
   c d e f
   g a b c
@@ -200,8 +200,8 @@ Las marcas de cambio de octava se utilizan para intervalos mayores de
 la cuarta:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c g c f,
+\relative {
+  c'' g c f,
   c' a, e'' c
 }
 @end lilypond
@@ -210,7 +210,7 @@ Una serie de notas sin ninguna marca de octava puede, a pesar de todo,
 abarcar intervalos muy grandes:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   c f b e
   a d g c
 }
@@ -220,10 +220,10 @@ Cuando hay unos bloques @code{\relative} anidados dentro de otros, es
 de aplicación el bloque @code{\relative} más interno.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c d e f
-  \relative c'' {
-    c d e f
+\relative {
+  c' d e f
+  \relative {
+    c'' d e f
   }
 }
 @end lilypond
@@ -246,12 +246,12 @@ La música que esa dentro de un bloque @code{\transpose} es absoluta, a
 no ser que se incluya una instrucción @code{\relative}.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d e
+\relative {
+  d' e
   \transpose f g {
     d e
-    \relative c' {
-      d e
+    \relative {
+      d' e
     }
   }
 }
@@ -266,8 +266,8 @@ de los acordes, la siguiente nota siempre está en relación a la
 anterior.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c
+\relative {
+  c'
   <c e g>
   <c' e g'>
   <c, e, g''>
@@ -283,8 +283,8 @@ aumentada un intervalo menor que la quinta doble disminuida,
 independientemente del número de semitonos de cada uno de ellos.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 fis
+\relative {
+  c''2 fis
   c2 ges
   b2 eisis
   b2 feses
@@ -479,8 +479,8 @@ notas:
 @lilypond[quote,verbatim]
 \language "italiano"
 
-\relative do' {
-  do re mi sib
+\relative {
+  do' re mi sib
 }
 @end lilypond
 
@@ -656,8 +656,8 @@ absoluta @code{d''} en lugar de @code{d'} como indica la corrección de
 octava.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d='4 d
+\relative {
+  c''2 d='4 d
   e2 f
 }
 @end lilypond
@@ -673,8 +673,8 @@ modifica.  Las notas posteriores están en relación a la
 @code{@var{altura_de_control}}.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d
+\relative {
+  c''2 d
   \octaveCheck c'
   e2 f
 }
@@ -685,8 +685,8 @@ comprobaciones de @code{\octaveCheck} fracasan, pero la segunda es
 correcta.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c4 f g f
+\relative {
+  c''4 f g f
 
   c4
   \octaveCheck c'
@@ -742,9 +742,9 @@ armadura de la tonalidad se transporta automáticamente.
 
 @lilypond[verbatim,quote]
 \transpose d e {
-  \relative c' {
+  \relative {
     \key d \major
-    d4 fis a d
+    d'4 fis a d
   }
 }
 @end lilypond
@@ -756,9 +756,9 @@ está escrito), la particella correspondiente se produce mediante:
 
 @lilypond[verbatim,quote]
 \transpose a c' {
-  \relative c' {
+  \relative {
     \key c \major
-    c4 d e g
+    c'4 d e g
   }
 }
 @end lilypond
@@ -775,7 +775,7 @@ notas no se mueven de su lugar en la escala, en cambio la segunda
 imprime bemoles de la nota siguiente.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \transpose c cis { \music }
   \transpose c des { \music }
@@ -870,7 +870,7 @@ manera que @code{@var{nota-pivote}} se hace corresponder con
 @code{@var{nota-destino}}.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \music
   \inversion d' d' \music
@@ -903,7 +903,7 @@ Se puede revertir una expresión musical para producir su
 retrogradación:
 
 @lilypond[verbatim,quote]
-music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
+music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
 
 \new Staff {
   \music
@@ -963,8 +963,8 @@ número de grados de la escala dados por el intervalo entre
 @var{nota-destino} y @var{nota-origen}:
 
 @lilypond[verbatim,quote]
-diatonicScale = \relative c' { c d e f g a b }
-motif = \relative c' { c8 d e f g a b c }
+diatonicScale = \relative { c' d e f g a b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -977,8 +977,8 @@ Se pueden especificar escalas ascendentes de cualquier longitud y con
 cualesquiera intervalos:
 
 @lilypond[verbatim,quote]
-pentatonicScale = \relative c' { ges aes bes des ees }
-motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
+pentatonicScale = \relative { ges aes bes des ees }
+motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
 
 \new Staff {
   \motif
@@ -991,8 +991,8 @@ tiene un efecto similar a @code{\transpose}, pero con la posibilidad
 de especificar los nombres de las notas que se quieren usar:
 
 @lilypond[verbatim,quote]
-chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
-motif = \relative c' { c8 d e f g a b c }
+chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -1029,8 +1029,8 @@ escala, utilice el mismo valor para @var{nota-pivote} y
 @var{nota-destino}:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1044,8 +1044,8 @@ un grado de la escala.  Las dos notas especificadas se pueden
 interpretar como que horquillan entre ellas a la nota pivote:
 
 @lilypond[verbatim,quote]
-scale = \relative c' { c g' }
-motive = \relative c' { c c g' c, }
+scale = \relative { c' g' }
+motive = \relative { c' c g' c, }
 
 \new Staff {
   \motive
@@ -1057,8 +1057,8 @@ La operación combinada de inversión y retrogradación produce la
 inversión retrógrada:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1341,8 +1341,8 @@ comienza en Do.
 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
     (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
 
-\relative c' {
-  \key c \freygish c4 des e f
+\relative {
+  \key c \freygish c'4 des e f
   \bar "||" \key d \freygish d es fis g
 }
 @end lilypond
@@ -1597,12 +1597,12 @@ muestra de cada uno de los estilos, utilizamos el ejemplo siguiente:
 @lilypond[verbatim,quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1612,8 +1612,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1678,12 +1678,12 @@ imprimen becuadros antes del Si natural en el segundo compás ni en el
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1693,8 +1693,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1751,12 +1751,12 @@ deben usar en su lugar los estilos @code{modern} o
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1766,8 +1766,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1816,12 +1816,12 @@ Do en el segundo compás del pentagrama superior:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1831,8 +1831,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1878,12 +1878,12 @@ tamaño reducido definiendo la propiedad @code{cautionary-style} de
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1893,8 +1893,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1943,12 +1943,12 @@ causa de la alteración en otra voz en el compás previo:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1958,8 +1958,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2004,12 +2004,12 @@ regla, algunas de ellas se tipografían como de precaución.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2019,8 +2019,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2068,12 +2068,12 @@ Este estilo de alteración se aplica de manera predeterminada al grupo
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2083,8 +2083,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2128,12 +2128,12 @@ alteraciones añadidas compuestas como de precaución.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2143,8 +2143,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2186,12 +2186,12 @@ compás (excepto si la nota se repite inmediatamente).
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2201,8 +2201,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2243,12 +2243,12 @@ adicionales se imprimen como alteraciones de precaución.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2258,8 +2258,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2303,12 +2303,12 @@ voces que están en el mismo pentagrama @code{Staff}.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2318,8 +2318,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2360,12 +2360,12 @@ adicionales se imprimen como alteraciones de precaución.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2375,8 +2375,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2419,12 +2419,12 @@ alteración, incluso becuadros.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2434,8 +2434,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2480,12 +2480,12 @@ si la nota se repite inmediatamente.
 @lilypond[quote,staffsize=18]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2495,8 +2495,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2539,12 +2539,12 @@ siempre} y no sólo dentro del mismo compás:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2554,8 +2554,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2598,12 +2598,12 @@ estén afectadas por lo que viene antes.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2613,8 +2613,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2744,8 +2744,8 @@ tonalidad.
   }
 }
 
-\relative c'' {
-  aes c e2
+\relative {
+  aes' c e2
   cis,1
 }
 @end lilypond
diff --git a/Documentation/es/notation/repeats.itely b/Documentation/es/notation/repeats.itely
index c13b47241b..b463d59e46 100644
--- a/Documentation/es/notation/repeats.itely
+++ b/Documentation/es/notation/repeats.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @node Repeticiones
 @section Repeticiones
@@ -535,8 +535,8 @@ una lista de Scheme.
 
 @lilypond[verbatim,quote]
 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
-\relative c'' {
-  c1
+\relative {
+  c''1
   \set Score.repeatCommands =
     #(list(list 'volta voltaAdLib) 'start-repeat)
   c4 b d e
diff --git a/Documentation/es/notation/rhythms.itely b/Documentation/es/notation/rhythms.itely
index a2ccb6670b..abede20ed3 100644
--- a/Documentation/es/notation/rhythms.itely
+++ b/Documentation/es/notation/rhythms.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Duraciones
 @section Duraciones
@@ -1674,10 +1674,10 @@ forma manual, pues el escalado de las duraciones afecta a las reglas
 de barrado automático.
 
 @lilypond[quote,verbatim]
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -1720,10 +1720,10 @@ independiente trasladando los grabadores @code{Timing_translator} y
 
 % Now each staff has its own time signature.
 
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -2169,8 +2169,8 @@ más bajo, se aplican los ajustes del contexto circundante.
   \set Staff.beatStructure = #'(2 3 2)
   <<
     \new Voice = one {
-      \relative c'' {
-        a8 a a a a a a
+      \relative {
+        a'8 a a a a a a
       }
     }
     \new Voice = two {
@@ -3667,8 +3667,8 @@ de música como argumento y generan un @code{\skip} o silencio
 multicompás, de la longitud exacta del fragmento.
 
 @lilypond[verbatim,quote]
-MyCadenza = \relative c' {
-  c4 d8 e f g g4
+MyCadenza = \relative {
+  c'4 d8 e f g g4
   f2 g4 g
 }
 
diff --git a/Documentation/es/notation/simultaneous.itely b/Documentation/es/notation/simultaneous.itely
index f156efd7e2..a14619123a 100644
--- a/Documentation/es/notation/simultaneous.itely
+++ b/Documentation/es/notation/simultaneous.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translation status: post-GDP
 
@@ -227,8 +227,8 @@ la distinta escritura de octava en la última nota de este ejemplo.
 \new Voice
 \relative c'' {
   \chordRepeats #'(articulation-event)
-  \relative c''
-  { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+  \relative
+  { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
   q2 c |
 }
 @end lilypond
@@ -803,10 +803,10 @@ las mismas dentro de su archivo de entrada ¡no sería el mismo que
 el orden vertical de las voces en el pentagrama!}
 
 @lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
   %% abbreviated entry
   <<
-    { f2  }  % 1: highest
+    { f''2  }  % 1: highest
     \\
     { g,2 }  % 2: lowest
     \\
@@ -926,17 +926,17 @@ Se utilizan las mismas variables para las partes
 independientes y el pentagrama combinado.
 
 @lilypond[quote,verbatim]
-instrumentOne = \relative c' {
-  c4 d e f |
+instrumentOne = \relative {
+  c'4 d e f |
   R1 |
   d'4 c b a |
   b4 g2 f4 |
   e1 |
 }
 
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
   R1 |
-  g4 a b c |
+  g'4 a b c |
   d4 c b a |
   g4 f( e) d |
   e1 |
@@ -1040,8 +1040,8 @@ instrumentOne = \relative c' {
   \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
   c2 c |
 }
-instrumentTwo = \relative c' {
-  c2 c |
+instrumentTwo = \relative {
+  c'2 c |
   e2 e |
   a,2 c |
   c2 c' |
diff --git a/Documentation/es/notation/spacing.itely b/Documentation/es/notation/spacing.itely
index 52e79ddc8b..5e18d993c1 100644
--- a/Documentation/es/notation/spacing.itely
+++ b/Documentation/es/notation/spacing.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.12"
+@c \version "2.19.21"
 
 @ignore
 GDP TODO list
@@ -1160,7 +1160,7 @@ adecuado, por ejemplo:
     tagline = ##f
   }
   \score {
-    \relative c'' { c1 \break c1 \break c1 }
+    \relative { c''1 \break c1 \break c1 }
   }
 }
 @end lilypond
@@ -1535,9 +1535,9 @@ paralelo con la música:
 @lilypond[quote,ragged-right,verbatim]
 \new Voice \with {
   \remove "Forbid_line_break_engraver"
-} \relative c'' {
+} \relative {
   <<
-    { c2. \tuplet 3/2 { c4 c c } c2. | }
+    { c''2. \tuplet 3/2 { c4 c c } c2. | }
     { s1 | \break s1 | }
   >>
 }
@@ -1887,7 +1887,7 @@ las instrucciones @code{\pageBreak} explícitas y en ningún otro lugar.
   ragged-bottom = ##t
 }
 
-music = \relative c'' { c8 c c c }
+music = \relative { c''8 c c c }
 
 \score {
   \new Staff {
@@ -1923,7 +1923,7 @@ La información sobre saltos de línea y de página suele aparecer
 directamente entremezclado dentro del código de notas.
 
 @example
-music = \relative c'' @{ c4 c c c @}
+music = \relative @{ c''4 c c c @}
 
 \score @{
   \new Staff @{
@@ -1944,7 +1944,7 @@ contiene solamente desplazamientos o @q{skips} junto con los
 disposición de los saltos.
 
 @lilypond[quote,verbatim]
-music = \relative c'' { c4 c c c }
+music = \relative { c''4 c c c }
 
 \header { tagline = ##f }
 \paper { left-margin = 0\mm }
@@ -1974,7 +1974,7 @@ propiedades de @code{NonMusicalPaperColumnGrob}, como se explica en
 @ref{Espaciado vertical}.
 
 @lilypond[quote,verbatim]
-music = \relative c'' { c4 c c c }
+music = \relative { c''4 c c c }
 
 \header { tagline = ##f }
 \paper { left-margin = 0\mm }
@@ -3131,8 +3131,8 @@ que @code{ly:make-moment} construye una duración, por lo que @code{1
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -3142,8 +3142,8 @@ que @code{ly:make-moment} construye una duración, por lo que @code{1
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -3766,8 +3766,8 @@ El ejemplo siguiente ilustra el espaciado predeterminado:
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
@@ -3784,8 +3784,8 @@ duración se produce un efecto de @q{apretujamiento}:
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
diff --git a/Documentation/es/notation/staff.itely b/Documentation/es/notation/staff.itely
index deb2c4b0c5..7142b47144 100644
--- a/Documentation/es/notation/staff.itely
+++ b/Documentation/es/notation/staff.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Notación de los pentagramas
 @section Notación de los pentagramas
@@ -358,15 +358,15 @@ pero se puede activar con una opción de @code{\paper}.
   \score {
     \new StaffGroup <<
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
       }
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
@@ -602,8 +602,8 @@ Los pentagramas @notation{Ossia} se pueden preparar mediante la
 creación de un pentagrama simultáneo nuevo en la posición adecuada:
 
 @lilypond[verbatim,quote]
-\new Staff \relative c'' {
-  c4 b d c
+\new Staff \relative {
+  c''4 b d c
   <<
     { c4 b d c }
     \new Staff { e4 d f e }
@@ -625,8 +625,8 @@ para alinear el pentagrama de ossia.  Este método es muy conveniente
 cuando se necesitan sólo algunos pentagramas de ossia.
 
 @lilypond[verbatim,quote]
-\new Staff = "main" \relative c'' {
-  c4 b d c
+\new Staff = "main" \relative {
+  c''4 b d c
   <<
     { c4 b d c }
 
@@ -663,8 +663,8 @@ en ejemplo siguiente.
   }
   { \stopStaff s1*6 }
 
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     <<
       { e4 f e2 }
       \context Staff = "ossia" {
@@ -698,12 +698,12 @@ sobre @code{\RemoveEmptyStaves}, consulte @ref{Ocultar pentagramas}.
     fontSize = #-3
     \override StaffSymbol.staff-space = #(magstep -3)
     \override StaffSymbol.thickness = #(magstep -3)
-  } \relative c'' {
+  } \relative {
     R1*3
-    c4 e8 d c2
+    c''4 e8 d c2
   }
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     e4 f e2
     g4 a g2 \break
     c4 b c2
@@ -773,7 +773,7 @@ alternativa se puede utilizar la instrucción @code{\stopStaff}.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c''' { a8 f e16 d c b a2 }
+\relative { a''8 f e16 d c b a2 }
 @end lilypond
 
 Se pueden ocultar los pentagramas que están vacíos mediante la
@@ -794,9 +794,9 @@ separación o una combinación de estos elementos.}
   }
 }
 
-\relative c' <<
+\relative <<
   \new Staff {
-    e4 f g a \break
+    e'4 f g a \break
     b1 \break
     a4 b c2
   }
@@ -1111,12 +1111,12 @@ citada, tal y como se definió con @code{\addQuote}, y una expresión
 musical que indica la duración de la cita.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { s1 }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1135,12 +1135,12 @@ multicompás, se produce una situación de polifonía, lo que no suele
 ser deseable:
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1165,8 +1165,8 @@ clarinetNotes = \relative c'' {
   b4 ais a ais | cis4^"quoted" r8 bis\p b4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"clarinet" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"clarinet" { s1 }
 }
 
 \addQuote "clarinet" { \clarinetNotes }
@@ -1197,13 +1197,13 @@ música que se cita se imprimen, mediante la propiedad de contexto
 @code{quotedEventTypes}.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a2 g2 |
+fluteNotes = \relative {
+  a'2 g2 |
   b4\<^"quoted" r8 ais a4\f( c->)
  }
 
-oboeNotes = \relative c'' {
-  c2. b4 |
+oboeNotes = \relative {
+  c''2. b4 |
   \quoteDuring #"flute" { s1 }
 }
 
@@ -1348,8 +1348,8 @@ determinando cómo se imprimen las notas guía en relación a la otra
 voz.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 | d8 c d e fis2 | g2 d |
+fluteNotes = \relative {
+  r2. c''4 | d8 c d e fis2 | g2 d |
 }
 
 oboeNotes = \relative c'' {
@@ -1384,8 +1384,8 @@ declarar explícitamente, pues en caso contrario toda la expresión musical
 pertenecería al contexto @code{CueVoice}.}
 
 @lilypond[verbatim,quote]
-oboeNotes = \relative c'' {
-  r2 r8 d16(\f f e g f a)
+oboeNotes = \relative {
+  r2 r8 d''16(\f f e g f a)
   g8 g16 g g2.
 }
 \addQuote "oboe" { \oboeNotes }
@@ -1408,8 +1408,8 @@ notas guía requieren un cambio de clave, puede hacerse manualmente
 pero la clave original se debe restaurar al final de las notas guía.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1437,8 +1437,8 @@ automáticamente la clave original una vez que ha finalizado la serie
 de notas guía.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1472,10 +1472,10 @@ Esto es útil para toma citas de un instrumento que está en un registro
 completamente diferente.
 
 @lilypond[verbatim,quote]
-piccoloNotes = \relative c''' {
+piccoloNotes = \relative {
   \clef "treble^8"
   R1
-  c8 c c e g2
+  c'''8 c c e g2
   c4 g g2
 }
 
@@ -1514,8 +1514,8 @@ instrumento fuente, pueden marcarse para su inclusión selectiva dentro
 de la partitura; véase @ref{Uso de etiquetas}.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
diff --git a/Documentation/es/notation/text.itely b/Documentation/es/notation/text.itely
index 8f970d3fdd..b2aead97c4 100644
--- a/Documentation/es/notation/text.itely
+++ b/Documentation/es/notation/text.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @node Texto
 @section Texto
@@ -1277,7 +1277,7 @@ un bloque @code{\layout}, como se muestra aquí:
 @lilypond[quote,verbatim,relative=1]
 c4 d^\markup {
   \score {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
     \layout { }
   }
 }
diff --git a/Documentation/es/notation/vocal.itely b/Documentation/es/notation/vocal.itely
index 02082914d7..c5212cbfc9 100644
--- a/Documentation/es/notation/vocal.itely
+++ b/Documentation/es/notation/vocal.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Música vocal
 @section Música vocal
@@ -172,7 +172,7 @@ grabe con la codificación UTF-8.  Para más información, consulte
 @ref{Caracteres especiales}.
 
 @lilypond[quote,verbatim]
-\relative c'' { d8 c16 a bes8 f e' d c4 }
+\relative { d''8 c16 a bes8 f e' d c4 }
 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
 @end lilypond
 
@@ -181,7 +181,7 @@ precedidas por el carácter de barra invertida y la sílaba en su
 conjunto se debe encerrar en otro par de comillas.  Por ejemplo,
 
 @lilypond[quote,verbatim]
-\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\relative { \time 3/4 e'4 e4. e8 d4 e d c2. }
 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
 @end lilypond
 
@@ -296,9 +296,9 @@ explícitamente, y se escriben con @code{\lyricmode}.
 
 @lilypond[quote,ragged-right,verbatim]
 <<
-  \new Voice = "one" \relative c'' {
+  \new Voice = "one" \relative {
     \time 2/4
-    c4 b8. a16 g4. f8 e4 d c2
+    c''4 b8. a16 g4. f8 e4 d c2
   }
 
 % uses previous explicit duration of 2;
@@ -449,7 +449,7 @@ He aquí un ejemplo:
 @lilypond[verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
 }
 @end lilypond
@@ -459,7 +459,7 @@ Se pueden añadir más versos poniendo más secciones @code{\addlyrics}:
 @lilypond[ragged-right,verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
   \addlyrics { speel het spel }
   \addlyrics { joue le jeu }
@@ -553,8 +553,8 @@ He aquí dos ejemplos:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      c2 c2
+    \relative {
+      c''2 c2
       d1
     }
   }
@@ -564,8 +564,8 @@ He aquí dos ejemplos:
     }
   }
   \new Staff {
-    \relative c' {
-      c8 c c c c c c c
+    \relative {
+      c'8 c c c c c c c
       c8 c c c c c c c
     }
   }
@@ -921,8 +921,8 @@ Se pueden crear variables que contienen letra, pero la letra se debe
 introducir en el modo de letra:
 
 @lilypond[quote,verbatim]
-musicOne = \relative c'' {
-  c4 b8. a16 g4. f8 e4 d c2
+musicOne = \relative {
+  c''4 b8. a16 g4. f8 e4 d c2
 }
 verseOne = \lyricmode {
   Joy to the world, the Lord is come.
@@ -951,8 +951,8 @@ debajo.  Esto asegura que las voces referenciadas por @code{\lyricsto}
 siempre han sido definidas previamente.  Por ejemplo:
 
 @lilypond[quote,verbatim]
-sopranoMusic = \relative c'' { c4 c c c }
-contraltoMusic = \relative c'' { a4 a a a }
+sopranoMusic = \relative { c''4 c c c }
+contraltoMusic = \relative { a'4 a a a }
 sopranoWords = \lyricmode { Sop -- ra -- no words }
 contraltoWords = \lyricmode { Con -- tral -- to words }
 
@@ -1011,7 +1011,7 @@ contexto Staff:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics {
@@ -1033,7 +1033,7 @@ posición de la letra:
   <<
     \new Staff = "staff" {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics \with { alignAboveContext = "staff" } {
@@ -1060,7 +1060,7 @@ referencia, usando @code{\context}, como se ve a continuación:
     }
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \context Lyrics = "lyrics" {
@@ -1081,7 +1081,7 @@ ejemplo del segundo método:
   \new ChoirStaff <<
     \new Staff {
       \new Voice = "sopranos" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics = "sopranos"
@@ -1091,7 +1091,7 @@ ejemplo del segundo método:
     }
     \new Staff {
       \new Voice = "contraltos" {
-        \relative c'' { a4 a a a }
+        \relative { a'4 a a a }
       }
     }
     \context Lyrics = "sopranos" {
@@ -1152,8 +1152,8 @@ la propiedad dentro del bloque @code{\layout}.
 
 @lilypond[verbatim,quote,ragged-right]
 \score {
-  \relative c' {
-  c c c c
+  \relative {
+  c' c c c
   c c c c
   }
   \addlyrics {
@@ -1220,8 +1220,8 @@ música, si el texto no cambia.
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1245,8 +1245,8 @@ se despliegan.
     <<
       \new Staff {
         \new Voice = "melody" {
-          \relative c'' {
-            a4 a a a
+          \relative {
+            a'4 a a a
             \repeat volta 2 { b4 b b b }
           }
         }
@@ -1270,8 +1270,8 @@ escriba simplemente todo el texto:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat unfold 2 { b4 b b b }
         }
       }
@@ -1297,8 +1297,8 @@ anidados correctamente en secciones paralelas:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1324,8 +1324,8 @@ Se pueden añadir más estrofas de una manera similar:
   <<
     \new Staff {
       \new Voice = "singleVoice" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1364,8 +1364,8 @@ Para posicionarlos correctamente utilice @code{alignBelowContext}:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1389,8 +1389,8 @@ Para posicionarlos correctamente utilice @code{alignBelowContext}:
       The end sec -- tion.
     }
     \new Voice = "harmony" {
-      \relative c' {
-        f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
+      \relative {
+        f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
       }
     }
   >>
@@ -1420,8 +1420,8 @@ música.
     \new Staff {
       \time 2/4
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b }
           \alternative { { b b } { b c } }
         }
@@ -1989,8 +1989,8 @@ se utiliza @code{\lyricsto}, pero este comportamiento puede cambiarse:
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \new Voice = melody \relative c' {
-    f4 \appoggiatura a32 b4
+  \new Voice = melody \relative {
+    f'4 \appoggiatura a32 b4
     \grace { f16 a16 } b2
     \afterGrace b2 { f16[ a16] }
     \appoggiatura a32 b4
@@ -2118,8 +2118,8 @@ Tenga en cuenta que existen dos formas distintas de forzar los saltos
 de línea al utilizar @code{\markup}.
 
 @lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
+melody = \relative {
+e' d c d | e e e e |
 d d e d | c1 |
 }
 
@@ -2161,8 +2161,8 @@ verso fuera del margen precede a cada verso. El ejemplo siguiente
 muestra cómo producir dicha salida en LilyPond.
 
 @lilypond[ragged-right,quote,verbatim]
-melody = \relative c' {
-  c4 c c c | d d d d
+melody = \relative {
+  c'4 c c c | d d d d
 }
 
 text = \lyricmode {
@@ -2471,12 +2471,12 @@ pautas respectivas, como se muestra aquí:
   \new ChoirStaff <<
     \new Staff {
       \new Voice {
-        \relative c'' { g4\f g g g }
+        \relative { g'4\f g g g }
       }
     }
     \new Staff {
       \new Voice {
-        \relative c' { d4 d d\p d }
+        \relative { d'4 d d\p d }
       }
     }
   >>
@@ -2656,9 +2656,9 @@ pentagrama cuando éste está dedicado a dicho personaje solamente:
     \new Staff {
       \set Staff.vocalName = \markup \smallCaps Kaspar
       \set Staff.shortVocalName = \markup \smallCaps Kas.
-      \relative c' {
+      \relative {
         \clef "G_8"
-        c4 c c c
+        c'4 c c c
         \break
         c4 c c c
       }
@@ -2667,7 +2667,7 @@ pentagrama cuando éste está dedicado a dicho personaje solamente:
       \set Staff.vocalName = \markup \smallCaps Melchior
       \set Staff.shortVocalName = \markup \smallCaps Mel
       \clef "bass"
-      \relative c' {
+      \relative {
         a4 a a a
         a4 a a a
       }
@@ -2764,13 +2764,13 @@ comienzo de las notas guía, y cerca de ellas.  El siguiente ejemplo
 muestra cómo se hace esto.
 
 @lilypond[quote,verbatim]
-flute = \relative c'' {
-  s4 s4 e g
+flute = \relative {
+  s4 s4 e'' g
 }
 \addQuote "flute" { \flute }
 
-pianoRH = \relative c'' {
-  c4. g8
+pianoRH = \relative {
+  c''4. g8
   % position name of cue-ing instrument just before the cue notes,
   % and above the staff
   \new CueVoice {
@@ -2779,7 +2779,7 @@ pianoRH = \relative c'' {
   }
   \cueDuring "flute" #UP { g4 bes4 }
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   \new PianoStaff <<
@@ -2825,7 +2825,7 @@ pianoRH = \relative c'' {
   \cueDuring "clarinet" #DOWN { c4. g8 }
   g4 bes4
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   <<
@@ -3050,15 +3050,15 @@ pentagramas, suprima completamente el grabador de barras:
 \score {
   \new StaffGroup <<
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -3081,15 +3081,15 @@ pentagrama:
   \new ChoirStaff <<
     \new Staff
     \with { \remove "Bar_engraver" } {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -3161,8 +3161,8 @@ finalis = {
 }
 
 \score {
-  \relative c'' {
-    g2 a4 g
+  \relative {
+    g'2 a4 g
     \divisioMinima
     g2 a4 g
     \divisioMaior
@@ -3186,8 +3186,8 @@ omiten la clave también.
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      a4 b c2 |
+    \relative {
+      a'4 b c2 |
       a4 b c2 |
       a4 b c2 |
     }
@@ -3213,22 +3213,22 @@ siempre contiene un único acorde en redondas.  Ésta es la @qq{nota de
 recitado}.  Los cánticos se suelen centrar sobre la página.
 
 @lilypond[verbatim,quote]
-SopranoMusic = \relative g' {
-  g1 | c2 b | a1 | \bar "||"
+SopranoMusic = \relative {
+  g'1 | c2 b | a1 | \bar "||"
   a1 | d2 c | c b | c1 | \bar "||"
 }
 
-AltoMusic = \relative c' {
-  e1 | g2 g | f1 |
+AltoMusic = \relative {
+  e'1 | g2 g | f1 |
   f1 | f2 e | d d | e1 |
 }
 
-TenorMusic = \relative a {
-  c1 | c2 c | c1 |
+TenorMusic = \relative {
+  c'1 | c2 c | c1 |
   d1 | g,2 g | g g | g1 |
 }
 
-BassMusic =  \relative c {
+BassMusic =  \relative {
   c1 | e2 e | f1 |
   d1 | b2 c | g' g | c,1 |
 }
diff --git a/Documentation/es/notation/world.itely b/Documentation/es/notation/world.itely
index 6dc0fdf271..d8b2259138 100644
--- a/Documentation/es/notation/world.itely
+++ b/Documentation/es/notation/world.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Músicas del mundo
 @section Músicas del mundo
@@ -201,8 +201,8 @@ Por ejemplo, así es como puede ser la notación de la escala árabe
 
 @lilypond[quote,verbatim]
 \include "arabic.ly"
-\relative do' {
-  do re misb fa sol la sisb do sisb la sol fa misb re do
+\relative {
+  do' re misb fa sol la sisb do sisb la sol fa misb re do
 }
 @end lilypond
 
diff --git a/Documentation/es/usage/external.itely b/Documentation/es/usage/external.itely
index fa6fe5ed24..a16a2a8967 100644
--- a/Documentation/es/usage/external.itely
+++ b/Documentation/es/usage/external.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Programas externos
 @chapter Programas externos
@@ -275,8 +275,8 @@ Codificado de forma fija dentro del archivo @file{.ly}:
 
 @example
 \pointAndClickTypes #'note-event
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -284,8 +284,8 @@ o bien
 
 @example
 #(ly:set-option 'point-and-click 'note-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -306,8 +306,8 @@ Codificado de forma fija dentro del archivo @file{.ly}:
 
 @example
 \pointAndClickTypes #'(note-event dynamic-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -315,8 +315,8 @@ o bien
 
 @example
 #(ly:set-option 'point-and-click '(note-event dynamic-event))
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
diff --git a/Documentation/es/usage/lilypond-book.itely b/Documentation/es/usage/lilypond-book.itely
index b223e0c4be..4542667022 100644
--- a/Documentation/es/usage/lilypond-book.itely
+++ b/Documentation/es/usage/lilypond-book.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Note: keep this node named so that `info lilypond-book' brings you here.
 @node lilypond-book
@@ -91,8 +91,8 @@ Los documentos para \verb+lilypond-book+ pueden mezclar libremente
 música y texto. Por ejemplo:
 
 \begin{lilypond}
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 \end{lilypond}
 
@@ -153,8 +153,8 @@ Los documentos para @command{lilypond-book} pueden mezclar libremente
 música y texto.  Por ejemplo:
 
 @lilypond
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 @end lilypond
 
@@ -180,8 +180,8 @@ de una construcción @code{\book @{ @}}.
     title = "Una escala en LilyPond"
   }
 
-  \relative c' {
-    c d e f g a b c
+  \relative {
+    c' d e f g a b c
   }
 }
 @end lilypond
@@ -812,8 +812,8 @@ el modo relativo, pero la cita preformateada no presentará el bloque
 @code{relative}, es decir
 
 @example
-\relative c' @{ % begin verbatim
-  c4 e2 g4
+\relative @{ % begin verbatim
+  c'4 e2 g4
   f2 e % end verbatim
 @}
 @end example
@@ -1209,8 +1209,8 @@ LaTeX.
 Texto normal en LaTeX.
 
 \begin@{lilypond@}
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 \end@{lilypond@}
 
@@ -1235,7 +1235,7 @@ todo el presente manual está escrito en Texinfo.
 Texto en Texinfo
 
 @@lilypond
-\relative c' @{
+\relative @{
   a4 b c d
 @}
 @@end lilypond
@@ -1262,8 +1262,8 @@ d4 c b a
 Los documentos para lilypond-book pueden mezclar música y texto libremente.  Por
 ejemplo,
 <lilypond>
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 
 <p>
 Otro poco de lilypond, esta vez con opciones:
diff --git a/Documentation/es/usage/running.itely b/Documentation/es/usage/running.itely
index bdcebc5435..5815e50763 100644
--- a/Documentation/es/usage/running.itely
+++ b/Documentation/es/usage/running.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 
 @node Ejecutar LilyPond
@@ -1078,7 +1078,7 @@ cada uno de los cuales crea implícitamente bloques @code{Staff} y
 
 @lilypond[quote,verbatim]
 \repeat unfold 2 {
-  \relative c' { c4 d e f }
+  \relative { c'4 d e f }
 }
 @end lilypond
 
@@ -1088,7 +1088,7 @@ explícitamente:
 @lilypond[quote,verbatim]
 \new Voice {
   \repeat unfold 2 {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
   }
 }
 @end lilypond
diff --git a/Documentation/es/usage/suggestions.itely b/Documentation/es/usage/suggestions.itely
index b974c54af6..19aafd3e86 100644
--- a/Documentation/es/usage/suggestions.itely
+++ b/Documentation/es/usage/suggestions.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Sugerencias para escribir archivos de entrada
 @chapter Sugerencias para escribir archivos de entrada
@@ -175,8 +175,8 @@ extremadamente improbable que cambie la definición de @code{violin} en
 versiones nuevas de LilyPond.
 
 @example
-violin = \relative c'' @{
-g4 c'8. e16
+violin = \relative @{
+g'4 c'8. e16
 @}
 @dots{}
 \score @{
@@ -197,8 +197,8 @@ nada dentro de @code{violin}.
 @example
 fluegop = _\markup@{
   \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
-violin = \relative c'' @{
-g4\fluegop c'8. e16
+violin = \relative @{
+g'4\fluegop c'8. e16
 @}
 @end example
 
@@ -246,9 +246,9 @@ en comentarios toda la música del bajo (pero deje el @code{\bajo} de
 la sección @code{\score} no comentado.
 
 @example
-bajo = \relative c' @{
+bajo = \relative @{
 %@{
-  c4 c c c
+  c'4 c c c
   d d d d
 %@}
 @}
diff --git a/Documentation/essay/engraving.itely b/Documentation/essay/engraving.itely
index 7797a5468a..412813cd0a 100644
--- a/Documentation/essay/engraving.itely
+++ b/Documentation/essay/engraving.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Music engraving
 @chapter Music engraving
@@ -622,7 +622,7 @@ it is the most attractive of the three configurations, so LilyPond
 selects this one:
 
 @lilypond
-\relative c {
+\relative {
   \clef bass
   e8[(_"12.04" f] g[ a b d,)] r4
 }
@@ -738,10 +738,10 @@ For our comparison we selected Bach's Fugue in G minor from the
 Well-Tempered Clavier, Book I, BWV 861, whose opening subject is
 
 @lilypond
-\relative c' {
+\relative {
   \key g \minor
   \clef "treble_8"
-  r8 d ees g, fis4 g
+  r8 d' ees g, fis4 g
   r8 a16 bes c8 bes16 a bes8
 }
 @end lilypond
@@ -1032,12 +1032,12 @@ nature of music notation:
 
 @lilypond[quote,fragment]
 <<
-  \new Staff \relative c'' {
+  \new Staff \relative {
     \key g \major
     \time 3/4
-    d4 g,8 a b c d4 g, g
+    d''4 g,8 a b c d4 g, g
   }
-  \new Staff \relative c' {
+  \new Staff \relative {
     \clef "bass"
     \key g \major
     <g b d>2 a4 b2.
@@ -1099,7 +1099,7 @@ consider a more complicated musical example:
     }
   >>
   \new Staff = "LH" <<
-    \new Voice = "III" \relative c' {
+    \new Voice = "III" \relative {
       \time 2/4
       \clef "bass"
       g4 \stopStaff s
@@ -1482,9 +1482,9 @@ By adding chord names and lyrics we obtain a lead sheet.
 <<
    \chords { c2 c f2 c }
    \new Staff
-   \relative c' {
+   \relative {
      \time 2/4
-     c4 c g' g a a g2
+     c'4 c g' g a a g2
    }
    \addlyrics { twin -- kle twin -- kle lit -- tle star }
 >>
diff --git a/Documentation/extending/programming-interface.itely b/Documentation/extending/programming-interface.itely
index 9da93f5615..dd9094e435 100644
--- a/Documentation/extending/programming-interface.itely
+++ b/Documentation/extending/programming-interface.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.12"
+@c \version "2.19.21"
 
 @node Interfaces for programmers
 @chapter Interfaces for programmers
@@ -489,8 +489,8 @@ AltOff = {
   \revert NoteHead.font-size
 }
 
-\relative c' {
-  c2 \AltOn #0.5 c4 c
+\relative {
+  c'2 \AltOn #0.5 c4 c
   \AltOn #1.5 c c \AltOff c2
 }
 @end lilypond
@@ -512,8 +512,8 @@ withAlt =
      \revert NoteHead.font-size
    #})
 
-\relative c' {
-  c2 \withAlt #0.5 { c4 c }
+\relative {
+  c'2 \withAlt #0.5 { c4 c }
   \withAlt #1.5 { c c } c2
 }
 @end lilypond
@@ -574,7 +574,7 @@ dynamics:
 @lilypond[quote,verbatim,ragged-right]
 dyn=#(define-event-function (parser location arg) (markup?)
          (make-dynamic-script arg))
-\relative c' { c\dyn pfsss }
+\relative { c'\dyn pfsss }
 @end lilypond
 You could do the same using a music function, but then you always would
 have to write a direction indicator before calling it, like
@@ -1220,9 +1220,9 @@ desaturate =
          (ly:context-pushpop-property context grob 'color new-color)))
      (for-each desaturate-grob '(NoteHead Stem Beam)))
 
-\relative g' {
+\relative {
   \time 3/4
-  g8[ g] \desaturate g[ g] \desaturate g[ g]
+  g'8[ g] \desaturate g[ g] \desaturate g[ g]
   \override NoteHead.color = #darkred
   \override Stem.color = #darkred
   \override Beam.color = #darkred
@@ -1310,7 +1310,7 @@ note-heads on the center-line and next to it:
             (< (abs (ly:grob-property grob 'staff-position)) 2))
        (set! (ly:grob-property grob 'transparent) #t)))
 
-\relative c' {
+\relative {
   a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2
 }
 @end lilypond
@@ -1401,8 +1401,8 @@ inflexibility.  For example, the following produces a syntax error
 @example
 F = \tweak font-size #-3 -\flageolet
 
-\relative c'' @{
-  c4^\F c4_\F
+\relative @{
+  c''4^\F c4_\F
 @}
 @end example
 
@@ -1419,8 +1419,8 @@ F = #(let ((m (make-music 'ArticulationEvent
                     (ly:music-property m 'tweaks)))
        m)
 
-\relative c'' @{
-  c4^\F c4_\F
+\relative @{
+  c''4^\F c4_\F
 @}
 @end example
 
diff --git a/Documentation/extending/scheme-tutorial.itely b/Documentation/extending/scheme-tutorial.itely
index a399570dec..eaffe70a48 100644
--- a/Documentation/extending/scheme-tutorial.itely
+++ b/Documentation/extending/scheme-tutorial.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @node Scheme tutorial
 @chapter Scheme tutorial
@@ -1557,8 +1557,8 @@ padText = #(define-music-function (parser location padding) (number?)
   \once \override TextScript.padding = #padding
 #})
 
-\relative c''' {
-  c4^"piu mosso" b a b
+\relative {
+  c'''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" d e f
   \padText #2.6
diff --git a/Documentation/fr/essay/engraving.itely b/Documentation/fr/essay/engraving.itely
index 14cc057f79..00d08df3fa 100644
--- a/Documentation/fr/essay/engraving.itely
+++ b/Documentation/fr/essay/engraving.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Jean-Charles Malahieude, John Mandereau, Gauvain Pocentek
 
@@ -681,7 +681,7 @@ ajoutons 2 autres points pour la pente ascendante.  Cette configuration
 la sélectionnons.
 
 @lilypond
-\relative c {
+\relative {
     \clef bass
     e8[(_"12.04" f] g[ a b d,)] r4
 }
@@ -806,10 +806,10 @@ du premier livre du Clavier bien tempéré de Bach (BWV 861). En
 voici le thème :
 
 @lilypond
-\relative c' {
+\relative {
   \key g \minor
   \clef "treble_8"
-  r8 d ees g, fis4 g
+  r8 d' ees g, fis4 g
   r8 a16 bes c8 bes16 a bes8
 }
 @end lilypond
@@ -1115,12 +1115,12 @@ nature par essence hiérarchique de la notation musicale :
 
 @lilypond[quote,fragment]
 <<
-\new Staff \relative c'' {
+\new Staff \relative {
   \key g \major
   \time 3/4
-  d4 g,8 a b c d4 g, g
+  d''4 g,8 a b c d4 g, g
 }
-\new Staff \relative c' {
+\new Staff \relative {
   \clef "bass"
   \key g \major
   <g b d>2 a4 b2.
@@ -1182,7 +1182,7 @@ musique se complique :
     }
   >>
   \new Staff = "LH" <<
-    \new Voice = "III" \relative c' {
+    \new Voice = "III" \relative {
       \time 2/4
       \clef "bass"
       g4 \stopStaff s
@@ -1586,9 +1586,9 @@ populaire@dots{}
 <<
    \chords { c2 c f2 c }
    \new Staff
-   \relative c' {
+   \relative {
      \time 2/4
-     c4 c g' g a a g2
+     c'4 c g' g a a g2
    }
    \addlyrics { twin -- kle twin -- kle lit -- tle star }
 >>
diff --git a/Documentation/fr/extending/programming-interface.itely b/Documentation/fr/extending/programming-interface.itely
index 053c9db626..0a32fae41a 100644
--- a/Documentation/fr/extending/programming-interface.itely
+++ b/Documentation/fr/extending/programming-interface.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.12"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: Gilles Thibault
@@ -554,8 +554,8 @@ AltOff = {
   \revert NoteHead.font-size
 }
 
-\relative c' {
-  c2 \AltOn #0.5 c4 c
+\relative {
+  c'2 \AltOn #0.5 c4 c
   \AltOn #1.5 c c \AltOff c2
 }
 @end lilypond
@@ -578,8 +578,8 @@ withAlt =
      \revert NoteHead.font-size
    #})
 
-\relative c' {
-  c2 \withAlt #0.5 { c4 c }
+\relative {
+  c'2 \withAlt #0.5 { c4 c }
   \withAlt #1.5 { c c } c2
 }
 @end lilypond
@@ -651,7 +651,7 @@ quelle nuance :
 @lilypond[quote,verbatim,ragged-right]
 dyn=#(define-event-function (parser location arg) (markup?)
          (make-dynamic-script arg))
-\relative c' { c\dyn pfsss }
+\relative { c'\dyn pfsss }
 @end lilypond
 
 Vous pourriez obtenir le même résultat avec une fonction musicale, à
@@ -1344,9 +1344,9 @@ desaturate =
          (ly:context-pushpop-property context grob 'color new-color)))
      (for-each desaturate-grob '(NoteHead Stem Beam)))
 
-\relative g' {
+\relative {
   \time 3/4
-  g8[ g] \desaturate g[ g] \desaturate g[ g]
+  g'8[ g] \desaturate g[ g] \desaturate g[ g]
  \override NoteHead.color = #darkred
   \override Stem.color = #darkred
   \override Beam.color = #darkred
@@ -1435,7 +1435,7 @@ sur la ligne médiane ou bien directement à son contact.
             (< (abs (ly:grob-property grob 'staff-position)) 2))
        (set! (ly:grob-property grob 'transparent) #t)))
 
-\relative c' {
+\relative {
   a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2
 }
 @end lilypond
@@ -1536,8 +1536,8 @@ sa syntaxe.  Par exemple, le code suivant produit une erreur de syntaxe
 @example
 F = \tweak font-size #-3 -\flageolet
 
-\relative c'' @{
-  c4^\F c4_\F
+\relative @{
+  c''4^\F c4_\F
 @}
 @end example
 
@@ -1555,8 +1555,8 @@ F = #(let ((m (make-music 'ArticulationEvent
                     (ly:music-property m 'tweaks)))
        m)
 
-\relative c'' @{
-  c4^\F c4_\F
+\relative @{
+  c''4^\F c4_\F
 @}
 @end example
 
diff --git a/Documentation/fr/extending/scheme-tutorial.itely b/Documentation/fr/extending/scheme-tutorial.itely
index e08cc0a1c9..e9539c77f9 100644
--- a/Documentation/fr/extending/scheme-tutorial.itely
+++ b/Documentation/fr/extending/scheme-tutorial.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Jean-Charles Malahieude
 
@@ -1704,8 +1704,8 @@ padText = #(define-music-function (parser location padding) (number?)
   \once \override TextScript.padding = #padding
 #})
 
-\relative c''' {
-  c4^"piu mosso" b a b
+\relative {
+  c'''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" d e f
   \padText #2.6
diff --git a/Documentation/fr/learning/common-notation.itely b/Documentation/fr/learning/common-notation.itely
index cd22acade5..911ab5aa07 100644
--- a/Documentation/fr/learning/common-notation.itely
+++ b/Documentation/fr/learning/common-notation.itely
@@ -26,7 +26,7 @@ Tutorial guidelines:  (different from policy.txt!)
 
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Nicolas Grandclaude, Ludovic Sardain, Gauvain Pocentek
 @c Translation checkers: Jean-Charles Malahieude, Valentin Villenave, John Mandereau
@@ -106,8 +106,8 @@ organisation à votre code.
 
 @c This example deliberately produces a warning
 @lilypond[verbatim,quote]
-\relative g' {
-g1 | e1 | c2. c' | g4 c g e | c4 r r2 |
+\relative {
+g'1 | e1 | c2. c' | g4 c g e | c4 r r2 |
 }
 @end lilypond
 
@@ -848,9 +848,9 @@ et @code{>>}.  Dans l'exemple suivant, trois expressions (contenant
 chacune deux notes distinctes) sont combinées simultanément.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -879,8 +879,8 @@ complexe ; dans la mesure où elle débute par une note seule, elle sera
 produite sur une unique portée.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e2 f } { c <<b d>> } >> |
 }
 @end lilypond
@@ -919,9 +919,9 @@ chaque partie de la musique constituant une portée.  Ces éléments
 @code{>>}, comme ci-dessous.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -953,9 +953,9 @@ le fait que l'utilisation d'instruments transpositeurs est bien plus
 fréquente que la musique polyrythmique.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -1001,9 +1001,9 @@ maintenant cette expression entière est interprétée dans un contexte
 Voici un bref exemple :
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef "bass" c,,4 c' | e c | }
   >>
 }
@@ -1122,10 +1122,10 @@ Prenons une mélodie toute simple, la comptine @emph{Girls and boys
 come out to play}.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -1135,10 +1135,10 @@ séparant chaque syllable par une espace :
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Girls and boys come out to play,
@@ -1171,10 +1171,10 @@ shine as bright as day}.  Ajoutons-la au code.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1193,10 +1193,10 @@ les notes du mélisme.  Pour les détails, consultez @ref{Liaisons}.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1214,10 +1214,10 @@ manuels ; pour ceci consultez
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1233,10 +1233,10 @@ mélisme sauf la première.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1254,10 +1254,10 @@ Didon, extraite de @notation{Didon et Énée} de Purcell.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-   g2 a bes | bes2( a) b2 |
+   g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1304,11 +1304,11 @@ la syllabe @emph{al} est chantée sur la même note que @emph{go}.
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef bass
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- to -- tum del -- la cit -- tà
@@ -1419,13 +1419,13 @@ utilisation dans une autre expression musicale.
 
 @lilypond[verbatim,quote]
 violin = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 
 cello = \new Staff {
-  \relative c {
+  \relative {
     \clef bass
     e2 d
   }
@@ -1583,10 +1583,10 @@ frappe.  En mode @code{\relative}, le même exemple devient bien plus
 facile à lire et à saisir.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8 |
+  cis''8. d16 cis8 e4 e8 |
   b8. cis16 b8 d4 d8 |
 }
 @end lilypond
@@ -1607,7 +1607,7 @@ d'une imbrication de commandes @code{\relative}, chacune des sections
 est indépendante de l'autre :
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \relative c'' { f g } c }
+\relative { c'4 \relative { f'' g } c }
 @end lilypond
 
 @funindex \absolute
@@ -1617,7 +1617,7 @@ en mode relatif, dès lors qu'une commande @code{\absolute} exclut
 explicitement de la musique relative le fragment en question :
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \absolute { f'' g'' } c }
+\relative { c'4 \absolute { f'' g'' } c }
 @end lilypond
 
 
diff --git a/Documentation/fr/learning/fundamental.itely b/Documentation/fr/learning/fundamental.itely
index 1717f8b24f..4a77711b0d 100644
--- a/Documentation/fr/learning/fundamental.itely
+++ b/Documentation/fr/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.20"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: John Mandereau
@@ -91,8 +91,8 @@ automatiquement les commandes nécessaires au traitement d'un code
 simpliste.  LilyPond considère
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -104,8 +104,8 @@ comme un raccourci de
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -246,8 +246,8 @@ des variables, également appelées @qq{identificateurs} -- voir
 tous les modèles, vous trouverez :
 
 @example
-melodie = \relative c' @{
-  c4 a b c
+melodie = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -372,8 +372,8 @@ accolades qui suivent @code{\new Voice = "chant"}, on pourrait
 commencer à écrire
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -391,10 +391,10 @@ détails.
 Avec quelques notes de plus et une clef de fa, nous pourrions avoir :
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e2 }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e2 }
 
 \score {
   <<
@@ -441,8 +441,8 @@ temporairement une nouvelle portée, l'espace de trois notes :
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f c c }
@@ -466,8 +466,8 @@ Une section ossia se placera au dessus de la portée en procédant ainsi :
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f c c }
@@ -705,9 +705,9 @@ l'orientation des liaisons, hampes, nuances, etc. est définie
 automatiquement.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -730,9 +730,9 @@ reporte jusqu'au bout, et que la voix aux triangles bleus comporte une
 liaison de prolongation entre deux constructions.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<  % Bar 1
     {
       \voiceOneStyle
@@ -820,10 +820,10 @@ les voix -- ce qui est plus compliqué sera décortiqué plus tard.
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     {
       % Ignore these for now - they are explained in Ch 4
@@ -897,10 +897,10 @@ que nous avons appris : utilisons la construction @code{<< \\ >>} pour
 saisir la première mesure dans trois voix :
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -921,10 +921,10 @@ vers le bas.  Nous pouvons corriger cela en sautant la voix 3 et en
 plaçant la musique dans la voix 4 grâce à un @code{\\} supplémentaire :
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { <ees, c>2 des }
   \\  % Omit Voice three
@@ -986,8 +986,8 @@ précédemment :
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -997,8 +997,8 @@ précédemment :
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -1007,8 +1007,8 @@ Toutes deux produiront
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1030,9 +1030,9 @@ Voyons, à l'aide de ces exemples simples, les effets respectifs de
 annotations, liaisons de prolongation ou de phrasé, et sur les nuances.
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1102,8 +1102,8 @@ amené à recourir à une voix temporaire, ce qui peut être une manière
 plus naturelle de saisir la musique :
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e) | }
     \new Voice {
@@ -1288,14 +1288,14 @@ seront interprétées comme telles, et non comme de la musique.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1348,10 +1348,10 @@ elle s'appelle @qq{global}.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1536,8 +1536,8 @@ complète et abondamment commentée :
       \key g \minor
       \clef "treble"
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8. |
+        \relative {  % start of RH notes
+          d''4 ees16 c8. |
           d4 ees16 c8. |
         }  % end of RH notes
       }  % end of RH voice
@@ -1547,14 +1547,14 @@ complète et abondamment commentée :
       \clef "bass"
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c> |
           g8 <bes d> ees, <g c> |
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees |
           g4 ees |
         }  % end of LH voice two notes
@@ -1829,8 +1829,8 @@ Voici comment supprimer les bécarres supplémentaires pour une portée :
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1844,8 +1844,8 @@ et pour toutes les portées :
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1925,12 +1925,12 @@ ce qui donnerait :
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -1972,8 +1972,8 @@ avec la commande @code{\with}, puisqu'on se place dans un bloc
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -1992,13 +1992,13 @@ toutes les portées de la partition, nous utiliserons alors :
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -2061,8 +2061,8 @@ lignes d'une portée sont générées par le @code{Staff_symbol_engraver}.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % make note heads smaller
   e4 f |
   \set fontSize = #2.5  % make note heads larger
@@ -2149,24 +2149,24 @@ portées d'un système à quatre portées, il nous suffirait d'écrire :
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2231,7 +2231,7 @@ pour soprano et violoncelle : dans ce cas, on pourrait commencer par les
 @example
 \version @w{"@version{}"}
 
-melodie = \relative c' @{
+melodie = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2261,7 +2261,7 @@ Jetons un coup d'œil sur l'exemple avec les notes seules :
 @example
 \version @w{"@version{}"}
 
-melodie = \relative c' @{
+melodie = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2298,7 +2298,7 @@ comme le veut l'usage, et donnons-lui d'autres notes.
 @example
 \version @w{"@version{}"}
 
-sopranoMusique = \relative c' @{
+sopranoMusique = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2309,7 +2309,7 @@ sopranoParoles = \lyricmode @{
   Laaa Siii Dooo Rééé
 @}
 
-violoncelleMusique = \relative c @{
+violoncelleMusique = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2368,7 +2368,7 @@ mettre un peu d'ordre dans l'indentation.  Voici le modèle pour
 soprano et violoncelle au complet :
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2379,7 +2379,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2425,29 +2425,29 @@ Haendel :
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
 
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
 
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 
@@ -2665,26 +2665,26 @@ paroles de ces trois mesures du Messie, nous obtenons :
 
 @lilypond[quote,verbatim,ragged-right,addversion]
 global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2996,19 +2996,19 @@ regrouper toutes les parties.
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d ees8~ 16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -3064,7 +3064,7 @@ Glossaire musicologique :
 Jusqu'à maintenant, vous avez vu ce type de code :
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 \score {
   {
     \hornNotes
@@ -3076,8 +3076,8 @@ Vous comprendrez combien cela peut être utile pour écrire de la
 musique minimaliste :
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 
 violin = \new Staff { \fragmentA \fragmentA \fragmentB \fragmentA }
 
@@ -3153,8 +3153,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c'' {
-  c4^"piu mosso" b a b
+\relative {
+  c''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" b a b
   \padText #2.6
@@ -3187,7 +3187,7 @@ exemple, supposons que le fichier @file{musique-Cor.ly} contienne la
 partie suivante pour un duo cor/@/basson.
 
 @example
-notesCor = \relative c @{
+notesCor = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e d |
 @}
@@ -3223,7 +3223,7 @@ transposé à la quinte supérieure : le son réel @code{f} s'écrit
 transposition est visible comme suit :
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e d |
 }
@@ -3252,7 +3252,7 @@ Si l'on ajoute dans la musique ci-dessus le silence multimesure et cette
 instruction, on obtient le résultat suivant :
 
 @lilypond[quote,ragged-right]
-\compressMMRests \transpose f c' \relative c {
+\compressMMRests \transpose f c' \relative {
   \time 2/4
   R2*3 |
   r4 f8 a | cis4 f | e d |
@@ -3277,7 +3277,7 @@ tant que variable @code{notesBasson}, on établira un conducteur avec
 ce qui équivaut à
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/fr/learning/tutorial.itely b/Documentation/fr/learning/tutorial.itely
index f51723a354..20ed5e1fac 100644
--- a/Documentation/fr/learning/tutorial.itely
+++ b/Documentation/fr/learning/tutorial.itely
@@ -10,7 +10,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @c Translators: Nicolas Grandclaude, Ludovic Sardain, Gauvain Pocentek
 @c Translation checkers: Jean-Charles Malahieude, Valentin Villenave, John Mandereau
@@ -262,8 +262,8 @@ gamme.
 
 @lilypond[verbatim,quote]
 % set the starting point to middle C
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -277,8 +277,8 @@ avec de plus grands intervalles, toujours avec le mode
 @code{\relative} :
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -295,8 +295,8 @@ central :
 
 @lilypond[verbatim,quote]
 % one octave above middle C
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -311,8 +311,8 @@ sol ou un fa seront placés juste en-dessous du si, c'est-à-dire au
 plus à une quarte descendante du si.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % c is 1 staff space up, so is the c above
+\relative {
+  b' c  % c is 1 staff space up, so is the c above
   b d  % d is 2 up or 5 down, so is the d above
   b e  % e is 3 up or 4 down, so is the e above
   b a  % a is 6 up or 1 down, so is the a below
@@ -330,8 +330,8 @@ octave -- ou des virgules @code{,} -- qui font chacune descendre la
 hauteur d'une octave -- au nom de la note.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -377,8 +377,8 @@ est utilisée.  En l'absence d'indication de durée, la première note
 est une noire.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -389,8 +389,8 @@ la valeur rythmique.  Le point doit être précédé d'un nombre spécifiant
 la durée de base.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a a4. a8
+\relative {
+  a' a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -410,8 +410,8 @@ On saisit un @notation{silence} tout comme une note, mais avec la
 lettre @code{r} (pour @emph{rest}).
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a r r2
+\relative {
+  a' r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -433,9 +433,9 @@ La @notation{métrique}, aussi appelée @notation{chiffre de mesure},
 peut être définie à l'aide de la commande @code{\time} :
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -497,9 +497,9 @@ La @notation{clef} peut être définie à l'aide de la commande
 @code{\clef} :
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef "treble"
-  c1
+  c'1
   \clef "alto"
   c1
   \clef "tenor"
@@ -518,10 +518,10 @@ Voici un bref exemple qui rassemble tous les éléments que nous déjà
 vus :
 
 @lilypond[verbatim,quote]
-\relative c, {
+\relative {
   \clef "bass"
   \time 3/4
-  c2 e8 c'
+  c,2 e8 c'
   g'2.
   f4 e d
   c4 c, r
@@ -792,8 +792,8 @@ Essayez sur cette image :
 @c no verbatim here
 @c KEEP LY
 @lilypond[quote,ragged-right]
-\relative c'' {
-  c-\markup { \bold \huge { Cliquez ici.  } }
+\relative {
+  c''-\markup { \bold \huge { Cliquez ici.  } }
 }
 @end lilypond
 
diff --git a/Documentation/fr/learning/tweaks.itely b/Documentation/fr/learning/tweaks.itely
index d36555720e..56514c1050 100644
--- a/Documentation/fr/learning/tweaks.itely
+++ b/Documentation/fr/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.16"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Nicolas Klutchnikoff, Damien Heurtebise
 @c Translation checkers: Jean-Charles Malahieude, John Mandereau
@@ -574,8 +574,8 @@ emphNoteHead = {
   \override NoteHead.color = #red
   \override NoteHead.font-size = 2
 }
-\relative c'' {
-  c4 a \once \emphNoteHead f d |
+\relative {
+  c''4 a \once \emphNoteHead f d |
 }
 @end lilypond
 
@@ -591,8 +591,8 @@ emphNoteHead = {
   \override NoteHead.color = #red
   \override NoteHead.font-size = 2
 }
-\relative c'' {
-   <c a \single \emphNoteHead f d>4
+\relative {
+   <c'' a \single \emphNoteHead f d>4
 }
 @end lilypond
 
@@ -1544,8 +1544,8 @@ nouvelle portée temporaire, du type @rglos{ossia}.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1571,8 +1571,8 @@ régler le stencil de chacun sur @code{#f}, comme ceci :
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1634,8 +1634,8 @@ Remplaçons donc l'exemple ci-dessus par celui-ci :
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1660,8 +1660,8 @@ donnerait :
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1726,8 +1726,8 @@ Essayons sur l'exemple d'ossia :
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1797,8 +1797,8 @@ augmente, les objets en question.  Voici comment elle s'utilise :
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1923,10 +1923,10 @@ chevauchement.
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -3206,8 +3206,8 @@ comme ceci :
 
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
-\relative c'' {
-  c4
+\relative {
+  c''4
   % This prints a sesquisharp but the spacing is too small
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -3469,10 +3469,10 @@ l'exemple de Chopin présenté à la fin de @ref{J'entends des Voix}, que
 nous avions laissé dans cet état :
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 des }
     \\
@@ -3506,10 +3506,10 @@ Et voici le résultat final :
 @cindex force-hshift, exemple d'utilisation de la propriété
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 \once \override NoteColumn.force-hshift = #0.5 des }
     \\
@@ -3545,9 +3545,9 @@ pas fait apparaître les indications de nuance, de doigté ni de pédale.
 @c This example should not be indexed
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3587,8 +3587,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3627,9 +3627,9 @@ voyons ce que LilyPond propose par défaut :
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4. g8 |
+    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3653,8 +3653,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3687,9 +3687,9 @@ Voici le résultat :
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3713,8 +3713,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3759,9 +3759,9 @@ Cela s'adjoint à la deuxième mesure, pour donner :
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3787,8 +3787,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3840,9 +3840,9 @@ au début de cette section et
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3872,8 +3872,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3915,9 +3915,9 @@ Voici ce que donnent ces modifications :
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3950,8 +3950,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3986,9 +3986,9 @@ hampe transparente et déplacer le do avec la propriété
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -4029,8 +4029,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -4254,10 +4254,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/fr/notation/ancient.itely b/Documentation/fr/notation/ancient.itely
index e936981f3d..4e5ec39e4e 100644
--- a/Documentation/fr/notation/ancient.itely
+++ b/Documentation/fr/notation/ancient.itely
@@ -9,7 +9,7 @@
 @end ignore
 
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 @c Translators: Jean-Charles Malahieude
 
@@ -305,8 +305,8 @@ L'impression de guidons s'obtient en affectant, dans un bloc
 
 @lilypond[quote,ragged-right]
 \score {
-  \relative c'' {
-    a1
+  \relative {
+    a'1
     \break
     g
   }
@@ -2823,9 +2823,9 @@ gauche :
 
 @lilypond[verbatim,ragged-right]
 \include "gregorian.ly"
-chant = \relative c' {
+chant = \relative {
   \clef "G_8"
-  c\breve c4 b4 a c2 c4  \divisioMaior
+  c'\breve c4 b4 a c2 c4  \divisioMaior
   c\breve c4 c f, f \finalis
 }
 
diff --git a/Documentation/fr/notation/changing-defaults.itely b/Documentation/fr/notation/changing-defaults.itely
index 241ca900c8..3a2185904a 100644
--- a/Documentation/fr/notation/changing-defaults.itely
+++ b/Documentation/fr/notation/changing-defaults.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.20"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: Gilles Thibault
@@ -463,13 +463,13 @@ ci-après sont tout à fait valides :
 
     % musical content
     \context Voice = "one" {
-      \relative c'' {
-        c4 c c c
+      \relative {
+        c''4 c c c
       }
     }
     \context Voice = "two" {
-      \relative c'' {
-        g8 g g4 g g
+      \relative {
+        g'8 g g4 g g
       }
     }
   >>
@@ -491,13 +491,13 @@ ci-après sont tout à fait valides :
 
     % musical content
     \context Voice = "one" {
-      \relative c'' {
-        c4 c c c
+      \relative {
+        c''4 c c c
       }
     }
     \context Voice = "two" {
-      \relative c'' {
-        g8 g g4 g g
+      \relative {
+        g'8 g g4 g g
       }
     }
   >>
@@ -518,8 +518,8 @@ contexte dans lequel une procédure Scheme comportant une clause
 @code{\applyContext} devra s'exécuter.
 
 @example
-\new Staff \relative c' @{
-  c1
+\new Staff \relative @{
+  c'1
   \context Timing
   \applyContext #(lambda (ctx)
                    (newline)
@@ -599,8 +599,8 @@ Dans l'exemple suivant, les deux voix A et B sont maintenues actives
 jusqu'à la fin du morceau :
 
 @lilypond[quote,verbatim]
-musicA = \relative c'' { d4 d d d }
-musicB = \relative c'' { g4 g g g }
+musicA = \relative { d''4 d d d }
+musicB = \relative { g'4 g g g }
 keepVoicesAlive = {
   <<
     \new Voice = "A" { s1*5 }  % Keep Voice "A" alive for 5 bars
@@ -637,8 +637,8 @@ mélodie discontinue à laquelle se rattachent des paroles.  Dans la
 réalité, mélodie et accompagnement feraient l'objet de portées séparées.
 
 @lilypond[quote,verbatim]
-melody = \relative c'' { a4 a a a }
-accompaniment = \relative c' { d4 d d d }
+melody = \relative { a'4 a a a }
+accompaniment = \relative { d'4 d d d }
 words = \lyricmode { These words fol -- low the mel -- o -- dy }
 \score {
   <<
@@ -676,14 +676,14 @@ consiste à maintenir active la ligne mélodique en y insérant des
 silences invisibles tout au long de l'accompagnement :
 
 @lilypond[quote,verbatim]
-melody = \relative c'' {
+melody = \relative {
   s1  % skip a bar
-  a4 a a a
+  a'4 a a a
   s1  % skip a bar
   a4 a a a
 }
-accompaniment = \relative c' {
-  d4 d d d
+accompaniment = \relative {
+  d'4 d d d
   d4 d d d
   d4 d d d
   d4 d d d
@@ -812,17 +812,17 @@ peut désormais avoir sa propre métrique.
       \consists "Timing_translator"
       \consists "Default_bar_line_engraver"
     }
-    \relative c'' {
+    \relative {
         \time 3/4
-        c4 c c c c c
+        c''4 c c c c c
     }
   \new Staff \with {
     \consists "Timing_translator"
     \consists "Default_bar_line_engraver"
   }
-  \relative c'' {
+  \relative {
       \time 2/4
-      c4 c c c c c
+      c''4 c c c c c
   }
 >>
 \layout {
@@ -936,8 +936,8 @@ contexte :
 @c KEEP LY
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Hampes épaisses" a a a
+  \relative {
+    a'4^"Hampes épaisses" a a a
     a4 a a\ff a
   }
   \layout {
@@ -955,8 +955,8 @@ en définissant directement une propriété de contexte :
 @c KEEP LY
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Fontes plus petites" a a a
+  \relative {
+    a'4^"Fontes plus petites" a a a
     a4 a a\ff a
   }
   \layout {
@@ -976,8 +976,8 @@ expression musicale telle que @code{\accidentalStyle dodecaphonic} :
 @c KEEP LY
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Nuance en surplomb" a a a
+  \relative {
+    a'4^"Nuance en surplomb" a a a
     a4 a a\ff a
   }
   \layout {
@@ -1006,8 +1006,8 @@ StaffDefauts = \with {
 
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Petite police" a a a
+    \relative {
+      a'4^"Petite police" a a a
       a4 a a a
     }
   }
@@ -1036,8 +1036,8 @@ musical.
 @lilypond[quote,verbatim]
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Petite police" a a a
+    \relative {
+      a'4^"Petite police" a a a
       a4 a a a
     }
   }
@@ -1089,8 +1089,8 @@ contexte :
   \new Staff {
     \new Voice \with { \override Stem.thickness = #4.0 }
     {
-      \relative c'' {
-        a4^"Hampes épaisses" a a a
+      \relative {
+        a'4^"Hampes épaisses" a a a
         a4 a a a
       }
     }
@@ -1105,15 +1105,15 @@ en définissant directement une propriété de contexte :
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        a4^"Default font" a a a
+      \relative {
+        a'4^"Default font" a a a
         a4 a a a
       }
     }
     \new Staff \with { fontSize = #-4 }
     {
-      \relative c'' {
-        a4^"Smaller font" a a a
+      \relative {
+        a'4^"Smaller font" a a a
         a4 a a a
       }
     }
@@ -1130,8 +1130,8 @@ en définissant directement une propriété de contexte :
   <<
     \new Staff {
       \new Voice {
-        \relative c'' {
-          a4^"Nuances en dessous" a a a
+        \relative {
+          a'4^"Nuances en dessous" a a a
           a4 a a\ff a
         }
       }
@@ -1140,8 +1140,8 @@ en définissant directement une propriété de contexte :
     {
       \new Voice \with { \dynamicUp }
       {
-        \relative c'' {
-          a4^"Nuances en surplomb" a a a
+        \relative {
+          a'4^"Nuances en surplomb" a a a
           a4 a a\ff a
         }
       }
@@ -1239,8 +1239,8 @@ jazz.
   \accepts "ImproVoice"
 }}
 
-\relative c'' {
-  a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+\relative {
+  a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c
    c4 c^"dévêtez-vous" c_"tout en jouant :)" c }
   a1
 }
@@ -1376,8 +1376,8 @@ comme ici :
 On peut alors saisir la musique, comme dans l'exemple plus haut :
 
 @example
-\relative c'' @{
-  a4 d8 bes8
+\relative @{
+  a'4 d8 bes8
   \new ImproVoice @{
     c4^"ad lib" c
     c4 c^"dévêtez-vous"
@@ -4397,8 +4397,8 @@ XinO = {
       \musicglyph #"noteheads.s2cross"
   }
 }
-\relative c'' {
-  a a \XinO a a
+\relative {
+  a' a \XinO a a
 }
 @end lilypond
 
@@ -4995,8 +4995,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c'' {
-  c4^"piu mosso" b a b
+\relative {
+  c''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" b a b
   \padText #2.6
@@ -5020,7 +5020,7 @@ custosNote =
      #note
    #})
 
-\relative c' { c4 d e f \custosNote g }
+\relative { c'4 d e f \custosNote g }
 @end lilypond
 
 Une fonction de substitution peut traiter plusieurs arguments :
diff --git a/Documentation/fr/notation/chords.itely b/Documentation/fr/notation/chords.itely
index 54e7ec74fa..6e017a9f83 100644
--- a/Documentation/fr/notation/chords.itely
+++ b/Documentation/fr/notation/chords.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave,Jean-Charles Malahieude
 @c Translation checkers: Jean-Charles Malahieude, John Mandereau
@@ -426,8 +426,8 @@ que soit le mode de saisie, à moins qu'il n'y ait inversion ou ajout de
 la basse.
 
 @lilypond[verbatim,quote]
-chordmusic = \relative c' {
-  <c e g>2 <f bes c>
+chordmusic = \relative {
+  <c' e g>2 <f bes c>
   <f c' e g>1
   \chordmode {
     c2 f:sus4 c1:/f
@@ -1055,8 +1055,8 @@ apparaissent sur la portée.
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \relative c'' {
-    c4 c'8 r8 c,4 c'
+  \relative {
+    c''4 c'8 r8 c,4 c'
   }
   \new FiguredBass {
     \figuremode {
diff --git a/Documentation/fr/notation/editorial.itely b/Documentation/fr/notation/editorial.itely
index 138161f6b7..e3781ef78a 100644
--- a/Documentation/fr/notation/editorial.itely
+++ b/Documentation/fr/notation/editorial.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.18.0"
+@c \version "2.19.21"
 
 @c Translators: Jean-Charles Malahieude
 
@@ -895,8 +895,8 @@ structure d'une pièce.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c2\startGroup
+\relative {
+  c''2\startGroup
   d\stopGroup
 }
 @end lilypond
@@ -910,8 +910,8 @@ Les crochets d'analyses sont susceptibles d'être imbriqués :
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c4\startGroup\startGroup
+\relative {
+  c''4\startGroup\startGroup
   d4\stopGroup
   e4\startGroup
   d4\stopGroup\stopGroup
diff --git a/Documentation/fr/notation/expressive.itely b/Documentation/fr/notation/expressive.itely
index f42ed677fc..435d56201c 100644
--- a/Documentation/fr/notation/expressive.itely
+++ b/Documentation/fr/notation/expressive.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.18.0"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: Jean-Charles Malahieude, John Mandereau
@@ -435,8 +435,8 @@ avec ou sans extenseur, ainsi que les indications de pédale.
 
 @lilypond[verbatim,quote]
 <<
-  \new Staff \relative c' {
-    c2 d4 e |
+  \new Staff \relative {
+    c'2 d4 e |
     c4 e e,2 |
     g'4 a g a |
     c1 |
@@ -534,8 +534,8 @@ consiste à utiliser un objet @code{\markup}.
 @lilypond[verbatim,quote]
 moltoF = \markup { molto \dynamic f }
 
-\relative c' {
-  <d e>16_\moltoF <d e>
+\relative {
+  <d' e>16_\moltoF <d e>
   <d e>2..
 }
 @end lilypond
@@ -559,8 +559,8 @@ roundF = \markup {
     \center-align \concat { \bold { \italic ( }
            \dynamic f \bold { \italic ) } } }
 boxF = \markup { \bracket { \dynamic f } }
-\relative c' {
-  c1_\roundF
+\relative {
+  c'1_\roundF
   c1_\boxF
 }
 @end lilypond
@@ -575,8 +575,8 @@ nuance.
 
 @lilypond[verbatim,quote]
 sfzp = #(make-dynamic-script "sfzp")
-\relative c' {
-  c4 c c\sfzp c
+\relative {
+  c'4 c c\sfzp c
 }
 @end lilypond
 
@@ -602,8 +602,8 @@ mfEspress = \markup { \center-align \line {
 roundFdynamic = #(make-dynamic-script roundF)
 boxFdynamic = #(make-dynamic-script boxF)
 mfEspressDynamic = #(make-dynamic-script mfEspress)
-\relative c' {
-  c4_\roundFdynamic\< d e f
+\relative {
+  c'4_\roundFdynamic\< d e f
   g,1~_\boxFdynamic\>
   g
   g'~\mfEspressDynamic
@@ -620,8 +620,8 @@ modalités.
 moltoF = #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF
 }
 @end lilypond
@@ -634,8 +634,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT
          #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF <d e>1
 }
 @end lilypond
diff --git a/Documentation/fr/notation/fretted-strings.itely b/Documentation/fr/notation/fretted-strings.itely
index a4baa45661..6e3d04139a 100644
--- a/Documentation/fr/notation/fretted-strings.itely
+++ b/Documentation/fr/notation/fretted-strings.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Matthieu Jacquot
 @c Translation checkers: Jean-Charles Malahieude
@@ -199,7 +199,7 @@ imprimées sous forme de tablature, dans les contextes @code{TabStaff} et
 automatiquement.
 
 @lilypond[quote,ragged-right,verbatim]
-\new TabStaff \relative c' {
+\new TabStaff \relative {
   a,8 a' <c e> a
   d,8 a' <d f> a
 }
@@ -274,14 +274,14 @@ l'activation de @code{restrainOpenStrings}.
 @lilypond[quote,ragged-right,verbatim]
 \layout { \omit Voice.StringNumber }
 \new StaffGroup <<
-   \new Staff \relative c {
+   \new Staff \relative {
      \clef "treble_8"
      \time 2/4
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      c,16 d e f g4
    }
-   \new TabStaff \relative c {
+   \new TabStaff \relative {
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      \set TabStaff.minimumFret = #5
@@ -310,7 +310,7 @@ si vous utilisez la répétition d'accords dans vos tablatures.  Cette
 instruction est abrégée en @code{\tabChordRepeats}.
 
 @lilypond[quote,verbatim]
-guitar = \relative c' {
+guitar = \relative {
   r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4
 }
 
@@ -587,15 +587,15 @@ basse, il sonnera donc une octave en dessous de ce qui est écrit.
     \omit StringNumber
   } {
     \clef "bass_8"
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
   \new TabStaff \with {
     stringTunings = #bass-tuning
   } {
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
 >>
@@ -1766,7 +1766,7 @@ Les notes étouffées, ou @notation{notes fantômes}, se rencontrent aussi
 bien sur une portée normale que dans une tablature :
 
 @lilypond[quote,ragged-right,verbatim]
-music = \relative c' {
+music = \relative {
   < a\3 \deadNote c\2 a'\1 >4
   < b\3 \deadNote d\2 b'\1 >
   < c\3 \deadNote e\2 c'\1 >
diff --git a/Documentation/fr/notation/input.itely b/Documentation/fr/notation/input.itely
index 65b615a1b1..6c33698c67 100644
--- a/Documentation/fr/notation/input.itely
+++ b/Documentation/fr/notation/input.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Jean-Charles Malahieude, Valentin Villenave
 
@@ -929,8 +929,8 @@ niveau du bloc @code{\header} principal.
     tagline = "... music notation for Everyone"
   }
   \score {
-    \relative c' {
-      c4 d e f
+    \relative {
+      c'4 d e f
     }
   }
 }
@@ -1430,8 +1430,8 @@ attache une annotation.  La syntaxe consacrée est :
 @lilypond[quote,verbatim,papersize=a8landscape]
 \book {
   \header { tagline = ##f }
-  \relative c'' {
-    a4_\footnote #'(0 . -1) "Une liaison arbitrairement en dessous" (
+  \relative {
+    a'4_\footnote #'(0 . -1) "Une liaison arbitrairement en dessous" (
     b8^\footnote #'(1 . 0.5) "Une ligature manuelle forcée en haut" [
     b8 ]
     c4 )
@@ -1631,7 +1631,7 @@ Par exemple :
     \auto-footnote "recent" \italic " Aug 2012"
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -1683,7 +1683,7 @@ la rubrique @ref{Équivalents ASCII} :
     }
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -1706,7 +1706,7 @@ unicode -- voir la rubrique @ref{Unicode} :
     }
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -2144,10 +2144,10 @@ une seule portée, comme nous l'avons vu à la rubrique
 @ref{Regroupement automatique de parties}.  Prenons l'exemple suivant :
 
 @lilypond[verbatim,quote]
-sopranoMusic = \relative c'' { a4 b c b8( a) }
-altoMusic = \relative g' { e4 e e f }
-tenorMusic = \relative c' { c4 b e d8( c) }
-bassMusic = \relative c' { a4 gis a d, }
+sopranoMusic = \relative { a'4 b c b8( a) }
+altoMusic = \relative { e'4 e e f }
+tenorMusic = \relative { c'4 b e d8( c) }
+bassMusic = \relative { a4 gis a d, }
 allLyrics = \lyricmode {King of glo -- ry }
 <<
   \new Staff = "Soprano" \sopranoMusic
@@ -2251,8 +2251,8 @@ l'une pour le conducteur, l'autre pour l'instrumentiste qui, elle,
 comportera les ornements développés.
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills { d8.\trill }
   \tag #'expand { \repeat unfold 3 { e32 d } }
   c32 d
@@ -2270,8 +2270,8 @@ music = \relative g' {
 Il est parfois plus aisé d'exclure des fragments :
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills { d8.\trill }
   \tag #'expand {\repeat unfold 3 { e32 d } }
   c32 d
@@ -2533,8 +2533,8 @@ portuguese = \lyricmode {
   à vo -- cê uma can -- ção legal
 }
 
-\relative c' {
-  c2 d e f g f e
+\relative {
+  c'2 d e f g f e
 }
 \addlyrics { \bulgarian }
 \addlyrics { \hebrew }
@@ -2577,8 +2577,8 @@ dans des paroles et dans du texte indépendant.
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    c1 \mark \markup { \char ##x03EE }
+  \relative {
+    c''1 \mark \markup { \char ##x03EE }
     c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
   }
   \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
@@ -3280,8 +3280,8 @@ et demande d'utiliser la fonction par défaut dans les autre cas.
     \set Staff.midiInstrument = #"cello"
     \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
     \new Voice {
-      \relative c'' {
-        a4\pp b c-\rfz
+      \relative {
+        a'4\pp b c-\rfz
       }
     }
   }
@@ -3334,8 +3334,8 @@ entre 0,2 et 0,5 :
       \key g \major
       \time 2/2
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -3343,8 +3343,8 @@ entre 0,2 et 0,5 :
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3393,8 +3393,8 @@ indication de nuance.
       \set Staff.midiInstrument = #"flute"
       \set Staff.midiMinimumVolume = #0.7
       \set Staff.midiMaximumVolume = #0.9
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -3404,8 +3404,8 @@ indication de nuance.
       \set Staff.midiInstrument = #"clarinet"
       \set Staff.midiMinimumVolume = #0.3
       \set Staff.midiMaximumVolume = #0.6
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3469,8 +3469,8 @@ flûte et de la clarinette -- au même niveau que dans le précédent.
       \time 2/2
       \set Score.instrumentEqualizer = #my-instrument-equalizer
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -3478,8 +3478,8 @@ flûte et de la clarinette -- au même niveau que dans le précédent.
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3515,8 +3515,8 @@ copied out and compiled to test microtones in your MIDI player.
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c' {
-    c4 cih cis cisih
+  \relative {
+    c'4 cih cis cisih
     d4 dih ees eeh
     e4 eih f fih
     fis4 fisih g gih
diff --git a/Documentation/fr/notation/keyboards.itely b/Documentation/fr/notation/keyboards.itely
index 871dfc312a..1930fef615 100644
--- a/Documentation/fr/notation/keyboards.itely
+++ b/Documentation/fr/notation/keyboards.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: Jean-Charles Malahieude, John Mandereau
@@ -346,7 +346,7 @@ portée inférieure :
   \new Staff = "up" {
     \new Voice = "melodieUn" {
       \key g \major
-      \autochange \relative c' {
+      \autochange \relative {
         g8 b a c b d c e
         d8 r fis, g a2
       }
diff --git a/Documentation/fr/notation/pitches.itely b/Documentation/fr/notation/pitches.itely
index 20c4d2e449..7e5b1dc65f 100644
--- a/Documentation/fr/notation/pitches.itely
+++ b/Documentation/fr/notation/pitches.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Frédéric Chiasson
 @c Translation checkers: Valentin Villenave, Jean-Charles Malahieude
@@ -170,10 +170,10 @@ Un @code{c'} identifiant le do placé entre les portées d'un piano,
 il est de fait aisé de déterminer d'autres octaves de @code{c}.
 Pour une musique qui commencerait par un sol dièse (@code{gis}) au
 dessus du do suraigu (@code{c'''}), vous écririez quelque chose
-comme @code{\relative c''' @{ gis' @dots{} @}}
+comme @code{\relative @{ gis''' @dots{} @}}
 
 @item une octave de la première note de l'expression
-Écrire @code{\relative gis''' @{ gis @dots{} @}} permet de
+Écrire @code{\relative @{ gis''' @dots{} @}} permet de
 déterminer facilement la hauteur absolue de la première note de
 l'expression.
 
@@ -191,7 +191,7 @@ option.
 Voici le mode @code{\relative} en action.
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   \clef bass
   c d e f
   g a b c
@@ -203,8 +203,8 @@ On utilise les signes de changement d'octave pour les intervalles
 dépassant la quarte.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c g c f,
+\relative {
+  c'' g c f,
   c' a, e'' c
 }
 @end lilypond
@@ -213,7 +213,7 @@ Bien que ne comportant aucun signe de changement d'octave, une séquence
 de notes peut tout à fait couvrir un intervalle important.
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   c f b e
   a d g c
 }
@@ -223,10 +223,10 @@ Lorsque plusieurs blocs @code{\relative} sont imbriqués, c'est la
 dernière clause @code{\relative} qui est prise en compte.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c d e f
-  \relative c'' {
-    c d e f
+\relative {
+  c' d e f
+  \relative {
+    c'' d e f
   }
 }
 @end lilypond
@@ -249,12 +249,12 @@ une clause @code{\relative} additionnelle doit être placée au sein du
 bloc @code{\transpose}.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d e
+\relative {
+  d' e
   \transpose f g {
     d e
-    \relative c' {
-      d e
+    \relative {
+      d' e
     }
   }
 }
@@ -270,8 +270,8 @@ accord.  À l'intérieur de l'accord, les notes sont placées relativement
 particulièrement le positionnement des do.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c
+\relative {
+  c'
   <c e g>
   <c' e g'>
   <c, e, g''>
@@ -287,8 +287,8 @@ diminuée, bien que la quarte doublement augmentée soit de sept demi-tons
 et la quinte diminuée de seulement six demi-tons.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 fis
+\relative {
+  c''2 fis
   c2 ges
   b2 eisis
   b2 feses
@@ -465,8 +465,8 @@ exemple, utiliser l'italien pour votre saisie :
 @lilypond[quote,verbatim]
 \language "italiano"
 
-\relative do' {
-  do re mi sib
+\relative {
+  do' re mi sib
 }
 @end lilypond
 
@@ -643,8 +643,8 @@ corrigée pour donner un @code{d'} et la prochaine note sera calculée en
 fonction de ce @code{d'} et non de @code{d''}.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d='4 d
+\relative {
+  c''2 d='4 d
   e2 f
 }
 @end lilypond
@@ -660,8 +660,8 @@ note précédente ne sera pas modifiée.  Les notes suivantes seront, par
 contre, positionnées relativement à @code{@var{hauteur_référence}}.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d
+\relative {
+  c''2 d
   \octaveCheck c'
   e2 f
 }
@@ -671,8 +671,8 @@ Dans les deux mesures qui suivent, les premier et troisième
 @code{\octaveCheck} échouent, mais le deuxième est concluant.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c4 f g f
+\relative {
+  c''4 f g f
 
   c4
   \octaveCheck c'
@@ -727,9 +727,9 @@ majeur.  Vous noterez que l'armure est automatiquement modifiée.
 
 @lilypond[verbatim,quote]
 \transpose d e {
-  \relative c' {
+  \relative {
     \key d \major
-    d4 fis a d
+    d'4 fis a d
   }
 }
 @end lilypond
@@ -744,9 +744,9 @@ transposition suivante créera la partie appropriée.
 
 @lilypond[verbatim,quote]
 \transpose a c' {
-  \relative c' {
+  \relative {
     \key c \major
-    c4 d e g
+    c'4 d e g
   }
 }
 @end lilypond
@@ -762,7 +762,7 @@ la pièce un demi-ton plus haut, au détail près que la première version
 écrira des dièses et la deuxième des bémols.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \transpose c cis { \music }
   \transpose c des { \music }
@@ -851,7 +851,7 @@ intervalle, puis transposée de telle sorte que
 @code{@var{hauteur-pivot}} devienne @code{@var{hauteur-arrivée}}.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \music
   \inversion d' d' \music
@@ -884,7 +884,7 @@ Une expression musicale peut se renverser et se présenter sous forme
 rétrograde :
 
 @lilypond[verbatim,quote]
-music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
+music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
 
 \new Staff {
   \music
@@ -940,8 +940,8 @@ selon leur degré, déterminé par l'intervalle entre @var{hauteur-départ}
 et @var{hauteur-arrivée} :
 
 @lilypond[verbatim,quote]
-diatonicScale = \relative c' { c d e f g a b }
-motif = \relative c' { c8 d e f g a b c }
+diatonicScale = \relative { c' d e f g a b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -954,8 +954,8 @@ Il est ainsi possible de déterminer une gamme ascendante, quels qu'en soient
 l'amplitude et les différents intervalles :
 
 @lilypond[verbatim,quote]
-pentatonicScale = \relative c' { ges aes bes des ees }
-motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
+pentatonicScale = \relative { ges aes bes des ees }
+motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
 
 \new Staff {
   \motif
@@ -968,8 +968,8 @@ produit les mêmes effets qu'un @code{\transpose}, à ceci près que les
 notes seront alors prédéterminées :
 
 @lilypond[verbatim,quote]
-chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
-motif = \relative c' { c8 d e f g a b c }
+chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -1004,8 +1004,8 @@ la gamme en donnant la même valeur à @var{hauteur-départ} et
 @var{hauteur-arrivée} :
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1018,8 +1018,8 @@ de l'une des notes et de transposer d'un degré de la gamme.  Les deux
 notes spécifiées peuvent s'interpréter comme étant les bornes du pivot.
 
 @lilypond[verbatim,quote]
-scale = \relative c' { c g' }
-motive = \relative c' { c c g' c, }
+scale = \relative { c' g' }
+motive = \relative { c' c g' c, }
 
 \new Staff {
   \motive
@@ -1031,8 +1031,8 @@ L'opération conjointe d'une inversion et d'une rétrogradation produit
 une rétrogradation inversée :
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1336,8 +1336,8 @@ de chacun des degrés de la gamme en partant du do.
 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
     (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
 
-\relative c' {
-  \key c \freygish c4 des e f
+\relative {
+  \key c \freygish c'4 des e f
   \bar "||" \key d \freygish d es fis g
 }
 @end lilypond
@@ -1598,12 +1598,12 @@ l'exemple suivant :
 @lilypond[verbatim,quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1613,8 +1613,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1679,12 +1679,12 @@ la deuxième mesure, ni avant le dernier @notation{do}.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1694,8 +1694,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1751,12 +1751,12 @@ musicien, il vaut mieux utiliser @code{modern} ou
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1766,8 +1766,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1815,12 +1815,12 @@ de la main droite.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1830,8 +1830,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1877,12 +1877,12 @@ particulière : soit plus petit, soit (par défaut) entre parenthèses
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1892,8 +1892,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1944,12 +1944,12 @@ que le dièse qu'il avait auparavant concernait la main droite.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1959,8 +1959,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2004,12 +2004,12 @@ considérées comme étant « de précaution ».
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2019,8 +2019,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2067,12 +2067,12 @@ Cette règle s'applique par défaut dans un @code{GrandStaff} et dans un
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2082,8 +2082,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2124,12 +2124,12 @@ imprimées différemment.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2139,8 +2139,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2182,12 +2182,12 @@ sauf si elles concernent deux notes consécutives.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2197,8 +2197,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2239,12 +2239,12 @@ sont imprimées différemment.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2254,8 +2254,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2302,12 +2302,12 @@ en tiennent aussi compte.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2317,8 +2317,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2357,12 +2357,12 @@ défaut), soit en plus petit.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2372,8 +2372,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2416,12 +2416,12 @@ altération, même si elle est naturelle.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2431,8 +2431,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2475,12 +2475,12 @@ la même hauteur est immédiatement répétée dans la même portée.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2490,8 +2490,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2535,12 +2535,12 @@ d'octave différente.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2550,8 +2550,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2596,12 +2596,12 @@ dièse ou bémol à la clef -- sauf dans le cas de notes consécutives.
 @lilypond[quote,staffsize=18]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2611,8 +2611,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2655,12 +2655,12 @@ accidentelles ne cesse jamais, même dans les mesures suivantes.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2670,8 +2670,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2714,12 +2714,12 @@ armure.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2729,8 +2729,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2859,8 +2859,8 @@ de note représentant la hauteur la plus basse et la plus haute.  Les
   }
 }
 
-\relative c'' {
-  aes c e2
+\relative {
+  aes' c e2
   cis,1
 }
 @end lilypond
diff --git a/Documentation/fr/notation/repeats.itely b/Documentation/fr/notation/repeats.itely
index cfe350055b..7a4e5ac348 100644
--- a/Documentation/fr/notation/repeats.itely
+++ b/Documentation/fr/notation/repeats.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: Jean-Charles Malahieude, John Mandereau
@@ -483,8 +483,8 @@ dans le cas d'une indication textuelle, est de tout d'abord définir ce
 
 @lilypond[verbatim,quote]
 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
-\relative c'' {
-  c1
+\relative {
+  c''1
   \set Score.repeatCommands =
     #(list(list 'volta voltaAdLib) 'start-repeat)
   c4 b d e
diff --git a/Documentation/fr/notation/rhythms.itely b/Documentation/fr/notation/rhythms.itely
index 0e7de94c99..879200886a 100644
--- a/Documentation/fr/notation/rhythms.itely
+++ b/Documentation/fr/notation/rhythms.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.20"
+@c \version "2.19.21"
 
 @c Translators: Frédéric Chiasson, Jean-Charles Malahieude
 @c Translation checkers: Valentin Villenave, François Martin, Xavier Scheuer
@@ -1664,10 +1664,10 @@ devront être explicites, la fonction d'échelonnement venant perturber
 les règles de ligature automatique.
 
 @lilypond[quote,verbatim]
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -1712,10 +1712,10 @@ parviendrez en déplaçant le @code{Timing_translator} et le
 
 % Now each staff has its own time signature.
 
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -2198,8 +2198,8 @@ supérieur s'appliqueront.
   \set Staff.beatStructure = #'(2 3 2)
   <<
     \new Voice = one {
-      \relative c'' {
-        a8 a a a a a a
+      \relative {
+        a'8 a a a a a a
       }
     }
     \new Voice = two {
@@ -3633,8 +3633,8 @@ argument un fragment de musique, et génèrent un @code{\skip} ou un
 silence multimesure d'une durée correspondant à ce fragment.
 
 @lilypond[verbatim,quote]
-MyCadenza = \relative c' {
-  c4 d8 e f g g4
+MyCadenza = \relative {
+  c'4 d8 e f g g4
   f2 g4 g
 }
 
diff --git a/Documentation/fr/notation/simultaneous.itely b/Documentation/fr/notation/simultaneous.itely
index bce6f3b02d..64b0226ffd 100644
--- a/Documentation/fr/notation/simultaneous.itely
+++ b/Documentation/fr/notation/simultaneous.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.16"
+@c \version "2.19.21"
 
 @c Translators: Frédéric Chiasson, Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: Jean-Charles Malahieude, John Mandereau
@@ -234,8 +234,8 @@ attachée à la dernière note :
 \new Voice
 \relative c'' {
   \chordRepeats #'(articulation-event)
-  \relative c''
-  { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+  \relative
+  { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
   q2 c |
 }
 @end lilypond
@@ -817,10 +817,10 @@ l'ordre vertical des voix tel qu'il apparaîtra sur la portée.}
 
 @c KEEP LY
 @lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
   %% saisie abrégée
   <<
-    { f2  }  % 1 : extrême haute
+    { f''2  }  % 1 : extrême haute
     \\
     { g,2 }  % 2 : extrême basse
     \\
@@ -936,17 +936,17 @@ gérer la direction des hampes et de la polyphonie.  Les identifiants
 sont les mêmes pour la combinaison et les parties séparées.
 
 @lilypond[quote,verbatim]
-instrumentOne = \relative c' {
-  c4 d e f |
+instrumentOne = \relative {
+  c'4 d e f |
   R1 |
   d'4 c b a |
   b4 g2 f4 |
   e1 |
 }
 
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
   R1 |
-  g4 a b c |
+  g'4 a b c |
   d4 c b a |
   g4 f( e) d |
   e1 |
@@ -1048,8 +1048,8 @@ instrumentOne = \relative c' {
   \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
   c2 c |
 }
-instrumentTwo = \relative c' {
-  c2 c |
+instrumentTwo = \relative {
+  c'2 c |
   e2 e |
   a,2 c |
   c2 c' |
diff --git a/Documentation/fr/notation/spacing.itely b/Documentation/fr/notation/spacing.itely
index 145cf82f3e..b58658f579 100644
--- a/Documentation/fr/notation/spacing.itely
+++ b/Documentation/fr/notation/spacing.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.12"
+@c \version "2.19.21"
 
 @c Translators: Frédéric Chiasson, Jean-Charles Malahieude
 
@@ -1162,7 +1162,7 @@ courant :
     tagline = ##f
   }
   \score {
-    \relative c'' { c1 \break c1 \break c1 }
+    \relative { c''1 \break c1 \break c1 }
   }
 }
 @end lilypond
@@ -1557,9 +1557,9 @@ forcés doivent être saisis au sein d'une expression polyphonique :
 @lilypond[quote,ragged-right,verbatim]
 \new Voice \with {
   \remove "Forbid_line_break_engraver"
-} \relative c'' {
+} \relative {
   <<
-    { c2. \tuplet 3/2 { c4 c c } c2. | }
+    { c''2. \tuplet 3/2 { c4 c c } c2. | }
     { s1 | \break s1 | }
   >>
 }
@@ -3067,8 +3067,8 @@ resserrée.  En effet, @code{ly:make-moment} construit une durée :
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -3078,8 +3078,8 @@ resserrée.  En effet, @code{ly:make-moment} construit une durée :
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -3709,8 +3709,8 @@ l'espacement par défaut :
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
@@ -3727,8 +3727,8 @@ valeur plus longue -- donnera un effet @qq{resserré} à la musique :
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
diff --git a/Documentation/fr/notation/staff.itely b/Documentation/fr/notation/staff.itely
index bf0128f3c0..4a1b7f4463 100644
--- a/Documentation/fr/notation/staff.itely
+++ b/Documentation/fr/notation/staff.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: John Mandereau
@@ -362,15 +362,15 @@ défaut, mais vous pouvez l'activer par une option au sein du bloc
   \score {
     \new StaffGroup <<
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
       }
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
@@ -605,8 +605,8 @@ Une portée d'@notation{ossia} -- ou de variante -- s'obtient en créant,
 à l'endroit approprié, une nouvelle portée simultanée :
 
 @lilypond[verbatim,quote]
-\new Staff \relative c'' {
-  c4 b d c
+\new Staff \relative {
+  c''4 b d c
   <<
     { c4 b d c }
     \new Staff { e4 d f e }
@@ -629,8 +629,8 @@ L'exemple qui suit utilise, pour aligner la portée d'ossia, la propriété
 lorsqu'il y a un nombre restreint d'ossias.
 
 @lilypond[verbatim,quote]
-\new Staff = "main" \relative c'' {
-  c4 b d c
+\new Staff = "main" \relative {
+  c''4 b d c
   <<
     { c4 b d c }
 
@@ -663,8 +663,8 @@ procéder, bien plus que dans l'exemple suivant.
   }
   { \stopStaff s1*6 }
 
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     <<
       { e4 f e2 }
       \context Staff = "ossia" {
@@ -697,12 +697,12 @@ début de ligne.  Pour plus d'information au sujet de la commande
     \remove "Time_signature_engraver"
     \hide Clef
     \magnifyStaff #2/3
-  } \relative c'' {
+  } \relative {
     R1*3
-    c4 e8 d c2
+    c''4 e8 d c2
   }
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     e4 f e2
     g4 a g2 \break
     c4 b c2
@@ -765,7 +765,7 @@ Désactiver le graveur @code{Staff_symbol_engraver} dans un contexte
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c''' { a8 f e16 d c b a2 }
+\relative { a''8 f e16 d c b a2 }
 @end lilypond
 
 L'instruction @code{\Staff \RemoveEmptyStaves} placée dans un bloc
@@ -788,9 +788,9 @@ combinaison de ces éléments.}
   }
 }
 
-\relative c' <<
+\relative <<
   \new Staff {
-    e4 f g a \break
+    e'4 f g a \break
     b1 \break
     a4 b c2
   }
@@ -1027,8 +1027,8 @@ setFlute = {
   shortInstrumentName = #"Flt."
   midiInstrument = #"flute"
 }
-\relative c'' {
-  g1 g g g \break
+\relative {
+  g'1 g g g \break
   g1 g \prepPiccolo R R \break
   \setPiccolo
   g1 g g g \break
@@ -1084,12 +1084,12 @@ arguments : le nom de la voix reproduite, tel que défini par
 cette citation.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { s1 }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1107,12 +1107,12 @@ autre chose que du silence, il en résulterait une situation
 polyphonique, ce qui n'est pas le but recherché :
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
  }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1136,8 +1136,8 @@ clarinetNotes = \relative c'' {
   b4 ais a ais | cis4^"quoted" r8 bis\p b4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"clarinet" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"clarinet" { s1 }
  }
 \addQuote "clarinet" { \clarinetNotes }
 
@@ -1165,13 +1165,13 @@ permet de définir plus précisément quels éléments de la voix originelle
 seront reproduits.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a2 g2 |
+fluteNotes = \relative {
+  a'2 g2 |
   b4\<^"quoted" r8 ais a4\f( c->)
  }
 
-oboeNotes = \relative c'' {
-  c2. b4 |
+oboeNotes = \relative {
+  c''2. b4 |
   \quoteDuring #"flute" { s1 }
 }
 
@@ -1312,8 +1312,8 @@ notes seront attachées à la première ou à la seconde voix -- @code{UP}
 pour la première, @code{DOWN} pour la seconde.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 | d8 c d e fis2 | g2 d |
+fluteNotes = \relative {
+  r2. c''4 | d8 c d e fis2 | g2 d |
 }
 
 oboeNotes = \relative c'' {
@@ -1344,8 +1344,8 @@ l'expression musicale se serait retrouvée dans le contexte
 @code{CueVoice}.}
 
 @lilypond[verbatim,quote]
-oboeNotes = \relative c'' {
-  r2 r8 d16(\f f e g f a)
+oboeNotes = \relative {
+  r2 r8 d''16(\f f e g f a)
   g8 g16 g g2.
 }
 \addQuote "oboe" { \oboeNotes }
@@ -1365,8 +1365,8 @@ d'une clef différente, celle-ci devra être introduite manuellement, tout
 comme l'originale qui devra être rappelée en fin de citation.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1391,8 +1391,8 @@ grâce à un argument supplémentaire, de gérer le changement de clef
 nécessaire à la citation et le retour à la clef originelle.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1426,10 +1426,10 @@ argument supplémentaire afin de spécifier la transposition à effectuer
 en hauteur absolue.
 
 @lilypond[verbatim,quote]
-piccoloNotes = \relative c''' {
+piccoloNotes = \relative {
   \clef "treble^8"
   R1
-  c8 c c e g2
+  c'''8 c c e g2
   c4 g g2
 }
 
@@ -1466,8 +1466,8 @@ faites appel à des balises -- voir @ref{Utilisation de balises} à ce
 sujet.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
diff --git a/Documentation/fr/notation/text.itely b/Documentation/fr/notation/text.itely
index f61ee8894d..7babb6bfa5 100644
--- a/Documentation/fr/notation/text.itely
+++ b/Documentation/fr/notation/text.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @c Translators: Jean-Charles Malahieude
 @c Translation checkers: Valentin Villenave, John Mandereau
@@ -1289,7 +1289,7 @@ incluant un bloc @code{\layout}.
 @lilypond[quote,verbatim,relative=1]
 c4 d^\markup {
   \score {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
     \layout { }
   }
 }
diff --git a/Documentation/fr/notation/vocal.itely b/Documentation/fr/notation/vocal.itely
index d9b9f8604f..c99a4838c8 100644
--- a/Documentation/fr/notation/vocal.itely
+++ b/Documentation/fr/notation/vocal.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Valentin Villenave, Jean-Charles Malahieude
 @c Translation checkers: Jean-Jacques Gerbaud
@@ -165,7 +165,7 @@ dans le fichier et de veiller à le sauvegarder avec le codage UTF-8.
 Voir à ce sujet @ref{Caractères spéciaux} pour plus de détails.
 
 @lilypond[quote,verbatim]
-\relative c'' { d8 c16 a bes8 f ees' d c4 }
+\relative { d''8 c16 a bes8 f ees' d c4 }
 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
 @end lilypond
 
@@ -174,7 +174,7 @@ précéder d'une barre oblique inverse et encadrez d'une paire de
 guillemets la syllabe ainsi composée :
 
 @lilypond[quote,verbatim]
-\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\relative { \time 3/4 e'4 e4. e8 d4 e d c2. }
 \addlyrics { "\"I" am so lone- "ly\"" said she }
 @end lilypond
 
@@ -301,9 +301,9 @@ explicitement leur durée à chaque syllabe.
 
 @lilypond[quote,ragged-right,verbatim]
 <<
-  \new Voice = "one" \relative c'' {
+  \new Voice = "one" \relative {
     \time 2/4
-    c4 b8. a16 g4. f8 e4 d c2
+    c''4 b8. a16 g4. f8 e4 d c2
   }
 
 % uses previous explicit duration of 2;
@@ -441,7 +441,7 @@ En voici un exemple :
 @lilypond[verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
 }
 @end lilypond
@@ -452,7 +452,7 @@ sections @code{\addlyrics}.
 @lilypond[ragged-right,verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
   \addlyrics { speel het spel }
   \addlyrics { joue le jeu }
@@ -541,8 +541,8 @@ Voici deux illustrations de cette technique :
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      c2 c2
+    \relative {
+      c''2 c2
       d1
     }
   }
@@ -552,8 +552,8 @@ Voici deux illustrations de cette technique :
     }
   }
   \new Staff {
-    \relative c' {
-      c8 c c c c c c c
+    \relative {
+      c'8 c c c c c c c
       c8 c c c c c c c
     }
   }
@@ -899,8 +899,8 @@ Vous pouvez créer des variables pour contenir les paroles, dès lors que
 vous faites appel au mode approprié :
 
 @lilypond[quote,verbatim]
-musicOne = \relative c'' {
-  c4 b8. a16 g4. f8 e4 d c2
+musicOne = \relative {
+  c''4 b8. a16 g4. f8 e4 d c2
 }
 verseOne = \lyricmode {
   Joy to the world, the Lord is come.
@@ -932,8 +932,8 @@ laquelle il est fait référence par @code{\lyricsto} aura bien été
 préalablement définie, comme dans l'exemple suivant :
 
 @lilypond[quote,verbatim]
-sopranoMusic = \relative c'' { c4 c c c }
-contraltoMusic = \relative c'' { a4 a a a }
+sopranoMusic = \relative { c''4 c c c }
+contraltoMusic = \relative { a'4 a a a }
 sopranoWords = \lyricmode { Sop -- ra -- no words }
 contraltoWords = \lyricmode { Con -- tral -- to words }
 
@@ -992,7 +992,7 @@ de paroles après le contexte de portée :
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics {
@@ -1014,7 +1014,7 @@ manière explicite :
   <<
     \new Staff = "staff" {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics \with { alignAboveContext = "staff" } {
@@ -1042,7 +1042,7 @@ question.  Voici comment cela se présente :
     }
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \context Lyrics = "lyrics" {
@@ -1064,7 +1064,7 @@ deuxième méthode :
   \new ChoirStaff <<
     \new Staff {
       \new Voice = "sopranos" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics = "sopranos"
@@ -1074,7 +1074,7 @@ deuxième méthode :
     }
     \new Staff {
       \new Voice = "contraltos" {
-        \relative c'' { a4 a a a }
+        \relative { a'4 a a a }
       }
     }
     \context Lyrics = "sopranos" {
@@ -1136,8 +1136,8 @@ dans le bloc @code{\layout}.
 
 @lilypond[verbatim,quote,ragged-right]
 \score {
-  \relative c' {
-  c c c c
+  \relative {
+  c' c c c
   c c c c
   }
   \addlyrics {
@@ -1207,8 +1207,8 @@ ne diffèrent pas d'une fois sur l'autre.
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1231,8 +1231,8 @@ Les mots seront alors correctement répétés si la reprise est développée.
     <<
       \new Staff {
         \new Voice = "melody" {
-          \relative c'' {
-            a4 a a a
+          \relative {
+            a'4 a a a
             \repeat volta 2 { b4 b b b }
           }
         }
@@ -1256,8 +1256,8 @@ saisissez le texte normalement :
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat unfold 2 { b4 b b b }
         }
       }
@@ -1283,8 +1283,8 @@ séparés ; ils seront combinés dans une section parallèle :
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1310,8 +1310,8 @@ Et ce quel que soit le nombre de « couplets » :
   <<
     \new Staff {
       \new Voice = "singleVoice" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1349,8 +1349,8 @@ seront repoussées sous la dernière portée.  L'instruction
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1374,8 +1374,8 @@ seront repoussées sous la dernière portée.  L'instruction
       The end sec -- tion.
     }
     \new Voice = "harmony" {
-      \relative c' {
-        f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
+      \relative {
+        f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
       }
     }
   >>
@@ -1401,8 +1401,8 @@ adopter la même construction que la musique :
     \new Staff {
       \time 2/4
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b }
           \alternative { { b b } { b c } }
         }
@@ -1953,8 +1953,8 @@ propriété @code{includeGraceNotes} :
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \new Voice = melody \relative c' {
-    f4 \appoggiatura a32 b4
+  \new Voice = melody \relative {
+    f'4 \appoggiatura a32 b4
     \grace { f16 a16 } b2
     \afterGrace b2 { f16[ a16] }
     \appoggiatura a32 b4
@@ -2088,9 +2088,9 @@ entre les couplets (@emph{verses} en anglais) 2 et 3.
 
 @c KEEP LY
 @lilypond[ragged-right,verbatim,quote]
-melody = \relative c'' {
+melody = \relative {
   \time 2/4
-  g4 g8 b | b a b a |
+  g'4 g8 b | b a b a |
   g4 g8 b | b a b4 |
 }
 
@@ -2133,9 +2133,9 @@ traditionnellement le cas.
 
 @c KEEP LY
 @lilypond[ragged-right,quote,verbatim]
-melody = \relative c'' {
+melody = \relative {
   \time 2/4
-  g4 g8 b | b a b a |
+  g'4 g8 b | b a b a |
   g4 g8 b | b a b4 |
 }
 
@@ -2451,12 +2451,12 @@ du chœur.
   \new ChoirStaff <<
     \new Staff {
       \new Voice {
-        \relative c'' { g4\f g g g }
+        \relative { g'4\f g g g }
       }
     }
     \new Staff {
       \new Voice {
-        \relative c' { d4 d d\p d }
+        \relative { d'4 d d\p d }
       }
     }
   >>
@@ -2641,9 +2641,9 @@ l'indiquer en regard de cette portée :
     \new Staff {
       \set Staff.vocalName = \markup \smallCaps Kaspar
       \set Staff.shortVocalName = \markup \smallCaps Kas.
-      \relative c' {
+      \relative {
         \clef "G_8"
-        c4 c c c
+        c'4 c c c
         \break
         c4 c c c
       }
@@ -2652,7 +2652,7 @@ l'indiquer en regard de cette portée :
       \set Staff.vocalName = \markup \smallCaps Melchior
       \set Staff.shortVocalName = \markup \smallCaps Mel
       \clef "bass"
-      \relative c' {
+      \relative {
         a4 a a a
         a4 a a a
       }
@@ -2740,19 +2740,19 @@ devient une nécessité ; voici une illustration de la manière de
 procéder en pareil cas :
 
 @lilypond[quote,verbatim]
-flute = \relative c'' {
-  s4 s4 e g
+flute = \relative {
+  s4 s4 e'' g
 }
 \addQuote "flute" { \flute }
 
-pianoRH = \relative c'' {
-  c4. g8
+pianoRH = \relative {
+  c''4. g8
   % position name of cue-ing instrument just before the cue notes,
   % and above the staff
   <>^\markup { \right-align { \tiny "Flute" } }
   \cueDuring "flute" #UP { g4 bes4 }
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   \new PianoStaff <<
@@ -2790,7 +2790,7 @@ pianoRH = \relative c'' {
   \cueDuring "clarinet" #DOWN { c4. g8 }
   g4 bes4
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   <<
@@ -3017,15 +3017,15 @@ barres de mesure produira des portées sans barre :
 \score {
   \new StaffGroup <<
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -3047,15 +3047,15 @@ L'absence de barre de mesure peut ne concerner que certaines portées :
   \new ChoirStaff <<
     \new Staff
     \with { \remove "Bar_engraver" } {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -3129,8 +3129,8 @@ finalis = {
 }
 
 \score {
-  \relative c'' {
-    g2 a4 g
+  \relative {
+    g'2 a4 g
     \divisioMinima
     g2 a4 g
     \divisioMaior
@@ -3153,8 +3153,8 @@ De nombreux cantiques sont dépourvus de métrique, voire même de clef.
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      a4 b c2 |
+    \relative {
+      a'4 b c2 |
       a4 b c2 |
       a4 b c2 |
     }
@@ -3181,22 +3181,22 @@ correspondant au « récitatif ».  Ces cantiques sont traditionnellement
 centrés sur la page.
 
 @lilypond[verbatim,quote]
-SopranoMusic = \relative g' {
-  g1 | c2 b | a1 | \bar "||"
+SopranoMusic = \relative {
+  g'1 | c2 b | a1 | \bar "||"
   a1 | d2 c | c b | c1 | \bar "||"
 }
 
-AltoMusic = \relative c' {
-  e1 | g2 g | f1 |
+AltoMusic = \relative {
+  e'1 | g2 g | f1 |
   f1 | f2 e | d d | e1 |
 }
 
-TenorMusic = \relative a {
-  c1 | c2 c | c1 |
+TenorMusic = \relative {
+  c'1 | c2 c | c1 |
   d1 | g,2 g | g g | g1 |
 }
 
-BassMusic =  \relative c {
+BassMusic =  \relative {
   c1 | e2 e | f1 |
   d1 | b2 c | g' g | c,1 |
 }
diff --git a/Documentation/fr/notation/world.itely b/Documentation/fr/notation/world.itely
index 3b774c8d7d..4cf8044969 100644
--- a/Documentation/fr/notation/world.itely
+++ b/Documentation/fr/notation/world.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @c Translators: Jean-Jacques Gerbaud, Valentin Villenave
 @c Translation checkers: Jean-Charles Malahieude
@@ -197,8 +197,8 @@ Par exemple, voici comment on peut écrire la gamme arabe
 
 @lilypond[quote,verbatim]
 \include "arabic.ly"
-\relative do' {
-  do re misb fa sol la sisb do sisb la sol fa misb re do
+\relative {
+  do' re misb fa sol la sisb do sisb la sol fa misb re do
 }
 @end lilypond
 
diff --git a/Documentation/fr/usage/external.itely b/Documentation/fr/usage/external.itely
index bc2817d016..6a07e3fc56 100644
--- a/Documentation/fr/usage/external.itely
+++ b/Documentation/fr/usage/external.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @c Translators: Jean-Charles Malahieude
 
@@ -294,8 +294,8 @@ En dur dans votre fichier @file{.ly} :
 
 @example
 \pointAndClickTypes #'note-event
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -303,8 +303,8 @@ ou
 
 @example
 #(ly:set-option 'point-and-click 'note-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -325,8 +325,8 @@ En dur dans votre fichier @file{.ly} :
 
 @example
 \pointAndClickTypes #'(note-event dynamic-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -334,8 +334,8 @@ ou
 
 @example
 #(ly:set-option 'point-and-click '(note-event dynamic-event))
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
diff --git a/Documentation/fr/usage/lilypond-book.itely b/Documentation/fr/usage/lilypond-book.itely
index 5c3f0b34bd..053a54a9b8 100644
--- a/Documentation/fr/usage/lilypond-book.itely
+++ b/Documentation/fr/usage/lilypond-book.itely
@@ -9,7 +9,7 @@
 @end ignore
 
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Jean-Charles Malahieude
 @c Translation checkers:
@@ -99,8 +99,8 @@ fait mélanger de la musique et du texte.
 Par exemple,
 
 \begin{lilypond}
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 \end{lilypond}
 
@@ -164,8 +164,8 @@ fait mélanger de la musique et du texte.
 Par exemple,
 
 @lilypond
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 @end lilypond
 
@@ -190,8 +190,8 @@ type @code{\book @{ @}}.
     title = "LilyPond fait ses gammes"
   }
 
-  \relative c' {
-    c d e f g a b c
+  \relative {
+    c' d e f g a b c
   }
 }
 @end lilypond
@@ -833,8 +833,8 @@ la musique sera interprétée en mode relatif, mais la recopie du code ne
 comportera pas l'assertion du bloc @code{relative} :
 
 @example
-\relative c' @{ % begin verbatim
-  c4 e2 g4
+\relative @{ % begin verbatim
+  c'4 e2 g4
   f2 e % end verbatim
 @}
 @end example
@@ -1247,8 +1247,8 @@ Vous pouvez inclure des partitions LilyPond dans un document LaTeX.
 Des bananes alitées sur du LaTeX.
 
 \begin@{lilypond@}
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 \end@{lilypond@}
 
@@ -1275,7 +1275,7 @@ l'intégralité de ce manuel est rédigée en Texinfo.
 Du verbiage à la mode Texinfo
 
 @@lilypond
-\relative c' @{
+\relative @{
   a4 b c d
 @}
 @@end lilypond
@@ -1302,8 +1302,8 @@ d4 c b a
 Un document pour lilypond-book peut absolument mélanger musique et
 texte.  Par exemple,
 <lilypond>
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 </lilypond>
 </p>
diff --git a/Documentation/fr/usage/suggestions.itely b/Documentation/fr/usage/suggestions.itely
index 1b1c7ed1f7..f714ec89b2 100644
--- a/Documentation/fr/usage/suggestions.itely
+++ b/Documentation/fr/usage/suggestions.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @c Translators: Ludovic Sardain, Jean-Charles Malahieude
 @c Translation checkers: Jean-Yves Baudais, Valentin Villenave, John Mandereau
@@ -113,8 +113,8 @@ Beaucoup de problèmes viennent d'un défaut de parité entre @code{@{} et
 
 @example
 \new Staff @{
-  \relative g' @{
-    r4 g8 g c8 c4 d |
+  \relative @{
+    r4 g'8 g c8 c4 d |
     e4 r8 |
     % Ossia section
     <<
@@ -132,7 +132,7 @@ Beaucoup de problèmes viennent d'un défaut de parité entre @code{@{} et
 est bien plus facile à appréhender que
 
 @example
-\new Staff @{ \relative g' @{ r4 g8 g c4 c8 d | e4 r8
+\new Staff @{ \relative @{ r4 g'8 g c4 c8 d | e4 r8
 % Ossia section
 << @{ f8 c c @} \new Staff @{ f8 f c @} >> r4 | @} @}
 @end example
@@ -224,8 +224,8 @@ dans une nouvelle version de LilyPond, alors que la définition du
 @code{violon} l'est beaucoup moins.
 
 @example
-violon = \relative c'' @{
-g4 c'8. e16
+violon = \relative @{
+g'4 c'8. e16
 @}
 @dots{}
 \score @{
@@ -248,8 +248,8 @@ définition du @code{violon}.
 @example
 fpuisp = _\markup@{
  \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
-violon = \relative c'' @{
-g4\fpuisp c'8. e16
+violon = \relative @{
+g'4\fpuisp c'8. e16
 @}
 @end example
 
@@ -297,9 +297,9 @@ le cas, placez en commentaire toute la partie de basse, mais laissez
 @code{\basse} décommenté dans le bloc @code{\score}.
 
 @example
-basse = \relative c' @{
+basse = \relative @{
 %@{
-  c4 c c c
+  c'4 c c c
   d d d d
 %@}
 @}
diff --git a/Documentation/hu/essay/engraving.itely b/Documentation/hu/essay/engraving.itely
index 1e90bc9d61..618ec88a10 100644
--- a/Documentation/hu/essay/engraving.itely
+++ b/Documentation/hu/essay/engraving.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node A kottaszedés
 @chapter A kottaszedés
@@ -531,7 +531,7 @@ it is the most attractive of the three configurations, so LilyPond
 selects this one:
 
 @lilypond
-\relative c {
+\relative {
   \clef bass
   e8[(_"12.04" f] g[ a b d,)] r4
 }
@@ -647,10 +647,10 @@ For our comparison we selected Bach's Fugue in G minor from the
 Well-Tempered Clavier, Book I, BWV 861, whose opening subject is
 
 @lilypond
-\relative c' {
+\relative {
   \key g \minor
   \clef "treble_8"
-  r8 d ees g, fis4 g
+  r8 d' ees g, fis4 g
   r8 a16 bes c8 bes16 a bes8
 }
 @end lilypond
@@ -941,12 +941,12 @@ nature of music notation:
 
 @lilypond[quote,fragment]
 <<
-  \new Staff \relative c'' {
+  \new Staff \relative {
     \key g \major
     \time 3/4
-    d4 g,8 a b c d4 g, g
+    d''4 g,8 a b c d4 g, g
   }
-  \new Staff \relative c' {
+  \new Staff \relative {
     \clef "bass"
     \key g \major
     <g b d>2 a4 b2.
@@ -1008,7 +1008,7 @@ consider a more complicated musical example:
     }
   >>
   \new Staff = "LH" <<
-    \new Voice = "III" \relative c' {
+    \new Voice = "III" \relative {
       \time 2/4
       \clef "bass"
       g4 \stopStaff s
@@ -1391,9 +1391,9 @@ By adding chord names and lyrics we obtain a lead sheet.
 <<
    \chords { c2 c f2 c }
    \new Staff
-   \relative c' {
+   \relative {
      \time 2/4
-     c4 c g' g a a g2
+     c'4 c g' g a a g2
    }
    \addlyrics { twin -- kle twin -- kle lit -- tle star }
 >>
diff --git a/Documentation/hu/learning/common-notation.itely b/Documentation/hu/learning/common-notation.itely
index 95cebd4e56..860b5bebbe 100644
--- a/Documentation/hu/learning/common-notation.itely
+++ b/Documentation/hu/learning/common-notation.itely
@@ -9,7 +9,7 @@
 @end ignore
 
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Elemi kottaírás
 @chapter Elemi kottaírás
@@ -595,9 +595,9 @@ három dallamot (ezek mindegyike két hangból áll) kombinálunk össze
 három szólammá:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a4 g }
+    { a'4 g }
     { f e }
     { d b }
   >>
@@ -621,8 +621,8 @@ darabban, hogy az első kifejezés többszólamú-e. Ha nem, egy kottasort
 hoz létre, ha igen, többet.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>>
+\relative {
+  c''2 <<c e>>
   << { e f } { c <<b d>> } >>
 }
 @end lilypond
@@ -657,9 +657,9 @@ Az így kapott kottasorokat, ahogy már megszoktuk, a @code{<<} és
 @code{>>} jelekkel kell összekombinálni:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef treble c }
+    \new Staff { \clef treble c'' }
     \new Staff { \clef bass c,, }
   >>
 }
@@ -689,9 +689,9 @@ mert a transzponáló hangszereket tartalmozó és a politonális zene gyakoribb
 mint a poliritmikus.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef treble \key d \major \time 3/4 c }
+    \new Staff { \clef treble \key d \major \time 3/4 c'' }
     \new Staff { \clef bass c,, }
   >>
 }
@@ -728,9 +728,9 @@ kifejezés egy @code{PianoStaff} kontextuson belül szerepel:
 Egy rövid zongoradarab-részlet:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e g g, }
+    \new Staff { \time 2/4 c''4 e g g, }
     \new Staff { \clef bass c,, c' e c }
   >>
 }
@@ -839,10 +839,10 @@ Egy angol gyermekdal, a @notation{Girls and boys come out to play} így
 kezdődik:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 d4 b8 g4
+  d''4 b8 c4 a8 d4 b8 g4
 }
 @end lilypond
 
@@ -852,10 +852,10 @@ Minden szótagot szóközzel kell elválasztani.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 d4 b8 g4
+    d''4 b8 c4 a8 d4 b8 g4
   }
   \addlyrics {
     Girls and boys come out to play,
@@ -884,10 +884,10 @@ A gyerekdal következő sora: @notation{The moon doth shine as bright as day}.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 d4 b8 g4
+    d''4 b8 c4 a8 d4 b8 g4
     g8 a4 b8 c b a d4 b8 g4.
   }
   \addlyrics {
@@ -905,10 +905,10 @@ legegyszerűbb, ha a melizma hangjait kötőívvel összekötjük (ld. az
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 d4 b8 g4
+    d''4 b8 c4 a8 d4 b8 g4
     g8 a4 b8 c( b) a d4 b8 g4.
   }
   \addlyrics {
@@ -925,10 +925,10 @@ szakaszt):
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 d4 b8 g4
+    d''4 b8 c4 a8 d4 b8 g4
     g8 a4 b8 c([ b]) a d4 b8 g4.
   }
   \addlyrics {
@@ -944,10 +944,10 @@ leszámítva) kiterjed:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 d4 b8 g4
+    d''4 b8 c4 a8 d4 b8 g4
     g8 a4 b8 c[ b] a d4 b8 g4.
   }
   \addlyrics {
@@ -964,10 +964,10 @@ három üteme:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes bes( a)
+    g'2 a bes bes( a)
     b c4.( bes8 a4. g8 fis4.) g8 fis1
   }
   \addlyrics {
@@ -1013,11 +1013,11 @@ kezdetű áriájában a @notation{Largo} szó @notation{go} szótagját és az
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef bass
     \key c \major
     \time 6/8
-    c4.~ 8 d b c([ d]) b c d b c
+    c'4.~ 8 d b c([ d]) b c d b c
   }
   \addlyrics {
     Lar -- go_al fac -- to -- tum del -- la cit -- tà
@@ -1121,12 +1121,12 @@ akárcsak egy LilyPond parancs esetén).
 @c KEEP LY
 @lilypond[verbatim,quote]
 hegedű = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 cselló = \new Staff {
-  \relative c {
+  \relative {
     \clef bass
     e2 d
   }
@@ -1305,10 +1305,10 @@ A @code{\relative} módban az előző példát sokkal könnyebb elolvasni és
 begépelni:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8
+  cis''8. d16 cis8 e4 e8
   b8. cis16 b8 d4 d8
 }
 @end lilypond
diff --git a/Documentation/hu/learning/fundamental.itely b/Documentation/hu/learning/fundamental.itely
index b1c4050b5a..ebfff9dc3b 100644
--- a/Documentation/hu/learning/fundamental.itely
+++ b/Documentation/hu/learning/fundamental.itely
@@ -11,7 +11,7 @@
 @c Translators: Griechisch Erika, Harmath Dénes
 
 @c -*- coding: utf-8; mode: texinfo; -*-
-@c \version "2.19.2"
+@c \version "2.19.21"
 @node Alapfogalmak
 @chapter Alapfogalmak
 @translationof Fundamental concepts
@@ -85,8 +85,8 @@ a LilyPond automatikusan hozzáadja az egyszerű bemenethez a szükséges
 parancsokat. A következő bemenet például:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -98,8 +98,8 @@ a következő rövidítése:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -219,8 +219,8 @@ Fájljainkat áttekinthetőbbé tehetjük változók definiálásával (ld.
 a módszert használjuk:
 
 @example
-dallam = \relative c' @{
-  c4 a b c
+dallam = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -318,8 +318,8 @@ Most elkezdhetjük kitölteni a hangokat. Elkezdhetnénk közvetlenül a Voice
 kontextus belsejébe beleírni, hogy:
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -334,10 +334,10 @@ Tehát miután definiáltuk a megfelelő változókat, hivatkoztunk rájuk, és
 basszuskulccsal láttuk el a balkezet, kész egy valódi mű kezdete:
 
 @lilypond[verbatim,quote,ragged-right]
-dallam = \relative c'' { r4 d8\noBeam g, c4 r }
+dallam = \relative { r4 d''8\noBeam g, c4 r }
 dalszöveg = \lyricmode { Szólt az Úr, }
-jobbkéz = \relative c'' { <g d g,>2~ <g d g,> }
-balkéz = \relative c { b2 e2 }
+jobbkéz = \relative { <g' d g,>2~ <g d g,> }
+balkéz = \relative { b,2 e2 }
 
 \score {
   <<
@@ -379,8 +379,8 @@ kezdődhetnek, és bármikor végződhetnek. Álljon itt erre egy példa:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f c c }
@@ -403,8 +403,8 @@ Az ossia a kottasor fölött is elhelyezkedhet:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f c c }
@@ -622,9 +622,9 @@ Minden ilyen környezetben a függőleges elrendezés (kötések, szárak, dinam
 
 
 @lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
+\new Staff \relative {
   % Fő hang
-  c16 d e f
+  c'16 d e f
   %   1. szólam       2. szólam                 3. szólam
   << { g4 f e } \\ { r8 e4 d c8~ } >>
   << { d2 e2 }  \\ { c8 b16 a b8 g~ g2 } \\ { s4 b4 c2 } >>
@@ -649,9 +649,9 @@ az ütemhatár, ahogy a kék háromszöget jelző szólamban láthatjuk:
 
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Fő szólam
-  c16 d e f
+  c'16 d e f
   <<  % 1. ütem
     {
       \voiceOneStyle
@@ -743,10 +743,10 @@ tűnhet és koncentráljunk csak a zenére és a szólamokra -- a nehezebb rész
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % 1. szólam
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % 2. szólam
     { aes2 f4 fes }
   \\  % Nincs 3. szólam
@@ -805,10 +805,10 @@ Kezdjük azzal, amit tanultunk: a @code{<< \\  >>}  használatával.
 Gépeljük be a három szólam első ütemét:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 }
+    { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 }
   >>
   <c ees aes c>1
 }
@@ -824,10 +824,10 @@ A szárak iránya automatikusan hozzárendelődik a szólamokhoz, a páratlan-so
 
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % 1. szólam
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % 2. szólam
     { aes2 f4 fes }
   \\  % 3. szólam - elhagyjuk
@@ -875,8 +875,8 @@ Konkrétan a @code{<< \\ >>}szerkezet, amit az előző fejezetben használtunk:
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -886,8 +886,8 @@ egyenértékű az alábbival:
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -896,8 +896,8 @@ Mindkét fenti esetben az alábbi kottát kapjuk
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -985,8 +985,8 @@ permitting a phrasing slur to be drawn over them.
 Létrehozhatunk többszörösen beágyazott polifón szerkezetet is, és ha a szólamok rövidek, az alábbi módon természetesebbnek tűnik a leírásuk:
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e2) | }
     \new Voice {
@@ -1140,10 +1140,10 @@ rather than music.
 
 @lilypond[quote,verbatim]
 global = { \time 6/8 \partial 8 \key f \major}
-SopOneMusic = \relative c'' {
-  c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 | }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'([ g)] f f([ e)] d | e([ d)] c bes' | }
+SopOneMusic = \relative {
+  c''8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 | }
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'([ g)] f f([ e)] d | e([ d)] c bes' | }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __ | }
 SopTwoLyrics = \lyricmode {
@@ -1194,10 +1194,10 @@ examples this is often called @q{global}.
 
 @lilypond[quote,verbatim]
 TimeKey = { \time 4/4 \partial 4 \key c \major}
-SopMusic   = \relative c' { c4 | e4. e8 g4  g  | a a g | }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e  | f f e | }
-TenorMusic = \relative c  { e4 | g4. g8 c4. b8 | a8 b c d e4 | }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c  | f8 g a b c4 | }
+SopMusic   = \relative { c'4 | e4. e8 g4  g  | a a g | }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e  | f f e | }
+TenorMusic = \relative  { e4 | g4. g8 c4. b8 | a8 b c d e4 | }
+BassMusic  = \relative  { c4 | c4. c8 c4  c  | f8 g a b c4 | }
 VerseOne   = \lyricmode {
   E -- | ter -- nal fa -- ther, | strong to save, | }
 VerseTwo   = \lyricmode {
@@ -1246,11 +1246,11 @@ brackets around the @code{\new Voice} and @code{\new Lyrics} to
 start them at the same time:
 
 @lilypond[quote,verbatim,ragged-right]
-versenotes = \relative c'' {
+versenotes = \relative {
   \clef "treble"
   \key g \major
   \time 3/4
-  g g g | b b b |
+  g' g g | b b b |
 }
 versewords = \lyricmode {
   One two three four five six
@@ -1299,17 +1299,17 @@ Here's the final result with two staves in the chorus showing
 how the parallel section is positioned within the verse Voice:
 
 @lilypond[quote,verbatim, ragged-right]
-versenotes = \relative c'' {
+versenotes = \relative {
   \clef "treble"
   \key g \major
   \time 3/4
-  g g g | b b b |
+  g' g g | b b b |
 }
-refrainnotesA = \relative c'' {
+refrainnotesA = \relative {
   \time 2/4
-  c c | g g \bar "|."
+  c'' c | g g \bar "|."
 }
-refrainnotesB = \relative c {
+refrainnotesB = \relative {
   \clef "bass"
   \key g \major
   c e | d d |
@@ -1362,17 +1362,17 @@ in practice one would perhaps choose to code this as two
 follows:
 
 @lilypond[quote,verbatim,ragged-right]
-versenotes = \relative c'' {
+versenotes = \relative {
   \clef "treble"
   \key g \major
   \time 3/4
-  g g g | b b b |
+  g' g g | b b b |
 }
-refrainnotesA = \relative c'' {
+refrainnotesA = \relative {
   \time 2/4
-  c c | g g \bar "|."
+  c'' c | g g \bar "|."
 }
-refrainnotesB = \relative c {
+refrainnotesB = \relative {
   \clef "bass"
   \key g \major
   c e | d d |
@@ -1574,8 +1574,8 @@ annotated real-music example:
       \key g \minor
       \clef "treble"
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8.
+        \relative {  % start of RH notes
+          d''4 ees16 c8.
           d4 ees16 c8.
         }  % end of RH notes
       }  % end of RH voice
@@ -1585,14 +1585,14 @@ annotated real-music example:
       \clef "bass"
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c>
           g8 <bes d> ees, <g c>
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees
           g4 ees
         }  % end of LH voice two notes
@@ -1859,8 +1859,8 @@ So this turns off extra naturals in one staff:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    ais4 aes
+  \new Staff \relative {
+    ais'4 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1874,8 +1874,8 @@ and this turns them off in all staves:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    ais4 aes
+  \new Staff \relative {
+    ais'4 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1949,12 +1949,12 @@ like this:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff
-  \relative c'' {
-    gis ges aes ais
+  \relative {
+    gis' ges aes ais
   }
   \new Staff \with { extraNatural = ##f }
-  \relative c'' {
-    gis ges aes ais
+  \relative {
+    gis' ges aes ais
   }
 >>
 @end lilypond
@@ -1967,13 +1967,13 @@ within the score, it may be appended to an explicit
 \score {
   \new Score \with { extraNatural = ##f } <<
     \new Staff {
-      \relative c'' {
-        gis ges aes ais
+      \relative {
+        gis' ges aes ais
       }
     }
     \new Staff {
-      \relative c'' {
-        gis ges aes ais
+      \relative {
+        gis' ges aes ais
       }
     }
   >>
@@ -2011,8 +2011,8 @@ throughout the @code{\score} or @code{\book} block in which the
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cis4 e d ces
+    \relative {
+      cis''4 e d ces
     }
   }
   \layout {
@@ -2075,8 +2075,8 @@ produced by the @code{Staff_symbol_engraver}.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4
+\relative {
+  c'4
   \set fontSize = #-4  % make note heads smaller
   d e
   \set fontSize = #2.5  % make note heads larger
@@ -2157,24 +2157,24 @@ staff in a four-staff score, we could write
 \score {
   <<
     \new Staff <<
-      \relative c'' {
-        c a b g
+      \relative {
+        c'' a b g
       }
     >>
     \new Staff <<
-      \relative c' {
-        c a b g
+      \relative {
+        c' a b g
       }
     >>
     \new Staff <<
       \clef "G_8"
-      \relative c' {
-        c a b g
+      \relative {
+        c' a b g
       }
     >>
     \new Staff <<
       \clef "bass"
-      \relative c {
+      \relative {
         c a b g
       }
     >>
@@ -2232,7 +2232,7 @@ soprano and cello.  In this case, we would start with the
 
 @example
 \version @w{"@version{}"}
-melody = \relative c' @{
+melody = \relative @{
   \clef treble
   \key c \major
   \time 4/4
@@ -2260,7 +2260,7 @@ Now we want to add a cello part.  Let's look at the @q{Notes only} example:
 
 @example
 \version @w{"@version{}"}
-melody = \relative c' @{
+melody = \relative @{
   \clef treble
   \key c \major
   \time 4/4
@@ -2297,7 +2297,7 @@ different notes.
 
 @example
 \version @w{"@version{}"}
-sopranoMusic = \relative c' @{
+sopranoMusic = \relative @{
   \clef treble
   \key c \major
   \time 4/4
@@ -2308,7 +2308,7 @@ sopranoLyrics = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-celloMusic = \relative c @{
+celloMusic = \relative @{
   \clef bass
   \key c \major
   \time 4/4
@@ -2365,7 +2365,7 @@ This looks a bit messy; the indentation is messed up now.  That is
 easily fixed.  Here's the complete soprano and cello template.
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef treble
   \key c \major
   \time 4/4
@@ -2376,7 +2376,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef bass
   \key c \major
   \time 4/4
@@ -2422,26 +2422,26 @@ from Handel's Messiah:
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy is the lamb that was slain
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2651,26 +2651,26 @@ global = {
   \key d \major
   \time 4/4
 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy is the lamb that was slain
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2920,19 +2920,19 @@ TimeKey = {
   \time 4/4
   \key c \minor
 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees
   d2 c2
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~
   c c4 b8 c8. g16 c b c d
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees
   f ees f d g aes g f ees d e8~ 8es16 f ees d
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8
   r16 g ees f g f g8 c,2
 }
@@ -2982,7 +2982,7 @@ PedalOrganMusic = \relative c {
 By this point, you've seen this kind of thing:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 \score {
   {
     \hornNotes
@@ -2993,8 +2993,8 @@ hornNotes = \relative c'' { c4 b dis c }
 You may even realize that this could be useful in minimalist music:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 violin = \new Staff {
   \fragmentA
   \fragmentA
@@ -3070,8 +3070,8 @@ padText =
     \once \override TextScript.padding = #padding
   #})
 
-\relative c''' {
-  c4^"piu mosso" b a b
+\relative {
+  c'''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" d e f
   \padText #2.6
@@ -3103,7 +3103,7 @@ suppose that the file @file{horn-music.ly} contains the following part
 of a horn/@/bassoon duo
 
 @example
-hornNotes = \relative c @{
+hornNotes = \relative @{
   \time 2/4
   r4 f8 a cis4 f e d
 @}
@@ -3139,7 +3139,7 @@ tuning of a normal French Horn in@tie{}F.  The transposition can be seen
 in the following output
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a cis4 f e d
 }
@@ -3197,7 +3197,7 @@ that the other voice is in @code{bassoonNotes} in the file
 leading to
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \time 2/4
     R2*3
diff --git a/Documentation/hu/learning/tutorial.itely b/Documentation/hu/learning/tutorial.itely
index ae6aac8be2..6c1c0b6892 100644
--- a/Documentation/hu/learning/tutorial.itely
+++ b/Documentation/hu/learning/tutorial.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Első lecke
 @chapter Első lecke
@@ -240,8 +240,8 @@ is alapesetben b-t kell írni h helyett!)
 @c KEEP LY
 @lilypond[verbatim,quote]
 % megadjuk, hogy az első viszonyítási hang az egyvonalas c legyen
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -255,8 +255,8 @@ Legfeljebb kvárt nagyságú hangközöket tartalmazó dallamok tápláhatók be
 legegyszerűbben.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -274,8 +274,8 @@ változtatható a kezdőoktáv:
 @c KEEP LY
 @lilypond[verbatim,quote]
 % kétvonalas oktáv
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -288,8 +288,8 @@ h alá kerül.
 
 @c KEEP LY
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % felfelé szekund, lefelé szeptim, így: felső c
+\relative {
+  b' c  % felfelé szekund, lefelé szeptim, így: felső c
   b d  % felfelé terc, lefelé szext, így: felső d
   b e  % felfelé kvárt, lefelé kvint, így: felső e
   b a  % felfelé szeptim, lefelé szekund, így: alsó a
@@ -308,8 +308,8 @@ karaktereket helyezünk a hang után. Az @code{'} egy @notation{oktáv}nyi
 emelkedést, a @code{,} egy oktávnyi süllyedést jelent.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -345,8 +345,8 @@ Ha nincs megadva a hosszúság, az előző hang hossza marad érvényben.
 Az első hang alapértelmezetten negyed hosszúságú.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -357,8 +357,8 @@ ahányszoros a pontozás. A pontozott hangok ritmusértékét mindig meg kell
 adni számmal.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a a4. a8
+\relative {
+  a' a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -374,8 +374,8 @@ A @notation{szünetek} megadása hasonlóképpen történik, mint a hangoké,
 csak a hangmagasság megjelölése helyett @code{r}@tie{} betűt kell írni:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a r r2
+\relative {
+  a' r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -393,9 +393,9 @@ Fogalomtár: @rglos{time signature}.
 Az @notation{ütemmutató} beállítására a @code{\time} parancs szolgál:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -420,9 +420,9 @@ Fogalomtár: @rglos{clef}.
 A @notation{kulcs} beállítása a @code{\clef} paranccsal lehetséges:
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef treble
-  c1
+  c'1
   \clef alto
   c1
   \clef tenor
@@ -438,10 +438,10 @@ A @notation{kulcs} beállítása a @code{\clef} paranccsal lehetséges:
 Alább látható egy rövid példa, mely az eddig tanult elemeket mutatja be:
 
 @lilypond[verbatim,quote]
-\relative c, {
+\relative {
   \time 3/4
   \clef bass
-  c2 e8 c' g'2.
+  c,2 e8 c' g'2.
   f4 e d c4 c, r4
 }
 @end lilypond
@@ -613,8 +613,8 @@ kipróbálható:
 @c no verbatim here
 @c KEEP LY
 @lilypond[quote]
-\relative c'' {
-  c-\markup { \bold \huge { Ide kell kattintani! } }
+\relative {
+  c''-\markup { \bold \huge { Ide kell kattintani! } }
 }
 @end lilypond
 
diff --git a/Documentation/hu/usage/lilypond-book.itely b/Documentation/hu/usage/lilypond-book.itely
index 48617438b5..497bdaf961 100644
--- a/Documentation/hu/usage/lilypond-book.itely
+++ b/Documentation/hu/usage/lilypond-book.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Note: keep this node named so that `info lilypond-book' brings you here.
 @node lilypond-book
@@ -84,8 +84,8 @@ A \verb+lilypond-book+ segítségével feldolgozott dokumentumok
 kottapéldákat tartalmazhatnak. Például:
 
 \begin{lilypond}
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 \end{lilypond}
 
@@ -140,8 +140,8 @@ A @command{lilypond-book} segítségével feldolgozott dokumentumok
 kottapéldákat tartalmazhatnak. Például:
 
 @lilypond
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 @end lilypond
 
@@ -678,8 +678,8 @@ example, the music will be interpreted in relative mode, but the
 verbatim quote will not show the @code{relative} block, i.e.
 
 @example
-\relative c' @{ % begin verbatim
-  c4 e2 g4
+\relative @{ % begin verbatim
+  c'4 e2 g4
   f2 e % end verbatim
 @}
 @end example
@@ -1019,8 +1019,8 @@ You can include LilyPond fragments in a LaTeX document.
 Normal LaTeX text.
 
 \begin@{lilypond@}
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 \end@{lilypond@}
 
@@ -1045,7 +1045,7 @@ is written in Texinfo.
 Texinfo text
 
 @@lilypond
-\relative c' @{
+\relative @{
   a4 b c d
 @}
 @@end lilypond
@@ -1072,8 +1072,8 @@ d4 c b a
 Documents for lilypond-book may freely mix music and text.  For
 example,
 <lilypond>
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 </lilypond>
 </p>
diff --git a/Documentation/hu/usage/running.itely b/Documentation/hu/usage/running.itely
index f72f60ea9e..4b353eafbc 100644
--- a/Documentation/hu/usage/running.itely
+++ b/Documentation/hu/usage/running.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 
 @node A lilypond használata
@@ -550,7 +550,7 @@ kezdődik, mint az első, mert a @code{\repeat} parancs hatására két
 
 @lilypond[quote,verbatim]
 \repeat unfold 2 {
-  \relative c' { c d e f }
+  \relative { c' d e f }
 }
 @end lilypond
 
diff --git a/Documentation/included/engraver-example.ily b/Documentation/included/engraver-example.ily
index 548742e14f..697d1a2a6a 100644
--- a/Documentation/included/engraver-example.ily
+++ b/Documentation/included/engraver-example.ily
@@ -1,25 +1,25 @@
 %% texidoc = "Include file for engraver example."
-\version "2.16.0"
-topVoice =  \relative c' {
+\version "2.19.21"
+topVoice =  \relative {
   \key d \major
-  es8([ g] a[ fis])
+  es'8([ g] a[ fis])
   b4
   b16[-. b-. b-. cis-.]
   d4->
 }
 
-botVoice =  \relative c' {
+botVoice =  \relative {
   \key d \major
-  c8[( f] b[ a)]
+  c'8[( f] b[ a)]
   es4
   es16[-. es-. es-. fis-.]
   b4->
 }
 
-hoom =  \relative c {
+hoom =  \relative {
   \key d \major
   \clef bass
-  g8-. r
+  g,8-. r
   r4 
   fis8-.
   r8
@@ -27,7 +27,7 @@ hoom =  \relative c {
   b'4->
 }
 
-pah =  \relative c' {
+pah =  \relative {
   r8 b-.
   r4
   r8 g8-.
diff --git a/Documentation/included/gonville.ly b/Documentation/included/gonville.ly
index 4ee47ec5ad..cca61f09b9 100644
--- a/Documentation/included/gonville.ly
+++ b/Documentation/included/gonville.ly
@@ -7,7 +7,7 @@ path)."
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \paper {
   myStaffSize = 20
@@ -20,8 +20,8 @@ path)."
      (/ myStaffSize 20))
 }
 
-sampleMusic = \relative c'' {
-  a4-\trill_\sfz b8 c16 d32
+sampleMusic = \relative {
+  a'4-\trill_\sfz b8 c16 d32
 }
 
 
diff --git a/Documentation/included/simple.ly b/Documentation/included/simple.ly
index 5c7458f2a2..ec872c0472 100644
--- a/Documentation/included/simple.ly
+++ b/Documentation/included/simple.ly
@@ -1,8 +1,8 @@
 %% A simple piece in LilyPond, a scale.
-\relative c' {
-  c d e f g a b c
+\relative {
+  c' d e f g a b c
 }
 
 %% Optional helper for automatic updating by convert-ly.
 %% May be omitted.
-\version "2.16.0"
+\version "2.19.21"
diff --git a/Documentation/it/learning/common-notation.itely b/Documentation/it/learning/common-notation.itely
index c84f1e2e27..612e60e661 100644
--- a/Documentation/it/learning/common-notation.itely
+++ b/Documentation/it/learning/common-notation.itely
@@ -9,7 +9,7 @@
 @end ignore
 
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
@@ -770,9 +770,9 @@ esempio, tre sequenze (tutte contenenti due note
 separate) vengono combinate in simultanea:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -800,8 +800,8 @@ complessa, ma poiché inizia con una nota singola sarà impostata
 su un singolo rigo.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e2 f } { c2 <<b d>> } >>
 }
 @end lilypond
@@ -838,9 +838,9 @@ un rigo è contrassegnato da @code{\new Staff}.  Questi elementi
 e @code{>>}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -868,9 +868,9 @@ a tutti gli altri righi.  L'armatura di chiave di un rigo, invece,
 frequenti delle partiture poliritmiche.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -915,9 +915,9 @@ Produrre un pentagramma di questo tipo è simile all'esempio polifonico in
 Ecco un piccolo esempio:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef "bass" c,,4 c' | e c | }
   >>
 }
@@ -1036,10 +1036,10 @@ Questo è l'inizio della melodia di una
 filastrocca, @notation{Girls and boys come out to play}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -1049,10 +1049,10 @@ separando ogni sillaba con uno spazio.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Girls and boys come | out to play,
@@ -1085,10 +1085,10 @@ shine as bright as day}.  Aggiungiamola:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1120,10 +1120,10 @@ che le colleghi, per i dettagli si veda @ref{Legature di valore e di portamento}
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1141,10 +1141,10 @@ dettagli si veda @ref{Code automatiche e manuali}.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1160,10 +1160,10 @@ che si voglia includere nel melisma:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1182,10 +1182,10 @@ sillaba.  Si scrive con due trattini bassi @code{__}.  Il seguente esempio
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes | bes2( a) b2 |
+    g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1232,11 +1232,11 @@ Ecco un esempio tratto dal @notation{Figaro} di Rossini, dove
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef "bass"
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- | to -- tum del -- la cit -- | tà
@@ -1345,12 +1345,12 @@ usati in seguito ponendo una barra inversa (backslash) di fronte al nome
 
 @lilypond[verbatim,quote]
 violin = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 cello = \new Staff {
-  \relative c {
+  \relative {
     \clef "bass"
     e2 d
   }
@@ -1503,10 +1503,10 @@ di errori.  Usando @code{\relative}, l'esempio precedente è molto più
 semplice da leggere e scrivere:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8
+  cis''8. d16 cis8 e4 e8
   b8. cis16 b8 d4 d8
 }
 @end lilypond
@@ -1527,7 +1527,7 @@ Talvolta la musica è organizzata in modi più complessi.  Se si usa
 @code{\relative} è indipendente:
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \relative c'' { f g } c }
+\relative { c'4 \relative { f'' g } c }
 @end lilypond
 
 @funindex \absolute
@@ -1536,7 +1536,7 @@ contrassegnare esplicitamente la musica assoluta con @code{\absolute} per
 impedire che diventi parte della musica relativa:
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \absolute { f'' g'' } c }
+\relative { c'4 \absolute { f'' g'' } c }
 @end lilypond
 
 
diff --git a/Documentation/it/learning/fundamental.itely b/Documentation/it/learning/fundamental.itely
index c18a5627aa..632f9c183e 100644
--- a/Documentation/it/learning/fundamental.itely
+++ b/Documentation/it/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Concetti fondamentali
 @chapter Concetti fondamentali
@@ -85,8 +85,8 @@ elabora un input semplice, aggiunge automaticamente gli altri comandi
 necessari.  LilyPond tratta un input come questo:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -98,8 +98,8 @@ come forma abbreviata per questo:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -226,8 +226,8 @@ spiegato in @ref{Organizzare i brani con le variabili}).  Tutti
 i modelli usano questa forma
 
 @example
-melodia = \relative c' @{
-  c4 a b c
+melodia = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -343,8 +343,8 @@ A questo punto possiamo iniziare ad inserire le note.  All'interno delle parente
 graffe vicine a @code{\new Voice = "vocal"}, possiamo iniziare a scrivere
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -362,10 +362,10 @@ Dunque se aggiungiamo un po' di note e una chiave di basso per la mano
 sinistra, otteniamo un brano musicale vero e proprio:
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e }
 
 \score {
   <<
@@ -412,8 +412,8 @@ la durata di tre note:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -439,8 +439,8 @@ nel seguente modo:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -678,9 +678,9 @@ contesto, la direzione verticale di legature di portamento, gambi,
 legature di valore, dinamica, etc., è impostata correttamente.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -702,9 +702,9 @@ essere divise sulle stesse voci in due costrutti, come mostra qui la
 voce con i triangoli blu.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<  % Bar 1
     {
       \voiceOneStyle
@@ -792,10 +792,10 @@ più complesse saranno spiegate tutte in sezioni successive.
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Prima voce
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voce due
     {
       % Puoi ignorare questi per ora, saranno spiegati nel capitolo 4
@@ -869,10 +869,10 @@ iniziamo usando il costrutto @code{<< \\ >>} per inserire la musica
 della prima battuta in tre voci:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -891,10 +891,10 @@ musica nella voce quattro.  Si può fare aggiungendo semplicemente un altro
 paio di @code{\\}:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { <ees, c>2 des }
   \\  % Omit Voice three
@@ -953,8 +953,8 @@ precedente:
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -964,8 +964,8 @@ precedente:
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -974,8 +974,8 @@ Entrambi hanno come risultato
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1068,8 +1068,8 @@ appare solo brevemente questo potrebbe essere un modo più semplice
 di scrivere lo spartito:
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e) | }
     \new Voice {
@@ -1240,14 +1240,14 @@ invece che come musica.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1299,10 +1299,10 @@ esempi questo viene spesso chiamato @q{global}.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1490,8 +1490,8 @@ di musica vera e propria:
       \clef "treble"
       \key g \minor
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8. |
+        \relative {  % start of RH notes
+          d''4 ees16 c8. |
           d4 ees16 c8. |
         }  % end of RH notes
       }  % end of RH voice
@@ -1501,14 +1501,14 @@ di musica vera e propria:
       \key g \minor
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c> |
           g8 <bes d> ees, <g c> |
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees |
           g4 ees |
         }  % end of LH voice two notes
@@ -1773,8 +1773,8 @@ Quindi in questo modo si disattiva il bequadro su un rigo:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
  }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1788,8 +1788,8 @@ e in questo modo si disattiva in tutti i righi:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
  }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1862,13 +1862,13 @@ così:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -1906,8 +1906,8 @@ nel blocco @code{\score} o @code{\book} nel quale il blocco
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -1926,13 +1926,13 @@ della partitura:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -1995,8 +1995,8 @@ create dall'incisore @code{Staff_symbol_engraver}.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % make note heads smaller
   e4 f |
   \set fontSize = #2.5  % make note heads larger
@@ -2080,24 +2080,24 @@ di quattro pentagrammi, potremmo scrivere
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2160,7 +2160,7 @@ la parte di soprano).
 @example
 \version @w{"@version{}"}
 
-melodia = \relative c' @{
+melodia = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2189,7 +2189,7 @@ Ora vogliamo aggiungere una parte per violoncello.  Vediamo l'esempio @q{Solo no
 @example
 \version @w{"@version{}"}
 
-melodia = \relative c' @{
+melodia = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2227,7 +2227,7 @@ delle note diverse.
 @example
 \version @w{"@version{}"}
 
-musicaSoprano = \relative c' @{
+musicaSoprano = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2238,7 +2238,7 @@ testoSoprano = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-musicaVioloncello = \relative c @{
+musicaVioloncello = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2297,7 +2297,7 @@ può correggere facilmente.  Ecco il modello completo per soprano
 e violoncello.
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-musicaSoprano = \relative c' {
+musicaSoprano = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2308,7 +2308,7 @@ testoSoprano = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-musicaVioloncello = \relative c {
+musicaVioloncello = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2355,29 +2355,29 @@ dal Messiah di Handel:
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
 
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
 
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 
@@ -2594,26 +2594,26 @@ per le tre battute dell'esempio precedente, otteniamo:
 
 @lilypond[quote,verbatim,ragged-right,addversion]
 global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2922,19 +2922,19 @@ possa variare.  Tutto ciò che resta da fare ora
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d ees8~ 16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -2989,7 +2989,7 @@ Glossario musicale:
 Finora hai visto questo tipo di cose:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 \score {
   {
     \hornNotes
@@ -3000,8 +3000,8 @@ hornNotes = \relative c'' { c4 b dis c }
 Potresti anche essere accorto che questo può essere utile nella musica minimalista:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 
 violin = \new Staff {
   \fragmentA \fragmentA |
@@ -3081,8 +3081,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative {
+  c'''4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
@@ -3115,7 +3115,7 @@ supponiamo che il file @file{horn-music.ly} contenga la seguente parte
 di un duetto per corno e fagotto
 
 @example
-hornNotes = \relative c @{
+hornNotes = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3152,7 +3152,7 @@ di un normale corno francese in@tie{}Fa.  La trasposizione può essere vista
 nel seguente output
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3210,7 +3210,7 @@ l'altra voce si trovi in @code{bassoonNotes} nel file
 ovvero
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/it/learning/tutorial.itely b/Documentation/it/learning/tutorial.itely
index bee60194a1..ef99b85a44 100644
--- a/Documentation/it/learning/tutorial.itely
+++ b/Documentation/it/learning/tutorial.itely
@@ -10,7 +10,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Tutorial
 @chapter Tutorial
@@ -228,8 +228,8 @@ si trova entro una distanza di appena uno spazio di pentagramma dalla nota prece
 
 @lilypond[verbatim,quote]
 % set the starting point to middle C
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -241,8 +241,8 @@ più vicino alla nota precedente.  Possiamo creare melodie che hanno
 intervalli più ampi, sempre usando soltanto il modo @code{\relative}:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -259,8 +259,8 @@ partenza:
 
 @lilypond[verbatim,quote]
 % one octave above middle C
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -274,8 +274,8 @@ un Do, un Re o un Mi, si troverà sopra il Si, mentre il La, il Sol
 o il Fa si troveranno sotto.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % c is 1 staff space up, so is the c above
+\relative {
+  b' c  % c is 1 staff space up, so is the c above
   b d  % d is 2 up or 5 down, so is the d above
   b e  % e is 3 up or 4 down, so is the e above
   b a  % a is 6 up or 1 down, so is the a below
@@ -296,8 +296,8 @@ ad apice singolo @code{'} (o apostrofo).  Si può abbassare l'ottava
 aggiungendo al nome della nota una virgola @code{,}.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -335,8 +335,8 @@ per la nota successiva.  La durata predefinita della prima nota è di un
 quarto.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -347,8 +347,8 @@ numero di durata.  La durata di una nota puntata deve essere dichiarata
 esplicitamente (cioè con un numero).
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a a4. a8
+\relative {
+  a' a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -367,8 +367,8 @@ Una @notation{pausa} viene inserita proprio come una nota ma col nome
 @code{r}@tie{}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 r r2
+\relative {
+  a'4 r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -388,9 +388,9 @@ Glossario musicale: @rglosnamed{time signature,indicazione di tempo}.
 Il @notation{tempo} si imposta con il comando @code{\time}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -447,9 +447,9 @@ Glossario musicale: @rglosnamed{clef,chiave}.
 La @notation{chiave} si imposta con il comando @code{\clef}:
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef treble
-  c1
+  c'1
   \clef alto
   c1
   \clef tenor
@@ -736,8 +736,8 @@ questa immagine:
 
 @c no verbatim here
 @lilypond[quote]
-\relative c'' {
-  c4-\markup { \bold \huge { Clicca qui.  } }
+\relative {
+  c''4-\markup { \bold \huge { Clicca qui.  } }
 }
 @end lilypond
 
diff --git a/Documentation/it/learning/tweaks.itely b/Documentation/it/learning/tweaks.itely
index 9069bc915d..6794a54e96 100644
--- a/Documentation/it/learning/tweaks.itely
+++ b/Documentation/it/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Modifica dell'output
 @chapter Modifica dell'output
@@ -550,8 +550,8 @@ emphNoteHead = {
   \override NoteHead.color = #red
   \override NoteHead.font-size = 2
 }
-\relative c'' {
-  c4 a \once \emphNoteHead f d |
+\relative {
+  c''4 a \once \emphNoteHead f d |
 }
 @end lilypond
 
@@ -567,8 +567,8 @@ emphNoteHead = {
   \override NoteHead.color = #red
   \override NoteHead.font-size = 2
 }
-\relative c'' {
-   <c a \single \emphNoteHead f d>4
+\relative {
+   <c'' a \single \emphNoteHead f d>4
 }
 @end lilypond
 
@@ -1491,8 +1491,8 @@ inserire un nuovo rigo temporaneo, come in un @rglos{ossia}.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1519,8 +1519,8 @@ ciascun oggetto su @code{#f}, così:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1579,8 +1579,8 @@ Dunque possiamo sostituire l'esempio precedente con
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1603,8 +1603,8 @@ impostare la proprietà @code{transparent} e togliere lo @code{stencil}
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1669,8 +1669,8 @@ Proviamolo nel nostro esempio dell'ossia:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1744,8 +1744,8 @@ questo modo:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1867,10 +1867,10 @@ seguente mostra questo @q{annidamento} delle note su righi adiacenti:
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -3124,8 +3124,8 @@ con un segno che contenga il simbolo desiderato:
 
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
-\relative c'' {
-  c4
+\relative {
+  c''4
   % Mostra un triesis (alterazione ascendente di tre quarti di tono) ma lo spazio è troppo stretto
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -3371,10 +3371,10 @@ introdotto alla fine del paragrafo @ref{I'm hearing Voices}, che avevamo
 lasciato così:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 des }
     \\
@@ -3409,10 +3409,10 @@ Ecco il risultato finale:
 @cindex force-hshift, esempio
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 \once \override NoteColumn.force-hshift =
       0.5 des }
@@ -3448,9 +3448,9 @@ e le pedalizzazioni.
 @c This example should not be indexed
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3490,8 +3490,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3531,9 +3531,9 @@ produce senza modifiche manuali:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4. g8 |
+    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3557,8 +3557,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3589,9 +3589,9 @@ nel Tutorial.  In questo modo abbiamo:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3615,8 +3615,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3659,9 +3659,9 @@ Questo completa la seconda battuta:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3687,8 +3687,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3739,9 +3739,9 @@ alla fine, ottenendo:
 
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3771,8 +3771,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3814,9 +3814,9 @@ interferisca con i due Re.  Applicando queste modifiche abbiamo:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3849,8 +3849,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3886,9 +3886,9 @@ rendiamo il gambo trasparente e spostiamo il Do con la proprietà
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3929,8 +3929,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -4153,10 +4153,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/it/notation/editorial.itely b/Documentation/it/notation/editorial.itely
index 4a53c7f13c..3fdc1c3be8 100644
--- a/Documentation/it/notation/editorial.itely
+++ b/Documentation/it/notation/editorial.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.18.0"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers:
@@ -852,8 +852,8 @@ dei brani musicali.  Sono  supportate delle semplici parentesi orizzontali.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c2\startGroup
+\relative {
+  c''2\startGroup
   d\stopGroup
 }
 @end lilypond
@@ -867,8 +867,8 @@ Le parentesi analitiche si possono annidare.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c4\startGroup\startGroup
+\relative {
+  c''4\startGroup\startGroup
   d4\stopGroup
   e4\startGroup
   d4\stopGroup\stopGroup
diff --git a/Documentation/it/notation/expressive.itely b/Documentation/it/notation/expressive.itely
index 8f946bea10..f43bc01221 100644
--- a/Documentation/it/notation/expressive.itely
+++ b/Documentation/it/notation/expressive.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.18.0"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers: Luca Rossetto Casel
@@ -438,8 +438,8 @@ indicazioni testuali, estensori del testo e indicazioni di pedalizzazione del pi
 
 @lilypond[verbatim,quote]
 <<
-  \new Staff \relative c' {
-    c2 d4 e |
+  \new Staff \relative {
+    c'2 d4 e |
     c4 e e,2 |
     g'4 a g a |
     c1 |
@@ -537,8 +537,8 @@ gli oggetti @code{\markup}.
 @lilypond[verbatim,quote]
 moltoF = \markup { molto \dynamic f }
 
-\relative c' {
-  <d e>16_\moltoF <d e>
+\relative {
+  <d' e>16_\moltoF <d e>
   <d e>2..
 }
 @end lilypond
@@ -560,8 +560,8 @@ roundF = \markup {
     \center-align \concat { \bold { \italic ( }
            \dynamic f \bold { \italic ) } } }
 boxF = \markup { \bracket { \dynamic f } }
-\relative c' {
-  c1_\roundF
+\relative {
+  c'1_\roundF
   c1_\boxF
 }
 @end lilypond
@@ -574,8 +574,8 @@ funzione @code{make-dynamic-script}.
 
 @lilypond[verbatim,quote]
 sfzp = #(make-dynamic-script "sfzp")
-\relative c' {
-  c4 c c\sfzp c
+\relative {
+  c'4 c c\sfzp c
 }
 @end lilypond
 
@@ -600,8 +600,8 @@ mfEspress = \markup { \center-align \line {
 roundFdynamic = #(make-dynamic-script roundF)
 boxFdynamic = #(make-dynamic-script boxF)
 mfEspressDynamic = #(make-dynamic-script mfEspress)
-\relative c' {
-  c4_\roundFdynamic\< d e f
+\relative {
+  c'4_\roundFdynamic\< d e f
   g,1~_\boxFdynamic\>
   g1
   g'1~\mfEspressDynamic
@@ -616,8 +616,8 @@ Si può  usare anche la forma Scheme della modalità markup.  La sintassi
 moltoF = #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF
 }
 @end lilypond
@@ -630,8 +630,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT
          #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF <d e>1
 }
 @end lilypond
diff --git a/Documentation/it/notation/pitches.itely b/Documentation/it/notation/pitches.itely
index ce726d7bdd..f64bed5675 100644
--- a/Documentation/it/notation/pitches.itely
+++ b/Documentation/it/notation/pitches.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers: Luca Rossetto Casel
@@ -166,10 +166,10 @@ più  conveniente?
 Identificare il Do centrale con @code{c'} è molto semplice, quindi trovare
 le ottave del @code{c} (Do) sarà altrettanto semplice.  Se la musica inizia
 con @code{gis} sopra @code{c'''}, si scriverà qualcosa simile a
-@code{\relative c''' @{ gis' @dots{} @}}
+@code{\relative @{ gis''' @dots{} @}}
 
 @item un'ottava della prima nota
-Scrivere @code{\relative gis''' @{ gis @dots{} @}} è un modo semplice per
+Scrivere @code{\relative @{ gis''' @dots{} @}} è un modo semplice per
 determinare l'altezza assoluta della prima nota dell'espressione musicale.
 
 @item nessuna altezza di riferimento esplicita
@@ -185,7 +185,7 @@ La documentazione di solito usa la prima opzione.
 Ecco il modo relativo in azione:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   \clef bass
   c d e f
   g a b c
@@ -197,8 +197,8 @@ I segni di cambiamento d'ottava si impiegano per gli intervalli più ampi
 di quello di quarta:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c g c f,
+\relative {
+  c'' g c f,
   c' a, e'' c
 }
 @end lilypond
@@ -207,7 +207,7 @@ Una sequenza di note senza segni di ottava può tuttavia
 comprendere intervalli di grande estensione:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   c f b e
   a d g c
 }
@@ -217,10 +217,10 @@ Nel caso di blocchi @code{\relative} annidati, si
 considera il blocco @code{\relative} più interno.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c d e f
-  \relative c'' {
-    c d e f
+\relative {
+  c' d e f
+  \relative {
+    c'' d e f
   }
 }
 @end lilypond
@@ -243,12 +243,12 @@ notazione d'ottava assoluta, a meno che non sia incluso il
 blocco @code{\relative}.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d e
+\relative {
+  d' e
   \transpose f g {
     d e
-    \relative c' {
-      d e
+    \relative {
+      d' e
     }
   }
 }
@@ -265,8 +265,8 @@ quella precedente.  Esaminate con attenzione l'esempio seguente, e in
 particolare le note @code{c}.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c
+\relative {
+  c'
   <c e g>
   <c' e g'>
   <c, e, g''>
@@ -282,8 +282,8 @@ diminuita due volte, indipendentemente dal numero di semitoni contenuto
 in ogni intervallo.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 fis
+\relative {
+  c''2 fis
   c2 ges
   b2 eisis
   b2 feses
@@ -476,8 +476,8 @@ file; l'esempio seguente è scritto in notazione italiana:
 @lilypond[quote,verbatim]
 \language "italiano"
 
-\relative do' {
-  do re mi sib
+\relative {
+  do' re mi sib
 }
 @end lilypond
 
@@ -651,8 +651,8 @@ dopo il simbolo@tie{}@code{=}.  Questo esempio genererà un avviso
 @code{d''} invece di @code{d'}, come indicato dalla correzione di ottava.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d='4 d
+\relative {
+  c''2 d='4 d
   e2 f
 }
 @end lilypond
@@ -667,8 +667,8 @@ un avviso, ma la nota precedente non viene modificata.  Le note successive
 sono relative all'@code{@var{altezza_di_controllo}}.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d
+\relative {
+  c''2 d
   \octaveCheck c'
   e2 f
 }
@@ -678,8 +678,8 @@ Nelle due battute che seguono, il primo e il terzo @code{\octaveCheck}
 falliscono, mentre il secondo non fallisce.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c4 f g f
+\relative {
+  c''4 f g f
 
   c4
   \octaveCheck c'
@@ -738,9 +738,9 @@ venga trasposta automaticamente.
 
 @lilypond[verbatim,quote]
 \transpose d e {
-  \relative c' {
+  \relative {
     \key d \major
-    d4 fis a d
+    d'4 fis a d
   }
 }
 @end lilypond
@@ -755,9 +755,9 @@ sarà ottenuta con:
 
 @lilypond[verbatim,quote]
 \transpose a c' {
-  \relative c' {
+  \relative {
     \key c \major
-    c4 d e g
+    c'4 d e g
   }
 }
 @end lilypond
@@ -774,7 +774,7 @@ le note rimarranno sullo stesso grado della scala, mentre la seconda
 versione mostrerà i bemolle sul grado superiore della scala.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \transpose c cis { \music }
   \transpose c des { \music }
@@ -869,7 +869,7 @@ ci sia una corrispondenza tra @code{@var{altezza-di-riferimento}} e
 @code{@var{altezza-di-arrivo}}.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \music
   \inversion d' d' \music
@@ -902,7 +902,7 @@ Un'espressione musicale può essere invertita in modo da produrre il proprio
 retrogrado:
 
 @lilypond[verbatim,quote]
-music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
+music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
 
 \new Staff {
   \music
@@ -959,8 +959,8 @@ numero di gradi della scala dati dall'intervallo tra @var{altezza-di-arrivo}
 e @var{altezza-di-partenza}:
 
 @lilypond[verbatim,quote]
-diatonicScale = \relative c' { c d e f g a b }
-motif = \relative c' { c8 d e f g a b c }
+diatonicScale = \relative { c' d e f g a b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -973,8 +973,8 @@ motif = \relative c' { c8 d e f g a b c }
 intervallo:
 
 @lilypond[verbatim,quote]
-pentatonicScale = \relative c' { ges aes bes des ees }
-motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
+pentatonicScale = \relative { ges aes bes des ees }
+motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
 
 \new Staff {
   \motif
@@ -987,8 +987,8 @@ effetto simile a @code{\transpose}, con in più la possibilità
 di specificare i nomi delle note da usare:
 
 @lilypond[verbatim,quote]
-chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
-motif = \relative c' { c8 d e f g a b c }
+chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -1022,8 +1022,8 @@ Dunque, per invertire intorno a una particolare nota della scala, è necessario
 usare il medesimo valore per @var{altezza-cardine} e @var{altezza-di-arrivo}:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1036,8 +1036,8 @@ intorno a una della note e poi si traspone di un grado della scala.  Le due
 note specificate possono essere interpretate come parentesi del punto cardine:
 
 @lilypond[verbatim,quote]
-scale = \relative c' { c g' }
-motive = \relative c' { c c g' c, }
+scale = \relative { c' g' }
+motive = \relative { c' c g' c, }
 
 \new Staff {
   \motive
@@ -1049,8 +1049,8 @@ L'operazione combinata di inversione e retrogradazione produce la
 retrogradazione inversa:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1364,8 +1364,8 @@ grado della scala quando il modo inizia col Do.
 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
     (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
 
-\relative c' {
-  \key c \freygish c4 des e f
+\relative {
+  \key c \freygish c'4 des e f
   \bar "||" \key d \freygish d es fis g
 }
 @end lilypond
@@ -1623,12 +1623,12 @@ mostra tutti gli stili:
 @lilypond[verbatim,quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1638,8 +1638,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1704,12 +1704,12 @@ dell'ultimo@tie{}@code{c}:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1719,8 +1719,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1776,12 +1776,12 @@ allora è preferibile usare @code{modern} o @code{modern-cautionary}.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1791,8 +1791,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1841,12 +1841,12 @@ e del@tie{}@code{c} nella seconda misura del rigo superiore:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1856,8 +1856,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1903,12 +1903,12 @@ di @code{AccidentalSuggestion}.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1918,8 +1918,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1968,12 +1968,12 @@ voce della misura precedente:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1983,8 +1983,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2029,12 +2029,12 @@ esse sono indicate come alterazioni di precauzione.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2044,8 +2044,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2092,12 +2092,12 @@ gli annullamenti delle note finali.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2107,8 +2107,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2149,12 +2149,12 @@ mostrate come alterazioni di precauzione.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2164,8 +2164,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2208,12 +2208,12 @@ seconda occorrenza non segua direttamente la prima.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2223,8 +2223,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2265,12 +2265,12 @@ supplementari sono mostrate come alterazioni di precauzione.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2280,8 +2280,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2326,12 +2326,12 @@ voci nello stesso rigo (@code{Staff}).
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2341,8 +2341,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2383,12 +2383,12 @@ supplementari sono indicate come alterazioni di precauzione.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2398,8 +2398,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2443,12 +2443,12 @@ naturali.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2458,8 +2458,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2501,12 +2501,12 @@ le altezze ripetute immediatamente nello stesso rigo.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2516,8 +2516,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2563,12 +2563,12 @@ l'ottava corrente ma in tutte le voci.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2578,8 +2578,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2624,12 +2624,12 @@ immediatamente successive di una stessa nota.
 @lilypond[quote,staffsize=18]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2639,8 +2639,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2685,12 +2685,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2700,8 +2700,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2744,12 +2744,12 @@ materiale musicale precedente.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2759,8 +2759,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2888,8 +2888,8 @@ di chiave.
   }
 }
 
-\relative c'' {
-  aes c e2
+\relative {
+  aes' c e2
   cis,1
 }
 @end lilypond
diff --git a/Documentation/it/notation/repeats.itely b/Documentation/it/notation/repeats.itely
index d74780cad8..c36669703e 100644
--- a/Documentation/it/notation/repeats.itely
+++ b/Documentation/it/notation/repeats.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers: Luca Rossetto Casel
@@ -504,8 +504,8 @@ nella lista Scheme,
 
 @lilypond[verbatim,quote]
 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
-\relative c'' {
-  c1
+\relative {
+  c''1
   \set Score.repeatCommands =
     #(list(list 'volta voltaAdLib) 'start-repeat)
   c4 b d e
diff --git a/Documentation/it/notation/rhythms.itely b/Documentation/it/notation/rhythms.itely
index e3cea927ac..8af419ab2b 100644
--- a/Documentation/it/notation/rhythms.itely
+++ b/Documentation/it/notation/rhythms.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers: Luca Rossetto Casel
@@ -450,8 +450,8 @@ una particolare durata.  Le legature si dovrebbero usare anche per
 unire note dalle durate superiori all'unità di suddivisione della misura:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  r8 c~ 2 r4 |
+\relative {
+  r8 c'~ 2 r4 |
   r8^"non" c2~ 8 r4
 }
 @end lilypond
@@ -1635,10 +1635,10 @@ che si debbano inserire a mano le travature, perché la scalatura delle
 durate influenzerà le regole della disposizione automatica delle travature.
 
 @lilypond[quote,verbatim]
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -1681,10 +1681,10 @@ Si può dare a ogni rigo la sua indicazione di tempo indipendente spostando
 
 % Ora ogni rigo ha la sua indicazione di tempo.
 
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -2155,8 +2155,8 @@ contiene.
   \set Staff.beatStructure = #'(2 3 2)
   <<
     \new Voice = one {
-      \relative c'' {
-        a8 a a a a a a
+      \relative {
+        a'8 a a a a a a
       }
     }
     \new Voice = two {
@@ -3595,8 +3595,8 @@ prendono come argomento una sezione di musica salvata in una variabile e generan
 una pausa multipla o @code{\skip} della lunghezza esatta del brano.
 
 @lilypond[verbatim,quote]
-MyCadenza = \relative c' {
-  c4 d8 e f g g4
+MyCadenza = \relative {
+  c'4 d8 e f g g4
   f2 g4 g
 }
 
diff --git a/Documentation/it/notation/simultaneous.itely b/Documentation/it/notation/simultaneous.itely
index 5f7f3d9150..cd1fd6d465 100644
--- a/Documentation/it/notation/simultaneous.itely
+++ b/Documentation/it/notation/simultaneous.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers: Luca Rossetto Casel
@@ -226,8 +226,8 @@ specificata con un'ottava diversa.
 \new Voice
 \relative c'' {
   \chordRepeats #'(articulation-event)
-  \relative c''
-  { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+  \relative
+  { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
   q2 c |
 }
 @end lilypond
@@ -788,10 +788,10 @@ nel file di input non deve essere lo stesso dell'ordine verticale delle
 voci del rigo!}
 
 @lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
   %% inserimento abbreviato
   <<
-    { f2  }  % 1: più alta
+    { f''2  }  % 1: più alta
     \\
     { g,2 }  % 2: più bassa
     \\
@@ -908,17 +908,17 @@ gambi sono regolate di conseguenza.  Si usano le stesse variabili
 per le parti indipendenti e il rigo combinato.
 
 @lilypond[quote,verbatim]
-instrumentOne = \relative c' {
-  c4 d e f |
+instrumentOne = \relative {
+  c'4 d e f |
   R1 |
   d'4 c b a |
   b4 g2 f4 |
   e1 |
 }
 
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
   R1 |
-  g4 a b c |
+  g'4 a b c |
   d4 c b a |
   g4 f( e) d |
   e1 |
@@ -1019,8 +1019,8 @@ instrumentOne = \relative c' {
   \partcombineApart c2^"separato" \partcombineChordsOnce e^"accordo una volta sola" |
   c2 c |
 }
-instrumentTwo = \relative c' {
-  c2 c |
+instrumentTwo = \relative {
+  c'2 c |
   e2 e |
   a,2 c |
   c2 c' |
diff --git a/Documentation/it/notation/staff.itely b/Documentation/it/notation/staff.itely
index fc031a1d30..5cd0ad36a2 100644
--- a/Documentation/it/notation/staff.itely
+++ b/Documentation/it/notation/staff.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers:
@@ -358,15 +358,15 @@ in @code{\paper}.
   \score {
     \new StaffGroup <<
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
       }
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
@@ -590,8 +590,8 @@ I righi @notation{ossia} si possono creare aggiungendo un nuovo rigo
 simultaneo nel punto giusto:
 
 @lilypond[verbatim,quote]
-\new Staff \relative c'' {
-  c4 b d c
+\new Staff \relative {
+  c''4 b d c
   <<
     { c4 b d c }
     \new Staff { e4 d f e }
@@ -613,8 +613,8 @@ il rigo ossia.  Questo metodo conviene quando sono necessari solo pochi
 righi ossia.
 
 @lilypond[verbatim,quote]
-\new Staff = "main" \relative c'' {
-  c4 b d c
+\new Staff = "main" \relative {
+  c''4 b d c
   <<
     { c4 b d c }
 
@@ -646,8 +646,8 @@ esempio.
   }
   { \stopStaff s1*6 }
 
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     <<
       { e4 f e2 }
       \context Staff = "ossia" {
@@ -679,12 +679,12 @@ su @code{\Staff \RemoveEmptyStaves} si trovano in @ref{Hiding staves}.
     \remove "Time_signature_engraver"
     \hide Clef
     \magnifyStaff #2/3
-  } \relative c'' {
+  } \relative {
     R1*3
-    c4 e8 d c2
+    c''4 e8 d c2
   }
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     e4 f e2
     g4 a g2 \break
     c4 b c2
@@ -752,7 +752,7 @@ si può usare @code{\stopStaff}.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c''' { a8 f e16 d c b a2 }
+\relative { a''8 f e16 d c b a2 }
 @end lilypond
 
 
@@ -773,9 +773,9 @@ elementi.}
   }
 }
 
-\relative c' <<
+\relative <<
   \new Staff {
-    e4 f g a \break
+    e'4 f g a \break
     b1 \break
     a4 b c2
   }
@@ -1085,12 +1085,12 @@ definito da @code{\addQuote}, e un'espressione musicale per la durata
 della citazione.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { s1 }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1108,12 +1108,12 @@ di pause spaziatrici o multiple, la citazione apparirà in forma polifonica
 e potrebbe causare risultati indesiderati.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1137,8 +1137,8 @@ clarinetNotes = \relative c'' {
   b4 ais a ais | cis4^"quoted" r8 bis\p b4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"clarinet" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"clarinet" { s1 }
 }
 
 \addQuote "clarinet" { \clarinetNotes }
@@ -1167,13 +1167,13 @@ presenti nel frammento citato.  È possibile scegliere quali di questi oggetti
 far apparire usando la proprietà di contesto @code{quotedEventTypes}.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a2 g2 |
+fluteNotes = \relative {
+  a'2 g2 |
   b4\<^"quoted" r8 ais a4\f( c->)
  }
 
-oboeNotes = \relative c'' {
-  c2. b4 |
+oboeNotes = \relative {
+  c''2. b4 |
   \quoteDuring #"flute" { s1 }
 }
 
@@ -1311,8 +1311,8 @@ corrisponde alla prima e alla seconda voce rispettivamente, determinando
 come le notine appaiono in relazione all'altra voce.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 | d8 c d e fis2 | g2 d |
+fluteNotes = \relative {
+  r2. c''4 | d8 c d e fis2 | g2 d |
 }
 
 oboeNotes = \relative c'' {
@@ -1345,8 +1345,8 @@ esplicitamente, altrimenti l'intera espressione musicale appartiene al
 contesto @code{CueVoice}.}
 
 @lilypond[verbatim,quote]
-oboeNotes = \relative c'' {
-  r2 r8 d16(\f f e g f a)
+oboeNotes = \relative {
+  r2 r8 d''16(\f f e g f a)
   g8 g16 g g2.
 }
 \addQuote "oboe" { \oboeNotes }
@@ -1369,8 +1369,8 @@ il ripristino della chiave originale dovrà essere fatto manualmente al termine
 delle citazioni.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1396,8 +1396,8 @@ per le citazioni in corpo più piccolo ma mostrerà automaticamente la chiave or
 citazioni sono finite.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1430,10 +1430,10 @@ per rappresentare il Do centrale in intonazione reale.  È utile nel caso di cit
 da uno strumento che ha un registro completamente diverso.
 
 @lilypond[verbatim,quote]
-piccoloNotes = \relative c''' {
+piccoloNotes = \relative {
   \clef "treble^8"
   R1
-  c8 c c e g2
+  c'''8 c c e g2
   c4 g g2
 }
 
@@ -1471,8 +1471,8 @@ possono essere contrassegnate per includerle in modo selettivo nella
 partitura; si veda @ref{Using tags}.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
diff --git a/Documentation/it/notation/text.itely b/Documentation/it/notation/text.itely
index ba65cd4683..09f31a259c 100644
--- a/Documentation/it/notation/text.itely
+++ b/Documentation/it/notation/text.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers:
@@ -1250,7 +1250,7 @@ come è illustrato qui:
 @lilypond[quote,verbatim,relative=1]
 c4 d^\markup {
   \score {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
     \layout { }
   }
 }
diff --git a/Documentation/it/notation/vocal.itely b/Documentation/it/notation/vocal.itely
index e1537f6551..711292570c 100644
--- a/Documentation/it/notation/vocal.itely
+++ b/Documentation/it/notation/vocal.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Federico Bruni
 @c Translation checkers:
@@ -171,7 +171,7 @@ nel file di input, purché sia salvato nella codifica UTF-8.
 Ulteriori informazioni in @ref{Special characters}.
 
 @lilypond[quote,verbatim]
-\relative c'' { d8 c16 a bes8 f e' d c4 }
+\relative { d''8 c16 a bes8 f e' d c4 }
 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
 @end lilypond
 
@@ -180,7 +180,7 @@ devono essere precedute da un carattere di barra inversa e l'intera
 sillaba deve essere racchiusa tra altre virgolette.  Per esempio,
 
 @lilypond[quote,verbatim]
-\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\relative { \time 3/4 e'4 e4. e8 d4 e d c2. }
 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
 @end lilypond
 
@@ -305,9 +305,9 @@ e inserite con @code{\lyricmode}.
 
 @lilypond[quote,ragged-right,verbatim]
 <<
-  \new Voice = "one" \relative c'' {
+  \new Voice = "one" \relative {
     \time 2/4
-    c4 b8. a16 g4. f8 e4 d c2
+    c''4 b8. a16 g4. f8 e4 d c2
   }
 
 % usa la durata esplicita precedente di 2;
@@ -447,7 +447,7 @@ Ecco un esempio,
 @lilypond[verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
 }
 @end lilypond
@@ -459,7 +459,7 @@ Si possono aggiungere più strofe aggiungendo più sezioni
 @lilypond[ragged-right,verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
   \addlyrics { speel het spel }
   \addlyrics { joue le jeu }
@@ -551,8 +551,8 @@ Ecco due esempi:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      c2 c2
+    \relative {
+      c''2 c2
       d1
     }
   }
@@ -562,8 +562,8 @@ Ecco due esempi:
     }
   }
   \new Staff {
-    \relative c' {
-      c8 c c c c c c c
+    \relative {
+      c'8 c c c c c c c
       c8 c c c c c c c
     }
   }
@@ -902,8 +902,8 @@ Si possono creare delle variabili contenenti il testo vocale, ma questo
 deve essere inserito in modalità testo vocale:
 
 @lilypond[quote,verbatim]
-musicOne = \relative c'' {
-  c4 b8. a16 g4. f8 e4 d c2
+musicOne = \relative {
+  c''4 b8. a16 g4. f8 e4 d c2
 }
 verseOne = \lyricmode {
   Joy to the world, the Lord is come.
@@ -931,8 +931,8 @@ garantisce che le voci richiamate da @code{\lyricsto} siano sempre
 state definite prima.  Per esempio:
 
 @lilypond[quote,verbatim]
-sopranoMusic = \relative c'' { c4 c c c }
-contraltoMusic = \relative c'' { a4 a a a }
+sopranoMusic = \relative { c''4 c c c }
+contraltoMusic = \relative { a'4 a a a }
 sopranoWords = \lyricmode { Sop -- ra -- no words }
 contraltoWords = \lyricmode { Con -- tral -- to words }
 
@@ -990,7 +990,7 @@ contesto @code{Lyrics} sotto il contesto @code{Staff};
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics {
@@ -1011,7 +1011,7 @@ indicare in modo esplicito la posizione del testo:
   <<
     \new Staff = "staff" {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics \with { alignAboveContext = "staff" } {
@@ -1037,7 +1037,7 @@ voce a cui si riferisce tramite @code{\context}.  Ecco un esempio:
     }
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \context Lyrics = "lyrics" {
@@ -1058,7 +1058,7 @@ metodo:
   \new ChoirStaff <<
     \new Staff {
       \new Voice = "sopranos" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics = "sopranos"
@@ -1068,7 +1068,7 @@ metodo:
     }
     \new Staff {
       \new Voice = "contraltos" {
-        \relative c'' { a4 a a a }
+        \relative { a'4 a a a }
       }
     }
     \context Lyrics = "sopranos" {
@@ -1130,8 +1130,8 @@ proprietà nel blocco @code{\layout}.
 
 @lilypond[verbatim,quote,ragged-right]
 \score {
-  \relative c' {
-  c c c c
+  \relative {
+  c' c c c
   c c c c
   }
   \addlyrics {
@@ -1196,8 +1196,8 @@ parole non sono modificate.
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1221,8 +1221,8 @@ sono ripetute.
     <<
       \new Staff {
         \new Voice = "melody" {
-          \relative c'' {
-            a4 a a a
+          \relative {
+            a'4 a a a
             \repeat volta 2 { b4 b b b }
           }
         }
@@ -1246,8 +1246,8 @@ Se la sezione ripetuta deve essere ripetuta di nuovo con parole diverse,
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat unfold 2 { b4 b b b }
         }
       }
@@ -1272,8 +1272,8 @@ le parole di ogni ripetizione devono essere inserite in contesti
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1299,8 +1299,8 @@ Si possono aggiungere più strofe in modo analogo:
   <<
     \new Staff {
       \new Voice = "singleVoice" {
-  \relative c'' {
-    a4 a a a
+  \relative {
+    a'4 a a a
     \repeat volta 3 { b4 b b b }
     c4 c c c
   }
@@ -1339,8 +1339,8 @@ Per posizionarli correttamente usare @code{alignBelowContext}:
   <<
     \new Staff {
       \new Voice = "melody" {
-  \relative c'' {
-    a4 a a a
+  \relative {
+    a'4 a a a
     \repeat volta 3 { b4 b b b }
     c4 c c c
   }
@@ -1364,8 +1364,8 @@ Per posizionarli correttamente usare @code{alignBelowContext}:
       La sezione fi -- nale.
     }
     \new Voice = "harmony" {
-      \relative c' {
-  f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
+      \relative {
+  f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
       }
     }
   >>
@@ -1392,8 +1392,8 @@ la musica.
     \new Staff {
       \time 2/4
       \new Voice = "melody" {
-  \relative c'' {
-    a4 a a a
+  \relative {
+    a'4 a a a
     \repeat volta 2 { b4 b }
     \alternative { { b b } { b c } }
   }
@@ -1934,8 +1934,8 @@ con @code{\grace}) non sono assegnati alle sillabe quando si usa
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \new Voice = melody \relative c' {
-    f4 \appoggiatura a32 b4
+  \new Voice = melody \relative {
+    f'4 \appoggiatura a32 b4
     \grace { f16 a16 } b2
     \afterGrace b2 { f16[ a16] }
     \appoggiatura a32 b4
@@ -2060,8 +2060,8 @@ Nell'esempio seguente si possono notare due modi di forzare
 le interruzioni di linea in un blocco @code{\markup}.
 
 @lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
+melody = \relative {
+e' d c d | e e e e |
 d d e d | c1 |
 }
 
@@ -2103,8 +2103,8 @@ spesso introduce ciascuna strofa.  L'esempio seguente mostra come
 riprodurre questo output in LilyPond.
 
 @lilypond[ragged-right,quote,verbatim]
-melody = \relative c' {
-  c4 c c c | d d d d
+melody = \relative {
+  c'4 c c c | d d d d
 }
 
 text = \lyricmode {
@@ -2402,12 +2402,12 @@ partitura sopra i loro rispettivi righi, come mostrato in questo esempio:
   \new ChoirStaff <<
     \new Staff {
       \new Voice {
-  \relative c'' { g4\f g g g }
+  \relative { g'4\f g g g }
       }
     }
     \new Staff {
       \new Voice {
-  \relative c' { d4 d d\p d }
+  \relative { d'4 d d\p d }
       }
     }
   >>
@@ -2586,9 +2586,9 @@ il rigo è dedicato a quel personaggio soltanto:
     \new Staff {
       \set Staff.vocalName = \markup \smallCaps Kaspar
       \set Staff.shortVocalName = \markup \smallCaps Kas.
-      \relative c' {
+      \relative {
   \clef "G_8"
-  c4 c c c
+  c'4 c c c
   \break
   c4 c c c
       }
@@ -2597,7 +2597,7 @@ il rigo è dedicato a quel personaggio soltanto:
       \set Staff.vocalName = \markup \smallCaps Melchior
       \set Staff.shortVocalName = \markup \smallCaps Mel
       \clef "bass"
-      \relative c' {
+      \relative {
   a4 a a a
   a4 a a a
       }
@@ -2684,13 +2684,13 @@ attentamente proprio prima dell'inizio delle citazioni in corpo più piccolo
 (@qq{cue notes}).   L'esempio seguente mostra come si fa.
 
 @lilypond[quote,verbatim]
-flute = \relative c'' {
-  s4 s4 e g
+flute = \relative {
+  s4 s4 e'' g
 }
 \addQuote "flute" { \flute }
 
-pianoRH = \relative c'' {
-  c4. g8
+pianoRH = \relative {
+  c''4. g8
   % posiziona il nome dello strumento citato proprio prima delle citazioni in corpo piccolo,
   % e sopra il rigo
   \new CueVoice {
@@ -2699,7 +2699,7 @@ pianoRH = \relative c'' {
   }
   \cueDuring "flute" #UP { g4 bes4 }
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   \new PianoStaff <<
@@ -2744,7 +2744,7 @@ pianoRH = \relative c'' {
   \cueDuring "clarinet" #DOWN { c4. g8 }
   g4 bes4
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   <<
@@ -2960,15 +2960,15 @@ si disattiva l'incisore delle stanghette:
 \score {
   \new StaffGroup <<
     \new Staff {
-      \relative c'' {
-  a4 b c2 |
+      \relative {
+  a'4 b c2 |
   a4 b c2 |
   a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-  a4 b c2 |
+      \relative {
+  a'4 b c2 |
   a4 b c2 |
   a4 b c2 |
       }
@@ -2990,15 +2990,15 @@ Le stanghette possono anche essere tolte solo in certi righi:
   \new ChoirStaff <<
     \new Staff
     \with { \remove "Bar_engraver" } {
-      \relative c'' {
-  a4 b c2 |
+      \relative {
+  a'4 b c2 |
   a4 b c2 |
   a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-  a4 b c2 |
+      \relative {
+  a'4 b c2 |
   a4 b c2 |
   a4 b c2 |
       }
@@ -3069,8 +3069,8 @@ finalis = {
 }
 
 \score {
-  \relative c'' {
-    g2 a4 g
+  \relative {
+    g'2 a4 g
     \divisioMinima
     g2 a4 g
     \divisioMaior
@@ -3094,8 +3094,8 @@ anche la chiave.
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      a4 b c2 |
+    \relative {
+      a'4 b c2 |
       a4 b c2 |
       a4 b c2 |
     }
@@ -3121,22 +3121,22 @@ che viene chiamato la @qq{nota recitativa}.  I canti sono centrati
 sulla pagina.
 
 @lilypond[verbatim,quote]
-SopranoMusic = \relative g' {
-  g1 | c2 b | a1 | \bar "||"
+SopranoMusic = \relative {
+  g'1 | c2 b | a1 | \bar "||"
   a1 | d2 c | c b | c1 | \bar "||"
 }
 
-AltoMusic = \relative c' {
-  e1 | g2 g | f1 |
+AltoMusic = \relative {
+  e'1 | g2 g | f1 |
   f1 | f2 e | d d | e1 |
 }
 
-TenorMusic = \relative a {
-  c1 | c2 c | c1 |
+TenorMusic = \relative {
+  c'1 | c2 c | c1 |
   d1 | g,2 g | g g | g1 |
 }
 
-BassMusic = \relative c {
+BassMusic = \relative {
   c1 | e2 e | f1 |
   d1 | b2 c | g' g | c,1 |
 }
diff --git a/Documentation/it/usage/external.itely b/Documentation/it/usage/external.itely
index bb33c13726..329197e6e2 100644
--- a/Documentation/it/usage/external.itely
+++ b/Documentation/it/usage/external.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Programmi esterni
 @chapter Programmi esterni
@@ -260,8 +260,8 @@ Codice interno al file @file{.ly}:
 
 @example
 \pointAndClickTypes #'note-event
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -269,8 +269,8 @@ oppure
 
 @example
 #(ly:set-option 'point-and-click 'note-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -291,8 +291,8 @@ Codice interno al file @file{.ly}:
 
 @example
 \pointAndClickTypes #'(note-event dynamic-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -300,8 +300,8 @@ oppure
 
 @example
 #(ly:set-option 'point-and-click '(note-event dynamic-event))
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
diff --git a/Documentation/it/usage/lilypond-book.itely b/Documentation/it/usage/lilypond-book.itely
index a37d6b139b..2495491651 100644
--- a/Documentation/it/usage/lilypond-book.itely
+++ b/Documentation/it/usage/lilypond-book.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Note: keep this node named so that `info lilypond-book' brings you here.
 @node lilypond-book
@@ -86,8 +86,8 @@ I documenti per \verb+lilypond-book+ possono combinare liberamente musica e test
 Ad esempio,
 
 \begin{lilypond}
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 \end{lilypond}
 
@@ -146,8 +146,8 @@ I documenti per \verb+lilypond-book+ possono combinare liberamente musica e test
 Ad esempio,
 
 @lilypond
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 @end lilypond
 
@@ -171,8 +171,8 @@ frammento deve essere compreso in un costrutto @code{\book @{ @}}.
     title = "Una scala in LilyPond"
   }
 
-  \relative c' {
-    c d e f g a b c
+  \relative {
+    c' d e f g a b c
   }
 }
 @end lilypond
@@ -781,8 +781,8 @@ esempio, la musica viene interpretata in modalità relativa ma il blocco
 testuale non mostrerà il blocco @code{relative}, ovvero
 
 @example
-\relative c' @{ % begin verbatim
-  c4 e2 g4
+\relative @{ % begin verbatim
+  c'4 e2 g4
   f2 e % end verbatim
 @}
 @end example
@@ -1168,8 +1168,8 @@ Si possono includere frammenti LilyPond in un documento LaTeX.
 Normale testo LaTeX.
 
 \begin@{lilypond@}
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 \end@{lilypond@}
 
@@ -1194,7 +1194,7 @@ manuale è scritto in Texinfo.
 Testo Texinfo
 
 @@lilypond
-\relative c' @{
+\relative @{
   a4 b c d
 @}
 @@end lilypond
@@ -1221,8 +1221,8 @@ d4 c b a
 I documenti per lilypond-book possono combinare liberamente musica e testo.  Ad
 esempio,
 <lilypond>
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 </lilypond>
 </p>
diff --git a/Documentation/it/usage/suggestions.itely b/Documentation/it/usage/suggestions.itely
index a8b66c1a79..892016b650 100644
--- a/Documentation/it/usage/suggestions.itely
+++ b/Documentation/it/usage/suggestions.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Consigli su come scrivere i file
 @chapter Consigli su come scrivere i file
@@ -164,8 +164,8 @@ struttura nella definizione.  La struttura della sezione
 in una nuova versione di LilyPond.
 
 @example
-violin = \relative c'' @{
-g4 c'8. e16
+violin = \relative @{
+g'4 c'8. e16
 @}
 @dots{}
 \score @{
@@ -186,8 +186,8 @@ niente in @code{violin}.
 @example
 fthenp = _\markup@{
   \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
-violin = \relative c'' @{
-g4\fthenp c'8. e16
+violin = \relative @{
+g'4\fthenp c'8. e16
 @}
 @end example
 
@@ -234,9 +234,9 @@ allora commenta tutta la musica del basso (ma lascia
 @code{\bass} in @code{\score} non commentato).
 
 @example
-bass = \relative c' @{
+bass = \relative @{
 %@{
-  c4 c c c
+  c'4 c c c
   d d d d
 %@}
 @}
diff --git a/Documentation/ja/learning/common-notation.itely b/Documentation/ja/learning/common-notation.itely
index 6e58b30222..fc4a3673e6 100644
--- a/Documentation/ja/learning/common-notation.itely
+++ b/Documentation/ja/learning/common-notation.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
@@ -694,9 +694,9 @@ a4
 保持しています) が同時進行するように組み合わされています:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -723,8 +723,8 @@ LilPond は最初の音楽表記の始まりを調べます。@c
 以下の例は複雑な表記を持ちますが、単一の表記で始まっているため譜表も 1 つです。
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e2 f } { c2 <<b d>> } >> |
 }
 @end lilypond
@@ -761,9 +761,9 @@ LilyPond 入力ファイルは音楽表記によって構築されています
 これらの @code{Staff} 要素は @code{<<} と @code{>>} で並列に組み合わされます:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -792,9 +792,9 @@ LilyPond 入力ファイルは音楽表記によって構築されています
 複合リズム (polyrhythmic) の楽譜よりも一般的だからです。
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -836,9 +836,9 @@ LilyPond 入力ファイルは音楽表記によって構築されています
 小さな例を挙げます:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef "bass" c,,4 c' | e c | }
   >>
 }
@@ -1011,10 +1011,10 @@ LilyPond での多声音楽はまだ説明していないコンセプトを用
 歌詞は @notation{Girls and boys come out to play} です:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -1024,10 +1024,10 @@ LilyPond での多声音楽はまだ説明していないコンセプトを用
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Girls and boys come | out to play,
@@ -1059,10 +1059,10 @@ LilyPond での多声音楽はまだ説明していないコンセプトを用
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1096,10 +1096,10 @@ song.ly:12:46: warning: barcheck failed at: 3/8
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1118,10 +1118,10 @@ song.ly:12:46: warning: barcheck failed at: 3/8
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1137,10 +1137,10 @@ song.ly:12:46: warning: barcheck failed at: 3/8
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1160,10 +1160,10 @@ song.ly:12:46: warning: barcheck failed at: 3/8
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes | bes2( a) b2 |
+    g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1211,11 +1211,11 @@ song.ly:12:46: warning: barcheck failed at: 3/8
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef "bass"
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- | to -- tum del -- la cit -- | tÃ
@@ -1323,13 +1323,13 @@ namedMusic = @{ @dots{} @}
 
 @lilypond[verbatim,quote]
 violin = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 
 cello = \new Staff {
-  \relative c {
+  \relative {
     \clef "bass"
     e2 d
   }
@@ -1484,10 +1484,10 @@ aFivePaper = \paper @{ paperheight = 21.0 \cm @}
 @code{\relative} を使うことで、上の例はずっと読みやすく、入力しやすくなります:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8 |
+  cis''8. d16 cis8 e4 e8 |
   b8. cis16 b8 d4 d8 |
 }
 @end lilypond
diff --git a/Documentation/ja/learning/fundamental.itely b/Documentation/ja/learning/fundamental.itely
index 975505a86f..9f643df1b0 100644
--- a/Documentation/ja/learning/fundamental.itely
+++ b/Documentation/ja/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -90,8 +90,8 @@ LilyPond が自動的に追加のコマンドを付け加えるからです。@c
 LilyPond は以下のような入力:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -103,8 +103,8 @@ LilyPond は以下のような入力:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -240,8 +240,8 @@ LilyPond は暗黙的に入力コードを @code{\book} ブロックで包み込
 すべてのテンプレートがこれを使っています:
 
 @example
-melody = \relative c' @{
-  c4 a b c
+melody = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -393,8 +393,8 @@ LilyPond 入力ファイルの一般的な構造について見てきました
 @code{\new Voice = "vocal"} の後の波括弧の中に、以下を書き加えることができます:
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -414,10 +414,10 @@ LilyPond 入力ファイルの一般的な構造について見てきました
 これで、実際の楽譜の一部ができます:
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e }
 
 \score {
   <<
@@ -465,8 +465,8 @@ lower  = \relative c { b2 e }
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -491,8 +491,8 @@ lower  = \relative c { b2 e }
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -739,9 +739,9 @@ LilyPond の楽譜の中で最も低レベルで、最も基礎的であり、
 向きは適切にセットされます。
 
 @lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                 Voice "3"
   << { g4 f e } \\ { r8 e4 d c8 ~ } >> |
   << { d2 e2 }  \\ { c8 b16 a b8 g ~ 2 } \\ { s4 b4 c2 } >> |
@@ -764,9 +764,9 @@ LilyPond の楽譜の中で最も低レベルで、最も基礎的であり、
 またがって分かれるかもしれないということに注意してください。
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<  % Bar 1
     {
       \voiceOneStyle
@@ -853,10 +853,10 @@ LilyPond の楽譜の中で最も低レベルで、最も基礎的であり、
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     {
       % Ignore these for now - they are explained in Ch 4
@@ -933,10 +933,10 @@ A フラットは付点 4 分音符であり、F は 4 分音符、D フラッ
 
 @c ignore
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >>
   <c ees aes c>1
 }
@@ -955,10 +955,10 @@ A フラットは付点 4 分音符であり、F は 4 分音符、D フラッ
 ボイス 3 を省略するには、@code{\\} を 2 つ記述します:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   << % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\ % Voice two
     { <ees, c>2 des }
   \\ % Omit Voice three
@@ -1018,8 +1018,8 @@ LilyPond は音符の水平方向の位置を調節するための手段をい
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -1029,8 +1029,8 @@ LilyPond は音符の水平方向の位置を調節するための手段をい
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -1039,8 +1039,8 @@ LilyPond は音符の水平方向の位置を調節するための手段をい
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1059,9 +1059,9 @@ LilyPond は音符の水平方向の位置を調節するための手段をい
 マークアップ、タイ、スラー、強弱記号に与える影響を見ていきましょう:
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1127,8 +1127,8 @@ LilyPond は音符の水平方向の位置を調節するための手段をい
 @cindex voices, nesting (ボイスをネストさせる)
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e) | }
     \new Voice {
@@ -1300,14 +1300,14 @@ LilyPond がデフォルトで使用する自動連桁は楽器だけの音楽
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1363,10 +1363,10 @@ SopTwoLyrics = \lyricmode {
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1552,8 +1552,8 @@ score ブロックは単一の音楽表記とそれに関連する出力定義
       \clef "treble"
       \key g \minor
       \new Voice {  % 右手の音符用のボイスを作成します
-        \relative c'' {  % 右手の音符の開始点
-          d4 ees16 c8. |
+        \relative {  % 右手の音符の開始点
+          d''4 ees16 c8. |
           d4 ees16 c8. |
         }  % 右手の音符の終了点
       }  % 右手のボイスの終了点
@@ -1563,14 +1563,14 @@ score ブロックは単一の音楽表記とそれに関連する出力定義
       \key g \minor
       \new Voice {  % 左手のボイス 1 を作成します
         \voiceOne
-        \relative g {  % 左手のボイス 1 の音符の開始点
+        \relative {  % 左手のボイス 1 の音符の開始点
           g8 <bes d> ees, <g c> |
           g8 <bes d> ees, <g c> |
         }  % 左手のボイス 1 の音符の終了点
       }  % 左手のボイス 1 の終了点
       \new Voice {  % 左手のボイス 2 を作成します
         \voiceTwo
-        \relative g {  % 左手のボイス 2 の音符の開始点
+        \relative {  % 左手のボイス 2 の音符の開始点
           g4 ees |
           g4 ees |
         }  % 左手のボイス 2 の音符の終了点
@@ -1847,8 +1847,8 @@ LilyPond 入力ファイルに対する特別なサポートを持つ@c
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1862,8 +1862,8 @@ LilyPond 入力ファイルに対する特別なサポートを持つ@c
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1940,13 +1940,13 @@ like this:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -1991,8 +1991,8 @@ like this:
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -2010,13 +2010,13 @@ like this:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -2081,8 +2081,8 @@ like this:
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % 符頭を小さくします
   e4 f |
   \set fontSize = #2.5  % 符頭を大きくします
@@ -2170,24 +2170,24 @@ like this:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2254,7 +2254,7 @@ like this:
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2284,7 +2284,7 @@ text = \lyricmode @{
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2325,7 +2325,7 @@ melody = \relative c' @{
 @example
 \version @w{"@version{}"}
 
-sopranoMusic = \relative c' @{
+sopranoMusic = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2336,7 +2336,7 @@ sopranoLyrics = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-celloMusic = \relative c @{
+celloMusic = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2396,7 +2396,7 @@ celloMusic = \relative c @{
 ここで、完成したソプラノとチェロ用のテンプレートを挙げます。
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2407,7 +2407,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2453,29 +2453,29 @@ Mendelssohn の Elijah や Handel の Messiah などのオーケストラ伴奏
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
 
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
 
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 
@@ -2682,26 +2682,26 @@ lower = \relative c, {
 @c KEEP LY
 @lilypond[quote,verbatim,ragged-right,addversion]
 global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -3014,19 +3014,19 @@ Voice はこれとは対照的に、あなたの音楽を連続して演奏す
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d ees8~ 16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -3081,7 +3081,7 @@ PedalOrganMusic = \relative c {
 これまでに、以下のような記述を見てきました:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 
 \score {
   {
@@ -3094,8 +3094,8 @@ hornNotes = \relative c'' { c4 b dis c }
 気付くかもしれません:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 
 violin = \new Staff {
   \fragmentA \fragmentA |
@@ -3176,8 +3176,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative {
+  c'''4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
@@ -3210,7 +3210,7 @@ padText =
 以下のホルン/@/バスーン デュオのパートを保持しているとします:
 
 @example
-hornNotes = \relative c @{
+hornNotes = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3249,7 +3249,7 @@ hornNotes = \relative c @{
 この移調により出力は以下のようになります:
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3307,7 +3307,7 @@ R2*3
 そして、以下のような楽譜になります:
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/ja/learning/tutorial.itely b/Documentation/ja/learning/tutorial.itely
index 9df0483d2f..412245209d 100644
--- a/Documentation/ja/learning/tutorial.itely
+++ b/Documentation/ja/learning/tutorial.itely
@@ -10,7 +10,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -239,8 +239,8 @@ LilyPond はいくつかの記譜要素を自動的に追加します。@c
 
 @lilypond[verbatim,quote]
 % set the starting point to middle C
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -253,8 +253,8 @@ LilyPond はいくつかの記譜要素を自動的に追加します。@c
 より大きな音程を持つ旋律を作ることができます:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -269,8 +269,8 @@ LilyPond はいくつかの記譜要素を自動的に追加します。@c
 
 @lilypond[verbatim,quote]
 % one octave above middle C
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -285,8 +285,8 @@ A, G, F である場合は B の下に置かれます。
 
 @c KEEP LY
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % c は b よりも 1 譜表スペース上なので、c は b の上になります
+\relative {
+  b' c  % c は b よりも 1 譜表スペース上なので、c は b の上になります
   b d  % d は 2 つ上または 5 つ下なので、d は上になります
   b e  % e は 3 つ上または 4 つ下なので、e は上になります
   b a  % a は 6 つ上または 1 つ下なので、a は下になります
@@ -307,8 +307,8 @@ A, G, F である場合は B の下に置かれます。
 下げることができます。
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -353,8 +353,8 @@ A, G, F である場合は B の下に置かれます。
 最初の音符のデフォルトの演奏時間は 4 分音符です。
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -365,8 +365,8 @@ A, G, F である場合は B の下に置かれます。
 付点音符の演奏時間は明記されなければなりません (つまり、数字で)。
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 a a4. a8
+\relative {
+  a'4 a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -384,8 +384,8 @@ A, G, F である場合は B の下に置かれます。
 @notation{休符}は @code{r} という名前の音符のような形で入力されます:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a r r2
+\relative {
+  a' r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -405,9 +405,9 @@ A, G, F である場合は B の下に置かれます。
 @notation{拍子記号}は @code{\time} コマンドでセットすることができます:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -463,9 +463,9 @@ A, G, F である場合は B の下に置かれます。
 @notation{音部記号}は @code{\clef} コマンドを使ってセットすることができます:
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef treble
-  c1
+  c'1
   \clef alto
   c1
   \clef tenor
@@ -773,8 +773,8 @@ LilyPond で発生する問題をトラブルシュートすることは、@c
 
 @c no verbatim here
 @lilypond[quote]
-\relative c'' {
-  c-\markup { \bold \huge { ここをクリックしてください } }
+\relative {
+  c''-\markup { \bold \huge { ここをクリックしてください } }
 }
 @end lilypond
 
diff --git a/Documentation/ja/learning/tweaks.itely b/Documentation/ja/learning/tweaks.itely
index d6a5117a92..cf353f0231 100644
--- a/Documentation/ja/learning/tweaks.itely
+++ b/Documentation/ja/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -1487,8 +1487,8 @@ RGB 値を内部カラーに変換する @code{rgb-color} 関数です。@c
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1514,8 +1514,8 @@ RGB 値を内部カラーに変換する @code{rgb-color} 関数です。@c
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1577,8 +1577,8 @@ RGB 値を内部カラーに変換する @code{rgb-color} 関数です。@c
 @c KEEP LY
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1602,8 +1602,8 @@ RGB 値を内部カラーに変換する @code{rgb-color} 関数です。@c
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1672,8 +1672,8 @@ RGB 値を内部カラーに変換する @code{rgb-color} 関数です。@c
 @c KEEP LY
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1740,8 +1740,8 @@ LilyPond では距離と長さは一般に譜スペース -- 譜の中の隣り
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1862,10 +1862,10 @@ c2^"Text4" |
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -2901,8 +2901,8 @@ d1 |
 @c KEEP LY
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
-\relative c'' {
-  c4
+\relative {
+  c''4
   % これは 1.5 倍シャープを譜刻しますが、スペースが小さすぎます
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -3152,10 +3152,10 @@ a8 \( ( a'16 ) a \)
 この例は以下のような状態でした:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 des }
     \\
@@ -3186,10 +3186,10 @@ a8 \( ( a'16 ) a \)
 @cindex force-hshift property, example (force-hshift プロパティの例)
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     {
       <ees, c>2
@@ -3231,9 +3231,9 @@ a8 \( ( a'16 ) a \)
 @c line-width ensures no break
 @c KEEP LY
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3273,8 +3273,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3316,9 +3316,9 @@ LilyPond はうまく衝突を回避できるからです。
 @c line-width ensures no break
 @c KEEP LY
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4. g8 |
+    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3342,8 +3342,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3377,9 +3377,9 @@ lhMusic = \relative c' {
 @c line-width ensures no break
 @c KEEP LY
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3403,8 +3403,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3453,9 +3453,9 @@ lhMusic = \relative c' {
 @c line-width ensures no break
 @c KEEP LY
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3481,8 +3481,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3535,9 +3535,9 @@ lhMusic = \relative c' {
 @c line-width ensures no break
 @c KEEP LY
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3567,8 +3567,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3614,9 +3614,9 @@ C はシフト off のボイス 2 の中にあり、2 つの D はボイス 1 
 @c line-width ensures no break
 @c KEEP LY
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3649,8 +3649,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3687,9 +3687,9 @@ lhMusic = \relative c' {
 @c line-width ensures no break
 @c KEEP LY
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3729,8 +3729,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -4003,10 +4003,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/ja/notation/changing-defaults.itely b/Documentation/ja/notation/changing-defaults.itely
index 5217952593..29e027aac8 100644
--- a/Documentation/ja/notation/changing-defaults.itely
+++ b/Documentation/ja/notation/changing-defaults.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.7"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -404,13 +404,13 @@ score を作成するのに用いられます:
 
     % 音楽コンテンツ
     \context Voice = "one" {
-      \relative c'' {
-        c4 c c c
+      \relative {
+        c''4 c c c
       }
     }
     \context Voice = "two" {
-      \relative c'' {
-        g8 g g4 g g
+      \relative {
+        g'8 g g4 g g
       }
     }
   >>
@@ -433,13 +433,13 @@ score を作成するのに用いられます:
 
     % 音楽コンテンツ
     \context Voice = "one" {
-      \relative c'' {
-        c4 c c c
+      \relative {
+        c''4 c c c
       }
     }
     \context Voice = "two" {
-      \relative c'' {
-        g8 g g4 g g
+      \relative {
+        g'8 g g4 g g
       }
     }
   >>
@@ -464,8 +464,8 @@ score を作成するのに用いられます:
 プロシージャを実行させるのに用いられます:
 
 @example
-\new Staff \relative c' @{
-  c1
+\new Staff \relative @{
+  c'1
   \context Timing
   \applyContext #(lambda (ctx)
                    (newline)
@@ -551,8 +551,8 @@ score を作成するのに用いられます:
 
 @c KEEP LY
 @lilypond[quote,verbatim]
-musicA = \relative c'' { d4 d d d }
-musicB = \relative c'' { g4 g g g }
+musicA = \relative { d''4 d d d }
+musicB = \relative { g'4 g g g }
 keepVoicesAlive = {
   <<
     \new Voice = "A" { s1*5 }  % Voice "A" を 5 小節の間、維持する
@@ -591,8 +591,8 @@ music = {
 
 @c KEEP LY
 @lilypond[quote,verbatim]
-melody = \relative c'' { a4 a a a }
-accompaniment = \relative c' { d4 d d d }
+melody = \relative { a'4 a a a }
+accompaniment = \relative { d'4 d d d }
 words = \lyricmode { These words fol -- low the mel -- o -- dy }
 \score {
   <<
@@ -631,14 +631,14 @@ words = \lyricmode { These words fol -- low the mel -- o -- dy }
 
 @c KEEP LY
 @lilypond[quote,verbatim]
-melody = \relative c'' {
+melody = \relative {
   s1  % 1 小節スキップします
-  a4 a a a
+  a'4 a a a
   s1  % 1 小節スキップします
   a4 a a a
 }
-accompaniment = \relative c' {
-  d4 d d d
+accompaniment = \relative {
+  d'4 d d d
   d4 d d d
   d4 d d d
   d4 d d d
@@ -868,8 +868,8 @@ Internals Reference @expansion{} Translation @expansion{} Context.
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Thicker stems" a a a
+  \relative {
+    a'4^"Thicker stems" a a a
     a4 a a\ff a
   }
   \layout {
@@ -886,8 +886,8 @@ Internals Reference @expansion{} Translation @expansion{} Context.
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Smaller font" a a a
+  \relative {
+    a'4^"Smaller font" a a a
     a4 a a\ff a
   }
   \layout {
@@ -905,8 +905,8 @@ Internals Reference @expansion{} Translation @expansion{} Context.
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Dynamics above" a a a
+  \relative {
+    a'4^"Dynamics above" a a a
     a4 a a\ff a
   }
   \layout {
@@ -933,8 +933,8 @@ StaffDefaults = \with {
 
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Smaller font" a a a
+    \relative {
+      a'4^"Smaller font" a a a
       a4 a a a
     }
   }
@@ -961,8 +961,8 @@ StaffDefaults = \with {
 @lilypond[quote,verbatim]
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Smaller font" a a a
+    \relative {
+      a'4^"Smaller font" a a a
       a4 a a a
     }
   }
@@ -1013,8 +1013,8 @@ StaffDefaults = \with {
       \override Stem.thickness = #4.0
     }
     {
-      \relative c'' {
-        a4^"Thick stems" a a a
+      \relative {
+        a'4^"Thick stems" a a a
         a4 a a a
       }
     }
@@ -1029,8 +1029,8 @@ StaffDefaults = \with {
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        a4^"Default font" a a a
+      \relative {
+        a'4^"Default font" a a a
         a4 a a a
       }
     }
@@ -1038,8 +1038,8 @@ StaffDefaults = \with {
     \with {
       fontSize = #-4
     } {
-      \relative c'' {
-        a4^"Smaller font" a a a
+      \relative {
+        a'4^"Smaller font" a a a
         a4 a a a
       }
     }
@@ -1055,8 +1055,8 @@ StaffDefaults = \with {
   <<
     \new Staff {
       \new Voice {
-        \relative c'' {
-          a4^"Dynamics below" a a a
+        \relative {
+          a'4^"Dynamics below" a a a
           a4 a a\ff a
         }
       }
@@ -1067,8 +1067,8 @@ StaffDefaults = \with {
       \new Voice
       \with { \dynamicUp }
       {
-        \relative c'' {
-          a4^"Dynamics above" a a a
+        \relative {
+          a'4^"Dynamics above" a a a
           a4 a a\ff a
         }
       }
@@ -1162,8 +1162,8 @@ StaffDefaults = \with {
   \accepts "ImproVoice"
 }}
 
-\relative c'' {
-  a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+\relative {
+  a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c
    c4 c^"undress" c_"while playing :)" c }
   a1
 }
@@ -1284,8 +1284,8 @@ squashedPosition = #0
 それから、このサブセクションの最初にあった出力を入力します:
 
 @example
-\relative c'' @{
-  a4 d8 bes8
+\relative @{
+  a'4 d8 bes8
   \new ImproVoice @{
     c4^"ad lib" c
     c4 c^"undress"
@@ -4194,8 +4194,8 @@ XinO = {
       \musicglyph #"noteheads.s2cross"
   }
 }
-\relative c'' {
-  a a \XinO a a
+\relative {
+  a' a \XinO a a
 }
 @end lilypond
 
@@ -4644,8 +4644,8 @@ padText =
      \once \override TextScript.padding = $padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b
+\relative {
+  c'''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" d e f
   \padText #2.6
@@ -4668,7 +4668,7 @@ custosNote =
      #note
    #})
 
-\relative c' { c4 d e f \custosNote g }
+\relative { c'4 d e f \custosNote g }
 @end lilypond
 
 複数の引数をとる置換関数を定義することもできます:
diff --git a/Documentation/ja/notation/chords.itely b/Documentation/ja/notation/chords.itely
index c7a7bc5a1b..e33d737e60 100644
--- a/Documentation/ja/notation/chords.itely
+++ b/Documentation/ja/notation/chords.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -1078,8 +1078,8 @@ example, the vertical spacing of the figures may be set with
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \relative c'' {
-    c4 c'8 r8 c,4 c'
+  \relative {
+    c''4 c'8 r8 c,4 c'
   }
   \new FiguredBass {
     \figuremode {
diff --git a/Documentation/ja/notation/editorial.itely b/Documentation/ja/notation/editorial.itely
index 03cc04a756..4e0d3e85cf 100644
--- a/Documentation/ja/notation/editorial.itely
+++ b/Documentation/ja/notation/editorial.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -700,8 +700,8 @@ altered:
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c2\startGroup
+\relative {
+  c''2\startGroup
   d\stopGroup
 }
 @end lilypond
@@ -715,8 +715,8 @@ Analysis brackets may be nested.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c4\startGroup\startGroup
+\relative {
+  c''4\startGroup\startGroup
   d4\stopGroup
   e4\startGroup
   d4\stopGroup\stopGroup
diff --git a/Documentation/ja/notation/expressive.itely b/Documentation/ja/notation/expressive.itely
index fd3d755797..aff95a99d5 100644
--- a/Documentation/ja/notation/expressive.itely
+++ b/Documentation/ja/notation/expressive.itely
@@ -6,7 +6,7 @@
     version that you are working on.  For details, see the Contributors'
     Guide, node Updating translation committishes..@end ignore
 
-@c \version "2.17.25"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -443,8 +443,8 @@ c4\< d\! e\> d\! |
 
 @lilypond[verbatim,quote]
 <<
-  \new Staff \relative c' {
-    c2 d4 e |
+  \new Staff \relative {
+    c'2 d4 e |
     c4 e e,2 |
     g'4 a g a |
     c1 |
@@ -533,8 +533,8 @@ c4\< d\! e\> d\! |
 @lilypond[verbatim,quote]
 moltoF = \markup { molto \dynamic f }
 
-\relative c' {
-  <d e>16_\moltoF <d e>
+\relative {
+  <d' e>16_\moltoF <d e>
   <d e>2..
 }
 @end lilypond
@@ -556,8 +556,8 @@ roundF = \markup {
     \center-align \concat { \bold { \italic ( }
            \dynamic f \bold { \italic ) } } }
 boxF = \markup { \bracket { \dynamic f } }
-\relative c' {
-  c1_\roundF
+\relative {
+  c'1_\roundF
   c1_\boxF
 }
 @end lilypond
@@ -570,8 +570,8 @@ boxF = \markup { \bracket { \dynamic f } }
 
 @lilypond[verbatim,quote]
 sfzp = #(make-dynamic-script "sfzp")
-\relative c' {
-  c4 c c\sfzp c
+\relative {
+  c'4 c c\sfzp c
 }
 @end lilypond
 
@@ -597,8 +597,8 @@ mfEspress = \markup { \center-align \line {
 roundFdynamic = #(make-dynamic-script roundF)
 boxFdynamic = #(make-dynamic-script boxF)
 mfEspressDynamic = #(make-dynamic-script mfEspress)
-\relative c' {
-  c4_\roundFdynamic\< d e f
+\relative {
+  c'4_\roundFdynamic\< d e f
   g,1~_\boxFdynamic\>
   g1
   g'1~\mfEspressDynamic
@@ -614,8 +614,8 @@ Scheme 形式のマークアップ モードを用いることもできます。
 moltoF = #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF
 }
 @end lilypond
@@ -628,8 +628,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT
          #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF <d e>1
 }
 @end lilypond
diff --git a/Documentation/ja/notation/fretted-strings.itely b/Documentation/ja/notation/fretted-strings.itely
index b4df2c0fa7..d1ff2dd3e8 100644
--- a/Documentation/ja/notation/fretted-strings.itely
+++ b/Documentation/ja/notation/fretted-strings.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -168,7 +168,7 @@ g-0\3
 筆記体のタブ譜の音部記号が自動的に付け加えられます。
 
 @lilypond[quote,ragged-right,verbatim]
-\new TabStaff \relative c' {
+\new TabStaff \relative {
   a,8 a' <c e> a
   d,8 a' <d f> a
 }
@@ -245,14 +245,14 @@ symbols = {
 @lilypond[quote,ragged-right,verbatim]
 \layout { \omit Voice.StringNumber }
 \new StaffGroup <<
-   \new Staff \relative c {
+   \new Staff \relative {
      \clef "treble_8"
      \time 2/4
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      c,16 d e f g4
    }
-   \new TabStaff \relative c {
+   \new TabStaff \relative {
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      \set TabStaff.minimumFret = #5
@@ -278,7 +278,7 @@ symbols = {
 @code{\tabChordRepeats} でも用いることができます。
 
 @lilypond[quote,verbatim]
-guitar = \relative c' {
+guitar = \relative {
   r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4
 }
 
@@ -550,15 +550,15 @@ LilyPond は、あらかじめ定義されたチューニングに対して、@c
     \omit StringNumber
   } {
     \clef "bass_8"
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
   \new TabStaff \with {
     stringTunings = #bass-tuning
   } {
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
 >>
@@ -1742,7 +1742,7 @@ e16 b g d
 通常の譜とタブ譜でサポートされます:
 
 @lilypond[quote,ragged-right,verbatim]
-music = \relative c' {
+music = \relative {
   < a\3 \deadNote c\2 a'\1 >4
   < b\3 \deadNote d\2 b'\1 >
   < c\3 \deadNote e\2 c'\1 >
diff --git a/Documentation/ja/notation/input.itely b/Documentation/ja/notation/input.itely
index 89da58e23e..887f5d5ea3 100644
--- a/Documentation/ja/notation/input.itely
+++ b/Documentation/ja/notation/input.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -837,8 +837,8 @@ book のメイン タイトル ブロックのテキスト フィールドはす
 @lilypond[papersize=a8landscape]
 \book {
   \score {
-    \relative c' {
-      c4 d e f
+    \relative {
+      c'4 d e f
     }
   }
 }
@@ -853,8 +853,8 @@ book のメイン タイトル ブロックのテキスト フィールドはす
     tagline = "... music notation for Everyone"
   }
   \score {
-    \relative c' {
-      c4 d e f
+    \relative {
+      c'4 d e f
     }
   }
 }
@@ -1292,7 +1292,7 @@ scoreTitleMarkup = \markup @{ \column @{
 @lilypond[verbatim,quote,ragged-right,papersize=a8]
 \book {
   \header { copyright = \markup { "Copyright 1970" } }
-  \relative c' {
+  \relative {
     a'4-\footnote #'(-3 . 0) \markup { \bold Forte } \f
     -\footnote #'(0 . 1.5) \markup { スラー } (
     b8)-\footnote #'(0 . -2) \markup { 連桁 } [ e]
@@ -1315,7 +1315,7 @@ scoreTitleMarkup = \markup @{ \column @{
 \book {
   \header { tagline = ##f }
   \markup { \auto-footnote "A simple tune" \italic "By me" }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -1386,7 +1386,7 @@ LilyPond は対応するマークアップを同じページの下に表示す
 @lilypond[verbatim,quote,ragged-right,papersize=a8]
 \book {
   \header { tagline = ##f }
-  \relative c' {
+  \relative {
     a'4-\footnote
       \markup { \teeny 1 } #'(-3 . 0)
       \markup { 1. \bold フォルテ } \f
@@ -1422,7 +1422,7 @@ LilyPond は対応するマークアップを同じページの下に表示す
 \book {
   \header { tagline = ##f }
   \markup { "A simple tune" \footnote "*" \italic "* By me" }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d4
   }
 }
@@ -1892,10 +1892,10 @@ LilyPond が使用するパスとファイルのリストを表示します。@c
 ここに例を挙げます:
 
 @lilypond[verbatim,quote]
-sopranoMusic = \relative c'' { a4 b c b8( a) }
-altoMusic = \relative g' { e4 e e f }
-tenorMusic = \relative c' { c4 b e d8( c) }
-bassMusic = \relative c' { a4 gis a d, }
+sopranoMusic = \relative { a'4 b c b8( a) }
+altoMusic = \relative { e'4 e e f }
+tenorMusic = \relative { c'4 b e d8( c) }
+bassMusic = \relative { a4 gis a d, }
 allLyrics = \lyricmode {King of glo -- ry }
 <<
   \new Staff = "Soprano" \sopranoMusic
@@ -1986,8 +1986,8 @@ allLyrics = \lyricmode {King of glo -- ry }
 もう 1 つはトリルを明示的に展開しています:
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills {d8.\trill }
   \tag #'expand {\repeat unfold 3 {e32 d} }
   c32 d
@@ -2006,8 +2006,8 @@ music = \relative g' {
 音楽セクションを排除する方が楽な場合もあります:
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills {d8.\trill }
   \tag #'expand {\repeat unfold 3 {e32 d} }
   c32 d
@@ -2231,8 +2231,8 @@ portuguese = \lyricmode {
   à vo -- cê uma can -- ção legal
 }
 
-\relative c'  {
-  c2 d e f g f e
+\relative  {
+  c'2 d e f g f e
 }
 \addlyrics { \bulgarian }
 \addlyrics { \hebrew }
@@ -2280,8 +2280,8 @@ Unicode U+03BE の文字を入力します
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    c1 \mark \markup { \char ##x03EE }
+  \relative {
+    c''1 \mark \markup { \char ##x03EE }
     c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
   }
   \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
@@ -2919,8 +2919,8 @@ MIDI ボリュームに影響を与えません。@c
     \set Staff.midiInstrument = #"cello"
     \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
     \new Voice {
-      \relative c'' {
-        a4\pp b c-\rfz
+      \relative {
+        a'4\pp b c-\rfz
       }
     }
   }
@@ -2959,8 +2959,8 @@ midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
       \key g \major
       \time 2/2
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -2968,8 +2968,8 @@ midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3010,8 +3010,8 @@ MIDI 出力の品質を著しく高めることができます。
       \set Staff.midiInstrument = #"flute"
       \set Staff.midiMinimumVolume = #0.7
       \set Staff.midiMaximumVolume = #0.9
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -3021,8 +3021,8 @@ MIDI 出力の品質を著しく高めることができます。
       \set Staff.midiInstrument = #"clarinet"
       \set Staff.midiMinimumVolume = #0.3
       \set Staff.midiMaximumVolume = #0.6
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3079,8 +3079,8 @@ MIDI 最小/最大ボリューム プロパティが設定されていない場
       \time 2/2
       \set Score.instrumentEqualizer = #my-instrument-equalizer
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis ~
+      \new Voice \relative {
+        r2 g''\mp g fis ~
         4 g8 fis e2 ~
         4 d8 cis d2
       }
@@ -3088,8 +3088,8 @@ MIDI 最小/最大ボリューム プロパティが設定されていない場
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
@@ -3120,8 +3120,8 @@ MIDI 最小/最大ボリューム プロパティが設定されていない場
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c' {
-    c cih cis cisih
+  \relative {
+    c' cih cis cisih
     d dih ees eeh
     e eih f fih
     fis fisih g gih
diff --git a/Documentation/ja/notation/keyboards.itely b/Documentation/ja/notation/keyboards.itely
index 3822d009b0..5bc4c77636 100644
--- a/Documentation/ja/notation/keyboards.itely
+++ b/Documentation/ja/notation/keyboards.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -324,7 +324,7 @@
   \new Staff = "up" {
     \new Voice = "melOne" {
       \key g \major
-      \autochange \relative c' {
+      \autochange \relative {
         g8 b a c b d c e
         d8 r fis, g a2
       }
diff --git a/Documentation/ja/notation/pitches.itely b/Documentation/ja/notation/pitches.itely
index 5e64e0153d..8b7097676c 100644
--- a/Documentation/ja/notation/pitches.itely
+++ b/Documentation/ja/notation/pitches.itely
@@ -6,7 +6,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -156,7 +156,7 @@
 ここで、実際に相対モードの例を挙げます:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   \clef bass
   c d e f
   g a b c
@@ -167,7 +167,7 @@
 オクターブ変更記号は 4 度よりも大きな音程に対して使用されます:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   \clef bass
   c d e f
   g a b c
@@ -179,7 +179,7 @@
 大きな音程に広がる可能性があります:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   c f b e
   a d g c
 }
@@ -189,10 +189,10 @@
 最も内側の @code{\relative} ブロックが適用されます。
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c d e f
-  \relative c'' {
-    c d e f
+\relative {
+  c' d e f
+  \relative {
+    c'' d e f
   }
 }
 @end lilypond
@@ -215,12 +215,12 @@
 絶対モードになります。
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d e
+\relative {
+  d' e
   \transpose f g {
     d e
-    \relative c' {
-      d e
+    \relative {
+      d' e
     }
   }
 }
@@ -235,8 +235,8 @@
 次の例を、@code{c} の音符に気を付けて、注意深く検証してください。
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c
+\relative {
+  c'
   <c e g>
   <c' e g'>
   <c, e, g''>
@@ -251,8 +251,8 @@ B の後の F ダブル フラットは B よりも下に配置されます。@c
 -- それぞれの音程に含まれる半音の数に関係無く -- と見なされます。
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 fis
+\relative {
+  c''2 fis
   c2 ges
   b2 eisis
   b2 feses
@@ -454,8 +454,8 @@ LilyPond の記号はいかなる標準にも準拠しません。
 @lilypond[quote,verbatim]
 \language "italiano"
 
-\relative do' {
-  do re mi sib
+\relative {
+  do' re mi sib
 }
 @end lilypond
 
@@ -632,8 +632,8 @@ a2 as e es a ases e eses
 警告を発し (そしてピッチを変更し) ます。
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d='4 d
+\relative {
+  c''2 d='4 d
   e2 f
 }
 @end lilypond
@@ -650,8 +650,8 @@ a2 as e es a ases e eses
 その後に続く音符は @code{@var{controlpitch}} から算出されます。
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d
+\relative {
+  c''2 d
   \octaveCheck c'
   e2 f
 }
@@ -662,8 +662,8 @@ a2 as e es a ases e eses
 2 番目のチェックは失敗していません。
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c4 f g f
+\relative {
+  c''4 f g f
 
   c4
   \octaveCheck c'
@@ -723,9 +723,9 @@ D-メジャーの調で書かれた楽曲を思い浮かべてください。@c
 
 @lilypond[verbatim,quote]
 \transpose d e {
-  \relative c' {
+  \relative {
     \key d \major
-    d4 fis a d
+    d'4 fis a d
   }
 }
 @end lilypond
@@ -740,9 +740,9 @@ A のクラリネットで演奏する
 
 @lilypond[verbatim,quote]
 \transpose a c' {
-  \relative c' {
+  \relative {
     \key c \major
-    c4 d e g
+    c'4 d e g
   }
 }
 @end lilypond
@@ -759,7 +759,7 @@ A のクラリネットで演奏する
 2 番目の移調はフラットを譜刻し、音符の五線譜上での位置は上に上がります。
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \transpose c cis { \music }
   \transpose c des { \music }
@@ -851,7 +851,7 @@ The @code{@var{musicexpr}} の音程は @code{@var{around-pitch}} を中心に@c
 マッピングされるように移調されます。
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \music
   \inversion d' d' \music
@@ -883,7 +883,7 @@ music = \relative c' { c d e f }
 音楽表記を後ろから前に演奏する逆行を作り出すことができます:
 
 @lilypond[verbatim,quote]
-music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
+music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
 
 \new Staff {
   \music
@@ -937,8 +937,8 @@ music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
 間の音程の度数の分だけシフトされます:
 
 @lilypond[verbatim,quote]
-diatonicScale = \relative c' { c d e f g a b }
-motif = \relative c' { c8 d e f g a b c }
+diatonicScale = \relative { c' d e f g a b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -950,8 +950,8 @@ motif = \relative c' { c8 d e f g a b c }
 上昇する音階の長さは任意であり、指定する音程も任意です:
 
 @lilypond[verbatim,quote]
-pentatonicScale = \relative c' { ges aes bes des ees }
-motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
+pentatonicScale = \relative { ges aes bes des ees }
+motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
 
 \new Staff {
   \motif
@@ -964,8 +964,8 @@ motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
 できます:
 
 @lilypond[verbatim,quote]
-chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
-motif = \relative c' { c8 d e f g a b c }
+chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -1001,8 +1001,8 @@ motif = \relative c' { c8 d e f g a b c }
 @var{to-pitch} で同じ値を使用します:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1015,8 +1015,8 @@ motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
 指定された 2 つの音符が旋回点を囲んでいると解釈することができます:
 
 @lilypond[verbatim,quote]
-scale = \relative c' { c g' }
-motive = \relative c' { c c g' c, }
+scale = \relative { c' g' }
+motive = \relative { c' c g' c, }
 
 \new Staff {
   \motive
@@ -1027,8 +1027,8 @@ motive = \relative c' { c c g' c, }
 反転と逆行の操作を組み合わせると逆行-反転になります:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1315,8 +1315,8 @@ fis
 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
     (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
 
-\relative c' {
-  \key c\freygish c4 des e f
+\relative {
+  \key c\freygish c'4 des e f
   \bar "||" \key d\freygish d es fis g
 }
 @end lilypond
@@ -1555,12 +1555,12 @@ LilyPond はどの臨時記号スタイルを使用するのかを指定する
 @lilypond[verbatim,quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1570,8 +1570,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1637,12 +1637,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1652,8 +1652,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1709,12 +1709,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1724,8 +1724,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1778,12 +1778,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1793,8 +1793,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1842,12 +1842,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1857,8 +1857,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1910,12 +1910,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1925,8 +1925,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1972,12 +1972,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1987,8 +1987,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2038,12 +2038,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2053,8 +2053,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2097,12 +2097,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2112,8 +2112,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2160,12 +2160,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2175,8 +2175,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2217,12 +2217,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2232,8 +2232,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2276,12 +2276,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2291,8 +2291,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2333,12 +2333,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2348,8 +2348,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2395,12 +2395,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2410,8 +2410,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2457,12 +2457,12 @@ musicB = {
 @lilypond[quote,staffsize=18]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2472,8 +2472,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2518,12 +2518,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2533,8 +2533,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2577,12 +2577,12 @@ musicB = {
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2592,8 +2592,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2724,8 +2724,8 @@ forget = #(define-music-function (parser location music) (ly:music?) #{
   }
 }
 
-\relative c'' {
-  aes c e2
+\relative {
+  aes' c e2
   cis,1
 }
 @end lilypond
diff --git a/Documentation/ja/notation/repeats.itely b/Documentation/ja/notation/repeats.itely
index 5c506a6e27..6681ef0273 100644
--- a/Documentation/ja/notation/repeats.itely
+++ b/Documentation/ja/notation/repeats.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -464,8 +464,8 @@ b1
 
 @lilypond[verbatim,quote]
 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
-\relative c'' {
-  c1
+\relative {
+  c''1
   \set Score.repeatCommands =
     #(list(list 'volta voltaAdLib) 'start-repeat)
   c4 b d e
diff --git a/Documentation/ja/notation/rhythms.itely b/Documentation/ja/notation/rhythms.itely
index 5bdb2758c0..9241b923aa 100644
--- a/Documentation/ja/notation/rhythms.itely
+++ b/Documentation/ja/notation/rhythms.itely
@@ -6,7 +6,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -420,8 +420,8 @@ a2 ~ 2
 
 @c KEEP LY
 @lilypond[verbatim,quote]
-\relative c' {
-  r8 c8 ~ 2 r4 |
+\relative {
+  r8 c'8 ~ 2 r4 |
   r8^"こうすべきではありません" c2 ~ 8 r4
 }
 @end lilypond
@@ -1629,10 +1629,10 @@ c8 c c
 手動で連桁を付ける必要があるかもしれません。
 
 @lilypond[quote,verbatim]
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -1677,10 +1677,10 @@ c8 c c
 
 % 以上で、各譜はそれぞれに拍子を持つようになります
 
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -2075,8 +2075,8 @@ c16^"(3+2)" c c c c |
   \set Staff.beatStructure = #'(2 3 2)
   <<
     \new Voice = one {
-      \relative c'' {
-        a8 a a a a a a
+      \relative {
+        a'8 a a a a a a
       }
     }
     \new Voice = two {
@@ -3441,8 +3441,8 @@ MIDI 出力において装飾小音符はそれぞれ 1/4 の実演奏時間を
 その音楽表記と同じ長さの複数小節休符または @code{\skip} を生成します。
 
 @lilypond[verbatim,quote]
-MyCadenza = \relative c' {
-  c4 d8 e f g g4
+MyCadenza = \relative {
+  c'4 d8 e f g g4
   f2 g4 g
 }
 
diff --git a/Documentation/ja/notation/simultaneous.itely b/Documentation/ja/notation/simultaneous.itely
index 3c673471c5..866a26acdb 100644
--- a/Documentation/ja/notation/simultaneous.itely
+++ b/Documentation/ja/notation/simultaneous.itely
@@ -6,7 +6,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -224,8 +224,8 @@ q2 c, |
 \new Voice
 \relative c'' {
   \chordRepeats #'(articulation-event)
-  \relative c''
-  { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+  \relative
+  { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
   q2 c |
 }
 @end lilypond
@@ -789,10 +789,10 @@ etc.
 
 @c KEEP LY
 @lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
   %% 簡略化された入力
   <<
-    { f2  }  % 1: 最上段
+    { f''2  }  % 1: 最上段
     \\
     { g,2 }  % 2: 最下段
     \\
@@ -920,17 +920,17 @@ are at the same time differently dotted are not clear.
 個々のパート譜と結合譜で同じ変数が使用されています。
 
 @lilypond[quote,verbatim]
-instrumentOne = \relative c' {
-  c4 d e f |
+instrumentOne = \relative {
+  c'4 d e f |
   R1 |
   d'4 c b a |
   b4 g2 f4 |
   e1 |
 }
 
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
   R1 |
-  g4 a b c |
+  g'4 a b c |
   d4 c b a |
   g4 f( e) d |
   e1 |
@@ -1031,8 +1031,8 @@ instrumentOne = \relative c' {
   \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
   c2 c |
 }
-instrumentTwo = \relative c' {
-  c2 c |
+instrumentTwo = \relative {
+  c'2 c |
   e2 e |
   a,2 c |
   c2 c' |
diff --git a/Documentation/ja/notation/spacing.itely b/Documentation/ja/notation/spacing.itely
index 82234a683a..2bd86c66ae 100644
--- a/Documentation/ja/notation/spacing.itely
+++ b/Documentation/ja/notation/spacing.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.12"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -1028,7 +1028,7 @@ increased by one.  Default: @code{#f}.
     tagline = ##f
   }
   \score {
-    \relative c'' { c1 \break c1 \break c1 }
+    \relative { c''1 \break c1 \break c1 }
   }
 }
 @end lilypond
@@ -1396,9 +1396,9 @@ c4 c c c |
 @lilypond[quote,ragged-right,verbatim]
 \new Voice \with {
   \remove "Forbid_line_break_engraver"
-} \relative c'' {
+} \relative {
   <<
-    { c2. \tuplet 3/2 { c4 c c } c2. | }
+    { c''2. \tuplet 3/2 { c4 c c } c2. | }
     { s1 | \break s1 | }
   >>
 }
@@ -1762,7 +1762,7 @@ LilyPond は明示的な改ページである
   ragged-bottom = ##t
 }
 
-music = \relative c'' { c8 c c c }
+music = \relative { c''8 c c c }
 
 \score {
   \new Staff {
@@ -1797,7 +1797,7 @@ music = \relative c'' { c8 c c c }
 通常、改行/改ページ情報は音符入力部分に直接入力します。
 
 @example
-music = \relative c'' @{ c4 c c c @}
+music = \relative @{ c''4 c c c @}
 
 \score @{
   \new Staff @{
@@ -1816,7 +1816,7 @@ music = \relative c'' @{ c4 c c c @}
 その他の改行/改ページ情報だけを保持します。
 
 @lilypond[quote,verbatim]
-music = \relative c'' { c4 c c c }
+music = \relative { c''4 c c c }
 
 \score {
   \new Staff <<
@@ -1847,7 +1847,7 @@ This pattern becomes especially helpful when overriding
 他の有用だが長いプロパティを上書きするときに、非常に役に立ちます。
 
 @lilypond[quote,verbatim]
-music = \relative c'' { c4 c c c }
+music = \relative { c''4 c c c }
 
 \score {
   \new Staff <<
@@ -2983,8 +2983,8 @@ c16[ c c8]
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -2994,8 +2994,8 @@ c16[ c c8]
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -3678,8 +3678,8 @@ e4 c g-\tweak X-offset #-2.7 -\tweak Y-offset #2.5 \f c
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
@@ -3697,8 +3697,8 @@ e4 c g-\tweak X-offset #-2.7 -\tweak Y-offset #2.5 \f c
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
diff --git a/Documentation/ja/notation/staff.itely b/Documentation/ja/notation/staff.itely
index 4b181ae65b..ab8e317c43 100644
--- a/Documentation/ja/notation/staff.itely
+++ b/Documentation/ja/notation/staff.itely
@@ -6,7 +6,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -363,15 +363,15 @@ turned on with a @code{\paper} option.
   \score {
     \new StaffGroup <<
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
       }
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
@@ -585,8 +585,8 @@ d4 e f g
 @notation{オッシア} 譜をセットすることができます:
 
 @lilypond[verbatim,quote]
-\new Staff \relative c'' {
-  c4 b d c
+\new Staff \relative {
+  c''4 b d c
   <<
     { c4 b d c }
     \new Staff { e4 d f e }
@@ -608,8 +608,8 @@ d4 e f g
 最も適切な方法です。
 
 @lilypond[verbatim,quote]
-\new Staff = main \relative c'' {
-  c4 b d c
+\new Staff = main \relative {
+  c''4 b d c
   <<
     { c4 b d c }
 
@@ -646,8 +646,8 @@ d4 e f g
   }
   { \stopStaff s1*6 }
 
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     <<
       { e4 f e2 }
       \context Staff = ossia {
@@ -683,12 +683,12 @@ d4 e f g
     fontSize = #-3
     \override StaffSymbol.staff-space = #(magstep -3)
     \override StaffSymbol.thickness = #(magstep -3)
-  } \relative c'' {
+  } \relative {
     R1*3
-    c4 e8 d c2
+    c''4 e8 d c2
   }
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     e4 f e2
     g4 a g2 \break
     c4 b c2
@@ -758,7 +758,7 @@ d4 e f g
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c''' { a8 f e16 d c b a2 }
+\relative { a''8 f e16 d c b a2 }
 @end lilypond
 
 @c 未訳: Frenched Score
@@ -781,9 +781,9 @@ d4 e f g
   }
 }
 
-\relative c' <<
+\relative <<
   \new Staff {
-    e4 f g a \break
+    e'4 f g a \break
     b1 \break
     a4 b c2
   }
@@ -1093,12 +1093,12 @@ d4 e f g
 引用部分の演奏時間を示す音楽表記です。
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { s1 }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1116,12 +1116,12 @@ oboeNotes = \relative c'' {
 引用は多声となり、予期しない結果となる可能性があります。
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1146,8 +1146,8 @@ clarinetNotes = \relative c'' {
   b4 ais a ais | cis4^"quoted" r8 bis\p b4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"clarinet" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"clarinet" { s1 }
 }
 
 \addQuote "clarinet" { \clarinetNotes }
@@ -1175,13 +1175,13 @@ oboeNotes = \relative c'' {
 引用される音楽から引用するオブジェクトを選択することが可能です。
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a2 g2 |
+fluteNotes = \relative {
+  a'2 g2 |
   b4\<^"quoted" r8 ais a4\f( c->)
  }
 
-oboeNotes = \relative c'' {
-  c2. b4 |
+oboeNotes = \relative {
+  c''2. b4 |
   \quoteDuring #"flute" { s1 }
 }
 
@@ -1328,8 +1328,8 @@ d,,4 r a r
 @code{UP} は第 1 ボイスに相当し、@code{DOWN} は第 2 ボイスに相当します。
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 | d8 c d e fis2 | g2 d |
+fluteNotes = \relative {
+  r2. c''4 | d8 c d e fis2 | g2 d |
 }
 
 oboeNotes = \relative c'' {
@@ -1360,8 +1360,8 @@ tie-event beam-event tuplet-span-event)} であり、音符、休符、タイ、
 そうしないと音楽表記全体が @code{CueVoice} コンテキストに属してしまいます。}
 
 @lilypond[verbatim,quote]
-oboeNotes = \relative c'' {
-  r2 r8 d16(\f f e g f a)
+oboeNotes = \relative {
+  r2 r8 d''16(\f f e g f a)
   g8 g16 g g2.
 }
 \addQuote "oboe" { \oboeNotes }
@@ -1386,8 +1386,8 @@ oboeNotes = \relative c'' {
 合図音符が終わったところで手動で元の音部記号に戻す必要がありｍす。
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1413,8 +1413,8 @@ bassoonNotes = \relative c {
 合図音部が終了したところで元の音部記号を自動的に譜刻します。
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1445,10 +1445,10 @@ bassoonNotes = \relative c {
 これは、全く別の場所で登録された楽器から合図を取る場合に有用です。
 
 @lilypond[verbatim,quote]
-piccoloNotes = \relative c''' {
+piccoloNotes = \relative {
   \clef "treble^8"
   R1
-  c8 c c e g2
+  c'''8 c c e g2
   c4 g g2
 }
 
@@ -1487,8 +1487,8 @@ bassClarinetNotes = \relative c' {
 @ref{Using tags} を参照してください。
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
diff --git a/Documentation/ja/notation/text.itely b/Documentation/ja/notation/text.itely
index dfcfd646c6..23bfe855ac 100644
--- a/Documentation/ja/notation/text.itely
+++ b/Documentation/ja/notation/text.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -1271,7 +1271,7 @@ c^\markup {
 @lilypond[quote,verbatim,relative=1]
 c4 d^\markup {
   \score {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
     \layout { }
   }
 }
diff --git a/Documentation/ja/notation/vocal.itely b/Documentation/ja/notation/vocal.itely
index bb6a93e570..7ec5c737c9 100644
--- a/Documentation/ja/notation/vocal.itely
+++ b/Documentation/ja/notation/vocal.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -165,7 +165,7 @@
 さらなる情報は、@ref{Special characters} を参照してください。
 
 @lilypond[quote,verbatim]
-\relative c'' { d8 c16 a bes8 f e' d c4 }
+\relative { d''8 c16 a bes8 f e' d c4 }
 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
 
 @end lilypond
@@ -176,7 +176,7 @@
 例を挙げます:
 
 @lilypond[quote,verbatim]
-\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\relative { \time 3/4 e'4 e4. e8 d4 e d c2. }
 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
 @end lilypond
 
@@ -292,9 +292,9 @@
 @c KEEP LY
 @lilypond[quote,ragged-right,verbatim]
 <<
-  \new Voice = "one" \relative c'' {
+  \new Voice = "one" \relative {
     \time 2/4
-    c4 b8. a16 g4. f8 e4 d c2
+    c''4 b8. a16 g4. f8 e4 d c2
   }
 
 % 前で指定された演奏時間 2 を用います
@@ -435,7 +435,7 @@
 @lilypond[verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
 }
 @end lilypond
@@ -447,7 +447,7 @@
 @lilypond[ragged-right,verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
   \addlyrics { speel het spel }
   \addlyrics { joue le jeu }
@@ -540,8 +540,8 @@
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      c2 c2
+    \relative {
+      c''2 c2
       d1
     }
   }
@@ -551,8 +551,8 @@
     }
   }
   \new Staff {
-    \relative c' {
-      c8 c c c c c c c
+    \relative {
+      c'8 c c c c c c c
       c8 c c c c c c c
     }
   }
@@ -891,8 +891,8 @@
 歌詞は歌詞モードで入力する必要があります:
 
 @lilypond[quote,verbatim]
-musicOne = \relative c'' {
-  c4 b8. a16 g4. f8 e4 d c2
+musicOne = \relative {
+  c''4 b8. a16 g4. f8 e4 d c2
 }
 verseOne = \lyricmode {
   Joy to the world, the Lord is come.
@@ -922,8 +922,8 @@ verseOne = \lyricmode {
 例を挙げます:
 
 @lilypond[quote,verbatim]
-sopranoMusic = \relative c'' { c4 c c c }
-contraltoMusic = \relative c'' { a4 a a a }
+sopranoMusic = \relative { c''4 c c c }
+contraltoMusic = \relative { a'4 a a a }
 sopranoWords = \lyricmode { Sop -- ra -- no words }
 contraltoWords = \lyricmode { Con -- tral -- to words }
 
@@ -981,7 +981,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics {
@@ -1002,7 +1002,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
   <<
     \new Staff = "staff" {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics \with { alignAboveContext = "staff" } {
@@ -1031,7 +1031,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
     }
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \context Lyrics = "lyrics" {
@@ -1053,7 +1053,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
   \new ChoirStaff <<
     \new Staff {
       \new Voice = "sopranos" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics = "sopranos"
@@ -1064,7 +1064,7 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
     }
     \new Staff {
       \new Voice = "contraltos" {
-        \relative c'' { a4 a a a }
+        \relative { a'4 a a a }
       }
     }
     \context Lyrics = "sopranos" {
@@ -1126,8 +1126,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
 
 @lilypond[verbatim,quote,ragged-right]
 \score {
-  \relative c' {
-  c c c c
+  \relative {
+  c' c c c
   c c c c
   }
   \addlyrics {
@@ -1193,8 +1193,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1217,8 +1217,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
     <<
       \new Staff {
         \new Voice = "melody" {
-          \relative c'' {
-            a4 a a a
+          \relative {
+            a'4 a a a
             \repeat volta 2 { b4 b b b }
           }
         }
@@ -1242,8 +1242,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat unfold 2 { b4 b b b }
         }
       }
@@ -1268,8 +1268,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1295,8 +1295,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
   <<
     \new Staff {
       \new Voice = "singleVoice" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1334,8 +1334,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1359,8 +1359,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
       The end sec -- tion.
     }
     \new Voice = "harmony" {
-      \relative c' {
-        f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
+      \relative {
+        f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
       }
     }
   >>
@@ -1386,8 +1386,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words }
     \new Staff {
       \time 2/4
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b }
           \alternative { { b b } { b c } }
         }
@@ -1826,8 +1826,8 @@ text = {
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \new Voice = melody \relative c' {
-    f4 \appoggiatura a32 b4
+  \new Voice = melody \relative {
+    f'4 \appoggiatura a32 b4
     \grace { f16 a16 } b2
     \afterGrace b2 { f16[ a16] }
     \appoggiatura a32 b4
@@ -1954,8 +1954,8 @@ sau -- rus Rex
 @code{\markup} で 2 つの方法で改行していることに注意してください。
 
 @lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
+melody = \relative {
+e' d c d | e e e e |
 d d e d | c1 |
 }
 
@@ -1997,8 +1997,8 @@ its fleece was white as snow.
 
 @c KEEP LY
 @lilypond[ragged-right,quote,verbatim]
-melody = \relative c' {
-  c4 c c c | d d d d
+melody = \relative {
+  c'4 c c c | d d d d
 }
 
 text = \lyricmode {
@@ -2296,12 +2296,12 @@ SATB (S: ソプラノ、A: アルト、T: テナー、B: バス) ボーカル譜
   \new ChoirStaff <<
     \new Staff {
       \new Voice {
-        \relative c'' { g4\f g g g }
+        \relative { g'4\f g g g }
       }
     }
     \new Staff {
       \new Voice {
-        \relative c' { d4 d d\p d }
+        \relative { d'4 d d\p d }
       }
     }
   >>
@@ -2477,9 +2477,9 @@ LilyPond で台詞を譜刻することはできますが、台詞には音楽
     \new Staff {
       \set Staff.vocalName = \markup \smallCaps Kaspar
       \set Staff.shortVocalName = \markup \smallCaps Kas.
-      \relative c' {
+      \relative {
         \clef "G_8"
-        c4 c c c
+        c'4 c c c
         \break
         c4 c c c
       }
@@ -2488,7 +2488,7 @@ LilyPond で台詞を譜刻することはできますが、台詞には音楽
       \set Staff.vocalName = \markup \smallCaps Melchior
       \set Staff.shortVocalName = \markup \smallCaps Mel
       \clef "bass"
-      \relative c' {
+      \relative {
         a4 a a a
         a4 a a a
       }
@@ -2584,13 +2584,13 @@ LilyPond の拡張:
 
 @c KEEP LY
 @lilypond[quote,verbatim]
-flute = \relative c'' {
-  s4 s4 e g
+flute = \relative {
+  s4 s4 e'' g
 }
 \addQuote "flute" { \flute }
 
-pianoRH = \relative c'' {
-  c4. g8
+pianoRH = \relative {
+  c''4. g8
   % 合図音符の楽器名を、合図音符の直前、かつ譜の上に配置します
   \new CueVoice {
     \override InstrumentSwitch.self-alignment-X = #RIGHT
@@ -2598,7 +2598,7 @@ pianoRH = \relative c'' {
   }
   \cueDuring "flute" #UP { g4 bes4 }
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   \new PianoStaff <<
@@ -2645,7 +2645,7 @@ pianoRH = \relative c'' {
   \cueDuring "clarinet" #DOWN { c4. g8 }
   g4 bes4
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   <<
@@ -2861,15 +2861,15 @@ stemOff = { \hide Staff.Stem }
 \score {
   \new StaffGroup <<
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -2891,15 +2891,15 @@ stemOff = { \hide Staff.Stem }
   \new ChoirStaff <<
     \new Staff
     \with { \remove "Bar_engraver" } {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -2971,8 +2971,8 @@ finalis = {
 }
 
 \score {
-  \relative c'' {
-    g2 a4 g
+  \relative {
+    g'2 a4 g
     \divisioMinima
     g2 a4 g
     \divisioMaior
@@ -2995,8 +2995,8 @@ finalis = {
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      a4 b c2 |
+    \relative {
+      a'4 b c2 |
       a4 b c2 |
       a4 b c2 |
     }
@@ -3023,22 +3023,22 @@ finalis = {
 
 @c KEEP LY
 @lilypond[verbatim,quote]
-SopranoMusic = \relative g' {
-  g1 | c2 b | a1 | \bar "||"
+SopranoMusic = \relative {
+  g'1 | c2 b | a1 | \bar "||"
   a1 | d2 c | c b | c1 | \bar "||"
 }
 
-AltoMusic = \relative c' {
-  e1 | g2 g | f1 |
+AltoMusic = \relative {
+  e'1 | g2 g | f1 |
   f1 | f2 e | d d | e1 |
 }
 
-TenorMusic = \relative a {
-  c1 | c2 c | c1 |
+TenorMusic = \relative {
+  c'1 | c2 c | c1 |
   d1 | g,2 g | g g | g1 |
 }
 
-BassMusic =  \relative c {
+BassMusic =  \relative {
   c1 | e2 e | f1 |
   d1 | b2 c | g' g | c,1 |
 }
diff --git a/Documentation/ja/notation/world.itely b/Documentation/ja/notation/world.itely
index 025f23c841..c95d37d790 100644
--- a/Documentation/ja/notation/world.itely
+++ b/Documentation/ja/notation/world.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 
 @c Translators: Yoshiki Sawada
@@ -191,8 +191,8 @@
 
 @lilypond[quote,verbatim]
 \include "arabic.ly"
-\relative do' {
-  do re misb fa sol la sisb do sisb la sol fa misb re do
+\relative {
+  do' re misb fa sol la sisb do sisb la sol fa misb re do
 }
 @end lilypond
 
diff --git a/Documentation/ja/usage/external.itely b/Documentation/ja/usage/external.itely
index bb64233371..17ea5d56fb 100644
--- a/Documentation/ja/usage/external.itely
+++ b/Documentation/ja/usage/external.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -154,8 +154,8 @@ lilypond -dno-point-and-click file.ly
 
 @example
 \pointAndClickTypes #'note-event
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -163,8 +163,8 @@ lilypond -dno-point-and-click file.ly
 
 @example
 #(ly:set-option 'point-and-click 'note-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -185,8 +185,8 @@ lilypond -dpoint-and-click=note-event   example.ly
 
 @example
 \pointAndClickTypes #'(note-event dynamic-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -194,8 +194,8 @@ lilypond -dpoint-and-click=note-event   example.ly
 
 @example
 #(ly:set-option 'point-and-click '(note-event dynamic-event))
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
diff --git a/Documentation/ja/usage/lilypond-book.itely b/Documentation/ja/usage/lilypond-book.itely
index e0f3f4bf69..ccb88627a4 100644
--- a/Documentation/ja/usage/lilypond-book.itely
+++ b/Documentation/ja/usage/lilypond-book.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 
@@ -94,8 +94,8 @@ Windows や Mac OS X のコマンド ラインを用いて @code{lilypond-book}
 例えば、以下のように:
 
 \begin{lilypond}
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 \end{lilypond}
 
@@ -156,8 +156,8 @@ Texinfo で処理されるため、上記の例とはレイアウトが少し異
 例えば、以下のように:
 
 @lilypond
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 @end lilypond
 
@@ -181,8 +181,8 @@ c'4 f16
     title = "A scale in LilyPond"
   }
 
-  \relative c' {
-    c d e f g a b c
+  \relative {
+    c' d e f g a b c
   }
 }
 @end lilypond
@@ -794,8 +794,8 @@ LilyPond コマンドの引数をそのまま出力ファイルにコピーし
 つまり、
 
 @example
-\relative c' @{ % begin verbatim
-  c4 e2 g4
+\relative @{ % begin verbatim
+  c'4 e2 g4
   f2 e % end verbatim
 @}
 @end example
@@ -1186,8 +1186,8 @@ LilyPond 断片を LaTex ドキュメントに組み込むことができます
 通常の LaTeX テキスト。
 
 \begin@{lilypond@}
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 \end@{lilypond@}
 
@@ -1212,7 +1212,7 @@ LilyPond 断片を Texinfo に組み込むことができます。@c
 Texinfo テキスト
 
 @@lilypond
-\relative c' @{
+\relative @{
   a4 b c d
 @}
 @@end lilypond
@@ -1240,8 +1240,8 @@ d4 c b a
 以下のように、lilypond-book 用のドキュメントには自由に楽譜と
 テキストを組み合わせることができます。
 <lilypond>
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 </lilypond>
 </p>
diff --git a/Documentation/ja/usage/running.itely b/Documentation/ja/usage/running.itely
index 23cf063b6c..d8d6fe6f33 100644
--- a/Documentation/ja/usage/running.itely
+++ b/Documentation/ja/usage/running.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -1060,7 +1060,7 @@ LilyPond マニュアルのほとんどの例はこの手法を用いていま
 
 @lilypond[quote,verbatim]
 \repeat unfold 2 {
-  \relative c' { c4 d e f }
+  \relative { c'4 d e f }
 }
 @end lilypond
 
@@ -1069,7 +1069,7 @@ LilyPond マニュアルのほとんどの例はこの手法を用いていま
 @lilypond[quote,verbatim]
 \new Voice {
   \repeat unfold 2 {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
   }
 }
 @end lilypond
diff --git a/Documentation/ja/usage/suggestions.itely b/Documentation/ja/usage/suggestions.itely
index 71b94dcadd..1147340047 100644
--- a/Documentation/ja/usage/suggestions.itely
+++ b/Documentation/ja/usage/suggestions.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @c Translators: Yoshiki Sawada
 @c Translation status: post-GDP
@@ -185,8 +185,8 @@ LilyPond 入力ファイルの構造をすっきりさせておくことが不
 変更される可能性はまずありません。
 
 @example
-violin = \relative c'' @{
-g4 c'8. e16
+violin = \relative @{
+g'4 c'8. e16
 @}
 ...
 \score @{
@@ -206,8 +206,8 @@ g4 c'8. e16
 @example
 fthenp = _\markup@{
   \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
-violin = \relative c'' @{
-g4\fthenp c'8. e16
+violin = \relative @{
+g'4\fthenp c'8. e16
 @}
 @end example
 
@@ -257,9 +257,9 @@ LilyPond が返すメッセージはエラーを見つけ出す@c
 外したままにしておきます)。
 
 @example
-bass = \relative c' @{
+bass = \relative @{
 %@{
-  c4 c c c
+  c'4 c c c
   d d d d
 %@}
 @}
diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely
index 3b7d55e94e..51a2056aa3 100644
--- a/Documentation/learning/common-notation.itely
+++ b/Documentation/learning/common-notation.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
@@ -97,8 +97,8 @@ read, since they help to keep things organized.
 
 @c This example deliberately produces a warning
 @lilypond[verbatim,quote]
-\relative g' {
-  g1 | e1 | c2. c' | g4 c g e | c4 r r2 |
+\relative {
+  g'1 | e1 | c2. c' | g4 c g e | c4 r r2 |
 }
 @end lilypond
 
@@ -765,9 +765,9 @@ following example, three sequences (all containing two separate
 notes) are combined simultaneously:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -796,8 +796,8 @@ expression, but as it begins with a single note it will be set
 out on a single staff.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e2 f } { c2 <<b d>> } >> |
 }
 @end lilypond
@@ -833,9 +833,9 @@ staff is marked by adding @code{\new Staff} before it.  These
 and @code{>>}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -863,9 +863,9 @@ is because scores with transposing instruments are more common
 than polyrhythmic scores.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -907,9 +907,9 @@ inserted inside a @code{PianoStaff}:
 Here is a small example:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef "bass" c,,4 c' | e c | }
   >>
 }
@@ -1023,10 +1023,10 @@ Here is the start of the melody to a nursery
 rhyme, @notation{Girls and boys come out to play}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -1036,10 +1036,10 @@ separating each syllable with a space.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Girls and boys come out to play,
@@ -1070,10 +1070,10 @@ shine as bright as day}.  Let's extend it:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1092,10 +1092,10 @@ to add a slur across them, for details, see @ref{Ties and slurs}:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1113,10 +1113,10 @@ manual beams}.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1132,10 +1132,10 @@ that should be included in the melisma:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1154,10 +1154,10 @@ first three bars of @notation{Dido's Lament}, from Purcell's
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes | bes2( a) b2 |
+    g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1204,11 +1204,11 @@ Here's an example from Rossini's @notation{Figaro}, where
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef "bass"
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- to -- tum del -- la cit -- tà
@@ -1314,13 +1314,13 @@ later by placing a backslash in front of the name
 
 @lilypond[verbatim,quote]
 violin = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 
 cello = \new Staff {
-  \relative c {
+  \relative {
     \clef "bass"
     e2 d
   }
@@ -1472,10 +1472,10 @@ of errors.  With @code{\relative}, the previous example is much
 easier to read and type:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8 |
+  cis''8. d16 cis8 e4 e8 |
   b8. cis16 b8 d4 d8 |
 }
 @end lilypond
@@ -1496,7 +1496,7 @@ using @code{\relative} inside of @code{\relative}, the outer and
 inner relative sections are independent:
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \relative c'' { f g } c }
+\relative { c'4 \relative { f'' g } c }
 @end lilypond
 
 @funindex \absolute
@@ -1505,7 +1505,7 @@ mark the absolute music explicitly with @code{\absolute} to stop
 it from becoming part of the relative music:
 
 @lilypond[verbatim,quote]
-\relative c { c'4 \absolute { f'' g'' } c }
+\relative { c'4 \absolute { f'' g'' } c }
 @end lilypond
 
 @node After the tutorial
diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely
index 16f3c14b46..fb58d1f871 100644
--- a/Documentation/learning/fundamental.itely
+++ b/Documentation/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.20"
+@c \version "2.19.21"
 
 @node Fundamental concepts
 @chapter Fundamental concepts
@@ -80,8 +80,8 @@ adds the extra commands which are needed when you give it simple
 input.  LilyPond treats input like this:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -93,8 +93,8 @@ as shorthand for this:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -222,8 +222,8 @@ shown in @ref{Organizing pieces with variables}.  All the
 templates use this:
 
 @example
-melody = \relative c' @{
-  c4 a b c
+melody = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -341,8 +341,8 @@ At this stage, we could start filling in notes.  Inside the curly
 braces next to @code{\new Voice = "vocal"}, we could start writing
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -360,10 +360,10 @@ So, adding a few notes and a bass clef for the left hand, we now
 have a piece of real music:
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e }
 
 \score {
   <<
@@ -409,8 +409,8 @@ duration of three notes:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -436,8 +436,8 @@ as follows:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -678,9 +678,9 @@ voice in context @code{"1"} and the lowest voice in context
 of slurs, stems, ties, dynamics etc., is set appropriately.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -702,9 +702,9 @@ split across the same voices in two constructs, shown here in the
 blue triangle voice.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<  % Bar 1
     {
       \voiceOneStyle
@@ -794,10 +794,10 @@ later sections.
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     {
       % Ignore these for now - they are explained in Ch 4
@@ -874,10 +874,10 @@ we have learnt, using the @code{<< \\  >>} construct to
 enter the music of the first bar in three voices:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -897,10 +897,10 @@ and placing the music in voice four.  This is done by simply
 adding another pair of @code{\\}.
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { <ees, c>2 des }
   \\  % Omit Voice three
@@ -959,8 +959,8 @@ the previous section:
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -970,8 +970,8 @@ is equivalent to
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -980,8 +980,8 @@ Both of the above would produce
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1002,9 +1002,9 @@ Let us see in some simple examples exactly what effect
 markup, ties, slurs, and dynamics:
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1073,8 +1073,8 @@ voice appears only briefly this might be a more natural way to
 typeset the music:
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e) | }
     \new Voice {
@@ -1249,14 +1249,14 @@ rather than music.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1308,10 +1308,10 @@ examples this is often called @q{global}.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1487,8 +1487,8 @@ annotated real-music example:
       \clef "treble"
       \key g \minor
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8. |
+        \relative {  % start of RH notes
+          d''4 ees16 c8. |
           d4 ees16 c8. |
         }  % end of RH notes
       }  % end of RH voice
@@ -1498,14 +1498,14 @@ annotated real-music example:
       \key g \minor
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c> |
           g8 <bes d> ees, <g c> |
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees |
           g4 ees |
         }  % end of LH voice two notes
@@ -1770,8 +1770,8 @@ So this turns off extra naturals in one staff:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1785,8 +1785,8 @@ and this turns them off in all staves:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1860,13 +1860,13 @@ like this:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -1903,8 +1903,8 @@ throughout the @code{\score} or @code{\book} block in which the
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -1923,13 +1923,13 @@ within the score:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -1991,8 +1991,8 @@ produced by the @code{Staff_symbol_engraver}.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % make note heads smaller
   e4 f |
   \set fontSize = #2.5  % make note heads larger
@@ -2077,24 +2077,24 @@ staff in a four-staff score, we could write
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2156,7 +2156,7 @@ soprano and cello.  In this case, we would start with the
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2185,7 +2185,7 @@ Now we want to add a cello part.  Let's look at the @q{Notes only} example:
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2223,7 +2223,7 @@ different notes.
 @example
 \version @w{"@version{}"}
 
-sopranoMusic = \relative c' @{
+sopranoMusic = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2234,7 +2234,7 @@ sopranoLyrics = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-celloMusic = \relative c @{
+celloMusic = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2291,7 +2291,7 @@ This looks a bit messy; the indentation is messed up now.  That is
 easily fixed.  Here's the complete soprano and cello template.
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2302,7 +2302,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2348,29 +2348,29 @@ from Handel's Messiah:
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
 
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
 
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 
@@ -2587,26 +2587,26 @@ for the three bars of the example above gives:
 
 @lilypond[quote,verbatim,ragged-right,addversion]
 global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2918,19 +2918,19 @@ is to add the music, and combine all the parts together.
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d ees8~ 16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -2984,7 +2984,7 @@ Music Glossary:
 By this point, you've seen this kind of thing:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 
 \score {
   {
@@ -2996,8 +2996,8 @@ hornNotes = \relative c'' { c4 b dis c }
 You may even realize that this could be useful in minimalist music:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 
 violin = \new Staff {
   \fragmentA \fragmentA |
@@ -3077,8 +3077,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c'' {
-  c4^"piu mosso" b a b
+\relative {
+  c''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" b a b
   \padText #2.6
@@ -3109,7 +3109,7 @@ suppose that the file @file{horn-music.ly} contains the following part
 of a horn/@/bassoon duo
 
 @example
-hornNotes = \relative c @{
+hornNotes = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3146,7 +3146,7 @@ tuning of a normal French Horn in@tie{}F.  The transposition can be seen
 in the following output
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3174,7 +3174,7 @@ is a music function available to do this:
 Applying this to @code{hornNotes} gives:
 
 @lilypond[quote,ragged-right]
-\compressMMRests \transpose f c' \relative c {
+\compressMMRests \transpose f c' \relative {
   \time 2/4
   R2*3 |
   r4 f8 a | cis4 f | e4 d |
@@ -3200,7 +3200,7 @@ that the other voice is in @code{bassoonNotes} in the file
 leading to
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/learning/tutorial.itely b/Documentation/learning/tutorial.itely
index dfb60fab0b..603b114dbe 100644
--- a/Documentation/learning/tutorial.itely
+++ b/Documentation/learning/tutorial.itely
@@ -10,7 +10,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Tutorial
 @chapter Tutorial
@@ -224,8 +224,8 @@ is within just one staff space of the previous note.
 
 @lilypond[verbatim,quote]
 % set the starting point to middle C
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -237,8 +237,8 @@ closest D to the previous note.  We can create melodies which have
 larger intervals, still using only @code{\relative} mode:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -255,8 +255,8 @@ starting octave:
 
 @lilypond[verbatim,quote]
 % one octave above middle C
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -269,8 +269,8 @@ if the note following a B is a C, D or E it will be assumed to be
 above the B, and an A, G or F will be assumed to be below.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % c is 1 staff space up, so is the c above
+\relative {
+  b' c  % c is 1 staff space up, so is the c above
   b d  % d is 2 up or 5 down, so is the d above
   b e  % e is 3 up or 4 down, so is the e above
   b a  % a is 6 up or 1 down, so is the a below
@@ -291,8 +291,8 @@ apostrophe) to the note name.  We can lower the octave by adding a
 comma @code{,} to the note name.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -329,8 +329,8 @@ for the next note.  The duration of the first note defaults to a
 quarter note.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -341,8 +341,8 @@ duration number.  The duration of a dotted note must be stated
 explicitly (i.e., with a number).
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 a a4. a8
+\relative {
+  a'4 a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -359,8 +359,8 @@ A @notation{rest} is entered just like a note with the name
 @code{r}@tie{}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 r r2
+\relative {
+  a'4 r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -380,9 +380,9 @@ The @notation{time signature} can be set with the @code{\time}
 command:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -436,9 +436,9 @@ Music Glossary: @rglos{clef}.
 The @notation{clef} can be set using the @code{\clef} command:
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef "treble"
-  c1
+  c'1
   \clef "alto"
   c1
   \clef "tenor"
@@ -724,8 +724,8 @@ this image:
 
 @c no verbatim here
 @lilypond[quote]
-\relative c'' {
-  c4-\markup { \bold \huge { Click here. } }
+\relative {
+  c''4-\markup { \bold \huge { Click here. } }
 }
 @end lilypond
 
diff --git a/Documentation/learning/tweaks.itely b/Documentation/learning/tweaks.itely
index de6554579b..4300425df8 100644
--- a/Documentation/learning/tweaks.itely
+++ b/Documentation/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.16"
+@c \version "2.19.21"
 
 @node Tweaking output
 @chapter Tweaking output
@@ -537,8 +537,8 @@ emphNoteHead = {
   \override NoteHead.color = #red
   \override NoteHead.font-size = 2
 }
-\relative c'' {
-  c4 a \once \emphNoteHead f d |
+\relative {
+  c''4 a \once \emphNoteHead f d |
 }
 @end lilypond
 
@@ -555,8 +555,8 @@ emphNoteHead = {
   \override NoteHead.color = #red
   \override NoteHead.font-size = 2
 }
-\relative c'' {
-   <c a \single \emphNoteHead f d>4
+\relative {
+   <c'' a \single \emphNoteHead f d>4
 }
 @end lilypond
 
@@ -1460,8 +1460,8 @@ how to introduce a new temporary staff, as in an @rglos{ossia}.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1487,8 +1487,8 @@ we simply set the stencil of each to @code{#f}, as follows:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1550,8 +1550,8 @@ So we could replace the example above with
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1575,8 +1575,8 @@ clearing the @code{stencil} here, leading to the result
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1639,8 +1639,8 @@ Let's try it in our ossia example:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1705,8 +1705,8 @@ objects in proportion.  It is used like this:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1827,10 +1827,10 @@ this @q{nestling} of the notes on adjacent staves:
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -3041,8 +3041,8 @@ stencil with a markup containing the desired symbol(s), like this:
 
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
-\relative c'' {
-  c4
+\relative {
+  c''4
   % This prints a sesquisharp but the spacing is too small
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -3288,10 +3288,10 @@ example introduced at the end of @ref{I'm hearing Voices}, which
 was left looking like this:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 des }
     \\
@@ -3323,10 +3323,10 @@ Here's the final result:
 @cindex force-hshift property, example
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 \once \override NoteColumn.force-hshift = 0.5 des }
     \\
@@ -3359,9 +3359,9 @@ dynamics, fingering and pedalling.
 @c This example should not be indexed
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3401,8 +3401,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3442,9 +3442,9 @@ produces by default:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4. g8 |
+    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3468,8 +3468,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3499,9 +3499,9 @@ since these were all covered in the Tutorial.  Doing this gives:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3525,8 +3525,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3569,9 +3569,9 @@ This completes bar two, giving:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3597,8 +3597,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3648,9 +3648,9 @@ to the end, giving:
 
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3680,8 +3680,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3722,9 +3722,9 @@ Applying these changes gives:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3757,8 +3757,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3792,9 +3792,9 @@ the @code{force-hshift} property.  Here's the final result:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3835,8 +3835,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -4053,10 +4053,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/ly-examples/aucun-snippet.ly b/Documentation/ly-examples/aucun-snippet.ly
index 23e89447aa..4f18456a31 100644
--- a/Documentation/ly-examples/aucun-snippet.ly
+++ b/Documentation/ly-examples/aucun-snippet.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 \include "example-header.ily"
 
 \paper {
@@ -200,9 +200,9 @@ motetusWords = \lyricmode {
   mes or ai _ _
 }
 
-motetusNotes = \relative c' {
+motetusNotes = \relative {
   \clef "treble_8"
-  c2. c8\startGroup b8 \slash c\stopGroup | % 1
+  c'2. c8\startGroup b8 \slash c\stopGroup | % 1
 	a2. c4. | d2. e4. | % 2-3
   f2. f8 e d | % 4
 	c2. ~ 4. | r2. r4. | % 5-6
@@ -210,7 +210,7 @@ motetusNotes = \relative c' {
 }
 
 
-tenorNotes = \relative c {
+tenorNotes = \relative {
   \clef "treble_8"
 	f2. | a2. | g2. | r2. | % 1-4
 	c2. | b2. | c2. |  % 5-7
diff --git a/Documentation/ly-examples/orchestra.ly b/Documentation/ly-examples/orchestra.ly
index d784dfd6af..7654521ebb 100644
--- a/Documentation/ly-examples/orchestra.ly
+++ b/Documentation/ly-examples/orchestra.ly
@@ -1,4 +1,4 @@
-\version "2.19.0"
+\version "2.19.21"
 
 \header {
   tagline = ##f
@@ -166,19 +166,19 @@ modern =
     R1*9/8 |
   }
 
-  flutes = \relative c'''' {
+  flutes = \relative {
     \clef treble \key ees \minor \time 6/8
     R2.
-    <ges, c,>16(\mf\< <ees bes> <c ges> <ees bes> <ges c,> <bes ees,>) <c ges>( <bes ees,> <ges c,> <bes ees,> <c ges> <ees bes>) |
+    <ges'' c,>16(\mf\< <ees bes> <c ges> <ees bes> <ges c,> <bes ees,>) <c ges>( <bes ees,> <ges c,> <bes ees,> <c ges> <ees bes>) |
     <ges c,>8-.->\!\ff \offCr r r r4 r8 | R2. |
     \time 9/8
     R1*9/8 |
   }
 
-  oboes = \relative c''' {
+  oboes = \relative {
     \clef treble \key ees \minor \time 6/8
     R2. |
-    <ges, c,>4(\mf\< <bes ees,>8 <c ges>4 <ees bes>8) |
+    <ges' c,>4(\mf\< <bes ees,>8 <c ges>4 <ees bes>8) |
     <ges c,>-.->\!\ff \offCr r r r4 r8 | R2. |
     \time 9/8
     R1*9/8 |
@@ -194,9 +194,9 @@ modern =
     R1*9/8 |
   }
 
-  bassoons = \relative c, {
+  bassoons = \relative {
     \clef bass \key ees \minor \time 6/8
-    <ees bes'>4.\pp\< c'^"a2" |
+    <ees, bes'>4.\pp\< c'^"a2" |
     bes8-. bes-. bes-. ges-. ges-. ges-. |
     ees-.->\!\ff \offCr <ees bes'>4\pp ~ <ees bes'>4. ~ | <ees bes'>2. |
     \time 9/8
@@ -243,7 +243,7 @@ R2. |
     R1*9/8 |
   }
 
-  trombones = \relative c' {
+  trombones = \relative {
     \clef tenor \key ees \minor \time 6/8
     r4 r8 <ges c>4.\mp\< ~ |
     <ges c>8-. <ges c>-. <ges c>-. <ges c>-. <ges c>-. <ges c>-. |
@@ -252,16 +252,16 @@ R2. |
     R1*9/8 |
   }
 
-  tuba = \relative c,, {
+  tuba = \relative {
     \clef bass \key ees \minor \time 6/8
-    <ees' ees'>4.(\pp\< <c c'> |
+    <ees, ees'>4.(\pp\< <c c'> |
     <bes bes'>8-.) <bes bes'>-. <bes bes'>-. <ges ges'>-. <ges ges'>-. <ges ges'>-. |
     <ees ees'>-.->\!\ff \offCr r r r4 r8 | R2. |
     \time 9/8
     R1*9/8 |
   }
 
-  timpani = \relative c {
+  timpani = \relative {
     \clef bass \key ees \minor \time 6/8
     ees8\< ees ees ees ees ees |
     bes bes bes bes bes bes |
@@ -337,25 +337,25 @@ R2. |
   }
 
 
-  violinI = \relative c'''' {
+  violinI = \relative {
     \clef treble \key ees \minor \time 6/8
-    ges,,16(\pp\< ees c ees ges bes) c( bes ges bes c ees) |
+    ges'16(\pp\< ees c ees ges bes) c( bes ges bes c ees) |
     ges( ees c ees ges bes) c( bes ges bes c ees) |
     ges8-.->\!\ff \offCr r r r4 r8 | R2. |
     \time 9/8
     R1*9/8 |
   }
 
-  violinII = \relative c''' {
+  violinII = \relative {
     \clef treble \key ees \minor \time 6/8
-    c,,16(\pp\< bes ges bes c ees) ges( ees c ees ges bes) |
+    c'16(\pp\< bes ges bes c ees) ges( ees c ees ges bes) |
     c( bes ges bes c ees) ges( ees c ees ges bes) |
     c8-.->\!\ff \offCr r r r4 r8 | R2. |
     \time 9/8
     r4 r8 \repeat tremolo 6 { c,,32->\pp^\pont e } r4 r8 |
   }
 
-  viola = \relative c {
+  viola = \relative {
     \clef alto \key ees \minor \time 6/8
     <ees bes'>8-.\pp\< <ees bes'>-. <ees bes'>-. <ges c>-. <ges c>-. <ges c>-. |
     <bes ees>-. <bes ees>-. <bes ees>-. <c ges'>-. <c ges'>-. <c ges'>-. |
@@ -364,7 +364,7 @@ R2. |
     \repeat tremolo 12 { ges,32->^\pont bes } \repeat tremolo 6 {ges->( bes) } |
   }
 
-  cello = \relative c {
+  cello = \relative {
     \clef bass \key ees \minor \time 6/8
     <c ges'>8-.\pp\< <c ges'>-. <c ges'>-. <bes ees>-. <bes ees>-. <bes ees>-. |
     <c ges'>-. <c ges'>-. <c ges'>-. <c ges'>-. <c ges'>-. <c ges'>-. |
diff --git a/Documentation/nl/learning/common-notation.itely b/Documentation/nl/learning/common-notation.itely
index 8bb4361689..0920e36af5 100644
--- a/Documentation/nl/learning/common-notation.itely
+++ b/Documentation/nl/learning/common-notation.itely
@@ -12,7 +12,7 @@
 @c Translation checker:
 @c Translation checker committish:
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
@@ -716,9 +716,9 @@ sequenties (die allemaal enkele noten bevatten) simultaan
 samengesteld:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    { a2 g }
+    { a'2 g }
     { f2 e }
     { d2 b }
   >>
@@ -747,8 +747,8 @@ maar omdat het begint met een enkele noot wordt het
 genoteerd op een enkele notenbalk.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 <<c e>> |
+\relative {
+  c''2 <<c e>> |
   << { e2 f } { c2 <<b d>> } >> |
 }
 @end lilypond
@@ -787,9 +787,9 @@ muziek dat een op een notebalk hoort gemarkeerd door er
 met @code{<<} en @code{>>}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "treble" c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -822,9 +822,9 @@ instrumenten veel meer voorkomen dan polyritmische
 partituren.
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   <<
-    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
     \new Staff { \clef "bass" c,,4 }
   >>
 }
@@ -870,9 +870,9 @@ uitdrukking in een @code{PianoStaff} gestopt:
 Hier is een voorbeeldje:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \new PianoStaff <<
-    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \time 2/4 c''4 e | g g, | }
     \new Staff { \clef bass c,,4 c' | e c | }
   >>
 }
@@ -997,10 +997,10 @@ Hier is het begin van de melodie van een slaapliedje,
 @notation{Girls and boys come out to play}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key g \major
   \time 6/8
-  d4 b8 c4 a8 | d4 b8 g4
+  d''4 b8 c4 a8 | d4 b8 g4
 }
 @end lilypond
 
@@ -1012,10 +1012,10 @@ een spatie.
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4
+    d''4 b8 c4 a8 | d4 b8 g4
   }
   \addlyrics {
     Girls and boys come | out to play,
@@ -1054,10 +1054,10 @@ doth shine as bright as day}.  Laten we die ook invoeren:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c b a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1092,10 +1092,10 @@ legatoboog over de noten te zetten, voor details, zie
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c( b) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1115,10 +1115,10 @@ waardestrepen te overschrijven, voor details, see
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c([ b]) a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1135,10 +1135,10 @@ worden opgenomen in de melisma:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \major
     \time 6/8
-    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    d''4 b8 c4 a8 | d4 b8 g4 g8 |
     a4 b8 c[ b] a | d4 b8 g4. |
   }
   \addlyrics {
@@ -1158,10 +1158,10 @@ Lament}, van Purcells @notation{Dido and Æneas}:
 
 @lilypond[verbatim,quote]
 <<
-  \relative c'' {
+  \relative {
     \key g \minor
     \time 3/2
-    g2 a bes | bes2( a) b2 |
+    g'2 a bes | bes2( a) b2 |
     c4.( bes8 a4. g8 fis4.) g8 | fis1
   }
   \addlyrics {
@@ -1213,11 +1213,11 @@ in Figaro's aria @notation{Largo al factotum}:
 @c but the example is long enough to avoid looking strange.
 @lilypond[verbatim,quote,noragged-right]
 <<
-  \relative c' {
+  \relative {
     \clef "bass"
     \key c \major
     \time 6/8
-    c4.~ 8 d b | c8([ d]) b c d b | c8
+    c'4.~ 8 d b | c8([ d]) b c d b | c8
   }
   \addlyrics {
     Lar -- go_al fac -- | to -- tum del -- la cit -- | tà
@@ -1332,13 +1332,13 @@ LilyPond-commando).
 @c KEEP LY
 @lilypond[verbatim,quote]
 viool = \new Staff {
-  \relative c'' {
-    a4 b c b
+  \relative {
+    a'4 b c b
   }
 }
 
 cello = \new Staff {
-  \relative c {
+  \relative {
     \clef "bass"
     e2 d
   }
@@ -1497,10 +1497,10 @@ van fouten.  met @code{\relative} is bovenstaand voorbeeld
 een stuk leesbaarder en ook eenvoudiger in te voeren:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \key a \major
   \time 6/8
-  cis8. d16 cis8 e4 e8 |
+  cis''8. d16 cis8 e4 e8 |
   b8. cis16 b8 d4 d8 |
 }
 @end lilypond
diff --git a/Documentation/nl/learning/fundamental.itely b/Documentation/nl/learning/fundamental.itely
index a129a464ff..d6bc8d04cd 100644
--- a/Documentation/nl/learning/fundamental.itely
+++ b/Documentation/nl/learning/fundamental.itely
@@ -12,7 +12,7 @@
 @c Translation checker:
 @c Translation checker committish:
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Fundamentele concepten
 @translationof Fundamental concepts
@@ -91,8 +91,8 @@ als je het eenvoudige invoer geeft.  LilyPond behandelt invoer
 zoals dit:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -104,8 +104,8 @@ als een afkorting voor dit:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -246,8 +246,8 @@ variabelen, zoals getoond in @ref{Stukken organiseren met
 variabelen}.  Alle sjablonen gebruiken dat:
 
 @example
-melodie = \relative c' @{
-  c4 a b c
+melodie = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -367,8 +367,8 @@ At this stage, we could start filling in notes.  Inside the curly
 braces next to @code{\new Voice = "vocal"}, we could start writing
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -386,10 +386,10 @@ So, adding a few notes and a bass clef for the left hand, we now
 have a piece of real music:
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e }
 
 \score {
   <<
@@ -435,8 +435,8 @@ duration of three notes:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -462,8 +462,8 @@ as follows:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -704,9 +704,9 @@ voice in context @code{"1"} and the lowest voice in context
 of slurs, stems, ties, dynamics etc., is set appropriately.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -728,9 +728,9 @@ split across the same voices in two constructs, shown here in the
 blue triangle voice.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<  % Bar 1
     {
       \voiceOneStyle
@@ -820,10 +820,10 @@ later sections.
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     {
       % Ignore these for now - they are explained in Ch 4
@@ -900,10 +900,10 @@ we have learnt, using the @code{<< \\  >>} construct to
 enter the music of the first bar in three voices:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -923,10 +923,10 @@ and placing the music in voice four.  This is done by simply
 adding another pair of @code{\\}.
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { <ees, c>2 des }
   \\  % Omit Voice three
@@ -985,8 +985,8 @@ the previous section:
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -996,8 +996,8 @@ is equivalent to
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -1006,8 +1006,8 @@ Both of the above would produce
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1028,9 +1028,9 @@ Let us see in some simple examples exactly what effect
 markup, ties, slurs, and dynamics:
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1099,8 +1099,8 @@ voice appears only briefly this might be a more natural way to
 typeset the music:
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e) | }
     \new Voice {
@@ -1270,14 +1270,14 @@ rather than music.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1329,10 +1329,10 @@ examples this is often called @q{global}.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1508,8 +1508,8 @@ annotated real-music example:
       \clef "treble"
       \key g \minor
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8. |
+        \relative {  % start of RH notes
+          d''4 ees16 c8. |
           d4 ees16 c8. |
         }  % end of RH notes
       }  % end of RH voice
@@ -1519,14 +1519,14 @@ annotated real-music example:
       \key g \minor
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c> |
           g8 <bes d> ees, <g c> |
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees |
           g4 ees |
         }  % end of LH voice two notes
@@ -1791,8 +1791,8 @@ So this turns off extra naturals in one staff:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1806,8 +1806,8 @@ and this turns them off in all staves:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1881,13 +1881,13 @@ like this:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -1924,8 +1924,8 @@ throughout the @code{\score} or @code{\book} block in which the
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -1944,13 +1944,13 @@ within the score:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -2012,8 +2012,8 @@ produced by the @code{Staff_symbol_engraver}.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % make note heads smaller
   e4 f |
   \set fontSize = #2.5  % make note heads larger
@@ -2098,24 +2098,24 @@ staff in a four-staff score, we could write
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2177,7 +2177,7 @@ soprano and cello.  In this case, we would start with the
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2206,7 +2206,7 @@ Now we want to add a cello part.  Let's look at the @q{Notes only} example:
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2244,7 +2244,7 @@ different notes.
 @example
 \version @w{"@version{}"}
 
-sopranoMusic = \relative c' @{
+sopranoMusic = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2255,7 +2255,7 @@ sopranoLyrics = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-celloMusic = \relative c @{
+celloMusic = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2312,7 +2312,7 @@ This looks a bit messy; the indentation is messed up now.  That is
 easily fixed.  Here's the complete soprano and cello template.
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2323,7 +2323,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2369,29 +2369,29 @@ from Handel's Messiah:
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
 
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
 
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 
@@ -2600,26 +2600,26 @@ for the three bars of the example above gives:
 
 @lilypond[quote,verbatim,ragged-right,addversion]
 global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2931,19 +2931,19 @@ is to add the music, and combine all the parts together.
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d ees8~ 16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -2997,7 +2997,7 @@ Music Glossary:
 By this point, you've seen this kind of thing:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 
 \score {
   {
@@ -3009,8 +3009,8 @@ hornNotes = \relative c'' { c4 b dis c }
 You may even realize that this could be useful in minimalist music:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 
 violin = \new Staff {
   \fragmentA \fragmentA |
@@ -3094,8 +3094,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative {
+  c'''4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
@@ -3126,7 +3126,7 @@ suppose that the file @file{horn-music.ly} contains the following part
 of a horn/@/bassoon duo
 
 @example
-hornNotes = \relative c @{
+hornNotes = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3163,7 +3163,7 @@ tuning of a normal French Horn in@tie{}F.  The transposition can be seen
 in the following output
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3221,7 +3221,7 @@ that the other voice is in @code{bassoonNotes} in the file
 leading to
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4
diff --git a/Documentation/nl/learning/tutorial.itely b/Documentation/nl/learning/tutorial.itely
index d428ec33fb..7d32cfdd03 100644
--- a/Documentation/nl/learning/tutorial.itely
+++ b/Documentation/nl/learning/tutorial.itely
@@ -13,7 +13,7 @@
 
 @include included/generating-output.itexi
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Leerboek
 @translationof Tutorial
@@ -228,8 +228,8 @@ muziek, een @notation{toonladder}, waarin elke noot precies
 
 @lilypond[verbatim,quote]
 % zet het beginpunt op de centrale C
-\relative c' {
-  c d e f
+\relative {
+  c' d e f
   g a b c
 }
 @end lilypond
@@ -244,8 +244,8 @@ steeds uitsluitend gebruikmakend van de @code{\relative}
 modus:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d f a g
+\relative {
+  d' f a g
   c b f d
 }
 @end lilypond
@@ -262,8 +262,8 @@ c'}}}-commando, kunnen we het beginoctaaf veranderen:
 
 @lilypond[verbatim,quote]
 % één octaaf boven de centrale C
-\relative c'' {
-  e c a c
+\relative {
+  e'' c a c
 }
 @end lilypond
 
@@ -279,8 +279,8 @@ dan de B, en van een A, G of F wordt aangenomen dat hij
 lager is.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  b c  % c is 1 notenbalk-ruimte omhoog, dus de c hoger
+\relative {
+  b' c  % c is 1 notenbalk-ruimte omhoog, dus de c hoger
   b d  % d is 2 omhoog of 5 omlaag, dus de d hoger
   b e  % e is 3 omhoog of 4 omlaag, dus de e hoger
   b a  % a is 6 omhoog of 1 omlaag, dus de a lager
@@ -303,8 +303,8 @@ notenaam toe te voegen.  We kunnen het octaaf verlagen door
 een komma @code{,} aan de notenaam toe toe voegen.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a a, c' f,
+\relative {
+  a' a, c' f,
   g g'' a,, f'
 }
 @end lilypond
@@ -342,8 +342,8 @@ gebruikt voor de volgende noot.  De lengte van de eerste
 noot is standaard een kwartnoot.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a1
+\relative {
+  a'1
   a2 a4 a8 a
   a16 a a a a32 a a a a64 a a a a a a a a2
 }
@@ -355,8 +355,8 @@ gepuncteerde noot moet expliciet worden aangegeven (d.w.z.,
 altijd ook met een getal).
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 a a4. a8
+\relative {
+  a'4 a a4. a8
   a8. a16 a a8. a8 a4.
 }
 @end lilypond
@@ -373,8 +373,8 @@ Een @notation{rust} voer je in net zoals een noot met de
 naam @code{r}@tie{}:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  a4 r r2
+\relative {
+  a'4 r r2
   r8 a r4 r4. r8
 }
 @end lilypond
@@ -392,9 +392,9 @@ Terminologie: @rglos{time signature}.
 De @notation{maatsoort} kun je aangeven met het @code{\time}-commando:
 
 @lilypond[verbatim,quote]
-\relative c'' {
+\relative {
   \time 3/4
-  a4 a a
+  a'4 a a
   \time 6/8
   a4. a
   \time 4/4
@@ -448,9 +448,9 @@ De @notation{sleutel} kun je aangeven met het @code{\clef}
 commando:
 
 @lilypond[verbatim,quote]
-\relative c' {
+\relative {
   \clef "treble"
-  c1
+  c'1
   \clef "alto"
   c1
   \clef "tenor"
@@ -761,8 +761,8 @@ afbeelding:
 
 @c no verbatim here
 @lilypond[quote]
-\relative c'' {
-  c4-\markup { \bold \huge { Klik hier. } }
+\relative {
+  c''4-\markup { \bold \huge { Klik hier. } }
 }
 @end lilypond
 
diff --git a/Documentation/nl/learning/tweaks.itely b/Documentation/nl/learning/tweaks.itely
index 9abaa16d9b..014c1c8921 100644
--- a/Documentation/nl/learning/tweaks.itely
+++ b/Documentation/nl/learning/tweaks.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Tweaking output
 @chapter Tweaking output
@@ -1379,8 +1379,8 @@ how to introduce a new temporary staff, as in an @rglos{ossia}.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1406,8 +1406,8 @@ we simply set the stencil of each to @code{#f}, as follows:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1469,8 +1469,8 @@ So we could replace the example above with
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1494,8 +1494,8 @@ clearing the @code{stencil} here, leading to the result
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1558,8 +1558,8 @@ Let's try it in our ossia example:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1624,8 +1624,8 @@ objects in proportion.  It is used like this:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \new Staff ="main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -1746,10 +1746,10 @@ this @q{nestling} of the notes on adjacent staves:
 @lilypond[quote,ragged-right,verbatim]
 <<
   \new Staff {
-    \relative c' { c4 a, }
+    \relative { c'4 a, }
   }
   \new Staff {
-    \relative c'''' { c4 a, }
+    \relative { c''''4 a, }
   }
 >>
 @end lilypond
@@ -2738,8 +2738,8 @@ stencil with a markup containing the desired symbol(s), like this:
 
 @lilypond[quote,ragged-right,verbatim]
 sesquisharp = \markup { \sesquisharp }
-\relative c'' {
-  c4
+\relative {
+  c''4
   % This prints a sesquisharp but the spacing is too small
   \once \override Accidental.stencil = #ly:text-interface::print
   \once \override Accidental.text = #sesquisharp
@@ -2974,10 +2974,10 @@ example introduced at the end of @ref{I'm hearing Voices}, which
 was left looking like this:
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     { <ees, c>2 des }
     \\
@@ -3006,10 +3006,10 @@ Here's the final result:
 @cindex force-hshift property, example
 
 @lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
     \\
     {
       <ees, c>2
@@ -3049,9 +3049,9 @@ dynamics, fingering and pedalling.
 @c This example should not be indexed
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3091,8 +3091,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3132,9 +3132,9 @@ produces by default:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4. g8 |
+    r2 c''4. g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3158,8 +3158,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2 |
+lhMusic = \relative {
+  r2 <c' g ees>2 |
   <d g, d>1 |
   r2. d,,4 r4 r |
   r4
@@ -3189,9 +3189,9 @@ since these were all covered in the Tutorial.  Doing this gives:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     bes1~ |
     \time 6/4
     bes2. r8
@@ -3215,8 +3215,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1) |
   r2. d,,4 r4 r |
   r4
@@ -3259,9 +3259,9 @@ This completes bar two, giving:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3287,8 +3287,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3338,9 +3338,9 @@ to the end, giving:
 
 @c line-width ensures no break
 @lilypond[quote,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3370,8 +3370,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3412,9 +3412,9 @@ Applying these changes gives:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3447,8 +3447,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3482,9 +3482,9 @@ the @code{force-hshift} property.  Here's the final result:
 
 @c line-width ensures no break
 @lilypond[quote,verbatim,ragged-right,line-width=6\in]
-rhMusic = \relative c'' {
+rhMusic = \relative {
   \new Voice {
-    r2 c4.\( g8 |
+    r2 c''4.\( g8 |
     \once \override Tie.staff-position = #3.5
     bes1~ |
     \bar "||"
@@ -3525,8 +3525,8 @@ rhMusic = \relative c'' {
   }
 }
 
-lhMusic = \relative c' {
-  r2 <c g ees>2( |
+lhMusic = \relative {
+  r2 <c' g ees>2( |
   <d g, d>1)\arpeggio |
   r2. d,,4 r4 r |
   r4
@@ -3783,10 +3783,10 @@ normal = {
 
 global = { \key c \major \time 4/4 \partial 4 }
 
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g    | a4   a   g  }
-AltoMusic    = \relative c' { c4 | c4. c8 e4 e    | f4   f   e  }
-TenorMusic   = \relative c  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
-BassMusic    = \relative c  { c4 | c4. c8 c4 c    | f8 g a b c4 }
+SopranoMusic = \relative { c'4 | e4. e8 g4 g    | a4   a   g  }
+AltoMusic    = \relative { c'4 | c4. c8 e4 e    | f4   f   e  }
+TenorMusic   = \relative  { e4 | g4. g8 c4.  b8 | a8 b c d e4 }
+BassMusic    = \relative  { c4 | c4. c8 c4 c    | f8 g a b c4 }
 
 VerseOne = \lyrics {
   E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
diff --git a/Documentation/notation/ancient.itely b/Documentation/notation/ancient.itely
index 381621ffd8..e8352162ee 100644
--- a/Documentation/notation/ancient.itely
+++ b/Documentation/notation/ancient.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 
 @node Ancient notation
@@ -294,8 +294,8 @@ desired, as shown in the following example:
 
 @lilypond[quote,ragged-right]
 \score {
-  \relative c'' {
-    a1
+  \relative {
+    a'1
     \break
     g
   }
@@ -2755,9 +2755,9 @@ either set as a single, left-aligned syllable:
 
 @lilypond[verbatim,ragged-right]
 \include "gregorian.ly"
-chant = \relative c' {
+chant = \relative {
   \clef "G_8"
-  c\breve c4 b4 a c2 c4  \divisioMaior
+  c'\breve c4 b4 a c2 c4  \divisioMaior
   c\breve c4 c f, f \finalis
 }
 
diff --git a/Documentation/notation/changing-defaults.itely b/Documentation/notation/changing-defaults.itely
index a1134477e6..7b974fbbb6 100644
--- a/Documentation/notation/changing-defaults.itely
+++ b/Documentation/notation/changing-defaults.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.20"
+@c \version "2.19.21"
 
 @node Changing defaults
 @chapter Changing defaults
@@ -428,13 +428,13 @@ from the musical content.  Either of these two forms is valid:
 
     % musical content
     \context Voice = "one" {
-      \relative c'' {
-        c4 c c c
+      \relative {
+        c''4 c c c
       }
     }
     \context Voice = "two" {
-      \relative c'' {
-        g8 g g4 g g
+      \relative {
+        g'8 g g4 g g
       }
     }
   >>
@@ -456,13 +456,13 @@ from the musical content.  Either of these two forms is valid:
 
     % musical content
     \context Voice = "one" {
-      \relative c'' {
-        c4 c c c
+      \relative {
+        c''4 c c c
       }
     }
     \context Voice = "two" {
-      \relative c'' {
-        g8 g g4 g g
+      \relative {
+        g'8 g g4 g g
       }
     }
   >>
@@ -483,8 +483,8 @@ is used to set the context in which a Scheme procedure specified with
 @code{\applyContext} is executed:
 
 @example
-\new Staff \relative c' @{
-  c1
+\new Staff \relative @{
+  c'1
   \context Timing
   \applyContext #(lambda (ctx)
                    (newline)
@@ -562,8 +562,8 @@ In the following example, both voice A and voice B are kept alive
 in this way for the duration of the piece:
 
 @lilypond[quote,verbatim]
-musicA = \relative c'' { d4 d d d }
-musicB = \relative c'' { g4 g g g }
+musicA = \relative { d''4 d d d }
+musicB = \relative { g'4 g g g }
 keepVoicesAlive = {
   <<
     \new Voice = "A" { s1*5 }  % Keep Voice "A" alive for 5 bars
@@ -601,8 +601,8 @@ melody and accompaniment would consist of several different
 sections, of course.
 
 @lilypond[quote,verbatim]
-melody = \relative c'' { a4 a a a }
-accompaniment = \relative c' { d4 d d d }
+melody = \relative { a'4 a a a }
+accompaniment = \relative { d'4 d d d }
 words = \lyricmode { These words fol -- low the mel -- o -- dy }
 \score {
   <<
@@ -640,14 +640,14 @@ to keep the melody line alive by simply including spacer notes to
 line it up correctly with the accompaniment:
 
 @lilypond[quote,verbatim]
-melody = \relative c'' {
+melody = \relative {
   s1  % skip a bar
-  a4 a a a
+  a'4 a a a
   s1  % skip a bar
   a4 a a a
 }
-accompaniment = \relative c' {
-  d4 d d d
+accompaniment = \relative {
+  d'4 d d d
   d4 d d d
   d4 d d d
   d4 d d d
@@ -765,17 +765,17 @@ time signature.
       \consists "Timing_translator"
       \consists "Default_bar_line_engraver"
     }
-    \relative c'' {
+    \relative {
         \time 3/4
-        c4 c c c c c
+        c''4 c c c c c
     }
   \new Staff \with {
     \consists "Timing_translator"
     \consists "Default_bar_line_engraver"
   }
-  \relative c'' {
+  \relative {
       \time 2/4
-      c4 c c c c c
+      c''4 c c c c c
   }
 >>
 \layout {
@@ -882,8 +882,8 @@ An @code{\override} command, but with the context name omitted
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Thicker stems" a a a
+  \relative {
+    a'4^"Thicker stems" a a a
     a4 a a\ff a
   }
   \layout {
@@ -900,8 +900,8 @@ Directly setting a context property
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Smaller font" a a a
+  \relative {
+    a'4^"Smaller font" a a a
     a4 a a\ff a
   }
   \layout {
@@ -919,8 +919,8 @@ expression like @code{\accidentalStyle dodecaphonic}
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    a4^"Dynamics above" a a a
+  \relative {
+    a'4^"Dynamics above" a a a
     a4 a a\ff a
   }
   \layout {
@@ -948,8 +948,8 @@ StaffDefaults = \with {
 
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Smaller font" a a a
+    \relative {
+      a'4^"Smaller font" a a a
       a4 a a a
     }
   }
@@ -976,8 +976,8 @@ the same command written in the music stream.
 @lilypond[quote,verbatim]
 \score {
   \new Staff {
-    \relative c'' {
-      a4^"Smaller font" a a a
+    \relative {
+      a'4^"Smaller font" a a a
       a4 a a a
     }
   }
@@ -1025,8 +1025,8 @@ An @code{\override} command, but with the context name omitted
   \new Staff {
     \new Voice \with { \override Stem.thickness = #4.0 }
     {
-      \relative c'' {
-        a4^"Thick stems" a a a
+      \relative {
+        a'4^"Thick stems" a a a
         a4 a a a
       }
     }
@@ -1041,15 +1041,15 @@ Directly setting a context property
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        a4^"Default font" a a a
+      \relative {
+        a'4^"Default font" a a a
         a4 a a a
       }
     }
     \new Staff \with { fontSize = #-4 }
     {
-      \relative c'' {
-        a4^"Smaller font" a a a
+      \relative {
+        a'4^"Smaller font" a a a
         a4 a a a
       }
     }
@@ -1065,8 +1065,8 @@ A predefined command such as @code{\dynamicUp}
   <<
     \new Staff {
       \new Voice {
-        \relative c'' {
-          a4^"Dynamics below" a a a
+        \relative {
+          a'4^"Dynamics below" a a a
           a4 a a\ff a
         }
       }
@@ -1075,8 +1075,8 @@ A predefined command such as @code{\dynamicUp}
     {
       \new Voice \with { \dynamicUp }
       {
-        \relative c'' {
-          a4^"Dynamics above" a a a
+        \relative {
+          a'4^"Dynamics above" a a a
           a4 a a\ff a
         }
       }
@@ -1168,8 +1168,8 @@ to indicate improvisation in jazz pieces,
   \accepts "ImproVoice"
 }}
 
-\relative c'' {
-  a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+\relative {
+  a'4 d8 bes8 \new ImproVoice { c4^"ad lib" c
    c4 c^"undress" c_"while playing :)" c }
   a1
 }
@@ -1300,8 +1300,8 @@ Putting both into a @code{\layout} block, like
 Then the output at the start of this subsection can be entered as
 
 @example
-\relative c'' @{
-  a4 d8 bes8
+\relative @{
+  a'4 d8 bes8
   \new ImproVoice @{
     c4^"ad lib" c
     c4 c^"undress"
@@ -4125,8 +4125,8 @@ XinO = {
       \musicglyph #"noteheads.s2cross"
   }
 }
-\relative c'' {
-  a a \XinO a a
+\relative {
+  a' a \XinO a a
 }
 @end lilypond
 
@@ -4691,8 +4691,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c'' {
-  c4^"piu mosso" b a b
+\relative {
+  c''4^"piu mosso" b a b
   \padText #1.8
   c4^"piu mosso" b a b
   \padText #2.6
@@ -4716,7 +4716,7 @@ custosNote =
      #note
    #})
 
-\relative c' { c4 d e f \custosNote g }
+\relative { c'4 d e f \custosNote g }
 @end lilypond
 
 Substitution functions with multiple arguments can be defined:
diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely
index 5ae834f3b7..3a98f7fa86 100644
--- a/Documentation/notation/chords.itely
+++ b/Documentation/notation/chords.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.30"
+@c \version "2.19.21"
 
 
 @node Chord notation
@@ -410,8 +410,8 @@ chord mode.  The displayed chord name will be the same, regardless
 of the mode of entry, unless there are inversions or added bass notes:
 
 @lilypond[verbatim,quote]
-chordmusic = \relative c' {
-  <c e g>2 <f bes c>
+chordmusic = \relative {
+  <c' e g>2 <f bes c>
   <f c' e g>1
   \chordmode {
     c2 f:sus4 c1:/f
@@ -1024,8 +1024,8 @@ of the figures is independent of the notes on the staff.
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \relative c'' {
-    c4 c'8 r8 c,4 c'
+  \relative {
+    c''4 c'8 r8 c,4 c'
   }
   \new FiguredBass {
     \figuremode {
diff --git a/Documentation/notation/editorial.itely b/Documentation/notation/editorial.itely
index 8f23a50cf8..4b2602b02d 100644
--- a/Documentation/notation/editorial.itely
+++ b/Documentation/notation/editorial.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.18.0"
+@c \version "2.19.21"
 
 @node Editorial annotations
 @section Editorial annotations
@@ -845,8 +845,8 @@ pieces.  Simple horizontal brackets are supported.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c2\startGroup
+\relative {
+  c''2\startGroup
   d\stopGroup
 }
 @end lilypond
@@ -860,8 +860,8 @@ Analysis brackets may be nested.
     \consists "Horizontal_bracket_engraver"
   }
 }
-\relative c'' {
-  c4\startGroup\startGroup
+\relative {
+  c''4\startGroup\startGroup
   d4\stopGroup
   e4\startGroup
   d4\stopGroup\stopGroup
diff --git a/Documentation/notation/expressive.itely b/Documentation/notation/expressive.itely
index 9ab9fdcb5c..a6dc9178b6 100644
--- a/Documentation/notation/expressive.itely
+++ b/Documentation/notation/expressive.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.18.0"
+@c \version "2.19.21"
 
 @node Expressive marks
 @section Expressive marks
@@ -430,8 +430,8 @@ items such as text scripts, text spanners, and piano pedal marks.
 
 @lilypond[verbatim,quote]
 <<
-  \new Staff \relative c' {
-    c2 d4 e |
+  \new Staff \relative {
+    c'2 d4 e |
     c4 e e,2 |
     g'4 a g a |
     c1 |
@@ -529,8 +529,8 @@ The easiest way to create dynamic indications is to use
 @lilypond[verbatim,quote]
 moltoF = \markup { molto \dynamic f }
 
-\relative c' {
-  <d e>16_\moltoF <d e>
+\relative {
+  <d' e>16_\moltoF <d e>
   <d e>2..
 }
 @end lilypond
@@ -552,8 +552,8 @@ roundF = \markup {
     \center-align \concat { \bold { \italic ( }
            \dynamic f \bold { \italic ) } } }
 boxF = \markup { \bracket { \dynamic f } }
-\relative c' {
-  c1_\roundF
+\relative {
+  c'1_\roundF
   c1_\boxF
 }
 @end lilypond
@@ -566,8 +566,8 @@ Simple, centered dynamic marks are easily created with the
 
 @lilypond[verbatim,quote]
 sfzp = #(make-dynamic-script "sfzp")
-\relative c' {
-  c4 c c\sfzp c
+\relative {
+  c'4 c c\sfzp c
 }
 @end lilypond
 
@@ -592,8 +592,8 @@ mfEspress = \markup { \center-align \line {
 roundFdynamic = #(make-dynamic-script roundF)
 boxFdynamic = #(make-dynamic-script boxF)
 mfEspressDynamic = #(make-dynamic-script mfEspress)
-\relative c' {
-  c4_\roundFdynamic\< d e f
+\relative {
+  c'4_\roundFdynamic\< d e f
   g,1~_\boxFdynamic\>
   g1
   g'1~\mfEspressDynamic
@@ -608,8 +608,8 @@ explained in @rextend{Markup construction in Scheme}.
 moltoF = #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF
 }
 @end lilypond
@@ -622,8 +622,8 @@ moltoF = \tweak DynamicText.self-alignment-X #LEFT
          #(make-dynamic-script
             (markup #:normal-text "molto"
                     #:dynamic "f"))
-\relative c' {
-  <d e>16 <d e>
+\relative {
+  <d' e>16 <d e>
   <d e>2..\moltoF <d e>1
 }
 @end lilypond
diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely
index c1257539ec..e3882f912d 100644
--- a/Documentation/notation/fretted-strings.itely
+++ b/Documentation/notation/fretted-strings.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Fretted string instruments
 @section Fretted string instruments
@@ -185,7 +185,7 @@ tablature, by using @code{TabStaff} and @code{TabVoice} contexts.  A
 calligraphic tablature clef is added automatically.
 
 @lilypond[quote,ragged-right,verbatim]
-\new TabStaff \relative c' {
+\new TabStaff \relative {
   a,8 a' <c e> a
   d,8 a' <d f> a
 }
@@ -259,14 +259,14 @@ to @code{#t}.
 @lilypond[quote,ragged-right,verbatim]
 \layout { \omit Voice.StringNumber }
 \new StaffGroup <<
-   \new Staff \relative c {
+   \new Staff \relative {
      \clef "treble_8"
      \time 2/4
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      c,16 d e f g4
    }
-   \new TabStaff \relative c {
+   \new TabStaff \relative {
      c16 d e f g4
      c,16\5 d\5 e\4 f\4 g4\4
      \set TabStaff.minimumFret = #5
@@ -294,7 +294,7 @@ repetition}.  This particular command is so common that it is available
 as @code{\tabChordRepeats}.
 
 @lilypond[quote,verbatim]
-guitar = \relative c' {
+guitar = \relative {
   r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4
 }
 
@@ -575,15 +575,15 @@ written.
     \omit StringNumber
   } {
     \clef "bass_8"
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
   \new TabStaff \with {
     stringTunings = #bass-tuning
   } {
-    \relative c, {
-      c4 d e f
+    \relative {
+      c,4 d e f
     }
   }
 >>
@@ -1751,7 +1751,7 @@ Dampened notes (also called @notation{dead notes}) are supported
 within normal and tablature staves:
 
 @lilypond[quote,ragged-right,verbatim]
-music = \relative c' {
+music = \relative {
   < a\3 \deadNote c\2 a'\1 >4
   < b\3 \deadNote d\2 b'\1 >
   < c\3 \deadNote e\2 c'\1 >
diff --git a/Documentation/notation/input.itely b/Documentation/notation/input.itely
index 1db5b63e3d..aef1360068 100644
--- a/Documentation/notation/input.itely
+++ b/Documentation/notation/input.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node General input and output
 @chapter General input and output
@@ -884,8 +884,8 @@ top-level @code{\header} block.
     tagline = "... music notation for Everyone"
   }
   \score {
-    \relative c' {
-      c4 d e f
+    \relative {
+      c'4 d e f
     }
   }
 }
@@ -1354,8 +1354,8 @@ is:
 @lilypond[quote,verbatim,papersize=a8landscape]
 \book {
   \header { tagline = ##f }
-  \relative c'' {
-    a4_\footnote #'(0 . -1) "A slur forced down" (
+  \relative {
+    a'4_\footnote #'(0 . -1) "A slur forced down" (
     b8^\footnote #'(1 . 0.5) "A manual beam forced up" [
     b8 ]
     c4 )
@@ -1537,7 +1537,7 @@ For example:
     \auto-footnote "recent" \italic " Aug 2012"
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -1583,7 +1583,7 @@ aliases may be used (see @ref{ASCII aliases}):
     }
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -1606,7 +1606,7 @@ Unicode character codes may also be used to specify marks
     }
     "composition."
   }
-  \relative c' {
+  \relative {
     a'4 b8 e c4 d
   }
 }
@@ -2019,10 +2019,10 @@ may be combined on one staff, see @ref{Automatic part combining}.
 Here is an example:
 
 @lilypond[verbatim,quote]
-sopranoMusic = \relative c'' { a4 b c b8( a) }
-altoMusic = \relative g' { e4 e e f }
-tenorMusic = \relative c' { c4 b e d8( c) }
-bassMusic = \relative c' { a4 gis a d, }
+sopranoMusic = \relative { a'4 b c b8( a) }
+altoMusic = \relative { e'4 e e f }
+tenorMusic = \relative { c'4 b e d8( c) }
+bassMusic = \relative { a4 gis a d, }
 allLyrics = \lyricmode {King of glo -- ry }
 <<
   \new Staff = "Soprano" \sopranoMusic
@@ -2118,8 +2118,8 @@ one showing trills with the usual notation, and one with trills
 explicitly expanded:
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills { d8.\trill }
   \tag #'expand { \repeat unfold 3 { e32 d } }
   c32 d
@@ -2137,8 +2137,8 @@ music = \relative g' {
 Alternatively, it is sometimes easier to exclude sections of music:
 
 @lilypond[verbatim,quote]
-music = \relative g' {
-  g8. c32 d
+music = \relative {
+  g'8. c32 d
   \tag #'trills { d8.\trill }
   \tag #'expand {\repeat unfold 3 { e32 d } }
   c32 d
@@ -2389,8 +2389,8 @@ portuguese = \lyricmode {
   à vo -- cê uma can -- ção legal
 }
 
-\relative c' {
-  c2 d e f g f e
+\relative {
+  c'2 d e f g f e
 }
 \addlyrics { \bulgarian }
 \addlyrics { \hebrew }
@@ -2432,8 +2432,8 @@ lyrics and as stand-alone text below the score:
 
 @lilypond[quote,verbatim]
 \score {
-  \relative c'' {
-    c1 \mark \markup { \char ##x03EE }
+  \relative {
+    c''1 \mark \markup { \char ##x03EE }
     c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
   }
   \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
diff --git a/Documentation/notation/keyboards.itely b/Documentation/notation/keyboards.itely
index d9213d98f9..fbb2e616fa 100644
--- a/Documentation/notation/keyboards.itely
+++ b/Documentation/notation/keyboards.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @node Keyboard and other multi-staff instruments
 @section Keyboard and other multi-staff instruments
@@ -315,7 +315,7 @@ key signature in the lower staff:
   \new Staff = "up" {
     \new Voice = "melOne" {
       \key g \major
-      \autochange \relative c' {
+      \autochange \relative {
         g8 b a c b d c e
         d8 r fis, g a2
       }
diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index 2f7b822d9b..6ea4585f74 100644
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 
 @node Pitches
@@ -162,10 +162,10 @@ absolute octave mode.  Which choices are meaningful?
 Identifying middle C with @code{c'} is quite basic, so finding
 octaves of @code{c} tends to be straightforward.  If your music
 starts with @code{gis} above @code{c'''}, you'd write something
-like @code{\relative c''' @{ gis' @dots{} @}}
+like @code{\relative @{ gis''' @dots{} @}}
 
 @item an octave of the first note inside
-Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to
+Writing @code{\relative @{ gis''' @dots{} @}} makes it easy to
 determine the absolute pitch of the first note inside.
 
 @item no explicit starting pitch
@@ -181,7 +181,7 @@ The documentation will usually employ the first option.
 Here is the relative mode shown in action:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   \clef bass
   c d e f
   g a b c
@@ -193,8 +193,8 @@ Octave changing marks are used for intervals greater than a
 fourth:
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c g c f,
+\relative {
+  c'' g c f,
   c' a, e'' c
 }
 @end lilypond
@@ -203,7 +203,7 @@ A note sequence without a single octave mark can nevertheless span
 large intervals:
 
 @lilypond[verbatim,quote]
-\relative c {
+\relative {
   c f b e
   a d g c
 }
@@ -213,10 +213,10 @@ When @code{\relative} blocks are nested, the innermost
 @code{\relative} block applies.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c d e f
-  \relative c'' {
-    c d e f
+\relative {
+  c' d e f
+  \relative {
+    c'' d e f
   }
 }
 @end lilypond
@@ -238,12 +238,12 @@ Music inside a @code{\transpose} block is absolute unless a
 @code{\relative} is included.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  d e
+\relative {
+  d' e
   \transpose f g {
     d e
-    \relative c' {
-      d e
+    \relative {
+      d' e
     }
   }
 }
@@ -260,8 +260,8 @@ relative to the preceding one.  Examine the next example
 carefully, paying attention to the @code{c} notes.
 
 @lilypond[verbatim,quote]
-\relative c' {
-  c
+\relative {
+  c'
   <c e g>
   <c' e g'>
   <c, e, g''>
@@ -277,8 +277,8 @@ double-diminished fifth, regardless of the number of semitones
 that each interval contains.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 fis
+\relative {
+  c''2 fis
   c2 ges
   b2 eisis
   b2 feses
@@ -468,8 +468,8 @@ using Italian note names:
 @lilypond[quote,verbatim]
 \language "italiano"
 
-\relative do' {
-  do re mi sib
+\relative {
+  do' re mi sib
 }
 @end lilypond
 
@@ -641,8 +641,8 @@ octave @code{d''} instead of @code{d'} as indicated by the octave
 correction.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d='4 d
+\relative {
+  c''2 d='4 d
   e2 f
 }
 @end lilypond
@@ -657,8 +657,8 @@ printed, but the previous note is not changed.  Future notes are
 relative to the @code{@var{controlpitch}}.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c2 d
+\relative {
+  c''2 d
   \octaveCheck c'
   e2 f
 }
@@ -668,8 +668,8 @@ Compare the two bars below.  The first and third @code{\octaveCheck}
 checks fail, but the second one does not fail.
 
 @lilypond[verbatim,quote]
-\relative c'' {
-  c4 f g f
+\relative {
+  c''4 f g f
 
   c4
   \octaveCheck c'
@@ -727,9 +727,9 @@ automatically transposed as well.
 
 @lilypond[verbatim,quote]
 \transpose d e {
-  \relative c' {
+  \relative {
     \key d \major
-    d4 fis a d
+    d'4 fis a d
   }
 }
 @end lilypond
@@ -744,9 +744,9 @@ part will be produced with:
 
 @lilypond[verbatim,quote]
 \transpose a c' {
-  \relative c' {
+  \relative {
     \key c \major
-    c4 d e g
+    c'4 d e g
   }
 }
 @end lilypond
@@ -763,7 +763,7 @@ the notes will remain on the same scale step, the second version
 will print flats on the scale step above.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \transpose c cis { \music }
   \transpose c des { \music }
@@ -855,7 +855,7 @@ The @code{@var{musicexpr}} is inverted interval-by-interval around
 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
 
 @lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
 \new Staff {
   \music
   \inversion d' d' \music
@@ -886,7 +886,7 @@ Notation Reference:
 A music expression can be reversed to produce its retrograde:
 
 @lilypond[verbatim,quote]
-music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
+music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
 
 \new Staff {
   \music
@@ -942,8 +942,8 @@ number of scale degrees given by the interval between @var{to-pitch}
 and @var{from-pitch}:
 
 @lilypond[verbatim,quote]
-diatonicScale = \relative c' { c d e f g a b }
-motif = \relative c' { c8 d e f g a b c }
+diatonicScale = \relative { c' d e f g a b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -956,8 +956,8 @@ An ascending scale of any length and with any intervals may be
 specified:
 
 @lilypond[verbatim,quote]
-pentatonicScale = \relative c' { ges aes bes des ees }
-motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
+pentatonicScale = \relative { ges aes bes des ees }
+motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
 
 \new Staff {
   \motif
@@ -970,8 +970,8 @@ similar effect to @code{\transpose}, but with the ability to
 specify the names of the notes to be used:
 
 @lilypond[verbatim,quote]
-chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
-motif = \relative c' { c8 d e f g a b c }
+chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
+motif = \relative { c'8 d e f g a b c }
 
 \new Staff {
   \motif
@@ -1005,8 +1005,8 @@ So to simply invert around a note in the scale use the same value for
 @var{around-pitch} and @var{to-pitch}:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1019,8 +1019,8 @@ one of the notes and then transpose by one scale degree.  The two notes
 specified can be interpreted as bracketing the pivot point:
 
 @lilypond[verbatim,quote]
-scale = \relative c' { c g' }
-motive = \relative c' { c c g' c, }
+scale = \relative { c' g' }
+motive = \relative { c' c g' c, }
 
 \new Staff {
   \motive
@@ -1032,8 +1032,8 @@ The combined operation of inversion and retrograde produce the
 retrograde-inversion:
 
 @lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 \new Staff {
   \motif
@@ -1348,8 +1348,8 @@ for each scale step when the mode starts on C.
 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
     (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
 
-\relative c' {
-  \key c \freygish c4 des e f
+\relative {
+  \key c \freygish c'4 des e f
   \bar "||" \key d \freygish d es fis g
 }
 @end lilypond
@@ -1607,12 +1607,12 @@ each style, we use the following example:
 @lilypond[verbatim,quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1622,8 +1622,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1690,12 +1690,12 @@ last@tie{}@code{c}:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1705,8 +1705,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1763,12 +1763,12 @@ individual musicians.  If the staff is to be used by one musician
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1778,8 +1778,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1829,12 +1829,12 @@ the upper staff:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1844,8 +1844,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1893,12 +1893,12 @@ defining the @code{cautionary-style} property of
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1908,8 +1908,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -1960,12 +1960,12 @@ accidental in a different voice in the previous measure:
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -1975,8 +1975,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2021,12 +2021,12 @@ typeset as cautionaries.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2036,8 +2036,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2086,12 +2086,12 @@ This accidental style applies to the current @code{GrandStaff} or
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2101,8 +2101,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2146,12 +2146,12 @@ typeset as cautionaries.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2161,8 +2161,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2205,12 +2205,12 @@ if the note is immediately repeated.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2220,8 +2220,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2262,12 +2262,12 @@ accidentals are printed as cautionary accidentals.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2277,8 +2277,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2322,12 +2322,12 @@ but they are canceled across voices in the same @code{Staff}.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2337,8 +2337,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2379,12 +2379,12 @@ accidentals are printed as cautionary accidentals.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2394,8 +2394,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2439,12 +2439,12 @@ including natural signs.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2454,8 +2454,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2497,12 +2497,12 @@ suppressed for pitches immediately repeated within the same staff.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2512,8 +2512,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2557,12 +2557,12 @@ but throughout voices.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2572,8 +2572,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2618,12 +2618,12 @@ key signature, except if the note is immediately repeated.
 @lilypond[quote,staffsize=18]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2633,8 +2633,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2679,12 +2679,12 @@ This is the same as @code{default} but with accidentals lasting
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2694,8 +2694,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2738,12 +2738,12 @@ the music.
 @lilypond[quote]
 musicA = {
   <<
-    \relative c' {
-      cis'8 fis, bes4 <a cis>8 f bis4 |
+    \relative {
+      cis''8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
-    \relative c' {
+    \relative {
       ais'2 cis, |
       fis8 b a4 cis2 |
     }
@@ -2753,8 +2753,8 @@ musicA = {
 musicB = {
   \clef bass
   \new Voice {
-    \voiceTwo \relative c' {
-      <fis, a cis>8[ <fis a cis>
+    \voiceTwo \relative {
+      <fis a cis>8[ <fis a cis>
       \change Staff = up
       cis' cis
       \change Staff = down
@@ -2879,8 +2879,8 @@ printed if they are not part of the key signature.
   }
 }
 
-\relative c'' {
-  aes c e2
+\relative {
+  aes' c e2
   cis,1
 }
 @end lilypond
diff --git a/Documentation/notation/repeats.itely b/Documentation/notation/repeats.itely
index 332887d543..8d9312716d 100644
--- a/Documentation/notation/repeats.itely
+++ b/Documentation/notation/repeats.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @node Repeats
 @section Repeats
@@ -486,8 +486,8 @@ then include the markup in a Scheme list.
 
 @lilypond[verbatim,quote]
 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
-\relative c'' {
-  c1
+\relative {
+  c''1
   \set Score.repeatCommands =
     #(list(list 'volta voltaAdLib) 'start-repeat)
   c4 b d e
diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index e885d22824..973bbb9456 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.20"
+@c \version "2.19.21"
 
 @node Rhythms
 @section Rhythms
@@ -435,8 +435,8 @@ dots cannot be used to denote the rhythm.  Ties should also be
 used when note values cross larger subdivisions of the measure:
 
 @lilypond[verbatim,quote]
-\relative c' {
-  r8 c~ 2 r4 |
+\relative {
+  r8 c'~ 2 r4 |
   r8^"not" c2~ 8 r4
 }
 @end lilypond
@@ -1617,10 +1617,10 @@ may be necessary to insert beams manually, as the duration scaling will
 affect the autobeaming rules.
 
 @lilypond[quote,verbatim]
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -1663,10 +1663,10 @@ moving the @code{Timing_translator} and the
 
 % Now each staff has its own time signature.
 
-\relative c' <<
+\relative <<
   \new Staff {
     \time 3/4
-    c4 c c |
+    c'4 c c |
     c4 c c |
   }
   \new Staff {
@@ -2136,8 +2136,8 @@ enclosing context will apply.
   \set Staff.beatStructure = #'(2 3 2)
   <<
     \new Voice = one {
-      \relative c'' {
-        a8 a a a a a a
+      \relative {
+        a'8 a a a a a a
       }
     }
     \new Voice = two {
@@ -3560,8 +3560,8 @@ functions take a defined piece of music as an argument and generate a
 multi-measure rest or @code{\skip} exactly as long as the piece.
 
 @lilypond[verbatim,quote]
-MyCadenza = \relative c' {
-  c4 d8 e f g g4
+MyCadenza = \relative {
+  c'4 d8 e f g g4
   f2 g4 g
 }
 
diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index 707e071b29..893f8222f4 100644
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.16"
+@c \version "2.19.21"
 
 
 @node Simultaneous notes
@@ -219,8 +219,8 @@ in this example.
 \new Voice
 \relative c'' {
   \chordRepeats #'(articulation-event)
-  \relative c''
-  { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+  \relative
+  { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
   q2 c |
 }
 @end lilypond
@@ -776,10 +776,10 @@ of voices in your input file should not be the same as the
 vertical order of voices on the staff!}
 
 @lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
   %% abbreviated entry
   <<
-    { f2  }  % 1: highest
+    { f''2  }  % 1: highest
     \\
     { g,2 }  % 2: lowest
     \\
@@ -894,17 +894,17 @@ accordingly.  The same variables are used for the independent parts and
 the combined staff.
 
 @lilypond[quote,verbatim]
-instrumentOne = \relative c' {
-  c4 d e f |
+instrumentOne = \relative {
+  c'4 d e f |
   R1 |
   d'4 c b a |
   b4 g2 f4 |
   e1 |
 }
 
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
   R1 |
-  g4 a b c |
+  g'4 a b c |
   d4 c b a |
   g4 f( e) d |
   e1 |
@@ -939,14 +939,14 @@ argument to zero means that the partcombiner splits notes with an interval of
 a second or more, setting it to one splits notes of a third or more, and so on.
 
 @lilypond[quote,verbatim]
-instrumentOne = \relative c' {
+instrumentOne = \relative {
   a4 b c d |
   e f g a |
   b c d e |
 }
 
-instrumentTwo = \relative c' {
-  c4 c c c |
+instrumentTwo = \relative {
+  c'4 c c c |
   c c c c |
   c c c c |
 }
@@ -1035,8 +1035,8 @@ instrumentOne = \relative c' {
   \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
   c2 c |
 }
-instrumentTwo = \relative c' {
-  c2 c |
+instrumentTwo = \relative {
+  c'2 c |
   e2 e |
   a,2 c |
   c2 c' |
diff --git a/Documentation/notation/spacing.itely b/Documentation/notation/spacing.itely
index efd6fb2ed7..f8859d04c8 100644
--- a/Documentation/notation/spacing.itely
+++ b/Documentation/notation/spacing.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.12"
+@c \version "2.19.21"
 
 @ignore
 GDP TODO list
@@ -1067,7 +1067,7 @@ sensible default, for example:
     tagline = ##f
   }
   \score {
-    \relative c'' { c1 \break c1 \break c1 }
+    \relative { c''1 \break c1 \break c1 }
   }
 }
 @end lilypond
@@ -1434,9 +1434,9 @@ with the music:
 @lilypond[quote,ragged-right,verbatim]
 \new Voice \with {
   \remove "Forbid_line_break_engraver"
-} \relative c'' {
+} \relative {
   <<
-    { c2. \tuplet 3/2 { c4 c c } c2. | }
+    { c''2. \tuplet 3/2 { c4 c c } c2. | }
     { s1 | \break s1 | }
   >>
 }
@@ -2878,8 +2878,8 @@ than @code{1 16}.
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -2889,8 +2889,8 @@ than @code{1 16}.
 
 @lilypond[verbatim,line-width=12\cm]
 \score {
-  \relative c'' {
-    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+  \relative {
+    g'4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
     d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
     g4 e e2 | f4 d d2 | c4 e g g | c,1 |
@@ -3483,8 +3483,8 @@ example illustrates the default spacing:
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
@@ -3501,8 +3501,8 @@ duration longer, a @q{squeezing} effect occurs:
 
 @lilypond[verbatim,quote]
 \score {
-  \relative c'' {
-    g4 e e2 |
+  \relative {
+    g'4 e e2 |
     f4 d d2 |
     c4 d e f |
     g4 g g2 |
diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely
index bb59664769..dbb035a58e 100644
--- a/Documentation/notation/staff.itely
+++ b/Documentation/notation/staff.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Staff notation
 @section Staff notation
@@ -350,15 +350,15 @@ turned on with a @code{\paper} option.
   \score {
     \new StaffGroup <<
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
       }
       \new Staff {
-        \relative c'' {
-          c4 c c c
+        \relative {
+          c''4 c c c
           \break
           c4 c c c
         }
@@ -577,8 +577,8 @@ Internals Reference:
 staff in the appropriate location:
 
 @lilypond[verbatim,quote]
-\new Staff \relative c'' {
-  c4 b d c
+\new Staff \relative {
+  c''4 b d c
   <<
     { c4 b d c }
     \new Staff { e4 d f e }
@@ -600,8 +600,8 @@ 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
+\new Staff = "main" \relative {
+  c''4 b d c
   <<
     { c4 b d c }
 
@@ -634,8 +634,8 @@ example.
   }
   { \stopStaff s1*6 }
 
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     <<
       { e4 f e2 }
       \context Staff = "ossia" {
@@ -668,12 +668,12 @@ break.  For more information about
     \remove "Time_signature_engraver"
     \hide Clef
     \magnifyStaff #2/3
-  } \relative c'' {
+  } \relative {
     R1*3
-    c4 e8 d c2
+    c''4 e8 d c2
   }
-  \new Staff \relative c' {
-    c4 b c2
+  \new Staff \relative {
+    c'4 b c2
     e4 f e2
     g4 a g2 \break
     c4 b c2
@@ -741,7 +741,7 @@ alternative, @code{\stopStaff} may be used.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c''' { a8 f e16 d c b a2 }
+\relative { a''8 f e16 d c b a2 }
 @end lilypond
 
 
@@ -762,9 +762,9 @@ elements.}
   }
 }
 
-\relative c' <<
+\relative <<
   \new Staff {
-    e4 f g a \break
+    e'4 f g a \break
     b1 \break
     a4 b c2
   }
@@ -994,8 +994,8 @@ setFlute = {
   shortInstrumentName = #"Flt."
   midiInstrument = #"flute"
 }
-\relative c'' {
-  g1 g g g \break
+\relative {
+  g'1 g g g \break
   g1 g \prepPiccolo R R \break
   \setPiccolo
   g1 g g g \break
@@ -1050,12 +1050,12 @@ quoted voice, as defined with @code{\addQuote}, and a music expression
 for the duration of the quote.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { s1 }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1073,12 +1073,12 @@ instead of spacer or multimeasure rests then the quote will appear as
 polyphony and may produce unexpected results.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
+fluteNotes = \relative {
+  a'4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
 }
 
 \addQuote "flute" { \fluteNotes }
@@ -1102,8 +1102,8 @@ clarinetNotes = \relative c'' {
   b4 ais a ais | cis4^"quoted" r8 bis\p b4( f)
 }
 
-oboeNotes = \relative c'' {
-  c4 cis c b \quoteDuring #"clarinet" { s1 }
+oboeNotes = \relative {
+  c''4 cis c b \quoteDuring #"clarinet" { s1 }
 }
 
 \addQuote "clarinet" { \clarinetNotes }
@@ -1133,13 +1133,13 @@ of these objects from the quoted music are displayed by using the
 @code{quotedEventTypes} context property.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  a2 g2 |
+fluteNotes = \relative {
+  a'2 g2 |
   b4\<^"quoted" r8 ais a4\f( c->)
  }
 
-oboeNotes = \relative c'' {
-  c2. b4 |
+oboeNotes = \relative {
+  c''2. b4 |
   \quoteDuring #"flute" { s1 }
 }
 
@@ -1276,8 +1276,8 @@ corresponds to the first and second voices respectively, determining how
 the cue notes are printed in relation to the other voice.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 | d8 c d e fis2 | g2 d |
+fluteNotes = \relative {
+  r2. c''4 | d8 c d e fis2 | g2 d |
 }
 
 oboeNotes = \relative c'' {
@@ -1310,8 +1310,8 @@ or else the entire music expression would belong to the @code{CueVoice}
 context.}
 
 @lilypond[verbatim,quote]
-oboeNotes = \relative c'' {
-  r2 r8 d16(\f f e g f a)
+oboeNotes = \relative {
+  r2 r8 d''16(\f f e g f a)
   g8 g16 g g2.
 }
 \addQuote "oboe" { \oboeNotes }
@@ -1331,8 +1331,8 @@ this can be done manually but the original clef should also be
 restored manually at the end of the cue notes.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1358,8 +1358,8 @@ clef that needs to be printed for the cue notes but will automatically
 print the original clef once the cue notes have finished.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
@@ -1392,10 +1392,10 @@ represent the sound of a concert middle C.  This is useful for
 taking cues from an instrument in a completely different register.
 
 @lilypond[verbatim,quote]
-piccoloNotes = \relative c''' {
+piccoloNotes = \relative {
   \clef "treble^8"
   R1
-  c8 c c e g2
+  c'''8 c c e g2
   c4 g g2
 }
 
@@ -1430,8 +1430,8 @@ changes and a label identifying the source instrument, can be
 tagged for selective inclusion in the score; see @ref{Using tags}.
 
 @lilypond[verbatim,quote]
-fluteNotes = \relative c'' {
-  r2. c4 d8 c d e fis2 g2 d2
+fluteNotes = \relative {
+  r2. c''4 d8 c d e fis2 g2 d2
 }
 
 bassoonNotes = \relative c {
diff --git a/Documentation/notation/text.itely b/Documentation/notation/text.itely
index 221e2fdcff..15084268e3 100644
--- a/Documentation/notation/text.itely
+++ b/Documentation/notation/text.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.6"
+@c \version "2.19.21"
 
 @node Text
 @section Text
@@ -1247,7 +1247,7 @@ block, as demonstrated here:
 @lilypond[quote,verbatim,relative=1]
 c4 d^\markup {
   \score {
-    \relative c' { c4 d e f }
+    \relative { c'4 d e f }
     \layout { }
   }
 }
diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely
index 013fabfd9b..fe6f26e880 100644
--- a/Documentation/notation/vocal.itely
+++ b/Documentation/notation/vocal.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Vocal music
 @section Vocal music
@@ -156,7 +156,7 @@ into the input file, providing it is saved with UTF-8 encoding.
 For more information, see @ref{Special characters}.
 
 @lilypond[quote,verbatim]
-\relative c'' { d8 c16 a bes8 f ees' d c4 }
+\relative { d''8 c16 a bes8 f ees' d c4 }
 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
 @end lilypond
 
@@ -165,7 +165,7 @@ with a backslash character and the whole syllable has to be
 enclosed between additional quotes.  For example,
 
 @lilypond[quote,verbatim]
-\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\relative { \time 3/4 e'4 e4. e8 d4 e d c2. }
 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
 @end lilypond
 
@@ -289,9 +289,9 @@ and entered with @code{\lyricmode}.
 
 @lilypond[quote,ragged-right,verbatim]
 <<
-  \new Voice = "one" \relative c'' {
+  \new Voice = "one" \relative {
     \time 2/4
-    c4 b8. a16 g4. f8 e4 d c2
+    c''4 b8. a16 g4. f8 e4 d c2
   }
 
 % uses previous explicit duration of 2;
@@ -432,7 +432,7 @@ Here is an example,
 @lilypond[verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
 }
 @end lilypond
@@ -444,7 +444,7 @@ More stanzas can be added by adding more
 @lilypond[ragged-right,verbatim,quote]
 {
   \time 3/4
-  \relative c' { c2 e4 g2. }
+  \relative { c'2 e4 g2. }
   \addlyrics { play the game }
   \addlyrics { speel het spel }
   \addlyrics { joue le jeu }
@@ -534,8 +534,8 @@ Here are two examples:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      c2 c2
+    \relative {
+      c''2 c2
       d1
     }
   }
@@ -545,8 +545,8 @@ Here are two examples:
     }
   }
   \new Staff {
-    \relative c' {
-      c8 c c c c c c c
+    \relative {
+      c'8 c c c c c c c
       c8 c c c c c c c
     }
   }
@@ -884,8 +884,8 @@ Variables containing lyrics can be created, but the lyrics must be
 entered in lyric mode:
 
 @lilypond[quote,verbatim]
-musicOne = \relative c'' {
-  c4 b8. a16 g4. f8 e4 d c2
+musicOne = \relative {
+  c''4 b8. a16 g4. f8 e4 d c2
 }
 verseOne = \lyricmode {
   Joy to the world, the Lord is come.
@@ -914,8 +914,8 @@ voices referenced by @code{\lyricsto} have always been defined
 earlier.  For example:
 
 @lilypond[quote,verbatim]
-sopranoMusic = \relative c'' { c4 c c c }
-contraltoMusic = \relative c'' { a4 a a a }
+sopranoMusic = \relative { c''4 c c c }
+contraltoMusic = \relative { a'4 a a a }
 sopranoWords = \lyricmode { Sop -- ra -- no words }
 contraltoWords = \lyricmode { Con -- tral -- to words }
 
@@ -973,7 +973,7 @@ context:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics {
@@ -995,7 +995,7 @@ specify the position of the lyrics:
   <<
     \new Staff = "staff" {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics \with { alignAboveContext = "staff" } {
@@ -1022,7 +1022,7 @@ follows:
     }
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \context Lyrics = "lyrics" {
@@ -1043,7 +1043,7 @@ is an example of the second method:
   \new ChoirStaff <<
     \new Staff {
       \new Voice = "sopranos" {
-        \relative c'' { c4 c c c }
+        \relative { c''4 c c c }
       }
     }
     \new Lyrics = "sopranos"
@@ -1053,7 +1053,7 @@ is an example of the second method:
     }
     \new Staff {
       \new Voice = "contraltos" {
-        \relative c'' { a4 a a a }
+        \relative { a'4 a a a }
       }
     }
     \context Lyrics = "sopranos" {
@@ -1114,8 +1114,8 @@ To make this change for all lyrics in the score, set the property in the
 
 @lilypond[verbatim,quote,ragged-right]
 \score {
-  \relative c' {
-  c c c c
+  \relative {
+  c' c c c
   c c c c
   }
   \addlyrics {
@@ -1179,8 +1179,8 @@ unchanged.
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1204,8 +1204,8 @@ unfolded.
     <<
       \new Staff {
         \new Voice = "melody" {
-          \relative c'' {
-            a4 a a a
+          \relative {
+            a'4 a a a
             \repeat volta 2 { b4 b b b }
           }
         }
@@ -1229,8 +1229,8 @@ simply enter all the words:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat unfold 2 { b4 b b b }
         }
       }
@@ -1255,8 +1255,8 @@ correctly nested in parallel sections:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b b b }
         }
       }
@@ -1282,8 +1282,8 @@ More verses may be added in a similar way:
   <<
     \new Staff {
       \new Voice = "singleVoice" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1322,8 +1322,8 @@ To position them correctly use @code{alignBelowContext}:
   <<
     \new Staff {
       \new Voice = "melody" {
-        \relative c'' {
-	  a4 a a a
+        \relative {
+	  a'4 a a a
 	  \repeat volta 3 { b4 b b b }
           c4 c c c
 	}
@@ -1347,8 +1347,8 @@ To position them correctly use @code{alignBelowContext}:
       The end sec -- tion.
     }
     \new Voice = "harmony" {
-      \relative c' {
-        f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
+      \relative {
+        f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
       }
     }
   >>
@@ -1374,8 +1374,8 @@ same structure can be used for both the lyrics and music.
     \new Staff {
       \time 2/4
       \new Voice = "melody" {
-        \relative c'' {
-          a4 a a a
+        \relative {
+          a'4 a a a
           \repeat volta 2 { b4 b }
           \alternative { { b b } { b c } }
         }
@@ -1903,8 +1903,8 @@ changed:
 
 @lilypond[verbatim,ragged-right,quote]
 <<
-  \new Voice = melody \relative c' {
-    f4 \appoggiatura a32 b4
+  \new Voice = melody \relative {
+    f'4 \appoggiatura a32 b4
     \grace { f16 a16 } b2
     \afterGrace b2 { f16[ a16] }
     \appoggiatura a32 b4
@@ -2031,8 +2031,8 @@ different ways to force linebreaks when using
 @code{\markup}.
 
 @lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
+melody = \relative {
+e' d c d | e e e e |
 d d e d | c1 |
 }
 
@@ -2073,8 +2073,8 @@ introduces each verse.  The following example shows how to produce such
 output in LilyPond.
 
 @lilypond[ragged-right,quote,verbatim]
-melody = \relative c' {
-  c4 c c c | d d d d
+melody = \relative {
+  c'4 c c c | d d d d
 }
 
 text = \lyricmode {
@@ -2367,12 +2367,12 @@ above their respective staves, as shown here:
   \new ChoirStaff <<
     \new Staff {
       \new Voice {
-        \relative c'' { g4\f g g g }
+        \relative { g'4\f g g g }
       }
     }
     \new Staff {
       \new Voice {
-        \relative c' { d4 d d\p d }
+        \relative { d'4 d d\p d }
       }
     }
   >>
@@ -2544,9 +2544,9 @@ staff is dedicated to that character alone:
     \new Staff {
       \set Staff.vocalName = \markup \smallCaps Kaspar
       \set Staff.shortVocalName = \markup \smallCaps Kas.
-      \relative c' {
+      \relative {
         \clef "G_8"
-        c4 c c c
+        c'4 c c c
         \break
         c4 c c c
       }
@@ -2555,7 +2555,7 @@ staff is dedicated to that character alone:
       \set Staff.vocalName = \markup \smallCaps Melchior
       \set Staff.shortVocalName = \markup \smallCaps Mel
       \clef "bass"
-      \relative c' {
+      \relative {
         a4 a a a
         a4 a a a
       }
@@ -2641,19 +2641,19 @@ close to the start of the cue notes.  The following example shows
 how this is done.
 
 @lilypond[quote,verbatim]
-flute = \relative c'' {
-  s4 s4 e g
+flute = \relative {
+  s4 s4 e'' g
 }
 \addQuote "flute" { \flute }
 
-pianoRH = \relative c'' {
-  c4. g8
+pianoRH = \relative {
+  c''4. g8
   % position name of cue-ing instrument just before the cue notes,
   % and above the staff
   <>^\markup { \right-align { \tiny "Flute" } }
   \cueDuring "flute" #UP { g4 bes4 }
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   \new PianoStaff <<
@@ -2689,7 +2689,7 @@ pianoRH = \relative c'' {
   \cueDuring "clarinet" #DOWN { c4. g8 }
   g4 bes4
 }
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
 
 \score {
   <<
@@ -2900,15 +2900,15 @@ all staves remove the bar line engraver completely:
 \score {
   \new StaffGroup <<
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -2930,15 +2930,15 @@ Bar lines can also be removed on a staff-by-staff basis:
   \new ChoirStaff <<
     \new Staff
     \with { \remove "Bar_engraver" } {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
     }
     \new Staff {
-      \relative c'' {
-        a4 b c2 |
+      \relative {
+        a'4 b c2 |
         a4 b c2 |
         a4 b c2 |
       }
@@ -3008,8 +3008,8 @@ finalis = {
 }
 
 \score {
-  \relative c'' {
-    g2 a4 g
+  \relative {
+    g'2 a4 g
     \divisioMinima
     g2 a4 g
     \divisioMaior
@@ -3032,8 +3032,8 @@ Chants usually omit the time signature and often omit the clef too.
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      a4 b c2 |
+    \relative {
+      a'4 b c2 |
       a4 b c2 |
       a4 b c2 |
     }
@@ -3058,22 +3058,22 @@ in each half always contains a single chord of whole notes.  This is
 the @qq{reciting note}.  Chants are usually centered on the page.
 
 @lilypond[verbatim,quote]
-SopranoMusic = \relative g' {
-  g1 | c2 b | a1 | \bar "||"
+SopranoMusic = \relative {
+  g'1 | c2 b | a1 | \bar "||"
   a1 | d2 c | c b | c1 | \bar "||"
 }
 
-AltoMusic = \relative c' {
-  e1 | g2 g | f1 |
+AltoMusic = \relative {
+  e'1 | g2 g | f1 |
   f1 | f2 e | d d | e1 |
 }
 
-TenorMusic = \relative a {
-  c1 | c2 c | c1 |
+TenorMusic = \relative {
+  c'1 | c2 c | c1 |
   d1 | g,2 g | g g | g1 |
 }
 
-BassMusic =  \relative c {
+BassMusic =  \relative {
   c1 | e2 e | f1 |
   d1 | b2 c | g' g | c,1 |
 }
diff --git a/Documentation/notation/world.itely b/Documentation/notation/world.itely
index 920650c5dc..f7efd116e3 100644
--- a/Documentation/notation/world.itely
+++ b/Documentation/notation/world.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node World music
 @section World music
@@ -190,8 +190,8 @@ notated:
 
 @lilypond[quote,verbatim]
 \include "arabic.ly"
-\relative do' {
-  do re misb fa sol la sisb do sisb la sol fa misb re do
+\relative {
+  do' re misb fa sol la sisb do sisb la sol fa misb re do
 }
 @end lilypond
 
diff --git a/Documentation/snippets/creating-custom-dynamics-in-midi-output.ly b/Documentation/snippets/creating-custom-dynamics-in-midi-output.ly
index 572126232f..71080b7df5 100644
--- a/Documentation/snippets/creating-custom-dynamics-in-midi-output.ly
+++ b/Documentation/snippets/creating-custom-dynamics-in-midi-output.ly
@@ -4,8 +4,8 @@
 % and then run scripts/auxiliar/makelsr.py
 %
 % This file is in the public domain.
-%% Note: this file works from version 2.18.0
-\version "2.18.0"
+%% Note: this file works from version 2.19.21
+\version "2.19.21"
 
 \header {
 
@@ -32,8 +32,8 @@
     \set Staff.midiInstrument = #"cello"
     \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
     \new Voice {
-      \relative c'' {
-        a4\pp b c-\rfz
+      \relative {
+        a'4\pp b c-\rfz
       }
     }
   }
diff --git a/Documentation/snippets/new/creating-custom-dynamics-in-midi-output.ly b/Documentation/snippets/new/creating-custom-dynamics-in-midi-output.ly
index 49d9e66a68..df2befd970 100644
--- a/Documentation/snippets/new/creating-custom-dynamics-in-midi-output.ly
+++ b/Documentation/snippets/new/creating-custom-dynamics-in-midi-output.ly
@@ -1,4 +1,4 @@
-\version "2.18.0"
+\version "2.19.21"
 
 \header {
 
@@ -24,8 +24,8 @@
     \set Staff.midiInstrument = #"cello"
     \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
     \new Voice {
-      \relative c'' {
-        a4\pp b c-\rfz
+      \relative {
+        a'4\pp b c-\rfz
       }
     }
   }
diff --git a/Documentation/snippets/new/replacing-default-midi-instrument-equalization.ly b/Documentation/snippets/new/replacing-default-midi-instrument-equalization.ly
index adb2740592..dbe4e948a1 100644
--- a/Documentation/snippets/new/replacing-default-midi-instrument-equalization.ly
+++ b/Documentation/snippets/new/replacing-default-midi-instrument-equalization.ly
@@ -1,4 +1,4 @@
-\version "2.18.0"
+\version "2.19.21"
 
 \header {
 
@@ -38,8 +38,8 @@
       \time 2/2
       \set Score.instrumentEqualizer = #my-instrument-equalizer
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -47,8 +47,8 @@
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
diff --git a/Documentation/snippets/new/vocal-ensemble-template-with-automatic-piano-reduction.ly b/Documentation/snippets/new/vocal-ensemble-template-with-automatic-piano-reduction.ly
index efc99f22d0..f144448eb3 100644
--- a/Documentation/snippets/new/vocal-ensemble-template-with-automatic-piano-reduction.ly
+++ b/Documentation/snippets/new/vocal-ensemble-template-with-automatic-piano-reduction.ly
@@ -1,4 +1,4 @@
-\version "2.19.12"
+\version "2.19.21"
 
 \header {
   lsrtags = "automatic-notation, keyboards, template, vocal-music"
@@ -26,28 +26,28 @@ global = {
   \time 4/4
 }
 
-sopMusic = \relative c'' {
-  c4 c c8[( b)] c4
+sopMusic = \relative {
+  c''4 c c8[( b)] c4
 }
 sopWords = \lyricmode {
   hi hi hi hi
 }
 
-altoMusic = \relative c' {
-  e4 f d e
+altoMusic = \relative {
+  e'4 f d e
 }
 altoWords =\lyricmode {
   ha ha ha ha
 }
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   g4 a f g
 }
 tenorWords = \lyricmode {
   hu hu hu hu
 }
 
-bassMusic = \relative c {
+bassMusic = \relative {
   c4 c g c
 }
 bassWords = \lyricmode {
diff --git a/Documentation/snippets/new/vocal-ensemble-template.ly b/Documentation/snippets/new/vocal-ensemble-template.ly
index 3832db63d1..934d654cce 100644
--- a/Documentation/snippets/new/vocal-ensemble-template.ly
+++ b/Documentation/snippets/new/vocal-ensemble-template.ly
@@ -1,4 +1,4 @@
-\version "2.19.12"
+\version "2.19.21"
 
 \header {
   lsrtags = "really-simple, template, vocal-music"
@@ -25,28 +25,28 @@ global = {
   \time 4/4
 }
 
-sopMusic = \relative c'' {
-  c4 c c8[( b)] c4
+sopMusic = \relative {
+  c''4 c c8[( b)] c4
 }
 sopWords = \lyricmode {
   hi hi hi hi
 }
 
-altoMusic = \relative c' {
-  e4 f d e
+altoMusic = \relative {
+  e'4 f d e
 }
 altoWords = \lyricmode {
   ha ha ha ha
 }
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   g4 a f g
 }
 tenorWords = \lyricmode {
   hu hu hu hu
 }
 
-bassMusic = \relative c {
+bassMusic = \relative {
   c4 c g c
 }
 bassWords = \lyricmode {
diff --git a/Documentation/snippets/replacing-default-midi-instrument-equalization.ly b/Documentation/snippets/replacing-default-midi-instrument-equalization.ly
index 038198f0fc..2dcdd90f27 100644
--- a/Documentation/snippets/replacing-default-midi-instrument-equalization.ly
+++ b/Documentation/snippets/replacing-default-midi-instrument-equalization.ly
@@ -4,8 +4,8 @@
 % and then run scripts/auxiliar/makelsr.py
 %
 % This file is in the public domain.
-%% Note: this file works from version 2.18.0
-\version "2.18.0"
+%% Note: this file works from version 2.19.21
+\version "2.19.21"
 
 \header {
 
@@ -46,8 +46,8 @@
       \time 2/2
       \set Score.instrumentEqualizer = #my-instrument-equalizer
       \set Staff.midiInstrument = #"flute"
-      \new Voice \relative c''' {
-        r2 g\mp g fis~
+      \new Voice \relative {
+        r2 g''\mp g fis~
         4 g8 fis e2~
         4 d8 cis d2
       }
@@ -55,8 +55,8 @@
     \new Staff {
       \key g \major
       \set Staff.midiInstrument = #"clarinet"
-      \new Voice \relative c'' {
-        b1\p a2. b8 a
+      \new Voice \relative {
+        b'1\p a2. b8 a
         g2. fis8 e
         fis2 r
       }
diff --git a/Documentation/snippets/vocal-ensemble-template-with-automatic-piano-reduction.ly b/Documentation/snippets/vocal-ensemble-template-with-automatic-piano-reduction.ly
index 747e1ae8dc..1f24643768 100644
--- a/Documentation/snippets/vocal-ensemble-template-with-automatic-piano-reduction.ly
+++ b/Documentation/snippets/vocal-ensemble-template-with-automatic-piano-reduction.ly
@@ -4,8 +4,8 @@
 % and then run scripts/auxiliar/makelsr.py
 %
 % This file is in the public domain.
-%% Note: this file works from version 2.19.12
-\version "2.19.12"
+%% Note: this file works from version 2.19.21
+\version "2.19.21"
 
 \header {
   lsrtags = "automatic-notation, keyboards, template, vocal-music"
@@ -34,28 +34,28 @@ global = {
   \time 4/4
 }
 
-sopMusic = \relative c'' {
-  c4 c c8[( b)] c4
+sopMusic = \relative {
+  c''4 c c8[( b)] c4
 }
 sopWords = \lyricmode {
   hi hi hi hi
 }
 
-altoMusic = \relative c' {
-  e4 f d e
+altoMusic = \relative {
+  e'4 f d e
 }
 altoWords =\lyricmode {
   ha ha ha ha
 }
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   g4 a f g
 }
 tenorWords = \lyricmode {
   hu hu hu hu
 }
 
-bassMusic = \relative c {
+bassMusic = \relative {
   c4 c g c
 }
 bassWords = \lyricmode {
diff --git a/Documentation/snippets/vocal-ensemble-template.ly b/Documentation/snippets/vocal-ensemble-template.ly
index 16f28d9e31..ad4c0f5789 100644
--- a/Documentation/snippets/vocal-ensemble-template.ly
+++ b/Documentation/snippets/vocal-ensemble-template.ly
@@ -4,8 +4,8 @@
 % and then run scripts/auxiliar/makelsr.py
 %
 % This file is in the public domain.
-%% Note: this file works from version 2.19.12
-\version "2.19.12"
+%% Note: this file works from version 2.19.21
+\version "2.19.21"
 
 \header {
   lsrtags = "really-simple, template, vocal-music"
@@ -33,28 +33,28 @@ global = {
   \time 4/4
 }
 
-sopMusic = \relative c'' {
-  c4 c c8[( b)] c4
+sopMusic = \relative {
+  c''4 c c8[( b)] c4
 }
 sopWords = \lyricmode {
   hi hi hi hi
 }
 
-altoMusic = \relative c' {
-  e4 f d e
+altoMusic = \relative {
+  e'4 f d e
 }
 altoWords = \lyricmode {
   ha ha ha ha
 }
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   g4 a f g
 }
 tenorWords = \lyricmode {
   hu hu hu hu
 }
 
-bassMusic = \relative c {
+bassMusic = \relative {
   c4 c g c
 }
 bassWords = \lyricmode {
diff --git a/Documentation/usage/external.itely b/Documentation/usage/external.itely
index 3b4ff955b9..4ce439ee0c 100644
--- a/Documentation/usage/external.itely
+++ b/Documentation/usage/external.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node External programs
 @chapter External programs
@@ -251,8 +251,8 @@ Hard-coded in the @file{.ly} file:
 
 @example
 \pointAndClickTypes #'note-event
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -260,8 +260,8 @@ or
 
 @example
 #(ly:set-option 'point-and-click 'note-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -282,8 +282,8 @@ Hard-coded in the @file{.ly} file:
 
 @example
 \pointAndClickTypes #'(note-event dynamic-event)
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
@@ -291,8 +291,8 @@ or
 
 @example
 #(ly:set-option 'point-and-click '(note-event dynamic-event))
-\relative c' @{
-  c2\f( f)
+\relative @{
+  c'2\f( f)
 @}
 @end example
 
diff --git a/Documentation/usage/lilypond-book.itely b/Documentation/usage/lilypond-book.itely
index 958fa8a1d1..d8e55e1832 100644
--- a/Documentation/usage/lilypond-book.itely
+++ b/Documentation/usage/lilypond-book.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.21"
 
 @c Note: keep this node named so that `info lilypond-book' brings you here.
 @node lilypond-book
@@ -85,8 +85,8 @@ Documents for \verb+lilypond-book+ may freely mix music and text.
 For example,
 
 \begin{lilypond}
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 \end{lilypond}
 
@@ -144,8 +144,8 @@ Documents for @command{lilypond-book} may freely mix music and text.
 For example,
 
 @lilypond
-\relative c' {
-  c2 e2 \tuplet 3/2 { f8 a b } a2 e4
+\relative {
+  c'2 e2 \tuplet 3/2 { f8 a b } a2 e4
 }
 @end lilypond
 
@@ -169,8 +169,8 @@ entire snippet must be enclosed in a @code{\book @{ @}} construct.
     title = "A scale in LilyPond"
   }
 
-  \relative c' {
-    c d e f g a b c
+  \relative {
+    c' d e f g a b c
   }
 }
 @end lilypond
@@ -765,8 +765,8 @@ example, the music will be interpreted in relative mode, but the
 verbatim quote will not show the @code{relative} block, i.e.
 
 @example
-\relative c' @{ % begin verbatim
-  c4 e2 g4
+\relative @{ % begin verbatim
+  c'4 e2 g4
   f2 e % end verbatim
 @}
 @end example
@@ -1153,8 +1153,8 @@ You can include LilyPond fragments in a LaTeX document.
 Normal LaTeX text.
 
 \begin@{lilypond@}
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 \end@{lilypond@}
 
@@ -1179,7 +1179,7 @@ is written in Texinfo.
 Texinfo text
 
 @@lilypond
-\relative c' @{
+\relative @{
   a4 b c d
 @}
 @@end lilypond
@@ -1206,8 +1206,8 @@ d4 c b a
 Documents for lilypond-book may freely mix music and text.  For
 example,
 <lilypond>
-\relative c'' @{
-  a4 b c d
+\relative @{
+  a'4 b c d
 @}
 </lilypond>
 </p>
diff --git a/Documentation/usage/suggestions.itely b/Documentation/usage/suggestions.itely
index 263e12e687..56ddfe24c8 100644
--- a/Documentation/usage/suggestions.itely
+++ b/Documentation/usage/suggestions.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.16.0"
+@c \version "2.19.21"
 
 @node Suggestions for writing files
 @chapter Suggestions for writing files
@@ -99,8 +99,8 @@ indicators) will help avoid such problems.  For example;
 
 @example
 \new Staff @{
-  \relative g' @{
-    r4 g8 g c8 c4 d |
+  \relative @{
+    r4 g'8 g c8 c4 d |
     e4 r8 |
     % Ossia section
     <<
@@ -118,7 +118,7 @@ indicators) will help avoid such problems.  For example;
 is much easier to follow than;
 
 @example
-\new Staff @{ \relative g' @{ r4 g8 g c4 c8 d | e4 r8
+\new Staff @{ \relative @{ r4 g'8 g c4 c8 d | e4 r8
 % Ossia section
 << @{ f8 c c @} \new Staff @{ f8 f c @} >> r4 | @} @}
 @end example
@@ -205,8 +205,8 @@ the @code{violin} definition is extremely unlikely to change
 in a new version of LilyPond.
 
 @example
-violin = \relative c'' @{
-g4 c'8. e16
+violin = \relative @{
+g'4 c'8. e16
 @}
 @dots{}
 \score @{
@@ -227,8 +227,8 @@ need to do this once, and we can still avoid touching anything inside
 @example
 fthenp = _\markup@{
   \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
-violin = \relative c'' @{
-g4\fthenp c'8. e16
+violin = \relative @{
+g'4\fthenp c'8. e16
 @}
 @end example
 
@@ -275,9 +275,9 @@ then comment out all of the bass music (but leave
 @code{\bass} in the @code{\score} uncommented.
 
 @example
-bass = \relative c' @{
+bass = \relative @{
 %@{
-  c4 c c c
+  c'4 c c c
   d d d d
 %@}
 @}
diff --git a/input/regression/accidental-clef-change.ly b/input/regression/accidental-clef-change.ly
index bab45b8d93..88469796ae 100644
--- a/input/regression/accidental-clef-change.ly
+++ b/input/regression/accidental-clef-change.ly
@@ -7,11 +7,11 @@
 }
 
 
-\version "2.16.0"
-\new Staff \relative c' {
+\version "2.19.21"
+\new Staff \relative {
   \key g \major
   \clef treble
-  cis dis f
+  cis' dis f
   \clef bass
   <c dis fis>
 }
diff --git a/input/regression/accidental-collision.ly b/input/regression/accidental-collision.ly
index 063c8065b1..923bffb36f 100644
--- a/input/regression/accidental-collision.ly
+++ b/input/regression/accidental-collision.ly
@@ -2,9 +2,9 @@
   texidoc = "accidentals avoid stems of other notes too."
   }
 
-\version "2.17.15"
+\version "2.19.21"
 
 \paper {
   ragged-right  = ##t
   }
-\new Staff \relative c' <<bes' \\ a'>>
+\new Staff \relative <<bes' \\ a'>>
diff --git a/input/regression/accidental-forced-tie.ly b/input/regression/accidental-forced-tie.ly
index 77fa641c5d..bd4148ccd3 100644
--- a/input/regression/accidental-forced-tie.ly
+++ b/input/regression/accidental-forced-tie.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Accidentals can be forced with ! and ? even if the
@@ -11,8 +11,8 @@ after a bar line are valid for the whole measure.
   ragged-right = ##t
 }
 
-\relative c'' {
-  gis4 ~ gis!~ gis? r4
+\relative {
+  gis'4 ~ gis!~ gis? r4
   fis1 ~
   fis!2 fis ~
   fis?2 fis
diff --git a/input/regression/accidental-grouping.ly b/input/regression/accidental-grouping.ly
index b8cfce4fbc..f1ec07e0b7 100644
--- a/input/regression/accidental-grouping.ly
+++ b/input/regression/accidental-grouping.ly
@@ -1,4 +1,4 @@
-\version "2.17.10"
+\version "2.19.21"
 
 \header {
   texidoc = "By setting @code{accidentalGrouping} to @code{'voice},
@@ -7,8 +7,8 @@ in different voices as seen in this test's E-sharp.
 "
 }
 
- \relative c''' {
-   << { <gis cis eis gis>1 } \\
+ \relative {
+   << { <gis'' cis eis gis>1 } \\
       { eis,              } >>
   \set Staff . accidentalGrouping = #'voice
    << { <gis' cis eis gis>1 } \\
diff --git a/input/regression/accidental-ledger.ly b/input/regression/accidental-ledger.ly
index d281e2be9c..33bf0f9aff 100644
--- a/input/regression/accidental-ledger.ly
+++ b/input/regression/accidental-ledger.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -9,7 +9,7 @@ and only if the accidental is horizontally close to the head.  "
 }
 
 
-\relative c {
+\relative {
   disis
   dis
   d
diff --git a/input/regression/accidental-placement-samepitch.ly b/input/regression/accidental-placement-samepitch.ly
index 4daaa2e7bc..bed366e576 100644
--- a/input/regression/accidental-placement-samepitch.ly
+++ b/input/regression/accidental-placement-samepitch.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "When two (or more) accidentals modify the same pitch,
@@ -8,7 +8,7 @@ as one another. In either case, collisions with accidentals of different
 pitches are correctly computed."
 }
 
-\relative c''
-{<< <dis aeses as a! a! ais aisis a,! aeh cis'> \\ <ais aih> >> }
+\relative
+{<< <dis'' aeses as a! a! ais aisis a,! aeh cis'> \\ <ais aih> >> }
 
 \paper {ragged-right = ##t}
diff --git a/input/regression/accidental-placement.ly b/input/regression/accidental-placement.ly
index 008513d5ae..2a3ba81966 100644
--- a/input/regression/accidental-placement.ly
+++ b/input/regression/accidental-placement.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -15,9 +15,9 @@ flats in a sixth should be staggered.  "
 }
 
 
-\context Voice \relative c'
+\context Voice \relative
 {
-  <d e! bes'!>4
+  <d' e! bes'!>4
   cis4
   c4
   \transpose c c' {
diff --git a/input/regression/accidental-quarter.ly b/input/regression/accidental-quarter.ly
index a1fc977745..46100c7ae4 100644
--- a/input/regression/accidental-quarter.ly
+++ b/input/regression/accidental-quarter.ly
@@ -3,12 +3,12 @@
   texidoc = "Quarter tone notation is supported, including
     threequarters flat."
 }
-\version "2.16.0"
+\version "2.19.21"
 \layout { ragged-right = ##t }
 
-\relative c'' {
+\relative {
   \time 12/4 
-  ceses4
+  ceses''4
   ceseh
   ces
   ceh
diff --git a/input/regression/accidental-single-double.ly b/input/regression/accidental-single-double.ly
index c849234597..df1d7df36f 100644
--- a/input/regression/accidental-single-double.ly
+++ b/input/regression/accidental-single-double.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header{
   texidoc="
 A sharp sign after a double sharp sign, as well as a flat sign
@@ -7,7 +7,7 @@ natural sign.
 "
 }
 
-thenotes =  \relative cis' {
+thenotes =  \relative {
   \time 4/4
   gisis'4 gis geses ges |
 }
diff --git a/input/regression/accidental-tie.ly b/input/regression/accidental-tie.ly
index 3929e27450..fd733ed6cf 100644
--- a/input/regression/accidental-tie.ly
+++ b/input/regression/accidental-tie.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 
 \header {
   texidoc = "The second and third notes should not get accidentals,
@@ -14,8 +14,8 @@
   ragged-right = ##t
 }
 
-mus =  	\relative c' {
-  f1~
+mus =  	\relative {
+  f'1~
   2~4 % ~ f8
   fis8  gis8 ~
   \break
diff --git a/input/regression/accidental-unbroken-tie-spacing.ly b/input/regression/accidental-unbroken-tie-spacing.ly
index fc3e78c6e4..feae702a9e 100644
--- a/input/regression/accidental-unbroken-tie-spacing.ly
+++ b/input/regression/accidental-unbroken-tie-spacing.ly
@@ -3,12 +3,12 @@
 texidoc = "Space is allowed for the actual size of accidentals on tied notes."
 }
 
-\version "2.19.13"
+\version "2.19.21"
 \paper {ragged-right = ##t }
-\relative c' {
+\relative {
   \clef treble
   \time 3/4
-  c8 b2  <g b des f>8 ~ |
+  c'8 b2  <g b des f>8 ~ |
   <g b des f>8 r
   % Large accidental
   \override Staff.Accidental.stencil =
diff --git a/input/regression/accidental.ly b/input/regression/accidental.ly
index 4fa0feddbc..3e95168608 100644
--- a/input/regression/accidental.ly
+++ b/input/regression/accidental.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header{
   texidoc="
@@ -10,7 +10,7 @@ fourth show forced and cautionary accidentals.
 
 \layout { ragged-right = ##t }
 
-foo = \relative c''   {   \key as \major dis4 dis dis!^"force" dis? }
+foo = \relative   {   \key as \major dis''4 dis dis!^"force" dis? }
 
 << \foo 
    \context NoteNames \foo
diff --git a/input/regression/alignment-order.ly b/input/regression/alignment-order.ly
index 5a6be94daf..3616791b62 100644
--- a/input/regression/alignment-order.ly
+++ b/input/regression/alignment-order.ly
@@ -3,14 +3,14 @@
 anywhere in the vertical alignment. "
 }
 
-\version "2.17.15"
+\version "2.19.21"
 
 \paper {
   ragged-right = ##t
 }
 
-\relative c' <<
-  \new Staff = "1" { c2 c s1 }
+\relative <<
+  \new Staff = "1" { c'2 c s1 }
   \new Staff = "2" { c2  c s1 }
   \new StaffGroup <<
     \new Staff = "3" { c2  c s1 }
diff --git a/input/regression/alignment-vertical-manual-setting.ly b/input/regression/alignment-vertical-manual-setting.ly
index 1314f2941a..036a26419e 100644
--- a/input/regression/alignment-vertical-manual-setting.ly
+++ b/input/regression/alignment-vertical-manual-setting.ly
@@ -6,12 +6,12 @@
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \book {
   \score {
-    \relative c'' \new StaffGroup <<
-      \new Staff { c1 c c c }
+    \relative \new StaffGroup <<
+      \new Staff { c''1 c c c }
       \new Staff { c c c c }
       \new Staff { 
 	\overrideProperty
diff --git a/input/regression/alter-broken.ly b/input/regression/alter-broken.ly
index 14652297e6..b507bd42b1 100644
--- a/input/regression/alter-broken.ly
+++ b/input/regression/alter-broken.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "The command @code{\\alterBroken} may be used to override the
@@ -12,8 +12,8 @@ its usage with a variety of data types."
 
 #(ly:expect-warning (_ "not a spanner name"))
 
-\relative c'' {
-  d4-\alterBroken #'positions #'((3 . 3) (5 . 5))
+\relative {
+  d''4-\alterBroken #'positions #'((3 . 3) (5 . 5))
     -\alterBroken #'color #'((0 0 1) (1 0 0))
     -\alterBroken #'dash-definition #'( ((0 1 0.4 0.75))
                                         ((0 0.5 0.4 0.75) (0.5 1 1 1)) )
diff --git a/input/regression/ambitus-cue.ly b/input/regression/ambitus-cue.ly
index bf6f6fc990..75e4d97c6b 100644
--- a/input/regression/ambitus-cue.ly
+++ b/input/regression/ambitus-cue.ly
@@ -1,4 +1,4 @@
-\version "2.19.19"
+\version "2.19.21"
 
 \header {
   texidoc = "Ambitus for pieces beginning with @code{\\cueDuringWithClef}.
@@ -14,7 +14,7 @@ contexts.
 "
 }
 
-\addQuote "other" \relative c { r4 c e g }
+\addQuote "other" \relative { r4 c e g }
 
 \new Staff \new Voice \relative c'
 {
diff --git a/input/regression/ambitus.ly b/input/regression/ambitus.ly
index b5c579b01d..12b84d5630 100644
--- a/input/regression/ambitus.ly
+++ b/input/regression/ambitus.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Ambitus indicate pitch ranges for voices.
@@ -22,13 +22,13 @@ visible; the accidentals are prevented from colliding.
     \time 2/4
     c4 f'
   }
-  \new Staff \relative c' {
+  \new Staff \relative {
     \time  2/4
     \key d \major
-    cis as'
+    cis' as'
   }
-  \new Staff \relative c' {
+  \new Staff \relative {
     \time 2/4
-    c4 cis
+    c'4 cis
   }
 >>
diff --git a/input/regression/apply-context.ly b/input/regression/apply-context.ly
index 712f4ec237..90ebff0c99 100644
--- a/input/regression/apply-context.ly
+++ b/input/regression/apply-context.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 
 \header {
@@ -17,8 +17,8 @@ This example prints a bar-number during processing on stdout.
 \layout { ragged-right= ##t }
 
 
-\relative c'' {
-  c1 c1
+\relative {
+  c''1 c1
 
   %% todo: should put something interesting in the .tex output.
   
diff --git a/input/regression/arpeggio-no-staff-symbol.ly b/input/regression/arpeggio-no-staff-symbol.ly
index c2d4380214..a472e68a70 100644
--- a/input/regression/arpeggio-no-staff-symbol.ly
+++ b/input/regression/arpeggio-no-staff-symbol.ly
@@ -1,10 +1,10 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Arpeggios stil work in the absence of a staff-symbol."
 }
 
 \new Staff \with { \remove "Staff_symbol_engraver" }
-\relative c' {
-  <c c'>\arpeggio
+\relative {
+  <c' c'>\arpeggio
 }
diff --git a/input/regression/arpeggio-span-one-staff.ly b/input/regression/arpeggio-span-one-staff.ly
index c5860407b1..8a48a9bc4c 100644
--- a/input/regression/arpeggio-span-one-staff.ly
+++ b/input/regression/arpeggio-span-one-staff.ly
@@ -2,15 +2,15 @@
   texidoc = "Span arpeggios within one staff also work"
   }
 
-\version "2.16.0"
+\version "2.19.21"
 \layout { ragged-right = ##t }
 
 \new PianoStaff <<
  \set PianoStaff.connectArpeggios = ##t
- \new Staff \relative c'' {
+ \new Staff \relative {
    <<
      {
-       c2\arpeggio
+       c''2\arpeggio
      }
      \\
      {
diff --git a/input/regression/articulation-snappizzicato.ly b/input/regression/articulation-snappizzicato.ly
index 784f721789..65e1bc2b15 100644
--- a/input/regression/articulation-snappizzicato.ly
+++ b/input/regression/articulation-snappizzicato.ly
@@ -1,6 +1,6 @@
 \header {
   texidoc = "The snappizzicato articulation adds a snappizzicato sign to the note."
 }
-\version "2.16.0"
+\version "2.19.21"
 
-\relative c'' { c4\snappizzicato }
+\relative { c''4\snappizzicato }
diff --git a/input/regression/auto-beam-no-beam.ly b/input/regression/auto-beam-no-beam.ly
index bf82fb1f4c..1791e946c5 100644
--- a/input/regression/auto-beam-no-beam.ly
+++ b/input/regression/auto-beam-no-beam.ly
@@ -6,9 +6,9 @@
 
     }
 
-\version "2.16.0"
+\version "2.19.21"
 \layout {
     ragged-right = ##t
 }
 
-\relative c' { c8 c-\noBeam c c }
+\relative { c'8 c-\noBeam c c }
diff --git a/input/regression/auto-beam.ly b/input/regression/auto-beam.ly
index 8c58935d81..03a34d1e5c 100644
--- a/input/regression/auto-beam.ly
+++ b/input/regression/auto-beam.ly
@@ -3,7 +3,7 @@
 beam."
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout  {
   ragged-right = ##t 
@@ -14,7 +14,7 @@ beam."
 }
 
 
-\relative c'' {
-  a\longa a\breve  
+\relative {
+  a'\longa a\breve  
   a1 a2 a4 a8 a16 a32 a64 a64 
 }
diff --git a/input/regression/auto-change.ly b/input/regression/auto-change.ly
index f57fe6cbc1..c89034362c 100644
--- a/input/regression/auto-change.ly
+++ b/input/regression/auto-change.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -13,7 +13,7 @@ note. When central C is reached, staff is not yet switched (by default).
 
 \context PianoStaff <<
   \context Staff = "up" {
-    \autochange  \new Voice << \relative c' { g4 c e d c r4 a g } >>
+    \autochange  \new Voice << \relative { g4 c e d c r4 a g } >>
   }
   \context Staff = "down" {
     \clef bass 
diff --git a/input/regression/autobeam-tuplet-recheck.ly b/input/regression/autobeam-tuplet-recheck.ly
index 37a1361d9b..427edd7ec8 100644
--- a/input/regression/autobeam-tuplet-recheck.ly
+++ b/input/regression/autobeam-tuplet-recheck.ly
@@ -1,4 +1,4 @@
-\version "2.17.11"
+\version "2.19.21"
 
 \header {
 
@@ -7,9 +7,9 @@ In the example, the first beat should be beamed completely together."
 
 }
 
-\relative c' {
+\relative {
   \time 2/4
-  c16 c
+  c'16 c
   \tuplet 3/2 { c8 c16 }
   \tuplet 3/2 { c8 c16 }
   c16 c
diff --git a/input/regression/bar-line-define-bar-glyph.ly b/input/regression/bar-line-define-bar-glyph.ly
index cceab759f1..229075915b 100644
--- a/input/regression/bar-line-define-bar-glyph.ly
+++ b/input/regression/bar-line-define-bar-glyph.ly
@@ -1,4 +1,4 @@
-\version "2.17.15"
+\version "2.19.21"
 
 \header { texidoc = "New bar line glyphs can be defined in Scheme."
         }
@@ -16,9 +16,9 @@
 \defineBarLine "0" #'("0" "" "")
 
 
-\relative c' \new StaffGroup <<
+\relative \new StaffGroup <<
   \new Staff {
-    c4 c \bar "0" c c \bar "0" \break
+    c'4 c \bar "0" c c \bar "0" \break
     c1
   }
   \new Staff {
diff --git a/input/regression/bar-line-define-bar-line.ly b/input/regression/bar-line-define-bar-line.ly
index b181aa3890..7c1e73635f 100644
--- a/input/regression/bar-line-define-bar-line.ly
+++ b/input/regression/bar-line-define-bar-line.ly
@@ -1,4 +1,4 @@
-\version "2.17.15"
+\version "2.19.21"
 
 \header { texidoc = "New bar line styles can be defined by @code{\\defineBarLine}."
         }
@@ -8,9 +8,9 @@
 \defineBarLine "[|;" #'("|" "[|;" " |")
 \defineBarLine ";|]" #'(";|]" "" " |")
 
-\relative c' \new StaffGroup <<
+\relative \new StaffGroup <<
   \new Staff {
-    c4 c \bar "[|;" c c \bar ";|]" \break
+    c'4 c \bar "[|;" c c \bar ";|]" \break
     c4 c \bar ";|]" c c \bar "[|;" \break
     c1 }
   \new Staff {
diff --git a/input/regression/bar-line-segno.ly b/input/regression/bar-line-segno.ly
index 3bbf05e075..24f5dfcf11 100644
--- a/input/regression/bar-line-segno.ly
+++ b/input/regression/bar-line-segno.ly
@@ -1,4 +1,4 @@
-\version "2.17.15"
+\version "2.19.21"
 
 \header { texidoc = "Segno bar lines can be used to mark
                      the begin and the end of a segno part."
@@ -6,9 +6,9 @@
 
 \paper { ragged-right = ##t }
 
-\relative c' \new StaffGroup <<
+\relative \new StaffGroup <<
   \new Staff {
-    c4 \bar "S" c \bar "S-|" c \bar "S-S" c \bar ":|.S" \break
+    c'4 \bar "S" c \bar "S-|" c \bar "S-S" c \bar ":|.S" \break
     c4 c \bar ":|.S.|:" c c \bar ":|.S.|:-S" \break
     c4 c c2 \bar "S.|:" \break
     c1 \bar ":|.S-S" \break
diff --git a/input/regression/bar-lines.ly b/input/regression/bar-lines.ly
index 3beb61a904..42fb31a15f 100644
--- a/input/regression/bar-lines.ly
+++ b/input/regression/bar-lines.ly
@@ -1,4 +1,4 @@
-\version "2.17.15"
+\version "2.19.21"
 
 \header { texidoc = "Various types of bar lines can be drawn.
 
@@ -15,9 +15,9 @@ space, centered on the top-most barline.
 
 " }
 
-\relative c' \new StaffGroup <<
+\relative \new StaffGroup <<
   \new Staff = "1" {
-    c2 \bar "!" c
+    c'2 \bar "!" c
     s1
     c2 \bar ";" c
     s1
diff --git a/input/regression/bar-number-check-warning.ly b/input/regression/bar-number-check-warning.ly
index 7bede8d7ca..9c20c082ae 100644
--- a/input/regression/bar-number-check-warning.ly
+++ b/input/regression/bar-number-check-warning.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "Barcheck failed got ~a expect ~a") 3 15)
 
@@ -10,8 +10,8 @@ bar number is correct.
 
 }
 
-\relative c'' {
-  c1 | 
+\relative {
+  c''1 | 
   \barNumberCheck #2 % OK
   c1 |
   \barNumberCheck #15 % Warning
diff --git a/input/regression/beam-beamlet-grace.ly b/input/regression/beam-beamlet-grace.ly
index 75de18e031..49452cfd66 100644
--- a/input/regression/beam-beamlet-grace.ly
+++ b/input/regression/beam-beamlet-grace.ly
@@ -3,12 +3,12 @@
   texidoc = "Beamlets in grace notes remain readable."
 }
 
-\version "2.17.28"
+\version "2.19.21"
 \layout {
   ragged-right = ##t
 }
 
-\relative c'
+\relative
 \context Staff {
-  f1 \grace { a'8 f16 } g1
+  f'1 \grace { a'8 f16 } g1
 }
diff --git a/input/regression/beam-collision-classic.ly b/input/regression/beam-collision-classic.ly
index 95dd35c78b..483f74732b 100644
--- a/input/regression/beam-collision-classic.ly
+++ b/input/regression/beam-collision-classic.ly
@@ -7,7 +7,7 @@
 %  debug-beam-scoring = ##t
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \new Staff
 {
@@ -22,18 +22,18 @@
   r8 r4 |
 
   % Ligeti 1st etude.
-  \relative c''
+  \relative
   <<
-    { g8[ a b c d] } \\
+    { g'8[ a b c d] } \\
     { s4. <f, f'>4. }
     >>
   r4.
 
   % Ligeti 1st etude.
-  \relative c''
+  \relative
   <<
     {
-      s4. <g g'>4.
+      s4. <g' g'>4.
     } \\
     {
 %      \override Beam.inspect-quants = #'(-4 . -3)
@@ -43,16 +43,16 @@
   r4.
   
   % Ligeti 1st etude.
-  \relative c'
+  \relative
   <<
-    { <d d'>2. } \\
+    { <d' d'>2. } \\
     { a'8[ b c] }
     >>
 
   % Schubert morgenlied.
   \clef bass
-  \relative c {
-    a16[ d fis d a d]
+  \relative {
+    a,16[ d fis d a d]
   }
   
 }
diff --git a/input/regression/beam-collision-cross-staff.ly b/input/regression/beam-collision-cross-staff.ly
index 120b488c8d..7c8b659fbe 100644
--- a/input/regression/beam-collision-cross-staff.ly
+++ b/input/regression/beam-collision-cross-staff.ly
@@ -2,7 +2,7 @@
   texidoc = "cross staff beams work with collisions."
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 <<
  \new Staff = "PianoRH" s4.
@@ -12,13 +12,13 @@
 >>
 
 <<
-  \new Staff = up \relative c' {
-    c8 c c c
+  \new Staff = up \relative {
+    c'8 c c c
     c c c c
     b' b b b
   }
-  \new Staff = down \relative c' {
-    s8 c c \change Staff = up c
+  \new Staff = down \relative {
+    s8 c' c \change Staff = up c
     \change Staff = down c [ c s16 \change Staff = up a'16 s16 a16 ]
     \stemUp
     \change Staff = down b8 b b b \change Staff = up
diff --git a/input/regression/beam-collision-cross-staff2.ly b/input/regression/beam-collision-cross-staff2.ly
index dd09c9651d..0c3ba11cde 100644
--- a/input/regression/beam-collision-cross-staff2.ly
+++ b/input/regression/beam-collision-cross-staff2.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Cross staff beams do collision avoidance.
@@ -7,7 +7,7 @@
 
 \new PianoStaff <<
   \new Staff = up \relative c' { s2 }
-  \new Staff \relative c' {
+  \new Staff \relative {
     \clef bass \time 2/4
     g,32 [ d' \change Staff = up d'
     gis a c d g ] r4 |
diff --git a/input/regression/beam-collision-grace.ly b/input/regression/beam-collision-grace.ly
index cdc747be20..00e9c27201 100644
--- a/input/regression/beam-collision-grace.ly
+++ b/input/regression/beam-collision-grace.ly
@@ -1,14 +1,14 @@
 
 
-\version "2.17.28"
+\version "2.19.21"
 
 \header { texidoc = "
 The beaming algorithm handles collisions between beams and
 grace notes too.
 " }
 
-\relative c' {
- e'8[ f  e \grace { f,16 a } e'8]
+\relative {
+ e''8[ f  e \grace { f,16 a } e'8]
 }
 
 \relative c'{
diff --git a/input/regression/beam-collision-off.ly b/input/regression/beam-collision-off.ly
index aec8fa6d00..16ca04f875 100644
--- a/input/regression/beam-collision-off.ly
+++ b/input/regression/beam-collision-off.ly
@@ -1,11 +1,11 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "Beams can be allowed to collide with grobs by overriding
 the collision-interfaces property."
 }
 
-\relative c' {
-  c8 [ des' ]
+\relative {
+  c'8 [ des' ]
   \once \override Beam.collision-interfaces = #'(beam-interface
                                                    clef-interface
                                                    ;inline-accidental-interface
diff --git a/input/regression/beam-collision-opposite-stem.ly b/input/regression/beam-collision-opposite-stem.ly
index 58ca10839d..d9068f5790 100644
--- a/input/regression/beam-collision-opposite-stem.ly
+++ b/input/regression/beam-collision-opposite-stem.ly
@@ -3,27 +3,27 @@
   correctly."  
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout {
   ragged-right = ##t
 }
 
 {
-  \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 e16 [ s cis, ] } \\ { b''16 [ s b ] } >> }
-  \relative c'' { << { s16 d16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 c16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 b16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 a16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 g16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 c,16 [ s cis' ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 c,16 [ s cis'' ] } \\ { b16 [ s b ] } >> }
-  \relative c'' { << { s16 f,16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 e,16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 d,16 [ s cis ] } \\ { b'16 [ s b ] } >> }
-  \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s d ] } >> }
-  \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s f' ] } >> }
-  \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s a ] } >> }
-  \relative c'' { << { s16 e16 [ s cis ] } \\ { b'16 [ s gis ] } >> }
+  \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 e''16 [ s cis, ] } \\ { b''16 [ s b ] } >> }
+  \relative { << { s16 d''16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 c''16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 b'16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 a'16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 g'16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 c'16 [ s cis' ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 c'16 [ s cis'' ] } \\ { b16 [ s b ] } >> }
+  \relative { << { s16 f'16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 e'16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 d'16 [ s cis ] } \\ { b'16 [ s b ] } >> }
+  \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s d ] } >> }
+  \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s f' ] } >> }
+  \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s a ] } >> }
+  \relative { << { s16 e''16 [ s cis ] } \\ { b'16 [ s gis ] } >> }
 }
diff --git a/input/regression/beam-collision-prefatory-matter.ly b/input/regression/beam-collision-prefatory-matter.ly
index b601528b95..3dc78a7b4f 100644
--- a/input/regression/beam-collision-prefatory-matter.ly
+++ b/input/regression/beam-collision-prefatory-matter.ly
@@ -8,11 +8,11 @@
 %  debug-beam-scoring = ##t
 }
 
-\version "2.17.15"
+\version "2.19.21"
 
-\relative c' {
+\relative {
   \time 2/4
-  c8[ \clef "bass" e,, ]
+  c'8[ \clef "bass" e,, ]
   r8
   e8[ |
       \time 1/4
diff --git a/input/regression/beam-collision-scaled-staff.ly b/input/regression/beam-collision-scaled-staff.ly
index 89514aa5ba..14ab9ae958 100644
--- a/input/regression/beam-collision-scaled-staff.ly
+++ b/input/regression/beam-collision-scaled-staff.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "Beam collisions are resistant to scaled down staves."
 }
@@ -8,7 +8,7 @@
   \override StaffSymbol.staff-space = #(magstep -3)
   \override StaffSymbol.thickness = #(magstep -3) }
 <<
-  \relative c'' { e16[ f] }
+  \relative { e''16[ f] }
   \\
   \relative c''' { \autoBeamOff g b }
 >>
diff --git a/input/regression/beam-collision-voice-only.ly b/input/regression/beam-collision-voice-only.ly
index a6bf7d8780..b17cdbbaed 100644
--- a/input/regression/beam-collision-voice-only.ly
+++ b/input/regression/beam-collision-voice-only.ly
@@ -1,12 +1,12 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "Beam collision can be tweaked to only apply to the grobs
 within the beam's original voice."
 }
 
-\relative c' {
+\relative {
   \time 5/4
-  << { c8[ s c ] } \\ { s8 c' s8 } >>
+  << { c'8[ s c ] } \\ { s8 c' s8 } >>
   c,[ des' ]
   \override Staff.Beam.collision-voice-only = ##t
   << { c,8[ s c ] } \\ { s8 c' s8 } >>
diff --git a/input/regression/beam-concave-chord.ly b/input/regression/beam-concave-chord.ly
index 59643345f2..6b173a7b1b 100644
--- a/input/regression/beam-concave-chord.ly
+++ b/input/regression/beam-concave-chord.ly
@@ -1,14 +1,14 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
 texidoc = "Concave beaming works for chords as well as monophonic
 music.
 "
 }
 
-morgenliedBeam = \relative c'' \new Voice {
+morgenliedBeam = \relative \new Voice {
   \time 3/8
   % morgenlied
-  c16 b c e g <e b'> |
+  c''16 b c e g <e b'> |
   \stemUp
   c16 b c e g <e b'> |
 }
diff --git a/input/regression/beam-concave-damped.ly b/input/regression/beam-concave-damped.ly
index 3f58949dd5..c49eb478a0 100644
--- a/input/regression/beam-concave-damped.ly
+++ b/input/regression/beam-concave-damped.ly
@@ -2,14 +2,14 @@
     texidoc = "Beams that are not strictly concave are damped
  according to their concaveness. "
 }
-\version "2.16.0"
+\version "2.19.21"
 \layout {
     ragged-right = ##t
 }
 
-\relative c'' {
+\relative {
     \time 2/4 
-    g'=''8[ d a' b]
+    g''=''8[ d a' b]
    \time 3/4
     f=''8[ e d c g b]
     b,16[ f' g a]
diff --git a/input/regression/beam-concave.ly b/input/regression/beam-concave.ly
index d165f4e5f4..c45dec6c36 100644
--- a/input/regression/beam-concave.ly
+++ b/input/regression/beam-concave.ly
@@ -1,4 +1,4 @@
-\version "2.17.11"
+\version "2.19.21"
 \header{
 
   texidoc = "Fully concave beams should be horizontal. Informally spoken,
@@ -15,9 +15,9 @@
 resetMeasure = \set Score.measurePosition = #(ly:make-moment 0/1)
 
 %% examples from Ross.
-rossFourBeams =\relative c'' {
+rossFourBeams =\relative {
   \time 2/4
-  c8[ e b c]
+  c''8[ e b c]
   b[ c d b]
   c[ f b, c]
 
@@ -31,9 +31,9 @@ rossFourBeams =\relative c'' {
   f[g g e]
   a[ d, b' g]
 }
-rossThreeBeams = \relative c'' {
+rossThreeBeams = \relative {
   \time 6/8
-  e[ a, c] f[ d g]
+  e''[ a, c] f[ d g]
   f,[ b g] a[ b f]
   d'[ c b a b e]
   c[ b a c b a]
diff --git a/input/regression/beam-cross-staff-rest.ly b/input/regression/beam-cross-staff-rest.ly
index c957a14eca..93f294a40b 100644
--- a/input/regression/beam-cross-staff-rest.ly
+++ b/input/regression/beam-cross-staff-rest.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Placement of beamed cross staff rests should be
@@ -11,8 +11,8 @@ Down = \change Staff = "down"
 
 \new PianoStaff <<
   \new Staff = "up"
-  \relative c'' {
-    \time 6/8 a2.
+  \relative {
+    \time 6/8 a'2.
     c'8[ \Down c,16 \Up fis \Down r fis] \Up
   }
   \new Staff = "down" { s2. s4. }
diff --git a/input/regression/beam-forced-direction.ly b/input/regression/beam-forced-direction.ly
index 682cf8f4d1..04d0caa47e 100644
--- a/input/regression/beam-forced-direction.ly
+++ b/input/regression/beam-forced-direction.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "The direction of manual beams can be forced using
@@ -6,7 +6,7 @@
 "
 }
 
-\relative c' {
+\relative {
   \time 2/4
- c8_[] c'^[ d e]
+ c'8_[] c'^[ d e]
 }
diff --git a/input/regression/beam-funky.ly b/input/regression/beam-funky.ly
index cf47dc9c50..1139907857 100644
--- a/input/regression/beam-funky.ly
+++ b/input/regression/beam-funky.ly
@@ -1,5 +1,5 @@
 
-\version "2.17.6"
+\version "2.19.21"
 \header {
   
   texidoc = "In complex configurations of knee beaming, according to
@@ -25,7 +25,7 @@ beam. This is in disagreement with the current algorithm."
 	  b'''   b b b]
 
   \transpose c' a, {
-    \relative b'' {  g,16[  g'''16  
+    \relative {  g'16[  g'''16  
 			    g,,,16  g'''16 
 			    g,,,16  g'''16 	     	     
 			    g,,,16  g'''16
diff --git a/input/regression/beam-length.ly b/input/regression/beam-length.ly
index 53685449ce..c1603fecd0 100644
--- a/input/regression/beam-length.ly
+++ b/input/regression/beam-length.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header{
   texidoc="
@@ -9,7 +9,7 @@ Beams should look the same.
 \layout { ragged-right= ##t }
 
 
-\context Voice \relative c {
+\context Voice \relative {
   d''8[ d d]  d[ g d]
   c c
 }
diff --git a/input/regression/beam-manual-beaming.ly b/input/regression/beam-manual-beaming.ly
index 8ec0c42117..dfb0175d93 100644
--- a/input/regression/beam-manual-beaming.ly
+++ b/input/regression/beam-manual-beaming.ly
@@ -1,5 +1,5 @@
 
-\version "2.17.6"
+\version "2.19.21"
 
 
 \header {
@@ -10,8 +10,8 @@
   ragged-right = ##t 
 }
 
-\relative c'' {
-  c32[ c
+\relative {
+  c''32[ c
 
        %% WARNING: #'beaming is written, so this
        %% property can not be shared between objects. Always use
diff --git a/input/regression/beam-multiple-cross-staff.ly b/input/regression/beam-multiple-cross-staff.ly
index 0c382b2f76..ba65677e90 100644
--- a/input/regression/beam-multiple-cross-staff.ly
+++ b/input/regression/beam-multiple-cross-staff.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
   texidoc = "Kneed beams (often happens with cross-staff beams)
@@ -19,7 +19,7 @@ to the last beam.
     \oneVoice
     f[ g \change Staff = SA a c] 
   }
-  \new Staff = SB \relative c' {
+  \new Staff = SB \relative {
     \clef bass
     b8[ b16 \voiceOne b,,16 ]
 
diff --git a/input/regression/beam-multiplicity-over-rests.ly b/input/regression/beam-multiplicity-over-rests.ly
index e875bb2c80..f3b6b96323 100644
--- a/input/regression/beam-multiplicity-over-rests.ly
+++ b/input/regression/beam-multiplicity-over-rests.ly
@@ -1,12 +1,12 @@
-\version "2.19.2"
+\version "2.19.21"
 
 \header {
   texidoc = "When a beam goes over a rest, beamlets should be as necessary
   to show the beat structure."
 }
 
-\relative c' {
-  c8[ r16 c32 c32]
+\relative {
+  c'8[ r16 c32 c32]
   c32[ r16 c32 c8]
   c32[ r16 c64 c64 ~ 16.. c64]
   c32[ c32 r16 c8]
diff --git a/input/regression/beam-over-barline.ly b/input/regression/beam-over-barline.ly
index 12c092f830..f2fec5c7c2 100644
--- a/input/regression/beam-over-barline.ly
+++ b/input/regression/beam-over-barline.ly
@@ -1,11 +1,11 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Explicit beams may cross barlines. "
 }
 \layout { ragged-right= ##t }
 
-\relative c'' { c2.  c8[ c8 c8 c8] }
+\relative { c''2.  c8[ c8 c8 c8] }
 
 
 
diff --git a/input/regression/beam-position.ly b/input/regression/beam-position.ly
index 9e8b045a12..6c6b53a73d 100644
--- a/input/regression/beam-position.ly
+++ b/input/regression/beam-position.ly
@@ -1,5 +1,5 @@
 
-\version "2.17.6"
+\version "2.19.21"
 \header{
 
   texidoc=" Beams on ledgered notes should always reach the middle staff
@@ -14,7 +14,7 @@ note beams.  Override with @code{no-stem-extend}.  "
 }  
 
 
-\context Voice \relative c {
+\context Voice \relative {
   f8[ f]   f64[ f] 
   \grace { 
     f8[ e8] 
diff --git a/input/regression/beam-quanting-horizontal.ly b/input/regression/beam-quanting-horizontal.ly
index 3550064738..e1645529e6 100644
--- a/input/regression/beam-quanting-horizontal.ly
+++ b/input/regression/beam-quanting-horizontal.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header{
 
@@ -9,8 +9,8 @@ lengths are between 2 and 1.5."
 
 }
 
-\relative c' { 
-  c8[ c]  a''[ a]
+\relative { 
+  c'8[ c]  a''[ a]
   a,[ a]  c[ c]
   d,8[ d]  g'[ g]
   g,[ g]  d'[ d]
diff --git a/input/regression/beam-quarter.ly b/input/regression/beam-quarter.ly
index 5eb2b83632..7c9431de28 100644
--- a/input/regression/beam-quarter.ly
+++ b/input/regression/beam-quarter.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "stem does not fit in beam"))
@@ -8,6 +8,6 @@
   texidoc= "Quarter notes may be beamed: the beam is halted momentarily."
 }
 
-\relative c'' {
-  c8[ c4 c8] % should warn here!
+\relative {
+  c''8[ c4 c8] % should warn here!
 }
diff --git a/input/regression/beam-rest-extreme.ly b/input/regression/beam-rest-extreme.ly
index 4dccd6b394..01432c3c8d 100644
--- a/input/regression/beam-rest-extreme.ly
+++ b/input/regression/beam-rest-extreme.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Beamed rests are given a pure height approximation
@@ -6,8 +6,8 @@ that gets their spacing correct in the majority of circumstances.
 "
 }
 
-\relative c'' {
-  <f b c f>16[ r <f bes c f> <f b c f>]
+\relative {
+  <f'' b c f>16[ r <f bes c f> <f b c f>]
   <f b c f>16[ r <f'' bes c f> <f b c f>]
   <f b c f>16[ r <f,, bes c f> <f b c f>]
   <f, b c f>16[ r <f bes c f> <f b c f>]
diff --git a/input/regression/beam-rest.ly b/input/regression/beam-rest.ly
index 5598345741..f0552e3b06 100644
--- a/input/regression/beam-rest.ly
+++ b/input/regression/beam-rest.ly
@@ -3,11 +3,11 @@
   texidoc = "The number of beams does not change on a rest."
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout { ragged-right = ##t }
 
-\relative c, {
+\relative {
   \clef bass	 
-  e8[ r16 f d'8 e16 e16]  c8[ c16 r16 bes8 r16 c16] |
+  e,8[ r16 f d'8 e16 e16]  c8[ c16 r16 bes8 r16 c16] |
 }
diff --git a/input/regression/beam-single-stem.ly b/input/regression/beam-single-stem.ly
index 6dc7e80019..d3a3212598 100644
--- a/input/regression/beam-single-stem.ly
+++ b/input/regression/beam-single-stem.ly
@@ -4,10 +4,10 @@
   clip-edges is switched off automatically."
 
 }
-\version "2.16.0"
+\version "2.19.21"
 
-\relative c' {
-  d16[]
+\relative {
+  d'16[]
   \set stemRightBeamCount = #0
   d32[]
 }
diff --git a/input/regression/beaming-ternary-metrum.ly b/input/regression/beaming-ternary-metrum.ly
index 65658ac9a1..c22eaec5f0 100644
--- a/input/regression/beaming-ternary-metrum.ly
+++ b/input/regression/beaming-ternary-metrum.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -11,9 +11,9 @@
 
 \layout { ragged-right = ##t}
 
-\relative c'' {
+\relative {
   \time 6/8
-  c8. c16 c16 c16
+  c''8. c16 c16 c16
   c8. c16 c16 c16
 }
 
diff --git a/input/regression/beaming.ly b/input/regression/beaming.ly
index bb8bba1872..ebc65e8d67 100644
--- a/input/regression/beaming.ly
+++ b/input/regression/beaming.ly
@@ -1,5 +1,5 @@
 
-\version "2.17.11"
+\version "2.19.21"
 
 \header{
 texidoc="
@@ -8,9 +8,9 @@ case, line breaks are forbidden.
 "
 }
 
-\context Staff  \relative c''  {
+\context Staff  \relative  {
 
-  c8[ \tuplet 3/2 { c16 d e] }
+  c''8[ \tuplet 3/2 { c16 d e] }
   s4*3
   
   c8.[ c16]
diff --git a/input/regression/beamlet-point-toward-beat.ly b/input/regression/beamlet-point-toward-beat.ly
index 014e556b89..2938357860 100644
--- a/input/regression/beamlet-point-toward-beat.ly
+++ b/input/regression/beamlet-point-toward-beat.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -9,9 +9,9 @@ the second beam strictly follows the beat.
 }
 
 
-\relative c'' {
+\relative {
   \time 6/8
-  a8. a16 a a
+  a'8. a16 a a
   \set strictBeatBeaming = ##t
   a8. a16 a a
 }
diff --git a/input/regression/beams.ly b/input/regression/beams.ly
index ebb3bbf501..59e5eac256 100644
--- a/input/regression/beams.ly
+++ b/input/regression/beams.ly
@@ -1,14 +1,14 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
     texidoc = "Beaming can be also given explicitly."
 }
 
 \layout { ragged-right= ##t }
 
-\relative c'
+\relative
 {
-  c16[ c8.]
+  c'16[ c8.]
   c8.[ c16]
   c8[ c16 c16 c8]
   c8[ c16 e16 g8]
diff --git a/input/regression/bend-dot.ly b/input/regression/bend-dot.ly
index 26ae2aff3e..1408d6633d 100644
--- a/input/regression/bend-dot.ly
+++ b/input/regression/bend-dot.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc  = "Bends avoid dots, but only if necessary."
 }
@@ -9,7 +9,7 @@
 
 \score {
   <<
-    \new Staff \relative c' {
+    \new Staff \relative {
       \time 4/4
       g''4.-\bendAfter #+1
       s8 s2
diff --git a/input/regression/book-identifier-markup.ly b/input/regression/book-identifier-markup.ly
index aef1182a32..0dee84bcd4 100644
--- a/input/regression/book-identifier-markup.ly
+++ b/input/regression/book-identifier-markup.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "A @code{\\book} or @code{\\bookpart} identifier can contain
@@ -6,7 +6,7 @@ top-level markup and page-markers."
 }
 
 mypart = \bookpart {
-  \relative c' { c1 }
+  \relative { c'1 }
   \label #'marker
   \markup { Page \page-ref #'marker "8" "?" }
 }
diff --git a/input/regression/bookpart-variable.ly b/input/regression/bookpart-variable.ly
index 204b98802e..d693aa52ff 100644
--- a/input/regression/bookpart-variable.ly
+++ b/input/regression/bookpart-variable.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 
 \header {
@@ -9,8 +9,8 @@ No segfault should occur in this case.
 }
 
 mypart = \bookpart {
-  \relative c' {
-    c1
+  \relative {
+    c'1
   }
 }
 
diff --git a/input/regression/breathing-sign-ancient.ly b/input/regression/breathing-sign-ancient.ly
index 8e1a528753..e6ba1472e2 100644
--- a/input/regression/breathing-sign-ancient.ly
+++ b/input/regression/breathing-sign-ancient.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header{
   texidoc="
@@ -11,9 +11,9 @@ finalis, the latter three looking similar to bar glyphs.
 \include "gregorian.ly"
 
 \context VaticanaStaff {
-  \relative c' {
+  \relative {
     % here is no \breathe
-    c g c
+    c' g c
 
     % \virgula applies rcomma, but in a smaller font
     c \virgula g c
@@ -37,9 +37,9 @@ finalis, the latter three looking similar to bar glyphs.
   }
 }
 
-mus = \relative f' {
+mus = \relative {
   \clef tenor
-  c g c
+  c' g c
   c \virgula g c
   c \caesura g c
   c \divisioMinima g c
diff --git a/input/regression/breathing-sign.ly b/input/regression/breathing-sign.ly
index f9e3787859..239bf22a94 100644
--- a/input/regression/breathing-sign.ly
+++ b/input/regression/breathing-sign.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header{
   texidoc="
 Breathing signs are available in different tastes: commas (default),
@@ -9,12 +9,12 @@ ticks, vees and `railroad tracks' (caesura)."
 {
   %% Modern notation:
   \new Staff {
-    \relative c'' {
+    \relative {
       %% by default, \breathe uses the rcomma, just as if saying:
       %% \override BreathingSign.text =
       %%   #(make-musicglyph-markup "scripts.rcomma")
       %%
-      c4 c \breathe c c |
+      c''4 c \breathe c c |
 
       %% rvarcomma and lvarcomma are variations of the default rcomma
       %% and lcomma
diff --git a/input/regression/cadenza-grace-autobeam.ly b/input/regression/cadenza-grace-autobeam.ly
index 8340d26cd9..4f06d4627d 100644
--- a/input/regression/cadenza-grace-autobeam.ly
+++ b/input/regression/cadenza-grace-autobeam.ly
@@ -1,4 +1,4 @@
-\version "2.17.30"
+\version "2.19.21"
 
 \header {
 
@@ -9,8 +9,8 @@
 
 \layout { ragged-right = ##t }
 
-\relative c' {
-  e8 e e e e e e e
+\relative {
+  e'8 e e e e e e e
   \cadenzaOn <>^\markup \typewriter "\\cadenzaOn"
   e e e e e e e e
   \cadenzaOff
diff --git a/input/regression/chord-names-in-grand-staff.ly b/input/regression/chord-names-in-grand-staff.ly
index f81d4fe299..8a43cde114 100644
--- a/input/regression/chord-names-in-grand-staff.ly
+++ b/input/regression/chord-names-in-grand-staff.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -15,14 +15,14 @@ example should be printed above the top staff.
       f1
     }
     \new Staff {
-      \relative c'' {
-        a4 a a a
+      \relative {
+        a'4 a a a
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
-        a4 a a a
+      \relative {
+        a,4 a a a
       }
     }
    >>
diff --git a/input/regression/chord-repetition-relative.ly b/input/regression/chord-repetition-relative.ly
index 1732708394..766404c693 100644
--- a/input/regression/chord-repetition-relative.ly
+++ b/input/regression/chord-repetition-relative.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -9,5 +9,5 @@ the same octaves as the original one.
 
 {
   <c''' d'' g''>4^"absolute" q q q
-  \relative c' { <c'' d, g>4^"relative" q q q }
+  \relative { <c''' d, g>4^"relative" q q q }
 }
diff --git a/input/regression/chord-repetition-script-stack.ly b/input/regression/chord-repetition-script-stack.ly
index 5da80dd954..191daf8a91 100644
--- a/input/regression/chord-repetition-script-stack.ly
+++ b/input/regression/chord-repetition-script-stack.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Post events such as fingerings and scripts added to a
@@ -6,6 +6,6 @@ chord repetition follow the same basic stacking order as chords.
 "
 }
 
-\relative c' {
-  <c e g>2-1-2-3 q_"q"-1-2-3
+\relative {
+  <c' e g>2-1-2-3 q_"q"-1-2-3
 }
diff --git a/input/regression/chord-repetition-times.ly b/input/regression/chord-repetition-times.ly
index ba8f1fdbe6..4a193625e0 100644
--- a/input/regression/chord-repetition-times.ly
+++ b/input/regression/chord-repetition-times.ly
@@ -1,4 +1,4 @@
-\version "2.17.11"
+\version "2.19.21"
 
 
 \header {
@@ -9,7 +9,7 @@ correctly on them.
 "
 }
 
-\relative c' {
-  <c e g>4 r <c e g>2 ~ |
+\relative {
+  <c' e g>4 r <c e g>2 ~ |
   \tuplet 3/2 { <c e g>4 q q } \tuplet 3/2 { q q q } |
 }
diff --git a/input/regression/chord-repetition.ly b/input/regression/chord-repetition.ly
index 52d001d273..a2a0ca82db 100644
--- a/input/regression/chord-repetition.ly
+++ b/input/regression/chord-repetition.ly
@@ -1,4 +1,4 @@
-\version "2.17.25"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -8,6 +8,6 @@ fingerings, etc are not repeated.
 "
 }
 
-\relative c' {
-  <c-1 e-3 g-5>8\p( q) q4-! q8.\(^"text" q16 q4-!\)
+\relative {
+  <c'-1 e-3 g-5>8\p( q) q4-! q8.\(^"text" q16 q4-!\)
 }
diff --git a/input/regression/chord-scripts.ly b/input/regression/chord-scripts.ly
index 74aeda9fd0..c0f980a925 100644
--- a/input/regression/chord-scripts.ly
+++ b/input/regression/chord-scripts.ly
@@ -1,12 +1,12 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Scripts can also be attached to chord elements.
 They obey manual direction indicators."
 }
 
-\relative c'' {
-  < c-. >4
+\relative {
+  < c''-. >4
   < c-> >4
   < c-. e-. g-. b-. >4
   < c^^ >4
diff --git a/input/regression/chromatic-scales.ly b/input/regression/chromatic-scales.ly
index ccfeb1e5be..7e6ddb4da2 100644
--- a/input/regression/chromatic-scales.ly
+++ b/input/regression/chromatic-scales.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header{
   texidoc="@code{staffLineLayoutFunction} is used to change the position of the notes.
 This sets @code{staffLineLayoutFunction} to @code{ly:pitch-semitones} to
@@ -7,7 +7,7 @@ space and line equal to one semitone.
 "
 }
 
-scales = \relative c' {
+scales = \relative {
   a ais b c cis d dis e f fis g gis
   a
 }
diff --git a/input/regression/clef-ottava.ly b/input/regression/clef-ottava.ly
index 6ed391c542..776fb25b06 100644
--- a/input/regression/clef-ottava.ly
+++ b/input/regression/clef-ottava.ly
@@ -5,13 +5,13 @@
 but they don't confuse one another."
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout { ragged-right = ##t} 
 
-\relative c''  {
+\relative  {
   \clef "alto"
-  a b c a
+  a' b c a
   \ottava #1
   a b c a
   \clef "bass"
diff --git a/input/regression/clef-transposition.ly b/input/regression/clef-transposition.ly
index d2ff5730aa..7b68e03fd0 100644
--- a/input/regression/clef-transposition.ly
+++ b/input/regression/clef-transposition.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0" \header {
+\version "2.19.21" \header {
 
     texidoc = "Clefs may be transposed up or down
 by arbitrary amount, including 15 for two octaves."
@@ -8,10 +8,10 @@ by arbitrary amount, including 15 for two octaves."
 \layout { ragged-right = ##t  }
 
 
-\relative c'' {
+\relative {
 
   \clef "G_8"
-  c4
+  c''4
   \clef "G_15"
   c4
   \clef "G_7"
diff --git a/input/regression/cluster-break.ly b/input/regression/cluster-break.ly
index d40b04aea5..ecb04966fc 100644
--- a/input/regression/cluster-break.ly
+++ b/input/regression/cluster-break.ly
@@ -1,14 +1,14 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Clusters behave well across line breaks."
 }
 
 \layout { ragged-right = ##t }
 
-fragment = \relative c' {
+fragment = \relative {
   \time 2/4 
-  <e d'>4
+  <e' d'>4
   <g a>4 | \break
   <e a>
   <f a>
diff --git a/input/regression/cluster-cross-staff.ly b/input/regression/cluster-cross-staff.ly
index 4021a56cab..994b8ddfb8 100644
--- a/input/regression/cluster-cross-staff.ly
+++ b/input/regression/cluster-cross-staff.ly
@@ -7,14 +7,14 @@
   ragged-right= ##t
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \new PianoStaff <<
   \new Staff = "up"     {
     s1 *2
   }
   \new Staff = "down" <<
-    \applyMusic #notes-to-clusters \relative c  { <c e>4 <f a> <b e> \change Staff = up <e a>
+    \applyMusic #notes-to-clusters \relative  { <c e>4 <f a> <b e> \change Staff = up <e a>
 						  <a d> <d g> }
 
     { \clef bass s1 * 2 }
diff --git a/input/regression/cluster-style.ly b/input/regression/cluster-style.ly
index 273d0a4d6d..3558648cbc 100644
--- a/input/regression/cluster-style.ly
+++ b/input/regression/cluster-style.ly
@@ -1,14 +1,14 @@
 
 
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "Clusters behave well across line breaks."
 }
 
 \layout { ragged-right = ##t }
 
-fragment = \relative c' {
-  <e d'>4
+fragment = \relative {
+  <e' d'>4
   <g a>4 
   <e a>4
 }
diff --git a/input/regression/cluster.ly b/input/regression/cluster.ly
index 6001ed583d..8ec7e4e898 100644
--- a/input/regression/cluster.ly
+++ b/input/regression/cluster.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Clusters are a device to denote that a complete range of
 notes is to be played."
@@ -7,8 +7,8 @@ notes is to be played."
   \layout { ragged-right = ##t }
 
 
-fragment = \relative c' {
-  c4 f4 <e d'>4
+fragment = \relative {
+  c'4 f4 <e d'>4
   <g a>8 <e a> a4 c2 <d b>4 e4 
   c4
 }
diff --git a/input/regression/collision-alignment.ly b/input/regression/collision-alignment.ly
index 87babb6934..428277be93 100644
--- a/input/regression/collision-alignment.ly
+++ b/input/regression/collision-alignment.ly
@@ -7,12 +7,12 @@
 
 \layout  { ragged-right = ##t }
 
-\version "2.17.15"
+\version "2.19.21"
 
-\relative c' <<
+\relative <<
     \new Staff {
 	<<
-	    { f g } \\
+	    { f' g } \\
 	    { g f }
 	>> }
     \new Staff {
diff --git a/input/regression/collision-dots-invert.ly b/input/regression/collision-dots-invert.ly
index 7993cc9436..2be79283ec 100644
--- a/input/regression/collision-dots-invert.ly
+++ b/input/regression/collision-dots-invert.ly
@@ -6,9 +6,9 @@
 }
 \layout {  ragged-right = ##t }
 
-\version "2.16.0"
-\relative c'' { 
-  << <a c>2\\ { <b d>4 <b d>4 }   >>
+\version "2.19.21"
+\relative { 
+  << <a' c>2\\ { <b d>4 <b d>4 }   >>
   << { <a c>2 } \\ { <b d>4. <b e>8 } >> 
 }
  
diff --git a/input/regression/collision-dots-up-space-dotted.ly b/input/regression/collision-dots-up-space-dotted.ly
index b9db8bbcfd..c758b28706 100644
--- a/input/regression/collision-dots-up-space-dotted.ly
+++ b/input/regression/collision-dots-up-space-dotted.ly
@@ -6,12 +6,12 @@
 
   }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \paper{ ragged-right=##t }
 
-\new Staff \relative c' <<
-  { fis4.
+\new Staff \relative <<
+  { fis'4.
     \override Staff.NoteCollision.prefer-dotted-right = ##f
     fis4. }
   \\
diff --git a/input/regression/collision-harmonic-no-dots.ly b/input/regression/collision-harmonic-no-dots.ly
index cd5669ff03..7641608dd0 100644
--- a/input/regression/collision-harmonic-no-dots.ly
+++ b/input/regression/collision-harmonic-no-dots.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Collision resolution involving dotted harmonic heads
@@ -7,9 +7,9 @@ will only retrieve @code{'dot-count} from live grobs.
 "
 }
 
-\relative c' {
+\relative {
   <<
-    { <fis\harmonic>2. }
+    { <fis'\harmonic>2. }
     \\
     { e2. }
   >>
diff --git a/input/regression/collision-head-chords.ly b/input/regression/collision-head-chords.ly
index 2d52f34bff..2dfadebd33 100644
--- a/input/regression/collision-head-chords.ly
+++ b/input/regression/collision-head-chords.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Note heads in collisions should be merged if
 they have the same positions in the extreme note heads.  
@@ -9,8 +9,8 @@ they have the same positions in the extreme note heads.
 
 
 
-\relative c'' {
-  c4 
+\relative {
+  c''4 
   << { c4 d4 <c d>8  <c d> <c d> } \\  { c4 c <a b>8 <b c> <c d>8 } >>
 }
  
diff --git a/input/regression/collision-heads.ly b/input/regression/collision-heads.ly
index ce5c56e04f..b1d9b1e598 100644
--- a/input/regression/collision-heads.ly
+++ b/input/regression/collision-heads.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc =
   "Open and black note heads are not merged by default."
@@ -8,9 +8,9 @@
 \layout { ragged-right= ##t }
 
 
-\context Staff  \relative c'' <<
+\context Staff  \relative <<
   {
-    c2 c8 c4.
+    c''2 c8 c4.
   }\\
   {
     c8 c4. c2
diff --git a/input/regression/collision-manual.ly b/input/regression/collision-manual.ly
index 685090b78a..9fad6597d7 100644
--- a/input/regression/collision-manual.ly
+++ b/input/regression/collision-manual.ly
@@ -2,14 +2,14 @@
 
   texidoc = "Collision resolution may be forced manually with @code{force-hshift}. "
 }
-\version "2.17.6"
+\version "2.19.21"
 
 \paper  {
   ragged-right = ##t
 }
 
-\relative c' {
-  << {  f
+\relative {
+  << {  f'
 	\override NoteColumn.force-hshift = #0.1
 	f } \\
      {  e  e }
diff --git a/input/regression/collision-merge-differently-dotted.ly b/input/regression/collision-merge-differently-dotted.ly
index 9da7bed233..e2c0da08b3 100644
--- a/input/regression/collision-merge-differently-dotted.ly
+++ b/input/regression/collision-merge-differently-dotted.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
     
     texidoc = "If @code{NoteCollision} has
@@ -10,9 +10,9 @@ should not disappear when merging similar note heads."
 
 \layout { ragged-right= ##t }
 	
-\context Staff \relative c'' <<
+\context Staff \relative <<
   {
-    g8[ g8]
+    g'8[ g8]
     \override Staff.NoteCollision.merge-differently-dotted = ##t
     g8[ g8]
     g4. r8 g8. g16
diff --git a/input/regression/collision-merge-dots.ly b/input/regression/collision-merge-dots.ly
index df0a0e0f84..7b7544082e 100644
--- a/input/regression/collision-merge-dots.ly
+++ b/input/regression/collision-merge-dots.ly
@@ -4,11 +4,11 @@
     }
 \layout { ragged-right = ##t }
 
-\version "2.16.0"
+\version "2.19.21"
 
 {
-  \relative c'' \new Staff {
-    << { d8. e16 } \\ { d8. b16 } >> 
+  \relative \new Staff {
+    << { d''8. e16 } \\ { d8. b16 } >> 
   }
 }
 
diff --git a/input/regression/collision-seconds.ly b/input/regression/collision-seconds.ly
index f1b2134a51..9742c56900 100644
--- a/input/regression/collision-seconds.ly
+++ b/input/regression/collision-seconds.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Seconds do not confuse the collision algorithm.
@@ -7,7 +7,7 @@ or come relatively close, but the second in each measure needs
 more space to make clear which notes belong to which voice."
 }
 
-\relative f << {
+\relative << {
   <a' b>2 <a b d e> <a e' f> <a e' f> <a b c> <f g a>
   \bar "||" <f g c> <g a c> <f g c d> <f g c d>
 } \\ {
diff --git a/input/regression/collisions.ly b/input/regression/collisions.ly
index 5b03483b6b..eeea895cdc 100644
--- a/input/regression/collisions.ly
+++ b/input/regression/collisions.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header{
   texidoc="
 In addition to normal collision rules, there is support for polyphony, 
@@ -8,16 +8,16 @@ where the collisions are avoided by shifting middle voices horizontally.
 
 
 twovoice =
-\relative c' \context Staff  << 
+\relative \context Staff  << 
   {  g4 f f e e d d c } 
   \\ {  c4 c  d d e e f f }
 >>
 
 twovoicechords = \context Staff  <<
-  \relative c' {
-    e4 d c b a g f
+  \relative {
+    e'4 d c b a g f
   }\\
-  \relative c' {
+  \relative {
     <a c>4 <a c>4 <a c>4 <a c>4 <a c>
     <a c> <a c>  
   }
@@ -30,9 +30,9 @@ threevoice = \context Staff  <<
   { e4 e e e e e e e  }
 >>
 
-hairyChord = \context Staff  \relative c''
+hairyChord = \context Staff  \relative
 <<
-  e \\
+  e'' \\
   fis, \\
   cis' \\
   \\
diff --git a/input/regression/completion-heads-lyrics.ly b/input/regression/completion-heads-lyrics.ly
index 4dd7d26d3f..ccea9ad8ca 100644
--- a/input/regression/completion-heads-lyrics.ly
+++ b/input/regression/completion-heads-lyrics.ly
@@ -1,10 +1,10 @@
 \header {
   texidoc = "You can put lyrics under completion heads."
 }
-\version "2.16.0"
+\version "2.19.21"
 
-mel = \relative c'' {
- c1. c1.
+mel = \relative {
+ c''1. c1.
 }
 
 lyr = \lyricmode {
diff --git a/input/regression/completion-heads-polyphony-2.ly b/input/regression/completion-heads-polyphony-2.ly
index e9c668e457..349052f742 100644
--- a/input/regression/completion-heads-polyphony-2.ly
+++ b/input/regression/completion-heads-polyphony-2.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -14,8 +14,8 @@ Complex completion heads work properly in a polyphonic environment.
   }
 }
 
-\context Staff \relative c'' <<
-  { c4. c c c4 c4. c4 }
+\context Staff \relative <<
+  { c''4. c c c4 c4. c4 }
   \\
   { g8 g2 g1 g4. }
 >>
diff --git a/input/regression/completion-heads-polyphony.ly b/input/regression/completion-heads-polyphony.ly
index e8873c6881..4b41e11d2b 100644
--- a/input/regression/completion-heads-polyphony.ly
+++ b/input/regression/completion-heads-polyphony.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
     texidoc = "Completion heads are broken across bar lines. This was
@@ -16,7 +16,7 @@ Completion heads are not fooled by polyphony with a different rhythm.
   }
 }
 
-\context Staff \relative c'' << 
-  { c2. c bes2 } \\
+\context Staff \relative << 
+  { c''2. c bes2 } \\
   { c2. a8 g4 f4. g4 f  }
 >>
diff --git a/input/regression/completion-heads-tie.ly b/input/regression/completion-heads-tie.ly
index 979359bf29..bfa7ab3dac 100644
--- a/input/regression/completion-heads-tie.ly
+++ b/input/regression/completion-heads-tie.ly
@@ -5,7 +5,7 @@
 
   }
 
-\version "2.19.2"
+\version "2.19.21"
 
 \paper{ ragged-right=##t }
 
@@ -13,6 +13,6 @@
   \remove "Note_heads_engraver"
   \consists "Completion_heads_engraver"
 } {
-  \relative c'' { r2 d1 ~ 1 d2 }
+  \relative { r2 d''1 ~ 1 d2 }
 }
 
diff --git a/input/regression/complex-once.ly b/input/regression/complex-once.ly
index d3a5a4553b..d69aab7639 100644
--- a/input/regression/complex-once.ly
+++ b/input/regression/complex-once.ly
@@ -1,10 +1,10 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header{
   texidoc= "This tests @code{\\once} applied to multiple property operations."
 }
 
-\relative c' {
-  c4 d \hideNotes e4 f |
+\relative {
+  c'4 d \hideNotes e4 f |
   \unHideNotes g a \once \hideNotes b c |
 }
diff --git a/input/regression/context-mod-context.ly b/input/regression/context-mod-context.ly
index 5f3bb9901b..a3db629b51 100644
--- a/input/regression/context-mod-context.ly
+++ b/input/regression/context-mod-context.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header  {
 texidoc = "Context modifications can be stored into a variable as a
@@ -12,7 +12,7 @@ ctxmod = \with {
   \override StaffSymbol.line-count = 4
 }
 
-music = \relative c'' { \key fis \minor c1 d e }
+music = \relative { \key fis \minor c''1 d e }
 
 \score { <<
     \new Staff { \music}
diff --git a/input/regression/context-mod-with.ly b/input/regression/context-mod-with.ly
index 3857cd1593..999c94bab8 100644
--- a/input/regression/context-mod-with.ly
+++ b/input/regression/context-mod-with.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header  {
 texidoc = "Context modifications can be stored into a variable as a
@@ -26,7 +26,7 @@ ctxmod = \with {
 }
 
 
-music = \relative c'' { \key fis \minor c1 d e }
+music = \relative { \key fis \minor c''1 d e }
 
 \score { <<
   \override Score.RehearsalMark.self-alignment-X = #LEFT
diff --git a/input/regression/context-nested-staffgroup.ly b/input/regression/context-nested-staffgroup.ly
index 59aa604eed..c9e6dbcb23 100644
--- a/input/regression/context-nested-staffgroup.ly
+++ b/input/regression/context-nested-staffgroup.ly
@@ -1,10 +1,10 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Contexts of the same type can be nested."
 }
 
-\new StaffGroup \relative c' <<
-  \new Staff { c1 }
+\new StaffGroup \relative <<
+  \new Staff { c'1 }
   \new StaffGroup <<
     \new Staff { c1 }
     \new StaffGroup <<
diff --git a/input/regression/cue-clef-after-barline.ly b/input/regression/cue-clef-after-barline.ly
index 0969fbcb62..8f222b1955 100644
--- a/input/regression/cue-clef-after-barline.ly
+++ b/input/regression/cue-clef-after-barline.ly
@@ -1,12 +1,12 @@
-\version "2.17.6"
+\version "2.19.21"
 
 instrument = \relative c' {
   \repeat unfold 40 { c8 }
 }
 \addQuote "instrQuote" \instrument
 
-Solo = \relative c' { 
-  c2 c |
+Solo = \relative { 
+  c'2 c |
   
   % Change the break-align-orders of the score so that cue-clef comes after bar-line
   \override Score.BarLine.space-alist.cue-clef = #'(minimum-space . 1.0)
diff --git a/input/regression/cue-clef-manually.ly b/input/regression/cue-clef-manually.ly
index fcd94201f3..aa3535a92e 100644
--- a/input/regression/cue-clef-manually.ly
+++ b/input/regression/cue-clef-manually.ly
@@ -1,7 +1,7 @@
-\version "2.16.0"
+\version "2.19.21"
 
-Solo = \relative c' { 
-  c4 c c c |
+Solo = \relative { 
+  c'4 c c c |
 
   % Manually written cue notes, not quoted from another lilypond voice:
   << 
diff --git a/input/regression/cue-clef-new-line.ly b/input/regression/cue-clef-new-line.ly
index e9b3e64f08..cf1c1605a3 100644
--- a/input/regression/cue-clef-new-line.ly
+++ b/input/regression/cue-clef-new-line.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Clefs for cue notes and line breaks.  If the cue notes start in a
@@ -13,7 +13,7 @@ line plus an additional cue clef after the time/@/key signature."
 vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 }
 \addQuote vIQuote { \vI }
 
-Solo = \relative c {
+Solo = \relative {
   \clef "bass"
   c1 | \break
   \cueDuringWithClef #"vIQuote" #UP #"tenor" { R1 } | \break
diff --git a/input/regression/cue-clef-transposition-optional.ly b/input/regression/cue-clef-transposition-optional.ly
index caeaf13193..bf13c22974 100644
--- a/input/regression/cue-clef-transposition-optional.ly
+++ b/input/regression/cue-clef-transposition-optional.ly
@@ -1,4 +1,4 @@
-\version "2.17.7"
+\version "2.19.21"
 
 \header {
   texidoc = "Optional transposition for clefs for cue notes is supported
@@ -8,8 +8,8 @@ by using parentheses or brackets around the transposition number."
 vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 }
 \addQuote vIQuote { \vI }
 
-Solo = \relative c' {
-  \clef "treble_8" c1 |
+Solo = \relative {
+  \clef "treble_8" c'1 |
   \cueDuringWithClef #"vIQuote" #UP #"bass^(15)" { R1 } |
   c1 | \break
   c c
diff --git a/input/regression/cue-clef-transposition.ly b/input/regression/cue-clef-transposition.ly
index dd26c9f25d..8882ef11b6 100644
--- a/input/regression/cue-clef-transposition.ly
+++ b/input/regression/cue-clef-transposition.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Transposition for clefs for cue notes."
@@ -7,8 +7,8 @@
 vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 }
 \addQuote vIQuote { \vI }
 
-Solo = \relative c' {
-  \clef "treble_8" c1 |
+Solo = \relative {
+  \clef "treble_8" c'1 |
   \cueDuringWithClef #"vIQuote" #UP #"bass^8" { R1 } |
   c1 | \break
   c c
diff --git a/input/regression/cue-clef.ly b/input/regression/cue-clef.ly
index 1cf19a2b8c..f87668ecc4 100644
--- a/input/regression/cue-clef.ly
+++ b/input/regression/cue-clef.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Clefs for cue notes: Print a cue clef at the begin of the cue
@@ -8,7 +8,7 @@ notes and a canceling clef after the cue notes."
 vI = \relative c'' { \clef "treble" \repeat unfold 16 g4 }
 \addQuote vIQuote { \vI }
 
-Solo = \relative c {
+Solo = \relative {
   \clef "bass"
   c4 \cueDuringWithClef #"vIQuote" #DOWN #"treble" {
     r4 r2 |
diff --git a/input/regression/define-event-function.ly b/input/regression/define-event-function.ly
index ce88d94fef..4aa75b6b17 100644
--- a/input/regression/define-event-function.ly
+++ b/input/regression/define-event-function.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header{
 
@@ -14,8 +14,8 @@ dynScript =
 #(define-event-function (parser location text) (markup?)
    (make-dynamic-script text))
 
-\relative c' {
-  c1\dynScript pp
+\relative {
+  c'1\dynScript pp
   c^\dynScript "fp"
   c_\dynScript "spz"
 }
diff --git a/input/regression/display-lily-tests.ly b/input/regression/display-lily-tests.ly
index 6ff266c4ef..7368dfae34 100644
--- a/input/regression/display-lily-tests.ly
+++ b/input/regression/display-lily-tests.ly
@@ -1,4 +1,4 @@
-\version "2.17.25"
+\version "2.19.21"
 #(use-modules (srfi srfi-13)
               (ice-9 format))
 
@@ -189,7 +189,7 @@ stderr of this run."
 \test ##[ { 4 4 8 \tuplet 3/2 { 8[ 16] } 16 } #]
 
 %% \relative and \tranpose
-\test #"NOT A BUG" ##[ \relative c' { c4 b4 } #]	% RelativeOctaveMusic
+\test #"NOT A BUG" ##[ \relative { c'4 b4 } #]	% RelativeOctaveMusic
 \test #"NOT A BUG" ##[ \transpose c d { c4 d4 } #]	% TransposedMusic
 
 %% Repeats
diff --git a/input/regression/dot-column-engraver.ly b/input/regression/dot-column-engraver.ly
index f87e23f038..e63174d60e 100644
--- a/input/regression/dot-column-engraver.ly
+++ b/input/regression/dot-column-engraver.ly
@@ -1,4 +1,4 @@
-\version "2.17.11"
+\version "2.19.21"
 
 \header {
   texidoc = "Dot Columns are engraved in the Staff by default,
@@ -7,8 +7,8 @@ If Dot_column_engraver is moved to Voice, separate dot columns are engraved,
 and these dots avoid notes in other voices."
 }
 
-music = \relative c'' { \time 3/4 << {
-  <d f g>4. c c b g f a <a b> a <a' b>
+music = \relative { \time 3/4 << {
+  <d'' f g>4. c c b g f a <a b> a <a' b>
 } \\ \tuplet 2/1 {
   <f, g b>2. a-- <a b> <g a>-. a2. a-- a a b <a b> \bar "|."
 } >> }
diff --git a/input/regression/dot-dot-count-override.ly b/input/regression/dot-dot-count-override.ly
index 7d2d1ab293..29e2db0537 100644
--- a/input/regression/dot-dot-count-override.ly
+++ b/input/regression/dot-dot-count-override.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "The @code{dot-count} property
@@ -6,8 +6,8 @@ for @code{Dots} can be modified by the user."
 
 }
 
-\relative c'' {
-  c4.. a16
+\relative {
+  c''4.. a16
   \override Dots.dot-count = #4
   g4.. e16
   \override Dots.dot-count = #0
diff --git a/input/regression/dot-rest-beam-trigger.ly b/input/regression/dot-rest-beam-trigger.ly
index 478663fcf3..9fd8509773 100644
--- a/input/regression/dot-rest-beam-trigger.ly
+++ b/input/regression/dot-rest-beam-trigger.ly
@@ -6,11 +6,11 @@
 
 }
 
-\version "2.16.0"
-\new Staff \relative c''
+\version "2.19.21"
+\new Staff \relative
 {
   <<
-    { \time 12/16 c16[ b a r  b g] }
+    { \time 12/16 c''16[ b a r  b g] }
     \\
     { r8. r }
   >>
diff --git a/input/regression/dot-up-voice-collision.ly b/input/regression/dot-up-voice-collision.ly
index fa3035fcc7..9efdf0f284 100644
--- a/input/regression/dot-up-voice-collision.ly
+++ b/input/regression/dot-up-voice-collision.ly
@@ -5,14 +5,14 @@
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout { ragged-right = ##t }
 
 \new Staff {
   \key e \major \time 3/4
-  \relative c'' {
-    << { dis4.  } \\
+  \relative {
+    << { dis''4.  } \\
        { fis,4 } \\ { b8 } >>
   }
 }
diff --git a/input/regression/dots.ly b/input/regression/dots.ly
index a811a9dc10..65a97fb918 100644
--- a/input/regression/dots.ly
+++ b/input/regression/dots.ly
@@ -1,4 +1,4 @@
-\version "2.16.0" \header{
+\version "2.19.21" \header{
 
 
     texidoc=" Both noteheads and rests can have dots.  
@@ -22,9 +22,9 @@ The priorities to print the dots are (ranked in importance):
 
 
 
-\context Voice \relative c'' {
+\context Voice \relative {
   \time 6/8
-  d4. g,,
+  d''4. g,,
   \stemDown
   <b'' c d e>4.  <f g a b>
   <f a c> <e a c> <b f' c' g'>
diff --git a/input/regression/double-repeat.ly b/input/regression/double-repeat.ly
index 9ce981dc59..7718979138 100644
--- a/input/regression/double-repeat.ly
+++ b/input/regression/double-repeat.ly
@@ -1,11 +1,11 @@
-\version "2.17.5"
+\version "2.19.21"
 
 \header {
   texidoc = "Three types of double repeat bar line are supported."
 }
 \new StaffGroup <<
-  \new Staff \relative c' {
-    c1
+  \new Staff \relative {
+    c'1
     \mark "\":|:\""
     \bar ":..:"
     c1
diff --git a/input/regression/duration-identifier-compressed.ly b/input/regression/duration-identifier-compressed.ly
index 96b59cb81c..078ae8f453 100644
--- a/input/regression/duration-identifier-compressed.ly
+++ b/input/regression/duration-identifier-compressed.ly
@@ -1,4 +1,4 @@
-\version "2.17.11"
+\version "2.19.21"
 
 \header {
   texidoc = "The compression factor of a duration identifier is
@@ -9,7 +9,7 @@ correctly accounted for by the parser."
 wholeHalved = #(ly:make-duration 0 0 1/2)
 
 
-\relative c' {
-  c\wholeHalved c |
+\relative {
+  c'\wholeHalved c |
   c\wholeHalved. c4 |
 }
diff --git a/input/regression/dynamics-alignment-autobreak.ly b/input/regression/dynamics-alignment-autobreak.ly
index d4ecfc9238..41362485e4 100644
--- a/input/regression/dynamics-alignment-autobreak.ly
+++ b/input/regression/dynamics-alignment-autobreak.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "If a dynamic has an explicit direction that differs from the 
@@ -6,8 +6,8 @@ dynamic line spanner's direction, automatically break the dynamic line spanner.
 "
 }
 
-\relative c' {
-  c1^\<
+\relative {
+  c'1^\<
   c1_\>
   f,1\p
 
diff --git a/input/regression/dynamics-alignment-breaker-linebreak.ly b/input/regression/dynamics-alignment-breaker-linebreak.ly
index 0d3bb86755..4413e76ba2 100644
--- a/input/regression/dynamics-alignment-breaker-linebreak.ly
+++ b/input/regression/dynamics-alignment-breaker-linebreak.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{\\breakDynamicSpan} shall also work if a 
@@ -6,9 +6,9 @@ dynamic spanner crosses a line break.
 "
 }
 
-\relative c' {
+\relative {
   % spanner really crosses linebreak:
-  c1\<\breakDynamicSpan c'' \break
+  c'1\<\breakDynamicSpan c'' \break
   c,,1
   % new spanner immediately after linebreak (with broken spanner):
   c''1\>\breakDynamicSpan \break
diff --git a/input/regression/dynamics-alignment-breaker-order.ly b/input/regression/dynamics-alignment-breaker-order.ly
index a295f8e551..2d5603afc8 100644
--- a/input/regression/dynamics-alignment-breaker-order.ly
+++ b/input/regression/dynamics-alignment-breaker-order.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{\\breakDynamicSpan} work whether it is placed together 
@@ -6,7 +6,7 @@ with the start or the end of a spanner.  Both lines should be identical.
 "
 }
 
-\relative c {
+\relative {
   c1\< c''
   % break directly before and after \> :
   c,1\breakDynamicSpan\>\breakDynamicSpan 
diff --git a/input/regression/dynamics-alignment-breaker-subsequent-spanner.ly b/input/regression/dynamics-alignment-breaker-subsequent-spanner.ly
index a7c9e8d28e..5776eadbac 100644
--- a/input/regression/dynamics-alignment-breaker-subsequent-spanner.ly
+++ b/input/regression/dynamics-alignment-breaker-subsequent-spanner.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{\\breakDynamicSpan} shall only have an effect on the current
@@ -6,10 +6,10 @@ spanner, not on subsequent spanners.
 "
 }
 
-\relative c' {
+\relative {
   % Check that the effect of \breakDynamic span is only for the current
   % spanner and not for the following spanners, too.
-  c1\<\breakDynamicSpan c''
+  c'1\<\breakDynamicSpan c''
   c,,1\>
   f,1\p % <= the \> and the \p should be aligned!
 }
diff --git a/input/regression/dynamics-alignment-breaker.ly b/input/regression/dynamics-alignment-breaker.ly
index b452c8d32d..d79b768590 100644
--- a/input/regression/dynamics-alignment-breaker.ly
+++ b/input/regression/dynamics-alignment-breaker.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Hairpins, DynamicTextSpanners and dynamics can be
@@ -7,8 +7,8 @@ causes the alignment spanner to end prematurely.
 "
 }
 
-\relative c' {
-  c1^\<
+\relative {
+  c'1^\<
   \dimTextDim
   c1_\>
   f,1\p
diff --git a/input/regression/dynamics-alignment-no-line.ly b/input/regression/dynamics-alignment-no-line.ly
index fd38e75b99..b3f9442652 100644
--- a/input/regression/dynamics-alignment-no-line.ly
+++ b/input/regression/dynamics-alignment-no-line.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "If the line for a @code{DynamicTextSpanner} is hidden, the
@@ -6,8 +6,8 @@ alignment spanner for dynamics is ended early.  This allows consecutive
 dynamics to be unlinked."
 }
 
-\relative g' {
-  g4\p\cresc g g g
+\relative {
+  g'4\p\cresc g g g
   g,1\f
 
   \override DynamicTextSpanner.style = #'none
diff --git a/input/regression/dynamics-avoid-cross-staff-stem-3.ly b/input/regression/dynamics-avoid-cross-staff-stem-3.ly
index 0b0b7b6247..5b56f4dc5d 100644
--- a/input/regression/dynamics-avoid-cross-staff-stem-3.ly
+++ b/input/regression/dynamics-avoid-cross-staff-stem-3.ly
@@ -1,4 +1,4 @@
-\version "2.17.17"
+\version "2.19.21"
 
 \header {
   texidoc = "Cross-staff @code{Dynamic} does not trigger a cyclic
@@ -8,8 +8,8 @@ dependency for direction look-up.
 
 <<
   \new Staff = "up"
-    \relative c' {
-      f8
+    \relative {
+      f'8
       \change Staff = "down"
       c e\f %should not trigger cyclic dependency
       \change Staff = "up"
diff --git a/input/regression/dynamics-broken-hairpin.ly b/input/regression/dynamics-broken-hairpin.ly
index 8946b5bbd3..b412a7ea94 100644
--- a/input/regression/dynamics-broken-hairpin.ly
+++ b/input/regression/dynamics-broken-hairpin.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header{
 texidoc = "Broken crescendi should be open on one side."
 }
@@ -9,7 +9,7 @@ texidoc = "Broken crescendi should be open on one side."
 }
 
 
-\relative c'' { 
-  c1 \< \break c1\!  \> \break c1\!
+\relative { 
+  c''1 \< \break c1\!  \> \break c1\!
 }
 
diff --git a/input/regression/dynamics-context-textspan.ly b/input/regression/dynamics-context-textspan.ly
index 083585c31d..3243105bf5 100644
--- a/input/regression/dynamics-context-textspan.ly
+++ b/input/regression/dynamics-context-textspan.ly
@@ -1,19 +1,19 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "Text spanners work in the @code{Dynamics} context."
 }
 
 <<
-  \new Staff \relative c' {
-    c1 | c
+  \new Staff \relative {
+    c'1 | c
   }
   \new Dynamics {
     \override TextSpanner.bound-details.left.text = #"rit."
     s1\startTextSpan
     s1\stopTextSpan
   }
-  \new Staff \relative c' {
-    c1 | c
+  \new Staff \relative {
+    c'1 | c
   }
 >>
diff --git a/input/regression/dynamics-custom-text-spanner-postfix.ly b/input/regression/dynamics-custom-text-spanner-postfix.ly
index 23e1512f86..ee4132b80c 100644
--- a/input/regression/dynamics-custom-text-spanner-postfix.ly
+++ b/input/regression/dynamics-custom-text-spanner-postfix.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 texidoc = "Postfix functions for custom crescendo text spanners.  The spanners
@@ -15,8 +15,8 @@ mydecresc = #(define-music-function (parser location mymarkup) (string?)
   (make-music 'DecrescendoEvent 'span-direction START
               'span-type 'text 'span-text mymarkup))
 
-\relative c' {
-  c4-\mycresc "custom cresc" c4 c4 c4 |
+\relative {
+  c'4-\mycresc "custom cresc" c4 c4 c4 |
   c4 c4 c4 c4 |
   c4-\mydecresc "custom decresc" c4 c4 c4 |
   c4 c4\! c4 c4
diff --git a/input/regression/dynamics-glyphs.ly b/input/regression/dynamics-glyphs.ly
index 693dc0b143..de74a114f1 100644
--- a/input/regression/dynamics-glyphs.ly
+++ b/input/regression/dynamics-glyphs.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {texidoc = "Dynamic letters are kerned, and their weight
 matches that of the hairpin signs.  The dynamic scripts should be
@@ -8,8 +8,8 @@ closer to the note head (staccato, accent) are reckoned with.
 "  }
 
 
-\relative c'' {
-  c1\ff
+\relative {
+  c''1\ff
   e,-.-> \f
   e \rfz		      
   c' \mf
diff --git a/input/regression/dynamics-hairpin-length.ly b/input/regression/dynamics-hairpin-length.ly
index 78d25a6f1c..0260514c19 100644
--- a/input/regression/dynamics-hairpin-length.ly
+++ b/input/regression/dynamics-hairpin-length.ly
@@ -6,13 +6,13 @@
     respectively."
 
 }
-\version "2.16.0"
+\version "2.19.21"
 
 
 \layout { ragged-right = ##t }
 
-\relative c'' { 
-  c4 \< c4 \!
+\relative { 
+  c''4 \< c4 \!
   c4 \< c \!\> c\!
   c4 \< c c \!  \fff\> c c\!
   
diff --git a/input/regression/dynamics-rest-positioning.ly b/input/regression/dynamics-rest-positioning.ly
index 7082e4abcf..e64c5486fa 100644
--- a/input/regression/dynamics-rest-positioning.ly
+++ b/input/regression/dynamics-rest-positioning.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Text dynamics are positioned correctly on rests, i.e.,
 centered on the parent object."
 }
 
-\relative c'' {
-  g2\p r\p
+\relative {
+  g'2\p r\p
   g4\f s r4\f s
 }
diff --git a/input/regression/dynamics-text-dynamics-context.ly b/input/regression/dynamics-text-dynamics-context.ly
index 18b1d5ba4e..7b3980d653 100644
--- a/input/regression/dynamics-text-dynamics-context.ly
+++ b/input/regression/dynamics-text-dynamics-context.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "The @code{X-offset} of @code{DynamicText} grobs in a
@@ -12,8 +12,8 @@
     \new PianoStaff <<
       \new Staff = "up" {
         \clef treble
-        \relative c' {
-          c4\p c c\mp c |
+        \relative {
+          c'4\p c c\mp c |
           c4\mf c c\f c |
           <<
             \repeat unfold 8 c4
diff --git a/input/regression/dynamics-text-spanner-postfix.ly b/input/regression/dynamics-text-spanner-postfix.ly
index 214f8fcee9..cf367fb8c2 100644
--- a/input/regression/dynamics-text-spanner-postfix.ly
+++ b/input/regression/dynamics-text-spanner-postfix.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 texidoc = "The \cresc, \dim and \decresc spanners are now postfix operators
@@ -11,8 +11,8 @@ hairpins by default, \cresc etc. produce text spanners by default."
 crpoco = #(make-music 'CrescendoEvent 'span-direction START
                       'span-type 'text 'span-text "cresc. poco a poco")
 
-\relative c' {
-  c4\cresc d4 e4 f4 |
+\relative {
+  c'4\cresc d4 e4 f4 |
   g4 a4\! b4\crpoco c4 |
   c4 d4 e4 f4 |
   g4 a4\! b4\< c4 |
diff --git a/input/regression/empty-chord.ly b/input/regression/empty-chord.ly
index 22790b8fbc..202bc8d0cf 100644
--- a/input/regression/empty-chord.ly
+++ b/input/regression/empty-chord.ly
@@ -1,10 +1,10 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header { texidoc = "Empty chords accept articulations, occupy no time,
                      and leave the current duration unchanged."
         }
 
-\relative c' {
-  r4 e8( g <>) ^"sul D" \f \> \repeat unfold 8 { c-. } <>\sfz
+\relative {
+  r4 e'8( g <>) ^"sul D" \f \> \repeat unfold 8 { c-. } <>\sfz
   <>\downbow \repeat unfold 2 { c g } c1\> <>\enddecr
 }
diff --git a/input/regression/figured-bass-alteration.ly b/input/regression/figured-bass-alteration.ly
index 0520c1ad9a..26d32a8d86 100644
--- a/input/regression/figured-bass-alteration.ly
+++ b/input/regression/figured-bass-alteration.ly
@@ -3,16 +3,16 @@
   texidoc = "Bass figures can carry alterations."
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout {
   ragged-right= ##t
 }
 
-\relative c'' {
+\relative {
   \new Voice 
   <<
-    { c4 c c }
+    { c''4 c c }
     \figures
     {
       <3- > <3! > <3+ >
diff --git a/input/regression/figured-bass-continuation-center.ly b/input/regression/figured-bass-continuation-center.ly
index 01694b9054..bd04ea4c2c 100644
--- a/input/regression/figured-bass-continuation-center.ly
+++ b/input/regression/figured-bass-continuation-center.ly
@@ -6,14 +6,14 @@ true."
 
 }
 
-\version "2.17.15"
+\version "2.19.21"
 \paper {
   ragged-right = ##t
 }
 
 <<
-  \relative c' \new Voice {
-    c8 c  b b  a a  b b  
+  \relative \new Voice {
+    c'8 c  b b  a a  b b  
     c c  b b
   
   }
diff --git a/input/regression/figured-bass-continuation-modifiers.ly b/input/regression/figured-bass-continuation-modifiers.ly
index 5dc20fa35e..3a572a4f4f 100644
--- a/input/regression/figured-bass-continuation-modifiers.ly
+++ b/input/regression/figured-bass-continuation-modifiers.ly
@@ -5,11 +5,11 @@
 
 }
 
-\version "2.17.15"
+\version "2.19.21"
 
 <<
-  \relative c' \new Voice {
-    c8 c c c c c
+  \relative \new Voice {
+    c'8 c c c c c
   }
   \figures {
     \bassFigureExtendersOn
diff --git a/input/regression/figured-bass-continuation.ly b/input/regression/figured-bass-continuation.ly
index cb3cf4999a..941b57cbc2 100644
--- a/input/regression/figured-bass-continuation.ly
+++ b/input/regression/figured-bass-continuation.ly
@@ -5,14 +5,14 @@ figures. They are switched on with @code{useBassFigureExtenders}"
 
 }
 
-\version "2.17.15"
+\version "2.19.21"
 \paper {
   ragged-right = ##t
 }
 
 <<
-  \relative c' \new Voice {
-    c8 c  b b  a a  b b  
+  \relative \new Voice {
+    c'8 c  b b  a a  b b  
     c^"the same with extenders" c  b b  a a  b b  
   
   }
diff --git a/input/regression/figured-bass-implicit.ly b/input/regression/figured-bass-implicit.ly
index b8128d2dd6..346d5efe70 100644
--- a/input/regression/figured-bass-implicit.ly
+++ b/input/regression/figured-bass-implicit.ly
@@ -6,15 +6,15 @@
 }
 
 
-\version "2.16.0"
+\version "2.19.21"
 \paper
 {
   ragged-right = ##t
 }
 
 <<
-  \relative c'' \new Voice {
-    c^"normal" c c c^"extenders" c c c_"implicit" c
+  \relative \new Voice {
+    c''^"normal" c c c^"extenders" c c c_"implicit" c
     }
   \figures {
     <3 6!>
diff --git a/input/regression/figured-bass-staff.ly b/input/regression/figured-bass-staff.ly
index e7e4dd4597..0de15a44d5 100644
--- a/input/regression/figured-bass-staff.ly
+++ b/input/regression/figured-bass-staff.ly
@@ -3,7 +3,7 @@
   ragged-right = ##t
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -21,8 +21,8 @@ controlling figured bass should be set in @code{Staff} context.
 <<
 
   \new Staff = someUniqueName
-  \relative c'' {
-    c4 c'8 r8 c,4 c'
+  \relative {
+    c''4 c'8 r8 c,4 c'
   }
 
   %% send to existing Staff.
diff --git a/input/regression/finger-chords-order.ly b/input/regression/finger-chords-order.ly
index 13ba41b7b6..81041f9728 100644
--- a/input/regression/finger-chords-order.ly
+++ b/input/regression/finger-chords-order.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -9,12 +9,12 @@ is independent of up/@/down direction."
 
 \paper { ragged-right = ##t }
 
-\relative c' {
+\relative {
 	%% input order is not 1 2 3 , output is.
-	<c-1 g'-3 e-2  b'-4 d-5 f-6 a-7 c-8 > 4
+	<c'-1 g'-3 e-2  b'-4 d-5 f-6 a-7 c-8 > 4
 
-	\relative c'' {
-	  <a^1 cis^3 e^5>
+	\relative {
+	  <a'^1 cis^3 e^5>
 	  <a_1 cis_3 e_5>
 	}
 }
diff --git a/input/regression/fingering.ly b/input/regression/fingering.ly
index 3e3381326d..bd958282cb 100644
--- a/input/regression/fingering.ly
+++ b/input/regression/fingering.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Automatic fingering tries to put fingering instructions
@@ -8,8 +8,8 @@ next to noteheads.
 
 \layout { ragged-right= ##t }
 
-\relative c' {
-  c4-4
+\relative {
+  c'4-4
   <c-1 f-4>
   < c-1 e-2 g-3  b-4 >
 }
diff --git a/input/regression/follow-voice-consecutive.ly b/input/regression/follow-voice-consecutive.ly
index 308391312a..a5aafbaa8e 100644
--- a/input/regression/follow-voice-consecutive.ly
+++ b/input/regression/follow-voice-consecutive.ly
@@ -1,13 +1,13 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc= "The voice follower is not confused when set for consecutive
 sets of staff switches."
 }
 
-\new PianoStaff \relative c' <<
+\new PianoStaff \relative <<
   \new Staff = "one" {
-    c4
+    c'4
     \showStaffSwitch
     \change Staff = two
     a4
diff --git a/input/regression/font-family-override.ly b/input/regression/font-family-override.ly
index 228bcaa072..cc7fe81033 100644
--- a/input/regression/font-family-override.ly
+++ b/input/regression/font-family-override.ly
@@ -5,7 +5,7 @@
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \paper {
   % change for other default global staff size.
@@ -35,9 +35,9 @@
 }
 
 \score {
-  \relative c'' {
+  \relative {
 
-    c^\markup { roman: foo \bold bla \italic bar \italic \bold baz }
+    c''^\markup { roman: foo \bold bla \italic bar \italic \bold baz }
     c'_\markup {
       \override #'(font-family . sans)
       {
diff --git a/input/regression/footnote-auto-numbering-page-reset.ly b/input/regression/footnote-auto-numbering-page-reset.ly
index 58799d03dc..369db807f7 100644
--- a/input/regression/footnote-auto-numbering-page-reset.ly
+++ b/input/regression/footnote-auto-numbering-page-reset.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "This is an example of automatic footnote numbering
 where the number is reset on each page.  It uses the symbol-footnotes
@@ -31,10 +31,10 @@ a b c d }
 
 \markup { k \auto-footnote l m }
 
-\relative c' { a1 }
+\relative { a1 }
 
-\relative c' {
-  d4 e
+\relative {
+  d'4 e
   < f  \footnote #'(1 . -1) \markup { n } a c >
   a8-\footnote #'(1 . 1) \markup { p } \<
   -\footnote #'(1 . 1) \markup { o } [ b c d ] a4 b c |
diff --git a/input/regression/footnote-auto-numbering-vertical-order.ly b/input/regression/footnote-auto-numbering-vertical-order.ly
index 61c156b3ff..a7c86686ea 100644
--- a/input/regression/footnote-auto-numbering-vertical-order.ly
+++ b/input/regression/footnote-auto-numbering-vertical-order.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "This regtest makes sure that footnote numbers are laid out
 in the correct vertical order.
@@ -28,8 +28,8 @@ in the correct vertical order.
 \book {
   \score {
     <<
-      \new Staff \relative c' {
-        d4 e
+      \new Staff \relative {
+        d'4 e
         \once \override FootnoteItem.numbering-assertion-function =
           #(lambda (grob) (make-footnote-numbering-assertion-function 0))
         < f \footnote #'(1 . -1) \markup { n } a c >
@@ -57,8 +57,8 @@ in the correct vertical order.
 	-\single\footnote #'(1 . 1) \markup { o } Beam [ b c d ] a4 b c |
         d a b c\! |\break
       }
-      \new Staff \relative c' {
-        d4 e
+      \new Staff \relative {
+        d'4 e
         \once \override FootnoteItem.numbering-assertion-function =
           #(lambda (grob) (make-footnote-numbering-assertion-function 1))
         < f \footnote #'(1 . -1) \markup { n } a c >
diff --git a/input/regression/footnote-auto-numbering.ly b/input/regression/footnote-auto-numbering.ly
index 9520780fce..6de6c843e1 100644
--- a/input/regression/footnote-auto-numbering.ly
+++ b/input/regression/footnote-auto-numbering.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "This is an example of automatic footnote numbering
 where the number is not reset on each page.  It uses the default
@@ -48,10 +48,10 @@ footnotes.
 
 \markup { k \auto-footnote l m }
 
-\relative c' { a1 }
+\relative { a1 }
 
-\relative c' {
-  d4 e
+\relative {
+  d'4 e
   \once \override FootnoteItem.numbering-assertion-function =
     #(lambda (grob) (make-footnote-numbering-assertion-function 5))
   < f \footnote #'(1 . -1) \markup { n } a c >
diff --git a/input/regression/footnote-break-visibility.ly b/input/regression/footnote-break-visibility.ly
index 4e0821ab63..5d688dcbc6 100644
--- a/input/regression/footnote-break-visibility.ly
+++ b/input/regression/footnote-break-visibility.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "With grobs that have break visibility, footnotes will
 automatically take the break visibility of the grob being footnoted.
@@ -12,8 +12,8 @@ This behavior can be overridden.
 
 \new Staff
 {
-  \relative c' {
-    c1
+  \relative {
+    c'1
     \footnote "foo" #'(0 . 2) "bar" Staff.TimeSignature
     \time 3/4
     \break \pageBreak
diff --git a/input/regression/footnote-spanner.ly b/input/regression/footnote-spanner.ly
index 9798709ef9..78fa5f316b 100644
--- a/input/regression/footnote-spanner.ly
+++ b/input/regression/footnote-spanner.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "Footnotes are annotated at the correct place, and the
 annotation goes to the correct page."
@@ -12,8 +12,8 @@ annotation goes to the correct page."
 
 \book {
 
-\relative c'' {
-b4-\single\footnote
+\relative {
+b'4-\single\footnote
               \markup { \tiny "1." }
               #'(0.5 . 0.5)
               \markup { 1. \justify { Goes to the first broken spanner. } } Hairpin
diff --git a/input/regression/footnote.ly b/input/regression/footnote.ly
index e33602dfc4..265510a03f 100644
--- a/input/regression/footnote.ly
+++ b/input/regression/footnote.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Lilypond does footnotes."
 }
@@ -22,10 +22,10 @@ a b c d }
 
 \markup { k \footnote \concat { l \super 5 } \line { 5. m }  }
 
-\relative c' { a1 }
+\relative { a1 }
 
-\relative c' {
-  d4 e
+\relative {
+  d'4 e
   < f \footnote \markup { \tiny 6 } #'(1 . -1) \markup { 6. n } a c >
   a8-\footnote \markup { \tiny 8 } #'(1 . 1) \markup { 8. p } \<
   -\footnote \markup { \tiny 7 } #'(1 . 1) \markup { 7. o }
diff --git a/input/regression/fret-boards.ly b/input/regression/fret-boards.ly
index a580ab4c9a..f28d5a48e8 100644
--- a/input/regression/fret-boards.ly
+++ b/input/regression/fret-boards.ly
@@ -6,9 +6,9 @@ best when one string number is indicated in advance "
   
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
-foo = \relative c {
+foo = \relative {
   <d\5 fis a d fis>_\markup {
     \fret-diagram-terse #"x;5;4;2;3;2;"
   }
diff --git a/input/regression/full-measure-rest-fermata.ly b/input/regression/full-measure-rest-fermata.ly
index 70804c3dba..9df72fdfd7 100644
--- a/input/regression/full-measure-rest-fermata.ly
+++ b/input/regression/full-measure-rest-fermata.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc="
@@ -8,9 +8,9 @@ be closer to the staff than other articulations."
 \layout {
   ragged-right = ##t
 }
-\relative c'' {
+\relative {
   R1
-  a1^"should be lower"
+  a'1^"should be lower"
   R1^"should be higher"
   \break
   R1
diff --git a/input/regression/glissando-accidental.ly b/input/regression/glissando-accidental.ly
index d3c023d3c1..646972d0e0 100644
--- a/input/regression/glissando-accidental.ly
+++ b/input/regression/glissando-accidental.ly
@@ -2,8 +2,8 @@
   texidoc = "Glissandi stop before hitting accidentals."
 
 }
-\version "2.16.0"
+\version "2.19.21"
 
-\relative c'' {
-  a1\glissando cis
+\relative {
+  a'1\glissando cis
 }
diff --git a/input/regression/glissando-chord.ly b/input/regression/glissando-chord.ly
index 971074b133..444b060d7c 100644
--- a/input/regression/glissando-chord.ly
+++ b/input/regression/glissando-chord.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "LilyPond typesets glissandi between chords."
 }
 
-\relative c' {
-  c1 \glissando g'
+\relative {
+  c'1 \glissando g'
   c,1 \glissando s1 g'
   <c, e>1 \glissando <g' b>
   <c, e>1 \glissando s1 <g' b>
diff --git a/input/regression/glissando-consecutive.ly b/input/regression/glissando-consecutive.ly
index e99f56f084..012103c4af 100644
--- a/input/regression/glissando-consecutive.ly
+++ b/input/regression/glissando-consecutive.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 %% This should really be 2.15.0, because the glissando code
 %% hasn't been backported -- this is a git-only test at this point
 
@@ -8,6 +8,6 @@
 
 }
 
-\relative c' {
-  c1 \glissando d1 \glissando e1
+\relative {
+  c'1 \glissando d1 \glissando e1
 }
diff --git a/input/regression/glissando-dots.ly b/input/regression/glissando-dots.ly
index c0c6621231..b0a279029d 100644
--- a/input/regression/glissando-dots.ly
+++ b/input/regression/glissando-dots.ly
@@ -1,4 +1,4 @@
-\version "2.19.16"
+\version "2.19.21"
 
 \header {
   texidoc = "Glissandi begin after dots by default.  This behavior may
@@ -11,8 +11,8 @@ be changed by overriding the @code{start-at-dot} property.
   ragged-right = ##t
 }
 
-\relative c'' {
-  c2.\glissando b4
+\relative {
+  c''2.\glissando b4
   c2..\glissando b8
   c2...\glissando b16
   \bar "||"
diff --git a/input/regression/glissando-no-break.ly b/input/regression/glissando-no-break.ly
index 5c611c27c8..713bc0514f 100644
--- a/input/regression/glissando-no-break.ly
+++ b/input/regression/glissando-no-break.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "forced break was overridden by some other event, should you be using bar checks?"))
 
@@ -12,8 +12,8 @@ Use @code{breakable} grob property to override."
 \layout {
   ragged-right = ##t
 }
-\relative c' {
-  c1 
+\relative {
+  c'1 
   c1\glissando
   \break
   d'1
diff --git a/input/regression/glissando-skip.ly b/input/regression/glissando-skip.ly
index 94dd576dcc..543b26d308 100644
--- a/input/regression/glissando-skip.ly
+++ b/input/regression/glissando-skip.ly
@@ -1,11 +1,11 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{NoteColumn} grobs can be skipped over by glissandi.
 "
 }
 
-\relative c' {
+\relative {
   a2 \glissando
   \once \override NoteColumn.glissando-skip = ##t
   f''4 d,
diff --git a/input/regression/grace-bar-line.ly b/input/regression/grace-bar-line.ly
index badaa1ae74..e5017a98da 100644
--- a/input/regression/grace-bar-line.ly
+++ b/input/regression/grace-bar-line.ly
@@ -1,5 +1,5 @@
 
-\version "2.17.28"
+\version "2.19.21"
 \header {
   texidoc = "Bar line should come before the grace note."
 }
@@ -10,8 +10,8 @@
 
 
 
-\relative c' \context Staff  { 
-  f1 \grace {  a'16 f  } g1 }
+\relative \context Staff  { 
+  f'1 \grace {  a'16 f  } g1 }
 
 
 
diff --git a/input/regression/grace-bar-number.ly b/input/regression/grace-bar-number.ly
index 1f54387c68..c59a5d56e7 100644
--- a/input/regression/grace-bar-number.ly
+++ b/input/regression/grace-bar-number.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
   texidoc = "Grace notes do tricky things with timing. If a measure
@@ -12,7 +12,7 @@ printed correctly.
 \layout { ragged-right = ##t }
 
 
-\relative c'' { c1 \break
+\relative { c''1 \break
 		\grace c8
 		c1  }
 
diff --git a/input/regression/grace-beam.ly b/input/regression/grace-beam.ly
index 8566a522ea..a098b5e296 100644
--- a/input/regression/grace-beam.ly
+++ b/input/regression/grace-beam.ly
@@ -9,9 +9,9 @@ Unbeamed grace notes are not put into normal beams.
 \layout { ragged-right= ##t }
 
 
-\version "2.17.28"
-\relative c'' {
-  c4  d8[
+\version "2.19.21"
+\relative {
+  c''4  d8[
     \grace {  e32  d c d } e8]
   e[  e
       \grace { f16 } e8 e]
diff --git a/input/regression/grace-end.ly b/input/regression/grace-end.ly
index bacb821e1f..1c9a145376 100644
--- a/input/regression/grace-end.ly
+++ b/input/regression/grace-end.ly
@@ -1,4 +1,4 @@
-\version "2.17.28"
+\version "2.19.21"
 
 #(ly:set-option 'warning-as-error #f)
 
@@ -7,6 +7,6 @@
  Grace notes after the last note do not confuse the timing code."
 }
 
-\context Voice \relative c' {
-  c4 \grace { d16 d16 }
+\context Voice \relative {
+  c'4 \grace { d16 d16 }
 }
diff --git a/input/regression/grace-nest3.ly b/input/regression/grace-nest3.ly
index 0425408c48..76557fbf7a 100644
--- a/input/regression/grace-nest3.ly
+++ b/input/regression/grace-nest3.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "In nested syntax, graces are still properly handled."
 }
 \layout { ragged-right= ##t }
 
-\relative c'' {
-  f1
+\relative {
+  f''1
   \grace e8 f1
   << { \grace { e8 } f1 } >>
 }
diff --git a/input/regression/grace-nest5.ly b/input/regression/grace-nest5.ly
index 2e4e221296..36fcb263a4 100644
--- a/input/regression/grace-nest5.ly
+++ b/input/regression/grace-nest5.ly
@@ -1,12 +1,12 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Graces notes may have the same duration as the main note."
 }
 \layout { ragged-right = ##t }
 
-\relative c'' {
-  s2 <f>4
+\relative {
+  s2 <f''>4
   \grace g e4
 }
 
diff --git a/input/regression/grace-part-combine.ly b/input/regression/grace-part-combine.ly
index 2862435d05..6310560371 100644
--- a/input/regression/grace-part-combine.ly
+++ b/input/regression/grace-part-combine.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Grace notes may be put in a @code{partcombine}r."
 }
@@ -9,11 +9,11 @@
 
 \new Staff
 \partcombine 
-\relative c'' {
-  c4 d e f  \grace f16 g1
+\relative {
+  c''4 d e f  \grace f16 g1
 }
-\relative c' {
-  c4 d e2  g1
+\relative {
+  c'4 d e2  g1
 }
 
 
diff --git a/input/regression/grace-stem-length.ly b/input/regression/grace-stem-length.ly
index 6bae7e187c..45bb6963bf 100644
--- a/input/regression/grace-stem-length.ly
+++ b/input/regression/grace-stem-length.ly
@@ -3,15 +3,15 @@
 normal notes, if possible. They should never be longer, even if that
 would lead to beam quanting problems."
 }
-\version "2.17.28"
+\version "2.19.21"
 
 \layout {
     ragged-right = ##t
 
 %    "debug-beam-quanting" = ##t 
 }
-\relative c'' {
-    << {  d8.\noBeam d16 } \\ >>   \grace { d16 } c8.[ b16]
+\relative {
+    << {  d''8.\noBeam d16 } \\ >>   \grace { d16 } c8.[ b16]
     << {  c16[ b] } \\ >>
     
     \grace { c16 b } d4
diff --git a/input/regression/grace-sync.ly b/input/regression/grace-sync.ly
index cd24450032..46436737e1 100644
--- a/input/regression/grace-sync.ly
+++ b/input/regression/grace-sync.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header  {
   texidoc = "Grace notes in different voices/@/staves are synchronized."
 }
@@ -6,9 +6,9 @@
 \layout { ragged-right = ##t}
 
 
-\relative c'' <<
+\relative <<
   \context Staff {
-    c2
+    c''2
     \grace  c8
     c4 c4
   }
diff --git a/input/regression/grace-types.ly b/input/regression/grace-types.ly
index f645001872..33d7a30264 100644
--- a/input/regression/grace-types.ly
+++ b/input/regression/grace-types.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
     texidoc = "There are three different kinds of grace types: the base 
 grace switches to smaller type, the appoggiatura inserts also a slur, and the
@@ -9,8 +9,8 @@ acciaccatura inserts a slur and slashes the stem."
     ragged-right = ##t
 }
 
-\relative c'' {
-    c4 \grace { d8 }  c4
+\relative {
+    c''4 \grace { d8 }  c4
     \appoggiatura { d8 } c
     \acciaccatura { d } c
 }
diff --git a/input/regression/hairpin-barline-break.ly b/input/regression/hairpin-barline-break.ly
index 3dffd61e59..43e225cd2b 100644
--- a/input/regression/hairpin-barline-break.ly
+++ b/input/regression/hairpin-barline-break.ly
@@ -5,14 +5,14 @@ do not print that ending.  But on the previous line, this hairpin
 should not be left open, and should end at the bar line. "
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \layout {
   line-width = 4.\cm
 }
 
-\relative c' {
-  c1\>
+\relative {
+  c'1\>
   \break
   c1\!
   \override Hairpin.to-barline = ##f
diff --git a/input/regression/hairpin-clef.ly b/input/regression/hairpin-clef.ly
index 43acfdf0fb..a480dc4ba7 100644
--- a/input/regression/hairpin-clef.ly
+++ b/input/regression/hairpin-clef.ly
@@ -1,10 +1,10 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Broken hairpins are not printed too high after treble clefs.
 "
 }
 
-\relative c'' {
-  c4^\< c c c \break c c c c\! |
+\relative {
+  c''4^\< c c c \break c c c c\! |
 }
diff --git a/input/regression/hairpin-key-signature.ly b/input/regression/hairpin-key-signature.ly
index 0811099115..32ddc15f8e 100644
--- a/input/regression/hairpin-key-signature.ly
+++ b/input/regression/hairpin-key-signature.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Broken hairpins are not printed too high after key signatures.
 "
 }
 
-\relative c'' {
+\relative {
   \key e \major
-  c4^\< c c c \break c c c c\! |
+  c''4^\< c c c \break c c c c\! |
 }
diff --git a/input/regression/hairpin-span-bar.ly b/input/regression/hairpin-span-bar.ly
index cacea3ac2e..43129b4368 100644
--- a/input/regression/hairpin-span-bar.ly
+++ b/input/regression/hairpin-span-bar.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{Hairpin} grobs do not collide with @code{SpanBar} grobs.
@@ -10,16 +10,16 @@
 \score {
   <<
     \new GrandStaff <<
-      \new Staff \relative c'' { a\< a a a \break a a a a \break a a a a\! }
-      \new Staff \relative c'' { a4 a a a s1 a4 a a a }
+      \new Staff \relative { a'\< a a a \break a a a a \break a a a a\! }
+      \new Staff \relative { a'4 a a a s1 a4 a a a }
     >>
     \new GrandStaff <<
-      \new Staff \relative c'' { a^\< a a a a a a a a a a a\! }
+      \new Staff \relative { a'^\< a a a a a a a a a a a\! }
       \new Staff \relative c'' { \repeat unfold 12 a4 }
     >>
     \new GrandStaff <<
-      \new Staff \relative c'' { a4 a a a s1 a4 a a a }
-      \new Staff \relative c'' { a^\< a a a a a a a a a a a\! }
+      \new Staff \relative { a'4 a a a s1 a4 a a a }
+      \new Staff \relative { a'^\< a a a a a a a a a a a\! }
     >>
   >>
   \layout {
diff --git a/input/regression/hairpin-to-barline-mark.ly b/input/regression/hairpin-to-barline-mark.ly
index c5f600a7dd..96871debc5 100644
--- a/input/regression/hairpin-to-barline-mark.ly
+++ b/input/regression/hairpin-to-barline-mark.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -6,8 +6,8 @@
 
 }
 
-\new Staff \relative c' {
-  c1\<
+\new Staff \relative {
+  c'1\<
   \mark "Very long mark"
   c4\> c c c\!
 }
diff --git a/input/regression/hairpin-to-rest.ly b/input/regression/hairpin-to-rest.ly
index 0022f96130..7e617dcd75 100644
--- a/input/regression/hairpin-to-rest.ly
+++ b/input/regression/hairpin-to-rest.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Hairpins end at the left edge of a rest."
 }
@@ -6,6 +6,6 @@
 \layout{
   ragged-right=##t
 }
-\relative c'' {
-  c2\p\> r4\!
+\relative {
+  c''2\p\> r4\!
 }
diff --git a/input/regression/hara-kiri-keep-previous-settings.ly b/input/regression/hara-kiri-keep-previous-settings.ly
index 545500c90b..9aab6fef3d 100644
--- a/input/regression/hara-kiri-keep-previous-settings.ly
+++ b/input/regression/hara-kiri-keep-previous-settings.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header { texidoc =
 
@@ -21,9 +21,9 @@ not erase previous settings to the Staff context.
 % Old \RemoveEmptyStaffContext: Will erase previous settings...
 \score {
   <<
-    \new Staff \relative c'' {  c4 c c c \break s1 \break c4 c c c \break c c c c}
-    \new Staff \relative c'' {  d4 d d d        s1        s1              s1 }
-    \new Staff \relative c'' {  e4 e e e        s1        e4 e e e        s1 }
+    \new Staff \relative {  c''4 c c c \break s1 \break c4 c c c \break c c c c}
+    \new Staff \relative {  d''4 d d d        s1        s1              s1 }
+    \new Staff \relative {  e''4 e e e        s1        e4 e e e        s1 }
   >>
   \layout {
     \context { \RemoveEmptyStaffContext }
@@ -33,9 +33,9 @@ not erase previous settings to the Staff context.
 % New \RemoveEmptyStaves settings: Preserves previous settings...
 \score {
   <<
-    \new Staff \relative c'' {  c4 c c c \break s1 \break c4 c c c \break c c c c}
-    \new Staff \relative c'' {  d4 d d d        s1        s1              s1 }
-    \new Staff \relative c'' {  e4 e e e        s1        e4 e e e        s1 }
+    \new Staff \relative {  c''4 c c c \break s1 \break c4 c c c \break c c c c}
+    \new Staff \relative {  d''4 d d d        s1        s1              s1 }
+    \new Staff \relative {  e''4 e e e        s1        e4 e e e        s1 }
   >>
   \layout {
     \context { \Staff \RemoveEmptyStaves }
diff --git a/input/regression/harp-pedals.ly b/input/regression/harp-pedals.ly
index 71e889c0a6..471d9c2095 100644
--- a/input/regression/harp-pedals.ly
+++ b/input/regression/harp-pedals.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "Harp pedal diagram contains ~a pedals rather than the usual 7.") 0)
@@ -18,8 +18,8 @@ The third diagram uses an empty string, the third contains invalid characters.
 Both cases will create warnings, but should still not fail with an error."
 }
 
-\relative c'' {
-  c1^\markup \harp-pedal #"^v-|vv-^"
+\relative {
+  c''1^\markup \harp-pedal #"^v-|vv-^"
   % circled boxes:
   c1^\markup \harp-pedal #"o^ovo-|vovo-o^"
   % invalid pedal specifications, which still should be handled gracefully:
diff --git a/input/regression/header-book-multiplescores.ly b/input/regression/header-book-multiplescores.ly
index 3e33d1ae2e..e7167ad51a 100644
--- a/input/regression/header-book-multiplescores.ly
+++ b/input/regression/header-book-multiplescores.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc="
@@ -14,7 +14,7 @@ Changing the header fields in a book or a bookpart shall not have any effect on
   title = "Title correct (set at top level)"
 }
 \score {
-  \relative c' { c1 }
+  \relative { c'1 }
 }
 
 
diff --git a/input/regression/horizontal-bracket-tweak.ly b/input/regression/horizontal-bracket-tweak.ly
index 3ffb66efc5..a1ac14d0f9 100644
--- a/input/regression/horizontal-bracket-tweak.ly
+++ b/input/regression/horizontal-bracket-tweak.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "Horizontal brackets are created with the correct event-cause, ensuring
@@ -12,8 +12,8 @@ tweaks are applied to the correct spanner."
   }
 }
 
-\relative c' {
-  c1-\tweak thickness #6 \startGroup
+\relative {
+  c'1-\tweak thickness #6 \startGroup
   c1\startGroup
   c1\stopGroup
   c1\stopGroup
diff --git a/input/regression/horizontal-bracket.ly b/input/regression/horizontal-bracket.ly
index 73262e1a77..c2e1ec55c0 100644
--- a/input/regression/horizontal-bracket.ly
+++ b/input/regression/horizontal-bracket.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -24,9 +24,9 @@ analysis brackets start and end.
 }
 
 
-\relative c''
+\relative
 {
-  c4\startGroup\startGroup\startGroup
+  c''4\startGroup\startGroup\startGroup
   c4\stopGroup
   c4\startGroup
   c4\stopGroup\stopGroup
diff --git a/input/regression/identifier-following-chordmode.ly b/input/regression/identifier-following-chordmode.ly
index 63790a7b55..1815c55b76 100644
--- a/input/regression/identifier-following-chordmode.ly
+++ b/input/regression/identifier-following-chordmode.ly
@@ -7,7 +7,7 @@ modifier."
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 myDisplayMusic =
 #(define-void-function (parser location music)
@@ -16,6 +16,6 @@ myDisplayMusic =
 
 \myDisplayMusic \chordmode { c }
 
-m = \relative c' { c4 d e f }
+m = \relative { c'4 d e f }
 
 \new Staff { \m }
diff --git a/input/regression/include-string.ly b/input/regression/include-string.ly
index a5f772a44e..619e1b4ee0 100644
--- a/input/regression/include-string.ly
+++ b/input/regression/include-string.ly
@@ -1,8 +1,8 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{ly:parser-include-string} should include the current
 string like a file @code{\\include}."
 }
 
-#(ly:parser-include-string parser "\\relative c' { a4 b c d }")
+#(ly:parser-include-string parser "\\relative { a4 b c d }")
diff --git a/input/regression/instrument-cue-name.ly b/input/regression/instrument-cue-name.ly
index e7454346fb..369f2fea36 100644
--- a/input/regression/instrument-cue-name.ly
+++ b/input/regression/instrument-cue-name.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -7,8 +7,8 @@ names for cue notes. It can also be unset properly."
   }
 
 
-\relative c'' {
-  c4
+\relative {
+  c''4
   \set Voice.instrumentCueName = "In.1"
   c2.
   \set Voice.instrumentCueName = "I.2"
diff --git a/input/regression/instrument-name-pedal-lyrics.ly b/input/regression/instrument-name-pedal-lyrics.ly
index 860a6b129f..4bc60ae4b7 100644
--- a/input/regression/instrument-name-pedal-lyrics.ly
+++ b/input/regression/instrument-name-pedal-lyrics.ly
@@ -1,17 +1,17 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{Dynamics} and @code{Lyrics} lines below
 a @code{PianoStaff} do not affect the placement of the instrument name."
 }
 
-upper = \relative c'' {
-  a4 b c d
+upper = \relative {
+  a'4 b c d
 }
 
-lower = \relative c {
+lower = \relative {
   \clef bass
-  a2 c
+  a,2 c
 }
 
 \score { 
diff --git a/input/regression/instrument-switch-invalid-warning.ly b/input/regression/instrument-switch-invalid-warning.ly
index 80df393fce..0ef544cc3d 100644
--- a/input/regression/instrument-switch-invalid-warning.ly
+++ b/input/regression/instrument-switch-invalid-warning.ly
@@ -1,4 +1,4 @@
-\version "2.17.15"
+\version "2.19.21"
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "No such instrument: ~a") "bassClar")
 
@@ -7,9 +7,9 @@
 the given instrument definition does not exist."
 }
 
-\relative c'
+\relative
 {
-  c4
+  c'4
   \instrumentSwitch "bassClar"
   c
 }
diff --git a/input/regression/instrument-switch.ly b/input/regression/instrument-switch.ly
index fc6542c8c2..e72d287258 100644
--- a/input/regression/instrument-switch.ly
+++ b/input/regression/instrument-switch.ly
@@ -5,7 +5,7 @@
 properties for an in staff instrument switch. "
   }
 
-\version "2.17.15"
+\version "2.19.21"
 \addInstrumentDefinition #"bassClar"
   #`((instrumentTransposition . ,(ly:make-pitch -1 6 FLAT))
      (instrumentName . "bla") 
@@ -21,9 +21,9 @@ properties for an in staff instrument switch. "
   ragged-right = ##t
 }
 
-\relative c'
+\relative
 {
-  c4
+  c'4
   \instrumentSwitch "bassClar"
   c2.\break
   c1\break
diff --git a/input/regression/key-clefs.ly b/input/regression/key-clefs.ly
index cef2ac4b52..d4e224dc5d 100644
--- a/input/regression/key-clefs.ly
+++ b/input/regression/key-clefs.ly
@@ -1,5 +1,5 @@
 
-\version "2.17.6"
+\version "2.19.21"
 \header { texidoc = "Each clef has its own accidental placing
 rules, which can be adjusted using @code{sharp-positions}
 and @code{flat-positions}." }
@@ -7,11 +7,11 @@ and @code{flat-positions}." }
 #(set-global-staff-size 16)
 
 
-\relative cis' {
+\relative {
 
 				% \clef french % same as octaviated bass
   \clef violin
-  \key cis \major cis1  \key ces \major ces
+  \key cis \major cis'1  \key ces \major ces
   \clef soprano
   \key cis \major cis \key ces \major ces \break
   \clef mezzosoprano
diff --git a/input/regression/key-signature-left-edge.ly b/input/regression/key-signature-left-edge.ly
index fd7fc1403e..70b4687b3a 100644
--- a/input/regression/key-signature-left-edge.ly
+++ b/input/regression/key-signature-left-edge.ly
@@ -5,9 +5,9 @@ proper padding > 0 to the start of the staff lines."
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
-m = \relative c' { \key f \major c8 }
+m = \relative { \key f \major c'8 }
 
 % Default spacing should not be affected
 \score {
diff --git a/input/regression/laissez-vibrer-chords.ly b/input/regression/laissez-vibrer-chords.ly
index 26d284654c..cd2f00e2d4 100644
--- a/input/regression/laissez-vibrer-chords.ly
+++ b/input/regression/laissez-vibrer-chords.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "
 @code{\\laissezVibrer} ties should also work on individual notes of a chord.
 " }
 
-\relative c' {
-  <d-\laissezVibrer g>1
+\relative {
+  <d'-\laissezVibrer g>1
   <d^\laissezVibrer g_\laissezVibrer>1
 }
diff --git a/input/regression/laissez-vibrer-tie-head-direction.ly b/input/regression/laissez-vibrer-tie-head-direction.ly
index af166fece5..56080f38a1 100644
--- a/input/regression/laissez-vibrer-tie-head-direction.ly
+++ b/input/regression/laissez-vibrer-tie-head-direction.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
 
   texidoc = "The 'head-direction of a LaissezVibrerTieColumn should
@@ -6,8 +6,8 @@ be able to be set without causing a segmentation fault."
 
 }
 
-\relative c'' {
-  c2 \laissezVibrer
+\relative {
+  c''2 \laissezVibrer
   \once \override LaissezVibrerTieColumn.head-direction = #RIGHT
   c \laissezVibrer
 }
diff --git a/input/regression/laissez-vibrer-ties.ly b/input/regression/laissez-vibrer-ties.ly
index 53d868c1f0..5ae493913e 100644
--- a/input/regression/laissez-vibrer-ties.ly
+++ b/input/regression/laissez-vibrer-ties.ly
@@ -10,13 +10,13 @@ They have fixed size. Their formatting can be tuned with
 "
   }
 
-\version "2.17.6"
+\version "2.19.21"
 \paper {
   ragged-right = ##t
 }
 
-\relative c' {
-  <c e g>\laissezVibrer r4
+\relative {
+  <c' e g>\laissezVibrer r4
   <c f g>\laissezVibrer r
   <c d f g>\laissezVibrer r
   <c d f g>4.\laissezVibrer r8
diff --git a/input/regression/landscape.ly b/input/regression/landscape.ly
index 73f58967b8..0868465001 100644
--- a/input/regression/landscape.ly
+++ b/input/regression/landscape.ly
@@ -1,9 +1,9 @@
-\version "2.16.0"
+\version "2.19.21"
 #(set-default-paper-size "a6" 'landscape)
 \header { texidoc = " Scores may be printed in landscape mode."}
 
 
-pattern = \relative c' { a b c d \break }
+pattern = \relative { a b c d \break }
 
 \book {    
     \score {
diff --git a/input/regression/layout-from.ly b/input/regression/layout-from.ly
index 80892c6c95..580709c205 100644
--- a/input/regression/layout-from.ly
+++ b/input/regression/layout-from.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -9,7 +9,7 @@ into context modifications.
 }
 
 \score {
-  \relative c' { cis cis cis cis }
+  \relative { cis' cis cis cis }
   \layout {
     \accidentalStyle dodecaphonic
   }
diff --git a/input/regression/ledger-line-minimum.ly b/input/regression/ledger-line-minimum.ly
index b5ba06a9c5..2a4cd65879 100644
--- a/input/regression/ledger-line-minimum.ly
+++ b/input/regression/ledger-line-minimum.ly
@@ -7,10 +7,10 @@ disappearing."
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 \paper { ragged-right = ##t}
-\relative c'' {
+\relative {
   \time 2/4 
-  c8 c c c
+  c''8 c c c
   c \grace { \stemDown e'32[ c a f] } f8 f f 
 }
diff --git a/input/regression/ledger-line-shorten.ly b/input/regression/ledger-line-shorten.ly
index 7c688f8457..8d5919a84e 100644
--- a/input/regression/ledger-line-shorten.ly
+++ b/input/regression/ledger-line-shorten.ly
@@ -2,16 +2,16 @@
     texidoc = "Ledger lines are shortened when they are very close. This ensures
 that ledger lines stay separate."
 }
-\version "2.16.0"
+\version "2.19.21"
 
 \layout {
     ragged-right = ##t
 }
 
-\relative c' {
+\relative {
 \time 2/4 
 
-c4
+c'4
 b
 c4
 b
diff --git a/input/regression/ledger-lines-dynamics.ly b/input/regression/ledger-lines-dynamics.ly
index a6e2d80c4c..e17ba848c6 100644
--- a/input/regression/ledger-lines-dynamics.ly
+++ b/input/regression/ledger-lines-dynamics.ly
@@ -1,10 +1,10 @@
-\version "2.17.2"
+\version "2.19.21"
 
 \header {
   texidoc = "Dynamics and other outside staff objects avoid ledger lines.
 "
 }
 
-\relative c' {
-  f16\pp[ c d e ] r2. |
+\relative {
+  f'16\pp[ c d e ] r2. |
 }
diff --git a/input/regression/ledger-lines-varying-staves.ly b/input/regression/ledger-lines-varying-staves.ly
index 9a9f160119..2348e15060 100644
--- a/input/regression/ledger-lines-varying-staves.ly
+++ b/input/regression/ledger-lines-varying-staves.ly
@@ -1,13 +1,13 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "Ledger lines should appear at every other location
 for a variety of staves using both @code{line-count} and
 @code{line-positions}."
 }
 
-notes = \relative c' {
+notes = \relative {
   \time 3/4
-  c2. | d | e | f
+  c'2. | d | e | f
   g2. | a | b | c
   d2. | e | f | g
   a2.
diff --git a/input/regression/lilypond-book/include/example.ly b/input/regression/lilypond-book/include/example.ly
index ccc2582e0d..cae2c0fdb2 100644
--- a/input/regression/lilypond-book/include/example.ly
+++ b/input/regression/lilypond-book/include/example.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \score {
-  \relative c'' { d c b c }
+  \relative { d'' c b c }
 }
diff --git a/input/regression/lilypond-book/include2.ly b/input/regression/lilypond-book/include2.ly
index 1624a24c56..2c71903bb3 100644
--- a/input/regression/lilypond-book/include2.ly
+++ b/input/regression/lilypond-book/include2.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \score {
-	\relative c'' { \key c \minor d4 es g2 }
+	\relative { \key c \minor d''4 es g2 }
 }
diff --git a/input/regression/lilypond-book/include3.ily b/input/regression/lilypond-book/include3.ily
index 8aad8b1de1..43519082d9 100644
--- a/input/regression/lilypond-book/include3.ily
+++ b/input/regression/lilypond-book/include3.ily
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 doctitlees = "If you see this 'translated' doctitle, language detection works!"
@@ -9,7 +9,7 @@ texidoces = "If you see this 'translated' texidoc, language detection works!"
   doctitle = "Original doctitle (you should not see this!)"
 }
 
-\relative c'' {
-  c1
+\relative {
+  c''1
 }
 
diff --git a/input/regression/lilypond-book/melody.ly b/input/regression/lilypond-book/melody.ly
index e21f02cd44..5ab7d7bf1c 100644
--- a/input/regression/lilypond-book/melody.ly
+++ b/input/regression/lilypond-book/melody.ly
@@ -1,3 +1,3 @@
-\version "2.16.0"
+\version "2.19.21"
 \include "include/myvar.ily"
-melody = \relative c'' { \key c \minor c4 es g2 \myVar }
+melody = \relative { \key c \minor c''4 es g2 \myVar }
diff --git a/input/regression/line-style-zigzag-spacing.ly b/input/regression/line-style-zigzag-spacing.ly
index ab35aa1d95..13603805b0 100644
--- a/input/regression/line-style-zigzag-spacing.ly
+++ b/input/regression/line-style-zigzag-spacing.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "Setting @code{'zigzag} style for spanners does not
@@ -8,8 +8,8 @@ the second markup and default trillspanner.
 "
 }
 
-\relative c' {
-  c1^"text"
+\relative {
+  c'1^"text"
   \override TrillSpanner.style = #'zigzag
   c1\startTrillSpan
   c2^\stopTrillSpan c^"text"
diff --git a/input/regression/lyric-combine-derived-voice.ly b/input/regression/lyric-combine-derived-voice.ly
index 0c7e45de15..782a3f5ae4 100644
--- a/input/regression/lyric-combine-derived-voice.ly
+++ b/input/regression/lyric-combine-derived-voice.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "For Voice-derived contexts like CueVoice, the lyrics should
 still start with the first note."
@@ -6,8 +6,8 @@ still start with the first note."
 
 \score {
   \new Staff <<
-    \new Voice \relative c'' {
-      g2 
+    \new Voice \relative {
+      g'2 
       <<
           { \voiceOne r2 }
           \new CueVoice = "cue" { \voiceTwo g4 g }
diff --git a/input/regression/lyric-combine-switch-voice-2.ly b/input/regression/lyric-combine-switch-voice-2.ly
index d084e8f2bd..7462f7f84e 100644
--- a/input/regression/lyric-combine-switch-voice-2.ly
+++ b/input/regression/lyric-combine-switch-voice-2.ly
@@ -2,11 +2,11 @@
 {
 texidoc = "switching voices in the middle of the lyrics is possible using @code{lyricsto}."
   }
-\version "2.17.15"
+\version "2.19.21"
 
 <<
-  \relative c' \new Voice = "lahlah" {
-    c4
+  \relative \new Voice = "lahlah" {
+    c'4
     <<
       \new Voice = "alternative" {
         \voiceOne
diff --git a/input/regression/lyric-combine.ly b/input/regression/lyric-combine.ly
index cedcb39d2d..fff2e9cbcd 100644
--- a/input/regression/lyric-combine.ly
+++ b/input/regression/lyric-combine.ly
@@ -1,5 +1,5 @@
 
-\version "2.17.11"
+\version "2.19.21"
 
 \header{
 
@@ -26,7 +26,7 @@ m = \relative c'' {
     b
 }
 
-noise = \repeat unfold 6  \relative c'' { g16 g g g }
+noise = \repeat unfold 6  \relative { g'16 g g g }
 
 textI = \lyricmode {
     la2 __ la -- la __ la la la la la
diff --git a/input/regression/lyric-extender-includegraces.ly b/input/regression/lyric-extender-includegraces.ly
index 1100f625e9..1cb9fa8dce 100644
--- a/input/regression/lyric-extender-includegraces.ly
+++ b/input/regression/lyric-extender-includegraces.ly
@@ -1,4 +1,4 @@
-\version "2.17.28"
+\version "2.19.21"
 
 \header {
   texidoc="
@@ -7,8 +7,8 @@ expected also for syllables starting under grace notes.
 "
 }
 
-\relative c' {
-  c2 \grace { c16( d e f } g2)
+\relative {
+  c'2 \grace { c16( d e f } g2)
   f1
 }
 \addlyrics {
diff --git a/input/regression/lyric-extender-no-heads.ly b/input/regression/lyric-extender-no-heads.ly
index 36d4133c06..f2e62f4c1c 100644
--- a/input/regression/lyric-extender-no-heads.ly
+++ b/input/regression/lyric-extender-no-heads.ly
@@ -6,15 +6,15 @@ without a lyric attached."
   
 }
 
-\version "2.19.2"
+\version "2.19.21"
 
 \layout {
   ragged-right = ##t
 }
 
-\relative c'' {
+\relative {
   \time 3/4
-  d4~ 4 r4
+  d''4~ 4 r4
   \grace es8
 
   d4
diff --git a/input/regression/lyric-extender-rest.ly b/input/regression/lyric-extender-rest.ly
index 8f57a1753a..6afa49715f 100644
--- a/input/regression/lyric-extender-rest.ly
+++ b/input/regression/lyric-extender-rest.ly
@@ -10,11 +10,11 @@ is not terminated upon encountering a rest. "
   ragged-right = ##T
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 <<
-  \new Voice = "one" \relative c'' {
-    c4\melisma 
+  \new Voice = "one" \relative {
+    c''4\melisma 
     c4 r c\melismaEnd c
   }
   \new Lyrics \lyricsto "one" {
diff --git a/input/regression/lyric-extender-right-margin.ly b/input/regression/lyric-extender-right-margin.ly
index 9b1a07bddc..72e1f0a4a2 100644
--- a/input/regression/lyric-extender-right-margin.ly
+++ b/input/regression/lyric-extender-right-margin.ly
@@ -1,12 +1,12 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Extenders will not protrude into the right margin"
   }
 
 \score{
   {
-    \relative c' {
-      c4 d e f ~ | \break
+    \relative {
+      c'4 d e f ~ | \break
       f4 e d c |
     }
 
diff --git a/input/regression/lyric-hyphen-break.ly b/input/regression/lyric-hyphen-break.ly
index 2a67e35c02..fd6121754b 100644
--- a/input/regression/lyric-hyphen-break.ly
+++ b/input/regression/lyric-hyphen-break.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -20,8 +20,8 @@ they go past the first note. "
 
 
 <<
-  \new Voice \relative c'' {
-    \time 1/4 c16[ c c  c]
+  \new Voice \relative {
+    \time 1/4 c''16[ c c  c]
     \time 1/4
     c16[ c c c]
     \time 1/4
diff --git a/input/regression/lyric-hyphen-retain.ly b/input/regression/lyric-hyphen-retain.ly
index 6a45c767d9..c19d42a2ad 100644
--- a/input/regression/lyric-hyphen-retain.ly
+++ b/input/regression/lyric-hyphen-retain.ly
@@ -14,16 +14,16 @@ effect of a setting is delayed is one syllable."
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \layout {
   ragged-right = ##t
 }
 
 
-\relative c'' {
+\relative {
   \time 2/4
-  c32 c c c 
+  c''32 c c c 
   c32 c c c 
   c32 c c c 
   c32 c c c 
diff --git a/input/regression/lyric-melisma-alignment.ly b/input/regression/lyric-melisma-alignment.ly
index 8e86687272..8be9d01914 100644
--- a/input/regression/lyric-melisma-alignment.ly
+++ b/input/regression/lyric-melisma-alignment.ly
@@ -1,12 +1,12 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{lyricMelismaAlignment} sets the default alignment for melismata.
 It works with both automatic and manual melismata."
 }
 
-\relative c' {
-  c4^"auto"( d e f)
+\relative {
+  c'4^"auto"( d e f)
   \set melismaBusyProperties = #'()
   c4^"manual" d e f
 }
diff --git a/input/regression/lyric-melisma-melisma.ly b/input/regression/lyric-melisma-melisma.ly
index b75c2b0377..ab602a016d 100644
--- a/input/regression/lyric-melisma-melisma.ly
+++ b/input/regression/lyric-melisma-melisma.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "A syllable aligned with a melisma delimited with
 @code{\\melisma} and @code{\\melismaEnd} should be left-aligned.
 "
 }
 
-\relative c' {
-  c4 c c16\melisma d e f \melismaEnd g4
+\relative {
+  c'4 c c16\melisma d e f \melismaEnd g4
 }
 \addlyrics { ha ha looong __ ho }
diff --git a/input/regression/lyric-no-association-rhythm.ly b/input/regression/lyric-no-association-rhythm.ly
index 84b07a52b9..16c9693d18 100644
--- a/input/regression/lyric-no-association-rhythm.ly
+++ b/input/regression/lyric-no-association-rhythm.ly
@@ -8,16 +8,16 @@
 }
 
 
-\version "2.16.0"
+\version "2.19.21"
 \layout { ragged-right = ##t }
 
 \score {
   \context ChoirStaff <<
     \context Staff = soprano <<
-      \context Voice = sop \relative c' { e2 e4  }
+      \context Voice = sop \relative { e'2 e4  }
     >>
     \context Staff = alto <<
-      \context Voice = alt \relative c' { e4  e4  e4  }
+      \context Voice = alt \relative { e'4  e4  e4  }
       \new Lyrics \lyricmode { 
         do4 re4 me4
       }
diff --git a/input/regression/lyrics-includegraces.ly b/input/regression/lyrics-includegraces.ly
index ec3dfe2fc3..529681f82f 100644
--- a/input/regression/lyrics-includegraces.ly
+++ b/input/regression/lyrics-includegraces.ly
@@ -1,4 +1,4 @@
-\version "2.17.28"
+\version "2.19.21"
 
 \header {
   texidoc="
@@ -7,8 +7,8 @@ assigned to grace notes.
 "
 }
 
-\relative c' {
-  f4 \appoggiatura a32 b4
+\relative {
+  f'4 \appoggiatura a32 b4
   \grace { f16 a16 } b2
   \afterGrace b2 { f16[ a16] }
   \appoggiatura a32 b4
diff --git a/input/regression/lyrics-no-notes.ly b/input/regression/lyrics-no-notes.ly
index 1262e70c9c..d45f14493c 100644
--- a/input/regression/lyrics-no-notes.ly
+++ b/input/regression/lyrics-no-notes.ly
@@ -5,13 +5,13 @@ aligned correctly even if the paper column is very wide."
  
 \layout{ ragged-right = ##t }
 
-\version "2.17.6"
+\version "2.19.21"
 <<
   \override Score.PaperColumn.keep-inside-line = ##f
-  \new Staff \relative c' {
+  \new Staff \relative {
     \key aes \major
     \context Voice = "1" { 
-      f8 f
+      f'8 f
       \textLengthOff
       
       f^"xxxxxxxxxxxxxxxxxxxxxxxxxx"  f
diff --git a/input/regression/lyrics-pass-under-bar.ly b/input/regression/lyrics-pass-under-bar.ly
index 90df8bffa9..2df8fd0390 100644
--- a/input/regression/lyrics-pass-under-bar.ly
+++ b/input/regression/lyrics-pass-under-bar.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Long lyrics should be allowed to pass under
@@ -6,5 +6,5 @@ the bar line.
 "
 }
 
-\relative c''' { c2 c c c }
+\relative { c'''2 c c c }
 \addlyrics { foo bar foooooooo bar }
diff --git a/input/regression/lyrics-tenor-clef.ly b/input/regression/lyrics-tenor-clef.ly
index acea89d45b..df19660b58 100644
--- a/input/regression/lyrics-tenor-clef.ly
+++ b/input/regression/lyrics-tenor-clef.ly
@@ -3,11 +3,11 @@
 a clef transposition (8 below the clef)."
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \paper {
   ragged-right = ##t
 }
 
-\relative c' { \clef "G_8" c c c c }
+\relative { \clef "G_8" c' c c c }
 \addlyrics { bla bla bla bla }
diff --git a/input/regression/markup-note-dot.ly b/input/regression/markup-note-dot.ly
index ea2fd05b9d..4d41fa93c5 100644
--- a/input/regression/markup-note-dot.ly
+++ b/input/regression/markup-note-dot.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
   texidoc = " A dotted whole note displayed via the @code{\\note}
@@ -6,8 +6,8 @@
 
 	}
 
-\relative c' {
-  c4^\markup { \note #"1." #1 }
+\relative {
+  c'4^\markup { \note #"1." #1 }
   c4^\markup { \note #"2." #1 }
   c4^\markup { \note #"8." #1 }
 }
diff --git a/input/regression/markup-note.ly b/input/regression/markup-note.ly
index c600fab42f..11e993c134 100644
--- a/input/regression/markup-note.ly
+++ b/input/regression/markup-note.ly
@@ -3,7 +3,7 @@
   texidoc = "The note markup function may be used to make metronome
  markings. It works for a variety of flag, dot and duration settings."
 }
-\version "2.17.12"
+\version "2.19.21"
 
 mrkp =
 \markup {
@@ -50,9 +50,9 @@ mrkp =
 }
 
 \score {
-  \relative c''
+  \relative
   {
-    c4^\markup {
+    c''4^\markup {
             \column {
                     \mrkp
                     \override #'(style . mensural) \mrkp
diff --git a/input/regression/markup-score-multi-system.ly b/input/regression/markup-score-multi-system.ly
index c0a9971bed..a40f040adc 100644
--- a/input/regression/markup-score-multi-system.ly
+++ b/input/regression/markup-score-multi-system.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "\\markup \\score displays all systems.  Spacing between
@@ -10,8 +10,8 @@
 \markup {
   \override #'(baseline-skip . 10)
   \score {
-    \new Staff \relative c' {
-      c4 d e f \break
+    \new Staff \relative {
+      c'4 d e f \break
       g1
     }
     \layout {
diff --git a/input/regression/measure-grouping.ly b/input/regression/measure-grouping.ly
index 5fa0b8723b..270b5bc73d 100644
--- a/input/regression/measure-grouping.ly
+++ b/input/regression/measure-grouping.ly
@@ -7,7 +7,7 @@ brackets above beats when the beats of a time signature are grouped.  "
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout  {
   ragged-right = ##t
@@ -19,9 +19,9 @@ brackets above beats when the beats of a time signature are grouped.  "
     \consists "Measure_grouping_engraver"
   }
 
-\relative c' {
+\relative {
   \time 2/4 
-  c8 a'4 a8~
+  c'8 a'4 a8~
   \time #'(3 2) 5/8 
   a8 bes4 r8 bes8->
   \time 2/4
diff --git a/input/regression/metronome-mark-loose-column.ly b/input/regression/metronome-mark-loose-column.ly
index deca81dd52..0abd414625 100644
--- a/input/regression/metronome-mark-loose-column.ly
+++ b/input/regression/metronome-mark-loose-column.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "Metronome marks aligned on notes do not interfere with
@@ -9,13 +9,13 @@ the second note in the lower staff."
 
 \score {
   <<
-    \new Staff \relative c' {
-      c8 c c c
+    \new Staff \relative {
+      c'8 c c c
       \tempo 4 = 60
       c2
     }
-    \new Staff \relative c' {
-      c2 \clef bass c2
+    \new Staff \relative {
+      c'2 \clef bass c2
     }
   >>
   \layout {
diff --git a/input/regression/midi-grace-after-rest.ly b/input/regression/midi-grace-after-rest.ly
index 8a99cddcfc..9931356e4d 100644
--- a/input/regression/midi-grace-after-rest.ly
+++ b/input/regression/midi-grace-after-rest.ly
@@ -3,9 +3,9 @@
 them. The A should be a full quarter note, but the C should be shortened
 to 1/4 - 9/40 * 1/8 = 71/320 (rounded down to 340/384 in MIDI)."
 }
-\version "2.18.0"
+\version "2.19.21"
 \score {
- \relative c' {
+ \relative {
    a4 r
    \grace b8 c8... r64
    \grace d8 e4
diff --git a/input/regression/midi-grace-after-tie.ly b/input/regression/midi-grace-after-tie.ly
index 6aca01bc1e..ead10bf793 100644
--- a/input/regression/midi-grace-after-tie.ly
+++ b/input/regression/midi-grace-after-tie.ly
@@ -5,9 +5,9 @@
 
   % https://code.google.com/p/lilypond/issues/detail?id=3091
 }
-\version "2.16.0"
+\version "2.19.21"
 \score {
-  \relative c' {
+  \relative {
     % This first b~ tie should be honoured in the MIDI output:
     a2. b4~
     % i.e. this b8 must not be sounded:
diff --git a/input/regression/midi-grace.ly b/input/regression/midi-grace.ly
index eb06b5e83b..8fdb7c330e 100644
--- a/input/regression/midi-grace.ly
+++ b/input/regression/midi-grace.ly
@@ -5,10 +5,10 @@
 off will appear at tick 768 (2 * 384)."
   
 }
-\version "2.16.0"
+\version "2.19.21"
 \score {
- \relative c' {
-   c4
+ \relative {
+   c'4
    \grace { b8 }
    d4
  }
diff --git a/input/regression/midi-key-signature.ly b/input/regression/midi-key-signature.ly
index 89989f2529..73d1f92493 100644
--- a/input/regression/midi-key-signature.ly
+++ b/input/regression/midi-key-signature.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "MIDI key signatures are output, using an approximate
 key signature if MIDI format cannot represent the true key signature"
@@ -6,9 +6,9 @@ key signature if MIDI format cannot represent the true key signature"
 
 \include "arabic.ly"
 \score {
-  \relative do' {
+  \relative {
     \key fa \bayati
-    fa4 solsb lab sib
+    fa'4 solsb lab sib
   }
   \midi { }
   \layout { }
diff --git a/input/regression/midi-microtone-off.ly b/input/regression/midi-microtone-off.ly
index abcd7547fa..c7125f6c82 100644
--- a/input/regression/midi-microtone-off.ly
+++ b/input/regression/midi-microtone-off.ly
@@ -4,12 +4,12 @@
   the next (possibly grace) note.  "
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \score
 {
 
-  \relative c' {
+  \relative {
     a geseh \acciaccatura a geseh
   }
 
diff --git a/input/regression/midi-pedal.ly b/input/regression/midi-pedal.ly
index a35fb5d9e9..e7bf33e1e7 100644
--- a/input/regression/midi-pedal.ly
+++ b/input/regression/midi-pedal.ly
@@ -5,12 +5,12 @@
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \score {
-  \relative c' {
+  \relative {
     {
-      { c16 e g c }
+      { c'16 e g c }
       
       { c,16\sustainOn e g c\sustainOff }
       { c,16\unaCorda e g c\treCorde }
diff --git a/input/regression/midi-scales.ly b/input/regression/midi-scales.ly
index 9c46fd1934..1215e44729 100644
--- a/input/regression/midi-scales.ly
+++ b/input/regression/midi-scales.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 % candidate for regression.  -gp
 \header {
   texidoc="Converting LilyPond input to MIDI and then again back with
@@ -27,7 +27,7 @@
 
 %}
 
-scales =  \relative c {
+scales =  \relative {
 
   % [INSTRUMENT_NAME] bright acoustic
   \key c \major  % sharp-major
diff --git a/input/regression/midi-tuplets.ly b/input/regression/midi-tuplets.ly
index 49cda2ccc4..d564fb7c81 100644
--- a/input/regression/midi-tuplets.ly
+++ b/input/regression/midi-tuplets.ly
@@ -1,4 +1,4 @@
-\version "2.17.11"
+\version "2.19.21"
 \header {
 texidoc = "
 
@@ -17,7 +17,7 @@ Midi2ly tuplet test.
 
 
 \score { 
-  \context Voice  \relative c' {
+  \context Voice  \relative {
 
     a1 a2 a2. a4 a4. a8 a8. a16 a16. a32 a32. a64
 
diff --git a/input/regression/midi/key-option-all-staves.ly b/input/regression/midi/key-option-all-staves.ly
index 4a788566e7..51e343ff97 100644
--- a/input/regression/midi/key-option-all-staves.ly
+++ b/input/regression/midi/key-option-all-staves.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 texidoc="Midi2ly --key works on all staves, this is G major (--key=1)"
@@ -8,12 +8,12 @@ options="--key=1"
 \score {
   <<
     \context Staff = "treble" <<
-      \context Voice="one" \relative c'' {
-	fis
+      \context Voice="one" \relative {
+	fis''
       }
     >>
     \context Staff = "bass" <<
-      \context Voice="two" \relative c {
+      \context Voice="two" \relative {
 	\clef bass
 	fis
       }
diff --git a/input/regression/midi/lyrics-addlyrics.ly b/input/regression/midi/lyrics-addlyrics.ly
index 982f7da5fa..4f859b87e5 100644
--- a/input/regression/midi/lyrics-addlyrics.ly
+++ b/input/regression/midi/lyrics-addlyrics.ly
@@ -1,5 +1,5 @@
 % Lily was here -- automatically converted by ../../../scripts/midi2ly.py from out/initial-key.midi
-\version "2.16.0"
+\version "2.19.21"
 
 \layout {
   \context {
@@ -26,10 +26,10 @@ options=""
 
 \score {
   <<
-    \relative c'' {
+    \relative {
       \key g \major
       \time 6/8
-      d4 b8 c4 a8 | d4 b8 g4
+      d''4 b8 c4 a8 | d4 b8 g4
     }
     \addlyrics {
       Girls and boys come | out to play,
diff --git a/input/regression/midi/partcombine.ly b/input/regression/midi/partcombine.ly
index 66bf3a7b1a..f4ed0cb0c4 100644
--- a/input/regression/midi/partcombine.ly
+++ b/input/regression/midi/partcombine.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \layout {
   \context {
@@ -21,17 +21,17 @@ texidoc="Partcombined music is preserved"
 options="--skip"
 }
 
-instrumentOne = \relative c' {
-  c4 d e f
+instrumentOne = \relative {
+  c'4 d e f
   R1
   d'4 c b a
   b4 g2 f4
   e1
 }
 
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
   R1
-  g4 a b c
+  g'4 a b c
   d c b a
   g f( e) d
   e1
diff --git a/input/regression/midi/quantize-duration-2.ly b/input/regression/midi/quantize-duration-2.ly
index adae24327a..79648523ad 100644
--- a/input/regression/midi/quantize-duration-2.ly
+++ b/input/regression/midi/quantize-duration-2.ly
@@ -1,5 +1,5 @@
 % Lily was here -- automatically converted by out/bin/midi2ly from /home/janneke/testmidi.mid
-\version "2.16.0"
+\version "2.19.21"
 
 \layout {
   \context {
@@ -43,7 +43,7 @@ trackA = <<
 >>
 
 
-trackBchannelB = \relative c {
+trackBchannelB = \relative {
   e'''4*41/192 r4*7/192 d4*41/192 r4*7/192 fis,4*89/192 r4*7/192 gis4*89/192 
   r4*7/192 
   | % 2
diff --git a/input/regression/midi/rest-dynamic.ly b/input/regression/midi/rest-dynamic.ly
index 80de858bbe..318129a1b1 100644
--- a/input/regression/midi/rest-dynamic.ly
+++ b/input/regression/midi/rest-dynamic.ly
@@ -1,12 +1,12 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
 texidoc="LilyPond respects rests, also when there are dynamics"
 options=""
 }
 
 \score {
-  \new Staff \relative c' {
-    \time 2/4 e4 e r4 e\f |
+  \new Staff \relative {
+    \time 2/4 e'4 e r4 e\f |
   }
   \layout {}
   \midi {}
diff --git a/input/regression/midi/staff-map-instrument.ly b/input/regression/midi/staff-map-instrument.ly
index 6c4e8be5a8..ce24b42cf1 100644
--- a/input/regression/midi/staff-map-instrument.ly
+++ b/input/regression/midi/staff-map-instrument.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 texidoc="Midi2ly remaps voices correctly to staves in MIDI-files that use instrument<->channel mapping when combined with voice<->track mapping.  TODO: pianostaff"
@@ -30,11 +30,11 @@ options=""
       }
     >>
     \context Staff = "bass" <<
-      \context Voice="three" \relative c' {
+      \context Voice="three" \relative {
 	\key c \minor
 	\clef bass
 %7
-	r8 c16 b c8 g as c16 b c8 d |
+	r8 c'16 b c8 g as c16 b c8 d |
 %8	g8 c16 b c8 d f,16 g as4 g16 f | 
 	<c,, c'>1
       }
diff --git a/input/regression/midi/staff-map-voice.ly b/input/regression/midi/staff-map-voice.ly
index dc76603ffe..90d9c3ac68 100644
--- a/input/regression/midi/staff-map-voice.ly
+++ b/input/regression/midi/staff-map-voice.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 texidoc="Midi2ly remaps voices correctly to staves in MIDI-files that use voice<->channel mapping when combined with staff<->track mapping.  TODO: pianostaff"
@@ -30,11 +30,11 @@ options=""
       }
     >>
     \context Staff = "bass" <<
-      \context Voice="three" \relative c' {
+      \context Voice="three" \relative {
 	\key c \minor
 	\clef bass
 %7
-	r8 c16 b c8 g as c16 b c8 d |
+	r8 c'16 b c8 g as c16 b c8 d |
 %8	g8 c16 b c8 d f,16 g as4 g16 f | 
 	<c,, c'>1
       }
diff --git a/input/regression/midi/voice-5.ly b/input/regression/midi/voice-5.ly
index a91c26c8e1..f35f3c403f 100644
--- a/input/regression/midi/voice-5.ly
+++ b/input/regression/midi/voice-5.ly
@@ -1,5 +1,5 @@
 % Lily was here -- automatically converted by ../../../scripts/midi2ly.py from out-www/voice-4.midi
-\version "2.16.0"
+\version "2.19.21"
 
 \layout {
   \context {
@@ -73,7 +73,7 @@ trackBchannelD = \relative c {
   
 }
 
-trackBchannelE = \relative c {
+trackBchannelE = \relative {
   s1 d1
   | % 2
   
diff --git a/input/regression/modern-tab-clef-scaled.ly b/input/regression/modern-tab-clef-scaled.ly
index ceafcc05db..f04f3ba7d5 100644
--- a/input/regression/modern-tab-clef-scaled.ly
+++ b/input/regression/modern-tab-clef-scaled.ly
@@ -1,10 +1,10 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header{ texidoc = "The sans serif style tab clef is automatically adjusted to
                     different string spacings."
        }
 
-guitar = \relative c {
+guitar = \relative {
   c4 d e f
   e4 d c2
 }
diff --git a/input/regression/modern-tab-clef.ly b/input/regression/modern-tab-clef.ly
index 7c3110b396..1447656b65 100644
--- a/input/regression/modern-tab-clef.ly
+++ b/input/regression/modern-tab-clef.ly
@@ -1,16 +1,16 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header{ texidoc = "Sans serif style tab clefs are supported by @code{\\clef moderntab}.
                     This alternative clef supports four- to seven-stringed instruments
                     and is scaled automatically."
        }
 
-bass = \relative c, {
-  c4 d e f
+bass = \relative {
+  c,4 d e f
   e4 d c2
 }
 
-guitar = \relative c {
+guitar = \relative {
   c4 d e f
   e4 d c2
 }
diff --git a/input/regression/monochords.ly b/input/regression/monochords.ly
index 7dfd994863..73553ea4a8 100644
--- a/input/regression/monochords.ly
+++ b/input/regression/monochords.ly
@@ -1,13 +1,13 @@
-\version "2.19.14"
+\version "2.19.21"
 
 \header { texidoc = "
 Whole notes in a monochord must be properly offset so that the heads just
 touch each other.  On the other hand, a stem should touch both notes.
 " }
 
-\relative c'' {
+\relative {
   \time 4/1
-  <a a>\longa \breve 1 2 4 8 8 \break
+  <a' a>\longa \breve 1 2 4 8 8 \break
   <c c>\longa \breve 1 2 4 8 8
 }
 
diff --git a/input/regression/mozart-hrn3-romanze.ily b/input/regression/mozart-hrn3-romanze.ily
index 8d4d22f566..1fa4e962c8 100644
--- a/input/regression/mozart-hrn3-romanze.ily
+++ b/input/regression/mozart-hrn3-romanze.ily
@@ -1,11 +1,11 @@
-\version "2.19.2"
+\version "2.19.21"
 \include  "mozart-hrn3-defs.ily"
 
-romanze =  \relative c' {
+romanze =  \relative {
   \key f \major
   \time 2/2
 
-  c'4.( _\markup { \dynamic "p" \italic { "" con molto espressione } }
+  c''4.( _\markup { \dynamic "p" \italic { "" con molto espressione } }
   f8) a,4 a
   bes8[( c d bes] g4) r8 g
   a r bes r c r d[( bes)]
diff --git a/input/regression/mozart-hrn3-rondo.ily b/input/regression/mozart-hrn3-rondo.ily
index 7ce852149b..d62ab572df 100644
--- a/input/regression/mozart-hrn3-rondo.ily
+++ b/input/regression/mozart-hrn3-rondo.ily
@@ -1,9 +1,9 @@
-\version "2.19.2"
+\version "2.19.21"
 
 \include "mozart-hrn3-defs.ily"
 
-rondotheme = \relative c' {
-  c'8[ c c] c[ c c]
+rondotheme = \relative {
+  c''8[ c c] c[ c c]
   c4( cis8  d) r g,
   d'8[ d d] d[ d d]
   d4( dis8  e) r c |
@@ -13,7 +13,7 @@ rondotheme = \relative c' {
   e4.( d8) r r |
 }
 
-lipbreaker = \relative c' {
+lipbreaker = \relative {
   r8  g'[-. g-.] c[( e) g,-.]
   c[( e) g,-.] c[( e) g,-.]
   c[ c, c] c[ c c]
diff --git a/input/regression/music-function-end-spanners.ly b/input/regression/music-function-end-spanners.ly
index 30028a284a..2400f461eb 100644
--- a/input/regression/music-function-end-spanners.ly
+++ b/input/regression/music-function-end-spanners.ly
@@ -6,12 +6,12 @@ end span events at the end of a note."
   
 }
 
-\version "2.17.15"
+\version "2.19.21"
 \paper{
   ragged-right = ##T
 }
-\relative c'
-<< {   c'4 c c c }
+\relative
+<< {   c''4 c c c }
    \\
    {
      \override TextSpanner.bound-details.left.text = "x" 
diff --git a/input/regression/music-function-post-event.ly b/input/regression/music-function-post-event.ly
index 4442352662..c6421c38c2 100644
--- a/input/regression/music-function-post-event.ly
+++ b/input/regression/music-function-post-event.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header
 {
@@ -15,8 +15,8 @@ dynScript =
 #(define-music-function (parser location text) (string?)
    (make-dynamic-script text))
 
-\relative c' {
-  c1-\dynScript "pp"
+\relative {
+  c'1-\dynScript "pp"
   c^\dynScript "fp"
   c_\dynScript "spz"
 }
diff --git a/input/regression/newaddlyrics-music-identifiers.ly b/input/regression/newaddlyrics-music-identifiers.ly
index 1d206a5b39..b45541172e 100644
--- a/input/regression/newaddlyrics-music-identifiers.ly
+++ b/input/regression/newaddlyrics-music-identifiers.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 	texidoc = "addlyrics do not need braces around their arguments,
 in particular if the arguments are variables."
 }
 
-m = \relative c' { c4 d }
+m = \relative { c'4 d }
 l = \lyricmode { A B }
 
 % addlyrics takes music expressions as well as music identifiers. The following
diff --git a/input/regression/newaddlyrics.ly b/input/regression/newaddlyrics.ly
index 73c9ab1fe8..0da61c25cf 100644
--- a/input/regression/newaddlyrics.ly
+++ b/input/regression/newaddlyrics.ly
@@ -5,8 +5,8 @@
 }
 \layout { ragged-right = ##t }
 <<
-    \new Staff \relative c'' {
-	d2 d c4 bes a2 \break
+    \new Staff \relative {
+	d''2 d c4 bes a2 \break
     }
     \addlyrics {
 	My first Li -- ly song,
@@ -14,9 +14,9 @@
     \addlyrics {
 	Not much can go wrong!
     }
-    \new Staff \relative c' {
+    \new Staff \relative {
 	\clef bass
-	d2 d c4 bes a2 \break
+	d'2 d c4 bes a2 \break
     }
     \addlyrics {
 	MY FIRST LI -- LY SONG,
@@ -26,4 +26,4 @@
     }
 >>
 
-\version "2.16.0"
+\version "2.19.21"
diff --git a/input/regression/note-head-chord.ly b/input/regression/note-head-chord.ly
index 0cc5d22522..e345473567 100644
--- a/input/regression/note-head-chord.ly
+++ b/input/regression/note-head-chord.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Note heads are flipped on the stem to prevent collisions.
@@ -10,9 +10,9 @@ It also works for whole heads that have invisible stems.
 
 \layout { ragged-right= ##t }
 
-\relative c''
+\relative
 \context Voice {
-  <g a c>4
+  <g' a c>4
   <c d g a>
   <c d e >
   <c c g>
diff --git a/input/regression/note-head-harmonic-dotted.ly b/input/regression/note-head-harmonic-dotted.ly
index 5dc8ca24d4..d68d0e2177 100644
--- a/input/regression/note-head-harmonic-dotted.ly
+++ b/input/regression/note-head-harmonic-dotted.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -7,8 +7,8 @@ Dots on harmonic note heads can be shown by setting the property
 "
 }
 
-\relative c'' {
-  r4 <bes es\harmonic>2.
+\relative {
+  r4 <bes' es\harmonic>2.
   \set harmonicDots = ##t
   r4 <bes es\harmonic>2.
 }
diff --git a/input/regression/note-head-harmonic-whole.ly b/input/regression/note-head-harmonic-whole.ly
index b3267998b4..7fd6b7eea1 100644
--- a/input/regression/note-head-harmonic-whole.ly
+++ b/input/regression/note-head-harmonic-whole.ly
@@ -6,14 +6,14 @@
 }
 
 
-\version "2.16.0"
+\version "2.19.21"
 
 \paper {
   ragged-right = ##t
 }
 
-\relative c' {
-  <e a\harmonic>1
+\relative {
+  <e' a\harmonic>1
   <e'' a\harmonic>1
 }
 
diff --git a/input/regression/note-names-context.ly b/input/regression/note-names-context.ly
index 52e4c4e914..06ba05f390 100644
--- a/input/regression/note-names-context.ly
+++ b/input/regression/note-names-context.ly
@@ -1,4 +1,4 @@
-\version "2.19.12"
+\version "2.19.21"
 
 \header {
 
@@ -12,7 +12,7 @@
   system-system-spacing.basic-distance = #10 % increase this value for more space
 }
 
-notes = \relative c {
+notes = \relative {
   c'4 c c c
 }
 
diff --git a/input/regression/note-names.ly b/input/regression/note-names.ly
index dd8b9b02a1..72cbc0c8bb 100644
--- a/input/regression/note-names.ly
+++ b/input/regression/note-names.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Various languages are supported for note names input.
@@ -11,8 +11,8 @@ and doesn't break point-and-click abilities.
 %% Old syntax.
 \include "english.ly"
 
-\relative c'' {
-  g4 bf d c
+\relative {
+  g'4 bf d c
 
   %% Manual override of the pitchnames variable
   %% and the parser note names:
diff --git a/input/regression/number-staff-lines.ly b/input/regression/number-staff-lines.ly
index fdb44a041b..9470e3a9f1 100644
--- a/input/regression/number-staff-lines.ly
+++ b/input/regression/number-staff-lines.ly
@@ -1,5 +1,5 @@
 
-\version "2.17.6"
+\version "2.19.21"
 
 \header{
   texidoc=" The number of stafflines of a staff can be set.  Ledger
@@ -11,7 +11,7 @@ adjusted accordingly.  "
 \new Staff \with {
   \override StaffSymbol.line-count = #3
 }
-\relative c {
+\relative {
   c' c c c | g' g g g 	\bar ":|."
 }
 
diff --git a/input/regression/offsets.ly b/input/regression/offsets.ly
index 878664e4dd..c0d6a8dfed 100644
--- a/input/regression/offsets.ly
+++ b/input/regression/offsets.ly
@@ -1,4 +1,4 @@
-\version "2.17.29"
+\version "2.19.21"
 
 \header {
   texidoc = "The @code{\\offset} command may be used to displace various properties
@@ -13,11 +13,11 @@ default appearance.  The command is demonstrated as a tweak and as an override."
   indent = 0
 }
 
-\relative c' {
+\relative {
 
   %% ARPEGGIO %%
   % default
-  <c e g b>1\arpeggio
+  <c' e g b>1\arpeggio
   <c e g b>1-\offset positions #'(-1 . 1) \arpeggio
   \bar "||"
 
diff --git a/input/regression/optional-args.ly b/input/regression/optional-args.ly
index c92c6a143b..5086bf0dba 100644
--- a/input/regression/optional-args.ly
+++ b/input/regression/optional-args.ly
@@ -1,4 +1,4 @@
-\version "2.19.0"
+\version "2.19.21"
 
 \header{
   texidoc= "Test optional music function arguments.
@@ -24,5 +24,5 @@ zap =
    (ly:pitch? #{ d' #}) (ly:pitch? #{ e' #})
    ly:music?) #{ $a $dur $b $c ^\markup{!} $d  #})
 
-\new Voice { \relative c' e' \relative c' { e' } \ablative c' e' \ablative { e' }
+\new Voice { \relative c' e' \relative { e'' } \ablative c' e' \ablative { e' }
   \zap 8. c'' d'' {e''4..} \zap f''8 g'' \zap 4 a'' b'' c''' d'''2 }
diff --git a/input/regression/ottava-broken.ly b/input/regression/ottava-broken.ly
index 30f4c57016..7d01169544 100644
--- a/input/regression/ottava-broken.ly
+++ b/input/regression/ottava-broken.ly
@@ -10,12 +10,12 @@ the end of the line (regardless of prefatory matter).
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 
 \layout { ragged-right = ##t }
-\relative c'''  {
-    a2 b
+\relative  {
+    a''2 b
     \ottava #1
     a2 b \time 3/4  \break c''2. \break
     a
diff --git a/input/regression/ottava.ly b/input/regression/ottava.ly
index 54501c50c9..0cb98e915d 100644
--- a/input/regression/ottava.ly
+++ b/input/regression/ottava.ly
@@ -11,7 +11,7 @@ markup can be tuned with @code{Staff.ottavation}.
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 %% . There must be a minimum distance between the octavation line and the
 %%   topmost staff line, taking into account the height of the closing
@@ -35,8 +35,8 @@ markup can be tuned with @code{Staff.ottavation}.
 
 \layout { ragged-right = ##t} 
 
-\relative c'''  {
-  a b c a
+\relative  {
+  a'' b c a
   \ottava #1
   a b c a
   \ottava #0
diff --git a/input/regression/page-breaking-good-estimation.ly b/input/regression/page-breaking-good-estimation.ly
index b2038ad65b..654abe062f 100644
--- a/input/regression/page-breaking-good-estimation.ly
+++ b/input/regression/page-breaking-good-estimation.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "The page breaking algorithm can handle clefs combined
@@ -9,8 +9,8 @@ should fit on one page here."
 
 #(set-default-paper-size "a6")
 
-Melody = \relative c' {
-  c2 c | c c | c c | \break
+Melody = \relative {
+  c'2 c | c c | c c | \break
   c2 c | c c | c c
 }
 Words = \lyricmode{
diff --git a/input/regression/page-label-loose-column.ly b/input/regression/page-label-loose-column.ly
index 5d765dbe29..a5925b51e0 100644
--- a/input/regression/page-label-loose-column.ly
+++ b/input/regression/page-label-loose-column.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Page labels on loose columns are not ignored: this includes both mid-line
@@ -11,8 +11,8 @@ break-aligned grobs)."
 \book {
   \markuplist \table-of-contents
 
-  \relative c' {
-    c2 \tocItem "Mid-line" c^"mid"
+  \relative {
+    c'2 \tocItem "Mid-line" c^"mid"
     c1
     \bar ""
     \tocItem "Empty bar line"
diff --git a/input/regression/page-spacing-nonstaff-lines-between.ly b/input/regression/page-spacing-nonstaff-lines-between.ly
index 40e13626a9..99eafde43b 100644
--- a/input/regression/page-spacing-nonstaff-lines-between.ly
+++ b/input/regression/page-spacing-nonstaff-lines-between.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "Non-staff lines between two systems don't confuse the
@@ -20,8 +20,8 @@ between the two closest staves of consecutive systems."
     My2 first Li4 -- ly song,2
     My2 first Li4 -- ly song,2
   }
-  \context Voice = "voice" \relative c'' {
-    d2 d c4 bes a2 \break
+  \context Voice = "voice" \relative {
+    d''2 d c4 bes a2 \break
     d'2 d c4 bes a2
   }
   \new Lyrics \lyricmode {
diff --git a/input/regression/page-spacing-nonstaff-lines-bottom.ly b/input/regression/page-spacing-nonstaff-lines-bottom.ly
index 656f700241..7c09799add 100644
--- a/input/regression/page-spacing-nonstaff-lines-bottom.ly
+++ b/input/regression/page-spacing-nonstaff-lines-bottom.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "A non-staff line (such as @code{Lyrics}) at the
@@ -13,8 +13,8 @@ bottom of a system gets spaced appropriately."
   }
 }
 <<
-    \new Staff \relative c'' {
-	d2 d c4 bes a2 \break
+    \new Staff \relative {
+	d''2 d c4 bes a2 \break
     }
     \addlyrics {
 	My first Li -- ly song,
diff --git a/input/regression/page-spacing-nonstaff-lines-top.ly b/input/regression/page-spacing-nonstaff-lines-top.ly
index 9e9ce607f1..f1891e072b 100644
--- a/input/regression/page-spacing-nonstaff-lines-top.ly
+++ b/input/regression/page-spacing-nonstaff-lines-top.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "A non-staff line (such as @code{Lyrics}) at the top
@@ -20,8 +20,8 @@ of a system is spaced appropriately."
   \new Lyrics \lyricmode {
     Not2 much can4 go wrong!
   }
-  \context Voice = "voice" \relative c'' {
-    d2 d c4 bes a2
+  \context Voice = "voice" \relative {
+    d''2 d c4 bes a2
   }
 >>
 
diff --git a/input/regression/page-spacing.ly b/input/regression/page-spacing.ly
index 2e150e61b6..2227b0fb1e 100644
--- a/input/regression/page-spacing.ly
+++ b/input/regression/page-spacing.ly
@@ -13,15 +13,15 @@ By setting @code{annotate-spacing}, we can see the effect of each property.
 
 }
 
-\version "2.19.12"
+\version "2.19.21"
 
 #(set-global-staff-size 11)
 
 \book {
   \score {
-    \relative c'' \new PianoStaff <<
+    \relative \new PianoStaff <<
       \new Voice  {
-	c1_"followed by default spacing"\break
+	c''1_"followed by default spacing"\break
 	c\break
 
 	\overrideProperty
diff --git a/input/regression/page-top-space.ly b/input/regression/page-top-space.ly
index 2e73a60a4b..af28db0e0c 100644
--- a/input/regression/page-top-space.ly
+++ b/input/regression/page-top-space.ly
@@ -4,15 +4,15 @@
 first system can be forced to be uniform."
 
 }
-\version "2.19.12"
+\version "2.19.21"
 
 #(set-default-paper-size "a6")
 
 \book {
   \score {
 
-    \relative c' {
-      c1\break\pageBreak
+    \relative {
+      c'1\break\pageBreak
       c1\break\pageBreak
       c1
       \break\pageBreak
diff --git a/input/regression/page-turn-page-breaking-badturns.ly b/input/regression/page-turn-page-breaking-badturns.ly
index 47168fa145..52838112c7 100644
--- a/input/regression/page-turn-page-breaking-badturns.ly
+++ b/input/regression/page-turn-page-breaking-badturns.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "cannot fit the first page turn onto a single page.  Consider setting first-page-number to an even number."))
 
@@ -17,7 +17,7 @@ should appear on 3 pages.
   }
 
   \score {
-    \relative c' {
+    \relative {
       a b c d a b c d \break
       c d e f c d e f \break
       d e f g d e f g
diff --git a/input/regression/page-turn-page-breaking.ly b/input/regression/page-turn-page-breaking.ly
index e54292fa0b..7416b36c0d 100644
--- a/input/regression/page-turn-page-breaking.ly
+++ b/input/regression/page-turn-page-breaking.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header{
     texidoc="The page-turn breaker will put a page turn after
@@ -26,7 +26,7 @@ in which case the turn will go after the special barline.
   }
 
   \score {
-    \relative c' {
+    \relative {
       a b c d a b c d \break
       c d e f c d e f R1*4
       \repeat unfold 13 {d4 e f g} \break
diff --git a/input/regression/parenthesize-markup.ly b/input/regression/parenthesize-markup.ly
index 162285e954..ba5268756e 100644
--- a/input/regression/parenthesize-markup.ly
+++ b/input/regression/parenthesize-markup.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header{
 
@@ -12,7 +12,7 @@ The angularity of the parentheses can be adjusted.
 }
 
 \score {
-  \relative c'' {c^\markup {
+  \relative {c''^\markup {
     \parenthesize {
       \column { "A" "B" "C" }
     }
diff --git a/input/regression/parenthesize.ly b/input/regression/parenthesize.ly
index a39a61ca79..f7ea40b937 100644
--- a/input/regression/parenthesize.ly
+++ b/input/regression/parenthesize.ly
@@ -12,10 +12,10 @@
   ragged-right = ##t
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
-\relative c' {
-  c2 -\parenthesize -.
+\relative {
+  c'2 -\parenthesize -.
 
   \parenthesize \breathe
 
diff --git a/input/regression/part-combine-a2.ly b/input/regression/part-combine-a2.ly
index d6dae3ac7b..bb2b0207e7 100644
--- a/input/regression/part-combine-a2.ly
+++ b/input/regression/part-combine-a2.ly
@@ -1,12 +1,12 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
     texidoc ="The a2 string is printed only on notes (i.e. not on rests),
 and only after chords, solo or polyphony."
     }
 
-vone =  \relative a' { R1*2 g2 r2 g2 r2 a4 r4 g }
-vtwo =  \relative a' { R1*2 g2 r2 g2 r2 f4 r4 g }
+vone =  \relative { R1*2 g'2 r2 g2 r2 a4 r4 g }
+vtwo =  \relative { R1*2 g'2 r2 g2 r2 f4 r4 g }
 
 comment = \relative c' { s1*2 s2_"a2" s2 s2_"no a2" s2 s4 s4 s4_"a2" }
 
diff --git a/input/regression/part-combine-chord-range.ly b/input/regression/part-combine-chord-range.ly
index e28f6d4cdf..3683ba0f19 100644
--- a/input/regression/part-combine-chord-range.ly
+++ b/input/regression/part-combine-chord-range.ly
@@ -3,16 +3,16 @@
 differences in steps between parts that may be combined into chords."
 }
 
-\version "2.19.16"
+\version "2.19.21"
 
 \layout { ragged-right = ##t }
 
-vone = \relative e' {
-  d4 e f fisis | g geses b' bisis | b2 beses
+vone = \relative {
+  d'4 e f fisis | g geses b' bisis | b2 beses
 }
 
-vtwo = \relative e' {
-  e4 e e e | e eisis d deses | c2 cisis
+vtwo = \relative {
+  e'4 e e e | e eisis d deses | c2 cisis
 }
 
 comm = { s1_"apart" s1_"chords" s1_"apart" }
diff --git a/input/regression/part-combine-cross.ly b/input/regression/part-combine-cross.ly
index 490abbcb8a..fb570d0a4c 100644
--- a/input/regression/part-combine-cross.ly
+++ b/input/regression/part-combine-cross.ly
@@ -4,10 +4,10 @@
 "
     }
 
-\version "2.16.0"
+\version "2.19.21"
 
-vone =  \relative a' { g4 g f f e e d d }
-vtwo =  \relative a' { e4 e f f g g a a }
+vone =  \relative { g'4 g f f e e d d }
+vtwo =  \relative { e'4 e f f g g a a }
 \layout { ragged-right = ##t } 
 
 \partcombine \vone \vtwo
diff --git a/input/regression/part-combine-force-mmrest-position.ly b/input/regression/part-combine-force-mmrest-position.ly
index 430fb27719..cbdbd0cd8a 100644
--- a/input/regression/part-combine-force-mmrest-position.ly
+++ b/input/regression/part-combine-force-mmrest-position.ly
@@ -7,7 +7,7 @@
 
 \layout { ragged-right = ##t }
 
-\version "2.16.0"
+\version "2.19.21"
 
 mI = \relative c'' {
   \partcombineApart
@@ -15,9 +15,9 @@ mI = \relative c'' {
   R1 |
   c1
 }
-mII = \relative c' {
+mII = \relative {
   R1 |
-  c2 c |
+  c'2 c |
   c1
 }
 
diff --git a/input/regression/part-combine-force-once.ly b/input/regression/part-combine-force-once.ly
index 76a230b7e8..ab59c20888 100644
--- a/input/regression/part-combine-force-once.ly
+++ b/input/regression/part-combine-force-once.ly
@@ -8,18 +8,18 @@
 
 \layout { ragged-right = ##t }
 
-\version "2.16.0"
+\version "2.19.21"
 
-mI = \relative c' {
-	e4 e \partcombineApartOnce c c |
+mI = \relative {
+	e'4 e \partcombineApartOnce c c |
 	\partcombineApart c \partcombineChordsOnce e e e |
 	c \partcombineUnisonoOnce c c c |
 	\partcombineAutomatic \partcombineSoloIOnce r2 c4 c |
 	\partcombineSoloIIOnce R1 |
 	d'2 \partcombineChordsOnce d4^"1 chord" d|
 }
-mII = \relative c' {
-	c4 \partcombineApartOnce c c c |
+mII = \relative {
+	c'4 \partcombineApartOnce c c c |
 	c c \partcombineAutomaticOnce e e |
 	c c c c |
 	R1 |
diff --git a/input/regression/part-combine-force.ly b/input/regression/part-combine-force.ly
index 46894fa0e4..fda6838ce6 100644
--- a/input/regression/part-combine-force.ly
+++ b/input/regression/part-combine-force.ly
@@ -8,10 +8,10 @@
 
 \layout { ragged-right = ##t }
 
-\version "2.16.0"
+\version "2.19.21"
 
-mI = \relative c' {
-	e4 e c2 |
+mI = \relative {
+	e'4 e c2 |
 	\partcombineApart c^"apart" e |
 	e e |
 	\partcombineChords e'^"chord" e |
@@ -19,8 +19,8 @@ mI = \relative c' {
 	\partcombineUnisono c^"unisono" c |
 	\partcombineAutomatic c\! c^"V1 longer" |
 }
-mII = \relative c' {
-	c4 c c2 |
+mII = \relative {
+	c'4 c c2 |
 	c c |
 	\partcombineAutomatic e^"auto" e |
 	a, c |
diff --git a/input/regression/part-combine-global.ly b/input/regression/part-combine-global.ly
index 9f99d89937..e52ea590a4 100644
--- a/input/regression/part-combine-global.ly
+++ b/input/regression/part-combine-global.ly
@@ -11,21 +11,21 @@ voices.
   
 "
 	}
-\version "2.19.2"
+\version "2.19.21"
 
 vone =
 
 %%%%%%%%%%%%%%  0   1   2   3  
-\relative c'' {
+\relative {
   \time 2/4
-  a8[ a]  a8[ a] |
+  a'8[ a]  a8[ a] |
   a8[ a]  a8[ a]
 }
 
 vtwo =
-\relative c' {
+\relative {
   \time 2/4
-  f8[ f]~ 8[ f] |
+  f'8[ f]~ 8[ f] |
   f8[ f]  f8[ f]
 }
 
diff --git a/input/regression/part-combine-markup.ly b/input/regression/part-combine-markup.ly
index cba4674dcf..35fdba6108 100644
--- a/input/regression/part-combine-markup.ly
+++ b/input/regression/part-combine-markup.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Part combine texts accept markup."
@@ -9,6 +9,6 @@
   \set Score.soloIIText = \markup { \huge \italic II }
   \set Score.aDueText = \markup { \normal-text \rounded-box { "a 2" } }
   \partcombine
-    \relative g' { g4 g r r a2 g }
-    \relative g' { r4 r a( b) a2 g }
+    \relative { g'4 g r r a2 g }
+    \relative { r4 r a'( b) a2 g }
 >>
diff --git a/input/regression/part-combine-mmrest-after-solo.ly b/input/regression/part-combine-mmrest-after-solo.ly
index ca80ade765..be4cfc4dda 100644
--- a/input/regression/part-combine-mmrest-after-solo.ly
+++ b/input/regression/part-combine-mmrest-after-solo.ly
@@ -1,10 +1,10 @@
 
 \header { texidoc = " Multimeasure rests are printed after solos, both
     for solo1 and for solo2."  }
-\version "2.16.0"
+\version "2.19.21"
 
 \layout { ragged-right = ##t }
 \new Staff 
 \partcombine
 \relative c''{ R1*2 | c4 r2.  | c2 r  | R1 }
-\relative c' {  c2 r | R1 | c4 r2. | R1*2  }
+\relative {  c'2 r | R1 | c4 r2. | R1*2  }
diff --git a/input/regression/part-combine-silence.ly b/input/regression/part-combine-silence.ly
index 796242b80f..9f85629689 100644
--- a/input/regression/part-combine-silence.ly
+++ b/input/regression/part-combine-silence.ly
@@ -1,4 +1,4 @@
-\version "2.19.16"
+\version "2.19.21"
 
 \header {
   texidoc = "Rests must begin and end simultaneously to be merged into the shared voice."
@@ -18,14 +18,14 @@
 
 \score {
   \partcombine
-    \relative f' { r4   f2. | r8 f e2. }
-    \relative f' { r8 d f2. | r4   e2. }
+    \relative { r4   f'2. | r8 f e2. }
+    \relative { r8 d' f2. | r4   e2. }
 }
 
 % mmrest and rest of different durations beginning simultaneously
 
 \score {
   \partcombine
-    \relative f' { r4 f2. | R1 }
-    \relative f' { R1     | r4 d2. }
+    \relative { r4 f'2. | R1 }
+    \relative { R1     | r4 d'2. }
 }
diff --git a/input/regression/part-combine-solo-global.ly b/input/regression/part-combine-solo-global.ly
index 1b98aac6ba..73fe2f84f1 100644
--- a/input/regression/part-combine-solo-global.ly
+++ b/input/regression/part-combine-solo-global.ly
@@ -5,14 +5,14 @@
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 \paper { ragged-right = ##t } 
 
 \new Staff
-    \partcombine  \relative c'' {
-	bes2(
+    \partcombine  \relative {
+	bes'2(
 	 a4)
 	}
-     \relative c' {
-	r2 cis4
+     \relative {
+	r2 cis'4
     }
diff --git a/input/regression/part-combine-solo.ly b/input/regression/part-combine-solo.ly
index e29e27b1ba..75803487a2 100644
--- a/input/regression/part-combine-solo.ly
+++ b/input/regression/part-combine-solo.ly
@@ -14,10 +14,10 @@ Solo 1/2 can not be used when a spanner is active, so there is no solo
 "
     }
 
-vone =  \relative a' { d4 r8 d8 d8 r8 d8 r8 d2 ~ 2 ~ 4 }
-vtwo =  \relative g' { g4.   g8 r2          g4 r4 r2  g4 } 
+vone =  \relative { d''4 r8 d8 d8 r8 d8 r8 d2 ~ 2 ~ 4 }
+vtwo =  \relative { g'4.   g8 r2          g4 r4 r2  g4 } 
 
-\version "2.19.2"
+\version "2.19.21"
 
 \paper { ragged-right = ##t } 
 
diff --git a/input/regression/part-combine-strings.ly b/input/regression/part-combine-strings.ly
index 2ab2c0d7e4..7bcb19959c 100644
--- a/input/regression/part-combine-strings.ly
+++ b/input/regression/part-combine-strings.ly
@@ -1,10 +1,10 @@
-\version "2.19.19"
+\version "2.19.21"
 \header {
     texidoc = "Test some transitions that might be found in string parts produced with \\partcombine."
 }
 
-vone =  \relative a' { a2 <a e> | r2 <a e> | r     r | r2 a4 r4 | g2 r | <b g> }
-vtwo =  \relative a' { e2 <e a> | r2 r     | <d g> r | r2 f4 r4 | g2 r | <g d> }
+vone =  \relative { a'2 <a e> | r2 <a e> | r     r | r2 a4 r4 | g2 r | <b g> }
+vtwo =  \relative { e'2 <e a> | r2 r     | <d g> r | r2 f4 r4 | g2 r | <g d> }
 combined = \partcombine \vone \vtwo
 
 % The part combiner does not yet support all of these labels.
diff --git a/input/regression/part-combine-text-wait.ly b/input/regression/part-combine-text-wait.ly
index bb868e430e..7e1ec339c7 100644
--- a/input/regression/part-combine-text-wait.ly
+++ b/input/regression/part-combine-text-wait.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 
 \header {
@@ -15,8 +15,8 @@ mI = \relative c'' {
   g4 \partcombineSoloI r4 c2 |
   \partcombineSoloII R1*2 |
 }
-mII = \relative c' {
-  c4 r2. |
+mII = \relative {
+  c'4 r2. |
   r2 r4 c4 |
   R1 |
 }
diff --git a/input/regression/part-combine-text.ly b/input/regression/part-combine-text.ly
index cfa905f89b..8b65a749b9 100644
--- a/input/regression/part-combine-text.ly
+++ b/input/regression/part-combine-text.ly
@@ -9,12 +9,12 @@ texts accordingly.
     }
 
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout { ragged-right= ##t }
 
-vone =  \relative a' { R1 a2    r4 r a a a a }
-vtwo =  \relative a' { R1 f4 f4 f4 f f f a a  }
+vone =  \relative { R1 a'2    r4 r a a a a }
+vtwo =  \relative { R1 f'4 f4 f4 f f f a a  }
 comm = { s1 s2 s4_\markup { \small "expect: solo 2" }
 	 s4 s2 s4_\markup { \small "expect: a2"  } s4 } 
 \new Staff <<
diff --git a/input/regression/part-combine-tuplet-end.ly b/input/regression/part-combine-tuplet-end.ly
index 0c1c5ce195..ee748443da 100644
--- a/input/regression/part-combine-tuplet-end.ly
+++ b/input/regression/part-combine-tuplet-end.ly
@@ -5,7 +5,7 @@ even after a switch, a tuplet ends correctly."
   
 }
 
-\version "2.17.11"
+\version "2.19.21"
 
 \new Staff <<
   \partcombine
@@ -14,6 +14,6 @@ even after a switch, a tuplet ends correctly."
     \tuplet 3/2 { g8[ g g] }
     \tuplet 3/2 { g[ g g] } g1
   }
-  \relative c'' { R1 g1 }
+  \relative { R1 g'1 }
 >>
 
diff --git a/input/regression/part-combine.ly b/input/regression/part-combine.ly
index 8e896cfbc4..1737eae57a 100644
--- a/input/regression/part-combine.ly
+++ b/input/regression/part-combine.ly
@@ -11,14 +11,14 @@
 
 \layout { ragged-right = ##t }
 
-\version "2.19.2"
+\version "2.19.21"
 
-vone =  \relative a' {
-  g2 g    g  g4 g f' c c( c) c c  c ~ c
+vone =  \relative {
+  g'2 g    g  g4 g f' c c( c) c c  c ~ c
   c2. c4   c
 }
-vtwo =  \relative a' {
-  f2 f4 f f2 g4 g c, f f  f  f f~ f ~ f
+vtwo =  \relative {
+  f'2 f4 f f2 g4 g c, f f  f  f f~ f ~ f
   f4 f2. ~ 4
 }
 
diff --git a/input/regression/pdfmark-metadata.ly b/input/regression/pdfmark-metadata.ly
index c4158ee29a..c88c576328 100644
--- a/input/regression/pdfmark-metadata.ly
+++ b/input/regression/pdfmark-metadata.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "The PDF backend uses several header fields to store metadata
@@ -17,4 +17,4 @@ those without the prefix for PDF creation (not for visual display on the page).
 }
 \layout { ragged-right= ##t }
 
-\relative c' { g4 }
+\relative { g4 }
diff --git a/input/regression/phrasing-slur-multiple.ly b/input/regression/phrasing-slur-multiple.ly
index dbef390cb5..14d163b4cc 100644
--- a/input/regression/phrasing-slur-multiple.ly
+++ b/input/regression/phrasing-slur-multiple.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "already have phrasing slur"))
@@ -16,9 +16,9 @@ sp=#(define-event-function (parser location n e) (index? ly:event?)
      (set! (ly:music-property e 'spanner-id) (format "sp~a" n))
      e)
 
-\relative c'' { 
+\relative { 
   % This will give warnings ("Already have phrasing slur" and "Cannot end phrasing slur")
-  c4\(\(\sp1\( d4\)\(\sp1\( e4\) f\) |
+  c''4\(\(\sp1\( d4\)\(\sp1\( e4\) f\) |
   % This will give two overlapping slurs and "unterminated phrasing slur" from above
   d\(  d\sp2\( e\) f\sp2\) |
   
diff --git a/input/regression/point-and-click-types.ly b/input/regression/point-and-click-types.ly
index 73f143d1c3..aeae9f6a70 100644
--- a/input/regression/point-and-click-types.ly
+++ b/input/regression/point-and-click-types.ly
@@ -1,7 +1,7 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \pointAndClickTypes #'note-event
 
-\relative c' {
-  c2\f( f)
+\relative {
+  c'2\f( f)
 }
\ No newline at end of file
diff --git a/input/regression/prefatory-separation.ly b/input/regression/prefatory-separation.ly
index 7217d4a125..ec6b334436 100644
--- a/input/regression/prefatory-separation.ly
+++ b/input/regression/prefatory-separation.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -11,15 +11,15 @@
 }
 
 \new Staff <<
-  \relative c''' {
+  \relative {
     \key f \major
-    es4 c c c \bar "||" \noBreak
+    es'''4 c c c \bar "||" \noBreak
     \key g \major
     <gis cis,>4 r2. \bar "|."
     } \\
-  \relative c' {
+  \relative {
     R1
-    r4 cis a a
+    r4 cis' a a
   }
 >>
 \layout {
diff --git a/input/regression/property-nested-revert.ly b/input/regression/property-nested-revert.ly
index b8d6558842..897c54c288 100644
--- a/input/regression/property-nested-revert.ly
+++ b/input/regression/property-nested-revert.ly
@@ -6,10 +6,10 @@ Scheme list syntax."
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
-\relative c' {
-  f2 \glissando c
+\relative {
+  f'2 \glissando c
   \override Glissando.bound-details.right.Y = #4
   f2 \glissando c |
   \override Glissando.bound-details.left.Y = #-6
diff --git a/input/regression/property-once.ly b/input/regression/property-once.ly
index 5d5b8f4b57..6434bd9a6b 100644
--- a/input/regression/property-once.ly
+++ b/input/regression/property-once.ly
@@ -1,13 +1,13 @@
 
-\version "2.17.6"
+\version "2.19.21"
 \header {
     texidoc = "Once properties take effect during a single time step only."
 }
 
 \layout { ragged-right = ##t }
 
-\relative c' {
-    c4
+\relative {
+    c'4
     \once \override Stem.thickness = #5.0
     c4
     c4
diff --git a/input/regression/quote-cue-during.ly b/input/regression/quote-cue-during.ly
index 9607f4a839..446c962956 100644
--- a/input/regression/quote-cue-during.ly
+++ b/input/regression/quote-cue-during.ly
@@ -11,17 +11,17 @@ last note."
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 \layout {
   ragged-right = ##t
 }
 
-quoteMe = \relative c' { fis4 r16  a8.-> b4(-\ff~  b16 c8.  b) }
+quoteMe = \relative { fis'4 r16  a8.-> b4(-\ff~  b16 c8.  b) }
 
 \addQuote quoteMe \quoteMe 
 
-original = \relative c'' {
-  c8 d
+original = \relative {
+  c''8 d
   \cueDuring #"quoteMe"  #1 { r2 }
   es8 gis8
   \cueDuring #"quoteMe"  #1 { r4 }
diff --git a/input/regression/quote-cue-event-types.ly b/input/regression/quote-cue-event-types.ly
index 1ae6fcfa5f..c9ee4b5ab9 100644
--- a/input/regression/quote-cue-event-types.ly
+++ b/input/regression/quote-cue-event-types.ly
@@ -11,9 +11,9 @@ quoted for cue notes than for normal quotes.
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
-quoteMe = \relative c' { fis8 r16-. a8.-> \acciaccatura c8 b4(-\ff~  b16 c8. b8) }
+quoteMe = \relative { fis'8 r16-. a8.-> \acciaccatura c8 b4(-\ff~  b16 c8. b8) }
 \addQuote quoteMe \quoteMe
 
 <<
@@ -22,16 +22,16 @@ quoteMe = \relative c' { fis8 r16-. a8.-> \acciaccatura c8 b4(-\ff~  b16 c8. b8)
   }
   \new Staff \with { instrumentName = "quoteDuring" } {
 %     \set Staff.quotedEventTypes = #'(StreamEvent)
-    \relative c' { c8 \quoteDuring "quoteMe" { s8 s4 s2 } }
+    \relative { c'8 \quoteDuring "quoteMe" { s8 s4 s2 } }
   }
   \new Staff \with { instrumentName = "cueDuring" } {
-    \relative c' { c8 \cueDuring "quoteMe" #UP { r8 r4 r2 } }
+    \relative { c'8 \cueDuring "quoteMe" #UP { r8 r4 r2 } }
   }
 >>
 
 <<
   \new Staff \with { instrumentName = "Fallback" } {
     \unset Score.quotedCueEventTypes
-    \relative c' { c8 \cueDuring "quoteMe" #UP { r8 r4 r2 } }
+    \relative { c'8 \cueDuring "quoteMe" #UP { r8 r4 r2 } }
   }
 >>
diff --git a/input/regression/quote-cyclic.ly b/input/regression/quote-cyclic.ly
index afbf309bc0..56a19b0b8a 100644
--- a/input/regression/quote-cyclic.ly
+++ b/input/regression/quote-cyclic.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Two quoted voices may refer to each other. In this
 example, there are notes with each full-bar rest."
 }
 
-A = \relative c' { c4 d e f | \cueDuring #"qB" #1 { R1 } | }
+A = \relative { c'4 d e f | \cueDuring #"qB" #1 { R1 } | }
 B = \new Voice \relative c' { \cueDuring #"qA" #1 { R1 } | f4 e d c | }
 
 \addQuote "qA" \A
diff --git a/input/regression/quote-during-subvoice.ly b/input/regression/quote-during-subvoice.ly
index 8ec1ce676a..ae8c0680ab 100644
--- a/input/regression/quote-during-subvoice.ly
+++ b/input/regression/quote-during-subvoice.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{\\quoteDuring} and @code{\\cueDuring} shall properly quote
@@ -9,8 +9,8 @@ which will be quoted.
 }
 
 % Simple case, normal sub-voice
-quoteMe = \relative c' {
-  c4 c
+quoteMe = \relative {
+  c'4 c
   \new Voice {
     c4 c
   }
@@ -20,22 +20,22 @@ quoteMe = \relative c' {
 \addQuote "quoteMeA" \new Voice \quoteMe
 
 % Also works with voice directly inside relative
-quoteMeI = \relative c' \new Voice {
-  c4 c4
+quoteMeI = \relative \new Voice {
+  c'4 c4
 }
 \addQuote "quoteMeI" \quoteMeI
 
 % Quoting music with some parallel sections (identical rhythm)
-quoteMeII = \relative c' {
-  c4 c
+quoteMeII = \relative {
+  c'4 c
   << { d4 e4 } \\ { c4 b4 } >>
   c4
 }
 \addQuote "quoteMeII" \quoteMeII
 
 % Quoting music with some parallel sections (different rhythm)
-quoteMeIII = \relative c' {
-  c4 c
+quoteMeIII = \relative {
+  c'4 c
   << { d4 e4 } \\ { c4. b8 } >>
   c4
 }
@@ -45,24 +45,24 @@ quoteMeIII = \relative c' {
 
 
 <<
-  \new Staff \relative c'' {
-    c4 \cueDuring #"quoteMe" #DOWN { r4 }
+  \new Staff \relative {
+    c''4 \cueDuring #"quoteMe" #DOWN { r4 }
     c4 \cueDuring #"quoteMe" #DOWN { r4 } % <- no cue note due to sub-voice
   }
-  \new Staff \relative c'' {
-    c4 \cueDuring #"quoteMeA" #DOWN { r4 }
+  \new Staff \relative {
+    c''4 \cueDuring #"quoteMeA" #DOWN { r4 }
     c4 \cueDuring #"quoteMeA" #DOWN { r4 } % <- no cue note due to sub-voice
   }
-  \new Staff \relative c'' {
-    c4 \cueDuring #"quoteMeI" #DOWN { r4 }
+  \new Staff \relative {
+    c''4 \cueDuring #"quoteMeI" #DOWN { r4 }
     c4
   }
-  \new Staff \relative c'' {
-    c4 \cueDuring #"quoteMeII" #DOWN { r4 }
+  \new Staff \relative {
+    c''4 \cueDuring #"quoteMeII" #DOWN { r4 }
     c4 \cueDuring #"quoteMeII" #DOWN { r4 } % <- quoted parallel notes
   }
-  \new Staff \relative c'' {
-    c4 \cueDuring #"quoteMeIII" #DOWN { r4 }
+  \new Staff \relative {
+    c''4 \cueDuring #"quoteMeIII" #DOWN { r4 }
     c4 \cueDuring #"quoteMeIII" #DOWN { r4 } % <- quoted parallel notes
   }
 >>
diff --git a/input/regression/quote-during.ly b/input/regression/quote-during.ly
index b84a83aa52..e270c37e68 100644
--- a/input/regression/quote-during.ly
+++ b/input/regression/quote-during.ly
@@ -8,16 +8,16 @@ quoted. In this example, a 16th rest is not quoted, since
 @code{rest-event} is not in @code{quotedEventTypes}."
 
 }
-\version "2.17.6"
+\version "2.19.21"
 \layout {
     ragged-right = ##t
 }
 
 
-quoteMe = \relative c' { fis4 r16  a8.-> b4-\ff c }
+quoteMe = \relative { fis'4 r16  a8.-> b4-\ff c }
 
 \addQuote quoteMe \quoteMe 
-original = \relative c'' { c8 d s2 es8 gis8 }
+original = \relative { c''8 d s2 es8 gis8 }
 
 <<
     \new Staff {
diff --git a/input/regression/quote-kill-cues.ly b/input/regression/quote-kill-cues.ly
index 4678fe8bda..299ef94c0d 100644
--- a/input/regression/quote-kill-cues.ly
+++ b/input/regression/quote-kill-cues.ly
@@ -1,15 +1,15 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "@code{\\killCues} shall only remove real cue notes generated by
   @code{\\cueDuring}, but not other music quoted using @code{\\quoteDuring}."
 }
 
-mus = \relative c' { c2 c c c c c c c }
+mus = \relative { c'2 c c c c c c c }
 \addQuote #"M" \mus
 
-quot = \relative c' { 
-  d2 \quoteDuring #"M" { s1 } e2 \cueDuring #"M" #UP { s1 } f2
+quot = \relative { 
+  d'2 \quoteDuring #"M" { s1 } e2 \cueDuring #"M" #UP { s1 } f2
 }
 
 \score { <<
diff --git a/input/regression/quote-overrides.ly b/input/regression/quote-overrides.ly
index 4a7c5d22d7..4f6bbe8e07 100644
--- a/input/regression/quote-overrides.ly
+++ b/input/regression/quote-overrides.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "The @code{\\quoteDuring} command shall also quote correctly all
@@ -11,10 +11,10 @@
   @code{'(StreamEvent)}, everything should be quoted."
 }
 
-mus = \relative c' {
+mus = \relative {
   % Acciaccaturas contain a slur and  \override Flag.stroke-style
   % Thus, we're checking \override here
-  c4 \acciaccatura d8 c4
+  c'4 \acciaccatura d8 c4
   % Checking \set and \unset
   \set fontSize = #6 f
   \unset fontSize f |
diff --git a/input/regression/quote-tie.ly b/input/regression/quote-tie.ly
index 27982b12e0..862dfa6204 100644
--- a/input/regression/quote-tie.ly
+++ b/input/regression/quote-tie.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 
 \header {
   texidoc = "Voices from different cues must not be tied together.  In
@@ -10,13 +10,13 @@ since only one @code{CueVoice} context is created
 "
 }
 
-cueI = \relative c'' {
-  a1 ~ | 1 | a |
+cueI = \relative {
+  a'1 ~ | 1 | a |
 }
 \addQuote "cueI" { \cueI }
 
-cueII = \relative c' {
-  R1 | e | a |
+cueII = \relative {
+  R1 | e' | a |
 }
 \addQuote "cueII" { \cueII }
 
diff --git a/input/regression/quote.ly b/input/regression/quote.ly
index aa63a632bd..e884adb3f3 100644
--- a/input/regression/quote.ly
+++ b/input/regression/quote.ly
@@ -7,16 +7,16 @@ things are quoted. In this example, a 16th rest is not quoted, since
 @code{rest-event} is not in @code{quotedEventTypes}."
 
 }
-\version "2.17.6"
+\version "2.19.21"
 \layout {
     ragged-right = ##t
 }
 
 
-quoteMe = \relative c' { fis4 r16  a8.-> b4-\ff c }
+quoteMe = \relative { fis'4 r16  a8.-> b4-\ff c }
 
 \addQuote quoteMe \quoteMe 
-original = \relative c'' { c8 d s2 es8 gis8 }
+original = \relative { c''8 d s2 es8 gis8 }
 
 <<
     \new Staff {
diff --git a/input/regression/rehearsal-mark-align-staff-context.ly b/input/regression/rehearsal-mark-align-staff-context.ly
index 6472c57a51..7a80eff5a7 100644
--- a/input/regression/rehearsal-mark-align-staff-context.ly
+++ b/input/regression/rehearsal-mark-align-staff-context.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "RehearsalMarks still align correctly if Mark_engraver is moved to
@@ -16,8 +16,8 @@ another context."
   }
 }
 
-\relative c' {
-  c1 \mark "foo"
+\relative {
+  c'1 \mark "foo"
   c1
   \key cis \major
   \clef alto
diff --git a/input/regression/rehearsal-mark-align.ly b/input/regression/rehearsal-mark-align.ly
index a684113ab7..67ef656ecf 100644
--- a/input/regression/rehearsal-mark-align.ly
+++ b/input/regression/rehearsal-mark-align.ly
@@ -7,10 +7,10 @@
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
   
-\relative c' {
-  c1 \mark "foo"
+\relative {
+  c'1 \mark "foo"
   c1
   \key cis \major
   \clef alto
diff --git a/input/regression/rehearsal-mark-final-score.ly b/input/regression/rehearsal-mark-final-score.ly
index ee0b3ed2d7..34f2df1bf9 100644
--- a/input/regression/rehearsal-mark-final-score.ly
+++ b/input/regression/rehearsal-mark-final-score.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Rehearsal marks at the end of the last measure of a
@@ -6,7 +6,7 @@ score are automatically made visible.
 "
 }
 
-\relative c' {
-  c1
+\relative {
+  c'1
   \mark "Final Mark"
 }
diff --git a/input/regression/rehearsal-mark-letter.ly b/input/regression/rehearsal-mark-letter.ly
index 979f43e478..6525668aca 100644
--- a/input/regression/rehearsal-mark-letter.ly
+++ b/input/regression/rehearsal-mark-letter.ly
@@ -8,11 +8,11 @@ after Z, double letters are used.  The mark may be set with
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 \paper { ragged-right = ##t } 
 
-\relative c'' {
-  c1  \mark \default
+\relative {
+  c''1  \mark \default
   c1  \mark #7
   c1  \mark \default
   c1  \mark \default
diff --git a/input/regression/relative-repeat.ly b/input/regression/relative-repeat.ly
index 0fb40e07b4..5b2c084bdd 100644
--- a/input/regression/relative-repeat.ly
+++ b/input/regression/relative-repeat.ly
@@ -4,15 +4,15 @@ different result from writing the notes out in full.  The first
 system has all the notes within the stave.  In the second, the
 notes get progressively higher."
   }
-\version "2.16.0"
+\version "2.19.21"
 
-\relative c' {
-  c'1^"Using unfold"
+\relative {
+  c''1^"Using unfold"
   \repeat unfold 3 { f,2^"Repeated" bes2 }
   \alternative { { a2_"Alt1" c } { e_"Alt2" c } { b_"Alt3" d } }
 }
 
-\relative c' {
-  c'1^"The same notes, written out"
+\relative {
+  c''1^"The same notes, written out"
   f,2 bes2 a2 c f2 bes2 e c f2 bes2 b d
 }
diff --git a/input/regression/remove-empty-staves-auto-knee.ly b/input/regression/remove-empty-staves-auto-knee.ly
index 285bc85076..ccd863865b 100644
--- a/input/regression/remove-empty-staves-auto-knee.ly
+++ b/input/regression/remove-empty-staves-auto-knee.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -11,8 +11,8 @@ should be between the two staves.
 staffMusic = \new StaffGroup {
   <<
     \new Staff = "rh" {
-      \relative c' {
-        c1 \break
+      \relative {
+        c'1 \break
         c1 \break
         c8[ c c c
         \change Staff = "lh"
@@ -22,7 +22,7 @@ staffMusic = \new StaffGroup {
       }
     }
     \new Staff = "lh" {
-      \relative c {
+      \relative {
         \clef bass
         c1
         R1
diff --git a/input/regression/repeat-sign.ly b/input/regression/repeat-sign.ly
index dfe00bfc55..c684d1805a 100644
--- a/input/regression/repeat-sign.ly
+++ b/input/regression/repeat-sign.ly
@@ -1,11 +1,11 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "The two dots of a repeat sign should be symmetric
 to the staff centre and avoid staff lines even for exotic staves."
 }
 
 
-mus = \context Voice { \relative f' { d e f g \bar ":|." } }
+mus = \context Voice { \relative { d' e f g \bar ":|." } }
 
 \new Staff {
   <<
diff --git a/input/regression/repeat-tie.ly b/input/regression/repeat-tie.ly
index ae6e4bc46a..29907912ad 100644
--- a/input/regression/repeat-tie.ly
+++ b/input/regression/repeat-tie.ly
@@ -5,12 +5,12 @@ note head."
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 \paper {
   ragged-right = ##t
 }
 
-\relative c'' {
-  r4 c4\repeatTie r <c d f  g> \repeatTie
+\relative {
+  r4 c''4\repeatTie r <c d f  g> \repeatTie
 
 } 
diff --git a/input/regression/repeat-tremolo-chord-rep.ly b/input/regression/repeat-tremolo-chord-rep.ly
index be148bf4dd..aba8a4f9f3 100644
--- a/input/regression/repeat-tremolo-chord-rep.ly
+++ b/input/regression/repeat-tremolo-chord-rep.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Tremolos work with chord repetitions."
 }
 
-\relative c' {
-  <c e g>1
+\relative {
+  <c' e g>1
   \repeat tremolo 4 q16
   \repeat tremolo 4 { q16 }
   \repeat tremolo 4 { c16 q16 }
diff --git a/input/regression/repeat-tremolo-dots.ly b/input/regression/repeat-tremolo-dots.ly
index ccf16e612d..b2fe61da27 100644
--- a/input/regression/repeat-tremolo-dots.ly
+++ b/input/regression/repeat-tremolo-dots.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Dots are added to tremolo notes if the durations involved require them."
 }
 
 \paper{ ragged-right = ##t }
-\score { \relative c' {
-        c8 \repeat "tremolo" 14 { c32 a32 } |
+\score { \relative {
+        c'8 \repeat "tremolo" 14 { c32 a32 } |
   }
 }
diff --git a/input/regression/repeat-unfold-all.ly b/input/regression/repeat-unfold-all.ly
index dc8a79c279..0d047b6304 100644
--- a/input/regression/repeat-unfold-all.ly
+++ b/input/regression/repeat-unfold-all.ly
@@ -1,12 +1,12 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header { texidoc = "Volta repeats may be unfolded through the music
     function @code{\\unfoldRepeats}."
 
 }
 
-nots = \relative c'   {
-    c4 \repeat volta 2 c4 \alternative { d e  }
+nots = \relative   {
+    c'4 \repeat volta 2 c4 \alternative { d e  }
 }
 \layout {ragged-right = ##t} 
 
diff --git a/input/regression/repeat-volta-segno.ly b/input/regression/repeat-volta-segno.ly
index a03a95f144..9a81cafc61 100644
--- a/input/regression/repeat-volta-segno.ly
+++ b/input/regression/repeat-volta-segno.ly
@@ -1,4 +1,4 @@
-\version "2.18.0"
+\version "2.19.21"
 
 \header {
   texidoc="
@@ -8,8 +8,8 @@
 "
 }
 
-\relative c' {
-  c1
+\relative {
+  c'1
   \inStaffSegno
   c2^"no repeat" c c c
   \repeat volta 2 {
diff --git a/input/regression/rest-collision-beam-note.ly b/input/regression/rest-collision-beam-note.ly
index 9980affc9d..1833ec0b45 100644
--- a/input/regression/rest-collision-beam-note.ly
+++ b/input/regression/rest-collision-beam-note.ly
@@ -6,12 +6,12 @@ collisions can be combined."
 
 }
 
-\version "2.17.15"
+\version "2.19.21"
 
 \layout { ragged-right=##t }
 
-\new Staff \relative c'
+\new Staff \relative
 <<
-  {  s8 f4 } \\
+  {  s8 f'4 } \\
   {  <f, a>8[ r <a d>] }
 >>
diff --git a/input/regression/rest-collision-beam-quantized.ly b/input/regression/rest-collision-beam-quantized.ly
index a73fb5bded..0d15d63ea0 100644
--- a/input/regression/rest-collision-beam-quantized.ly
+++ b/input/regression/rest-collision-beam-quantized.ly
@@ -6,9 +6,9 @@
   ragged-right = ##t
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
-fig =   \relative c' {
+fig =   \relative {
   <a c e>8[
     r <c e a> r <e a c> r <a c e>]
     r |
diff --git a/input/regression/rest-collision-note-duration.ly b/input/regression/rest-collision-note-duration.ly
index 701b55e785..9c3869427c 100644
--- a/input/regression/rest-collision-note-duration.ly
+++ b/input/regression/rest-collision-note-duration.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header { texidoc =
 "Vertical rest positions in a multi-voice staff should obey the duration of
@@ -6,7 +6,7 @@ notes; this is, they shouldn't return to a default position too early.
 "
 }
 
-\relative c' {
+\relative {
   << { g'1  g2 } \\
      { \repeat unfold 2 {r8 d4 d8 r d4 d8} } >>
 }
diff --git a/input/regression/rest-collision.ly b/input/regression/rest-collision.ly
index 0383cccad2..3b7862520c 100644
--- a/input/regression/rest-collision.ly
+++ b/input/regression/rest-collision.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header{
   texidoc="
 Rests should not collide with beams, stems and noteheads.  Rests may
@@ -12,16 +12,16 @@ cases.
 
 \layout { ragged-right = ##t }
 
-scale =  \relative c' {
-  c8 d e f g a b c c d e f g a b c
+scale =  \relative {
+  c'8 d e f g a b c c d e f g a b c
 
 }
 rests =              {
   r r r  r r r r r r r r r r r r r
 } 
 different = <<  {
-  \relative c'' {
-    r8 a e4 a e
+  \relative {
+    r8 a' e4 a e
   }
 }\\ {
   
diff --git a/input/regression/rest-note-collision.ly b/input/regression/rest-note-collision.ly
index 3ba512e34b..33c81df9e4 100644
--- a/input/regression/rest-note-collision.ly
+++ b/input/regression/rest-note-collision.ly
@@ -7,12 +7,12 @@
 	}
 
 
-\version "2.18.0"
+\version "2.19.21"
 
 music = {
   <<
-    \relative c'' {
-      f e d c b a g f e d c
+    \relative {
+      f'' e d c b a g f e d c
     }
     \\
     {
@@ -24,8 +24,8 @@ music = {
       r4 r r r r r r r r r r
     }
     \\
-    \relative c'' {
-      f e d c b a g f e d c
+    \relative {
+      f'' e d c b a g f e d c
     }
   >>
 }
diff --git a/input/regression/rest-pitch.ly b/input/regression/rest-pitch.ly
index c5ce21c008..73529660d2 100644
--- a/input/regression/rest-pitch.ly
+++ b/input/regression/rest-pitch.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
   texidoc = "Rests can have pitches -- these will be affected by
@@ -9,9 +9,9 @@ beam/@/rest collision resolving will leave it alone."
 
 \layout { ragged-right= ##t }
 
-\relative c'' 
+\relative 
 {
-  a4\rest b4\rest c4\rest
+  a'4\rest b4\rest c4\rest
 
   <<d \\  d\rest^"rest pitch" >>
   <<d \\  r>>
diff --git a/input/regression/rest-polyphonic-2.ly b/input/regression/rest-polyphonic-2.ly
index 67bb07ab11..7531119a18 100644
--- a/input/regression/rest-polyphonic-2.ly
+++ b/input/regression/rest-polyphonic-2.ly
@@ -7,13 +7,13 @@ is suppressed if the rest has a pitch."
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \new Staff <<
-  \relative c''' { g8 g g r r2 } \\
-  \relative c' { a4\rest c r2 } \\
-  \relative c'' { c4 c f2\rest } \\
-  \relative c'' { r2 g }
+  \relative { g''8 g g r r2 } \\
+  \relative { a4\rest c r2 } \\
+  \relative { c''4 c f2\rest } \\
+  \relative { r2 g' }
 >>
 
 
diff --git a/input/regression/rest-polyphonic.ly b/input/regression/rest-polyphonic.ly
index 4dca1efc9a..aeae89b07b 100644
--- a/input/regression/rest-polyphonic.ly
+++ b/input/regression/rest-polyphonic.ly
@@ -9,10 +9,10 @@ The amount in @code{staff-position}s is set by @code{voiced-position}."
 \layout { ragged-right = ##t }
 
 
-\version "2.16.0"
+\version "2.19.21"
 
 
-\new Staff  \relative c' {
+\new Staff  \relative {
   << { r8 g''4 g8       r g4 g8 } \\
      { d,4    r \stemUp b   r   } >>
  \override Staff.Rest.voiced-position = 2
diff --git a/input/regression/scheme-engraver-instance.ly b/input/regression/scheme-engraver-instance.ly
index 717549b838..35d9e8a4a0 100644
--- a/input/regression/scheme-engraver-instance.ly
+++ b/input/regression/scheme-engraver-instance.ly
@@ -8,7 +8,7 @@
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout {
   \context {
@@ -31,6 +31,6 @@
 }
 
 <<
-  \relative c'' { c4 d e f }
-  \\ \relative c' { c4 d e f }
+  \relative { c''4 d e f }
+  \\ \relative { c'4 d e f }
 >>
diff --git a/input/regression/scheme-engraver.ly b/input/regression/scheme-engraver.ly
index 177e10a701..0f31685f91 100644
--- a/input/regression/scheme-engraver.ly
+++ b/input/regression/scheme-engraver.ly
@@ -5,7 +5,7 @@
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 #(define (t->m t)
    "Return the current moment of translator object @var{t}."
@@ -48,6 +48,6 @@ engraver_demo =
   }
 }
 
-\relative c' {
-  c8[ r c]
+\relative {
+  c'8[ r c]
 }
diff --git a/input/regression/scheme-text-spanner.ly b/input/regression/scheme-text-spanner.ly
index 2fc7949e29..d89a959149 100644
--- a/input/regression/scheme-text-spanner.ly
+++ b/input/regression/scheme-text-spanner.ly
@@ -1,4 +1,4 @@
-\version "2.19.12"
+\version "2.19.21"
 
 \header {
   texidoc = "Use @code{define-event-class}, scheme engraver methods,
@@ -185,7 +185,7 @@ schemeTextSpannerEnd =
   }
 }
 
-\relative c' {
+\relative {
   a4 b\schemeTextSpannerStart c d |
   \repeat unfold 20 { a4 b c d | }
   a4 b c\schemeTextSpannerEnd d |
diff --git a/input/regression/score-text.ly b/input/regression/score-text.ly
index 05b8ec1769..c482bd7a6a 100644
--- a/input/regression/score-text.ly
+++ b/input/regression/score-text.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -17,7 +17,7 @@
     }
     \score {
 	<<
-	    \relative c {
+	    \relative {
 		\clef bass
 		d2 d c4 bes a2 \break
 		c2 c d4 f g2
diff --git a/input/regression/script-collision.ly b/input/regression/script-collision.ly
index 32e7d211c5..bde9783afb 100644
--- a/input/regression/script-collision.ly
+++ b/input/regression/script-collision.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -9,8 +9,8 @@
 \layout { ragged-right = ##t}
 
 
-\relative c'' {
-  c4
+\relative {
+  c''4
   <c d c'>\marcato
   <<  { c4^^ }\\
       { d4_^ } >>
diff --git a/input/regression/script-shift-staccato.ly b/input/regression/script-shift-staccato.ly
index fc29dd75ad..f5ac2d815a 100644
--- a/input/regression/script-shift-staccato.ly
+++ b/input/regression/script-shift-staccato.ly
@@ -12,12 +12,12 @@ centered on the note head, @code{1.0} means centered on the stem.)
 "
 }
 
-\version "2.19.16"
+\version "2.19.21"
 
-\relative c''
+\relative
 {
   % default
-  a4^. c_.
+  a'4^. c_.
   a^.^- c_._-
 
   \override Script.toward-stem-shift-in-column = 1.0
diff --git a/input/regression/script-stack-order.ly b/input/regression/script-stack-order.ly
index 25dff724b2..3b7cd25834 100644
--- a/input/regression/script-stack-order.ly
+++ b/input/regression/script-stack-order.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Scripts can be stacked. The order is determined by a
 priority field, but when objects have the same priority, the input
@@ -9,7 +9,7 @@ order determines the order. Objects specified first are closest to the note.
 
 \layout { ragged-right = ##t}
 
-\relative c'' {
-  c4^"up 1"^"up 2"^"up 3"_"down 1"_"down 2"_"down 3" c c c
+\relative {
+  c''4^"up 1"^"up 2"^"up 3"_"down 1"_"down 2"_"down 3" c c c
   c4^"1"^"2"\turn  c\turn ^"1"^"2" c c
 }
diff --git a/input/regression/script-tie-collision.ly b/input/regression/script-tie-collision.ly
index d85942e1af..bac3cf6703 100644
--- a/input/regression/script-tie-collision.ly
+++ b/input/regression/script-tie-collision.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 
 \header {
   texidoc = "Scripts avoid ties.
@@ -10,8 +10,8 @@
 % This regtest tries to confuse it with various configurations
 % Of notes with and without ties, with multiple scripts, etc..
 
-\relative c''' {
-  r2. c4~-> | c-> r2. |
+\relative {
+  r2. c'''4~-> | c-> r2. |
   r2. c4-> | c-> r2. |
   r2. c4~-> | c r2. |
   r2. c4~ | 4-> r2. | \break
diff --git a/input/regression/semi-tie-cross-staff.ly b/input/regression/semi-tie-cross-staff.ly
index 68d72f5852..d0fb9baae5 100644
--- a/input/regression/semi-tie-cross-staff.ly
+++ b/input/regression/semi-tie-cross-staff.ly
@@ -1,4 +1,4 @@
-\version "2.17.18"
+\version "2.19.21"
 
 \header {
   texidoc = "Cross-staff @code{RepeatTie} and @code{LaissezVibrerTie}
@@ -7,8 +7,8 @@ do not trigger programming errors for circular dependencies in direction.
 }
 
 <<
-  \new Staff = "up" \relative c' {
-    f8
+  \new Staff = "up" \relative {
+    f'8
     \change Staff = "down"
     c\laissezVibrer eeses
     \change Staff = "up"
diff --git a/input/regression/shape-other-curves.ly b/input/regression/shape-other-curves.ly
index c76991235c..2009fe0b23 100644
--- a/input/regression/shape-other-curves.ly
+++ b/input/regression/shape-other-curves.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "In addition to @code{Slur}, the music function @code{\\shape} works
@@ -12,9 +12,9 @@ function."
   ragged-right = ##t
 }
 
-\relative c'' {
+\relative {
   % PhrasingSlur
-  d4\( d' b g g,8 f' e d c2\)
+  d''4\( d' b g g,8 f' e d c2\)
   \override PhrasingSlur.color = #blue
   \shape #'((0 . -2) (-1 . 3.5) (0.5 . 0.5) (0 . -2.5)) PhrasingSlur
   d4\( d' b g g,8 f' e d c2\)
diff --git a/input/regression/shape-slurs.ly b/input/regression/shape-slurs.ly
index 3427965c34..dd5ae87c0e 100644
--- a/input/regression/shape-slurs.ly
+++ b/input/regression/shape-slurs.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "The control points of a broken or unbroken slur may be offset by
@@ -11,8 +11,8 @@
 }
 
 % unmodified
-\relative c'' {
-  d4( d' b g
+\relative {
+  d''4( d' b g
   g,8 f' e d c2)
   d4( d' b g
   \break
diff --git a/input/regression/shorthands.ly b/input/regression/shorthands.ly
index e1a7af5934..2487dfa54d 100644
--- a/input/regression/shorthands.ly
+++ b/input/regression/shorthands.ly
@@ -1,4 +1,4 @@
-\version "2.17.25"
+\version "2.19.21"
 
 \header {
 
@@ -19,8 +19,8 @@ replacing @code{(} and @code{)} with melismata commands which are
 ")" = \melismaEnd
 
 \new Staff <<
-  \relative c' {
-    c8 \{ d e f \} % slurred
+  \relative {
+    c'8 \{ d e f \} % slurred
     g ( a b c ) % no slur, but with melisma
     c,1 \bar "|."
    }
diff --git a/input/regression/skip-of-length.ly b/input/regression/skip-of-length.ly
index 57e6d1a830..ea644ebb79 100644
--- a/input/regression/skip-of-length.ly
+++ b/input/regression/skip-of-length.ly
@@ -7,12 +7,12 @@ last as long as their arguments."
   ragged-right = ##T
 }
 
-\version "2.17.15"
+\version "2.19.21"
 
-\relative c'
+\relative
 <<
   \new Staff {
-    c\breve    f4 r2.
+    c'\breve    f4 r2.
     c\breve    f4 r2.
     s\breve^"skip"
   }
diff --git a/input/regression/skiptypesetting-bar-check.ly b/input/regression/skiptypesetting-bar-check.ly
index 2503b72e4a..ec467da75a 100644
--- a/input/regression/skiptypesetting-bar-check.ly
+++ b/input/regression/skiptypesetting-bar-check.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (ly:translate-cpp-warning-scheme "barcheck failed at: %s") "3/4")
 
@@ -8,8 +8,8 @@ texidoc = "skipTypesetting doesn't affect bar checks."
 
 }
 
-\relative c' {
-  c4
+\relative {
+  c'4
   \set Score.skipTypesetting = ##t
   c4 c4
   |
diff --git a/input/regression/slur-broken-trend.ly b/input/regression/slur-broken-trend.ly
index 185cd24159..78e0d1d46f 100644
--- a/input/regression/slur-broken-trend.ly
+++ b/input/regression/slur-broken-trend.ly
@@ -1,5 +1,5 @@
 
-\version "2.19.2"
+\version "2.19.21"
 
 \header{
 texidoc="
@@ -35,14 +35,14 @@ in unbroken state.
     <bis f' b>) s2..\break
     \stemNeutral
 
-    \new Voice \relative c' {
-	c'8[( c c c] g2 ~ | \break
+    \new Voice \relative {
+	c''8[( c c c] g2 ~ | \break
 	g1) | \break
 	\slurDown c8[( c] g4 ~ 2 ~ | \break
 	g2 ~ 2)
     }
-    \relative c'' {
-	a4( c b4 e, ~ | \break
+    \relative {
+	a'4( c b4 e, ~ | \break
 	e1 ~ | 1)
     }
     
diff --git a/input/regression/slur-cross-staff-beam.ly b/input/regression/slur-cross-staff-beam.ly
index 834696a5be..342ddf5873 100644
--- a/input/regression/slur-cross-staff-beam.ly
+++ b/input/regression/slur-cross-staff-beam.ly
@@ -1,4 +1,4 @@
-\version "2.17.25"
+\version "2.19.21"
 
 \header {
   texidoc = "Slurs that depend on a cross-staff beam are not calculated until
@@ -8,7 +8,7 @@ after line-breaking, and after inside-going articulations have been placed."
 \paper { ragged-right=##t }
 \score {
     \new PianoStaff <<
-    \context Staff = rh \relative c'' { c8([ d) \change Staff = lh c,] r
+    \context Staff = rh \relative { c''8([ d) \change Staff = lh c,] r
     \stemDown f'8 \change Staff = rh f_( \change Staff = lh f_\marcato f)}
     \context Staff = lh { s1 }
     >>
diff --git a/input/regression/slur-dot-collision.ly b/input/regression/slur-dot-collision.ly
index b3fc822159..0bcc63669d 100644
--- a/input/regression/slur-dot-collision.ly
+++ b/input/regression/slur-dot-collision.ly
@@ -1,8 +1,8 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Slurs avoid dots.
 "
 }
 
-\relative c''' { e16. ( e,,32 ) }
\ No newline at end of file
+\relative { e'''16. ( e,,32 ) }
\ No newline at end of file
diff --git a/input/regression/slur-dots.ly b/input/regression/slur-dots.ly
index 50f6c00ce9..a8a05792d4 100644
--- a/input/regression/slur-dots.ly
+++ b/input/regression/slur-dots.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header{
   texidoc="Slurs should not get confused by augmentation dots.  With a lot
 of dots, the problems becomes more visible."
@@ -9,8 +9,8 @@ of dots, the problems becomes more visible."
   ragged-right = ##t
 }
 
-\relative c'' {
-  c4.............( c)
+\relative {
+  c''4.............( c)
 }
 
 
diff --git a/input/regression/slur-dynamics.ly b/input/regression/slur-dynamics.ly
index a3739a48b3..54cbfafb35 100644
--- a/input/regression/slur-dynamics.ly
+++ b/input/regression/slur-dynamics.ly
@@ -4,12 +4,12 @@
   texidoc = "Dynamics avoid collision with slur."
 }
 
-\version "2.17.15"
+\version "2.19.21"
 \layout {
   indent = 0\mm
   ragged-right = ##t
 }
-\relative c'
+\relative
 {
   b( b f'\p b,)
 
diff --git a/input/regression/slur-grace.ly b/input/regression/slur-grace.ly
index b08dcd1c0f..d998e25ad0 100644
--- a/input/regression/slur-grace.ly
+++ b/input/regression/slur-grace.ly
@@ -1,12 +1,12 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Appoggiatura and acciaccaturas use a different slur than the
 default, so they produce a nested slur without warnings."
 }
 
-\relative c'' {
-  c4( \acciaccatura e8 d4 e4 f) |
+\relative {
+  c''4( \acciaccatura e8 d4 e4 f) |
   c4( \appoggiatura e8 d4 e4 f) |
   c4  \appoggiatura e8 d4 e4 f |
 }
diff --git a/input/regression/slur-height-capping.ly b/input/regression/slur-height-capping.ly
index 0d9a6a8611..00130a92e2 100644
--- a/input/regression/slur-height-capping.ly
+++ b/input/regression/slur-height-capping.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Slur shaping is not adapted to accommodate objects
@@ -8,7 +8,7 @@ the edges are not, however, ignored in the slur scoring.
 "
 }
 
-\relative c {
+\relative {
   \clef bass
   c8( d' a d c, d' a d)
   c,8( des' as des c, des' as des) |
diff --git a/input/regression/slur-multiple-linebreak.ly b/input/regression/slur-multiple-linebreak.ly
index 3f863ccda1..206f488244 100644
--- a/input/regression/slur-multiple-linebreak.ly
+++ b/input/regression/slur-multiple-linebreak.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "already have slur"))
@@ -10,16 +10,16 @@
 
 \paper { ragged-right = ##t }
 
-\relative c' {
+\relative {
   \key fis \major
-  c1(
+  c'1(
   \break
   a2 b4 c)
 }
 
-\relative c' {
+\relative {
   \key fis \major
-  c1(
+  c'1(
   \break
   a2( b4 c)
 %   ^ extra SlurEvent
diff --git a/input/regression/slur-multiple.ly b/input/regression/slur-multiple.ly
index 1b2bec4d01..9662494bb1 100644
--- a/input/regression/slur-multiple.ly
+++ b/input/regression/slur-multiple.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "already have slur"))
@@ -16,9 +16,9 @@ sp=#(define-event-function (parser location n e) (index? ly:event?)
      (set! (ly:music-property e 'spanner-id) (format "sp~a" n))
      e)
 
-\relative c'' { 
+\relative { 
   % This will give warnings ("Already have slur" and "Cannot end slur")
-  c4((\sp1( d4)(\sp1( e4) f) |
+  c''4((\sp1( d4)(\sp1( e4) f) |
   % This will give two overlapping slurs and "unterminated slur" from above
   d(  d\sp2( e) f\sp2) |
   
diff --git a/input/regression/slur-rest.ly b/input/regression/slur-rest.ly
index 37762861d6..b647899b9b 100644
--- a/input/regression/slur-rest.ly
+++ b/input/regression/slur-rest.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header
 {
   texidoc ="Slurs may be placed over rests. The slur will avoid
@@ -11,9 +11,9 @@ colliding with the rests.
 \layout { ragged-right = ##t }
 { \stemDown c'4 ( r4  c'2)
 
-  \relative c'' { 
+  \relative { 
     %% Finish with F if played separately 
-    c8-.(   r c,-. r  c4) r4|
+    c''8-.(   r c,-. r  c4) r4|
   }
   
 }
diff --git a/input/regression/slur-script.ly b/input/regression/slur-script.ly
index 8ba9e19b80..2047c50c6f 100644
--- a/input/regression/slur-script.ly
+++ b/input/regression/slur-script.ly
@@ -6,12 +6,12 @@
     slur responds appropriately if a script is moved."
 }
 
-\version "2.17.15"
+\version "2.19.21"
 \layout {
   indent = 0\mm
   ragged-right = ##t
 }
-\relative c'
+\relative
 {
   b4-.( b-.)
   \once \override Script.padding = #1.5
diff --git a/input/regression/slur-shift-region.ly b/input/regression/slur-shift-region.ly
index 8a43894cd5..59c42df103 100644
--- a/input/regression/slur-shift-region.ly
+++ b/input/regression/slur-shift-region.ly
@@ -1,10 +1,10 @@
-\version "2.17.11"
+\version "2.19.21"
 
 \header {
   texidoc = "A slur's shift region is automatically made
 higher to accommodate extra encompass elements."
 }
 
-\relative c' {
-  c'2( \tuplet 3/2 { g4 e c) }
+\relative {
+  c''2( \tuplet 3/2 { g4 e c) }
 }
diff --git a/input/regression/slur-tie-control-points.ly b/input/regression/slur-tie-control-points.ly
index 5aa59a0f1d..b43f51343d 100644
--- a/input/regression/slur-tie-control-points.ly
+++ b/input/regression/slur-tie-control-points.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Slurs and ties should never share extremal control points.
@@ -6,6 +6,6 @@
 }
 \paper { ragged-right = ##f }
 
-\relative c'' {
-  c1~( c2 g)
+\relative {
+  c''1~( c2 g)
 }
diff --git a/input/regression/slur-tilt.ly b/input/regression/slur-tilt.ly
index bf7d668a49..1849d20cf7 100644
--- a/input/regression/slur-tilt.ly
+++ b/input/regression/slur-tilt.ly
@@ -8,11 +8,11 @@ point into one note head, and point over another note head."
 \layout {
     ragged-right = ##t
 }
-\version "2.16.0"
+\version "2.19.21"
 
-\relative c'' {
+\relative {
     \time 2/4
-    g8( f)
+    g'8( f)
     a( f)
     b( f)
     c'( f,)
diff --git a/input/regression/slur-vertical-skylines.ly b/input/regression/slur-vertical-skylines.ly
index 2e808b8573..15280d259e 100644
--- a/input/regression/slur-vertical-skylines.ly
+++ b/input/regression/slur-vertical-skylines.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Slurs do not force grobs with outside-staff-priority
@@ -6,8 +6,8 @@ too high.
 "
 }
 
-\relative c' {
-  f8^"rit"( c' f c' f) r8 r4 |
+\relative {
+  f'8^"rit"( c' f c' f) r8 r4 |
   c2( c,2 |
   g1)~\startTrillSpan
   g1\stopTrillSpan
diff --git a/input/regression/song-basic-nonenglish.ly b/input/regression/song-basic-nonenglish.ly
index 3a53832b5f..31f2c9bd3a 100644
--- a/input/regression/song-basic-nonenglish.ly
+++ b/input/regression/song-basic-nonenglish.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 non-english syllabels.
@@ -8,7 +8,7 @@ non-english syllabels.
 
 \festivalsyl #"song-basic-nonenglish.xml" { \tempo 4 = 100 }
 {
-\relative c' { c e g r }
+\relative { c' e g r }
 \addlyrics { ov -- čá -- ci }
 }
 #(ly:progress "song-basic-nonenglish")
diff --git a/input/regression/song-basic.ly b/input/regression/song-basic.ly
index ae0c40d122..35815bbff5 100644
--- a/input/regression/song-basic.ly
+++ b/input/regression/song-basic.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 basic songs.
@@ -9,7 +9,7 @@ basic songs.
 \festival #"song-basic.xml" { \tempo 4 = 100 }
 {
 \time 3/4
-\relative c' { c2 r2 e4 g2. }
+\relative { c'2 r2 e4 g2. }
 \addlyrics { play the game }
 }
 #(ly:progress "song-basic")
diff --git a/input/regression/song-breathe.ly b/input/regression/song-breathe.ly
index 72dfb8eb7c..18d8dca87f 100644
--- a/input/regression/song-breathe.ly
+++ b/input/regression/song-breathe.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 breath marks.
@@ -9,7 +9,7 @@ breath marks.
 \festival #"song-breathe.xml" { \tempo 4 = 100 }
 {
 \time 3/4
-\relative c' { c2 e \breathe g }
+\relative { c'2 e \breathe g }
 \addlyrics { play the game }
 }
 #(ly:progress "song-breathe")
diff --git a/input/regression/song-melisma.ly b/input/regression/song-melisma.ly
index 00949e9f36..cc9afcbaca 100644
--- a/input/regression/song-melisma.ly
+++ b/input/regression/song-melisma.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 melismas.
@@ -7,12 +7,12 @@ melismas.
 \include "festival.ly"
 
 \festival #"song-melisma.xml" { \tempo 4 = 100 }
-\relative c''
+\relative
 {
 <<
   \context Voice = "lala" {
     \time 3/4
-    f4 g8
+    f''4 g8
     \melisma
     f e f
     \melismaEnd
diff --git a/input/regression/song-repetition.ly b/input/regression/song-repetition.ly
index 3a8a9f718b..5b0412880c 100644
--- a/input/regression/song-repetition.ly
+++ b/input/regression/song-repetition.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 repeat signs.
@@ -9,8 +9,8 @@ repeat signs.
 \score{
 \festival #"song-repetition.xml" { \tempo 4 = 100 }
 <<
-  \context Voice = melody \relative c' {
-    c2 e4 r4 | g2 e | c1 |
+  \context Voice = melody \relative {
+    c'2 e4 r4 | g2 e | c1 |
     \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
     a2 b | c1}
   \context Lyrics = mainlyrics \lyricsto melody  {
diff --git a/input/regression/song-skip-noword.ly b/input/regression/song-skip-noword.ly
index 9fcbbbf03f..0fb6da3f0b 100644
--- a/input/regression/song-skip-noword.ly
+++ b/input/regression/song-skip-noword.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Festival song synthesis output supports
 lyrics which are not complete words.
@@ -8,7 +8,7 @@ lyrics which are not complete words.
 #(*skip-word* #f)
 
 \festival #"song-skip-noword.xml" { \tempo 4 = 100 }
-\relative c' { c4 c g' }
+\relative { c'4 c g' }
 \addlyrics {
   twin -- \skip 4
   kle
diff --git a/input/regression/song-skip.ly b/input/regression/song-skip.ly
index 351113393c..a2c6d7024d 100644
--- a/input/regression/song-skip.ly
+++ b/input/regression/song-skip.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 skips.
@@ -7,7 +7,7 @@ skips.
 \include "festival.ly"
 
 \festival #"song-skip.xml" { \tempo 4 = 100 }
-\relative c' { c c g' }
+\relative { c' c g' }
 \addlyrics {
   twin -- \skip 4
   kle
diff --git a/input/regression/song-splitpart.ly b/input/regression/song-splitpart.ly
index ee4ef160a5..6524f4bc26 100644
--- a/input/regression/song-splitpart.ly
+++ b/input/regression/song-splitpart.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 divided voices.
@@ -10,8 +10,8 @@ divided voices.
 \festival #"song-splitpart.xml" { \tempo 4 = 100 }
 <<
   \context Voice = "melody" {
-    \relative c' {
-      c4
+    \relative {
+      c'4
       <<
         { \voiceOne c8 e }
         \context Voice = splitpart { \voiceTwo c4 }
diff --git a/input/regression/song-stanzas.ly b/input/regression/song-stanzas.ly
index 761e62b8fb..3c4391d641 100644
--- a/input/regression/song-stanzas.ly
+++ b/input/regression/song-stanzas.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 multiple stanzas.
@@ -9,7 +9,7 @@ multiple stanzas.
 \festival #"song-stanzas.xml" { \tempo 4 = 100 }
 {
 \time 3/4
-\relative c' { c2 e4 g2. }
+\relative { c'2 e4 g2. }
 \addlyrics { play the game }
 \addlyrics { speel het spel }
 \addlyrics { joue le jeu }
diff --git a/input/regression/song-tempo.ly b/input/regression/song-tempo.ly
index 0205ab438d..3788389d9e 100644
--- a/input/regression/song-tempo.ly
+++ b/input/regression/song-tempo.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc="Festival song synthesis output supports
 changing tempo in the middle of a piece.
@@ -9,7 +9,7 @@ changing tempo in the middle of a piece.
 \festival #"song-tempo.xml" { \tempo 4=90 }
 {
 \time 3/4
-\relative c' { c4 e g \tempo 4=60 c, e g }
+\relative { c'4 e g \tempo 4=60 c, e g }
 \addlyrics { do re mi do re mi }
 }
 #(ly:progress "song-tempo")
diff --git a/input/regression/spacing-accidental-staffs.ly b/input/regression/spacing-accidental-staffs.ly
index cf80c66dc0..f049260fe1 100644
--- a/input/regression/spacing-accidental-staffs.ly
+++ b/input/regression/spacing-accidental-staffs.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header { 
   texidoc = "Accidentals in different staves do not affect the
@@ -7,11 +7,11 @@ spacing of the eighth notes here."
 
 \layout { ragged-right = ##t}
 
-\relative c'' <<
+\relative <<
   \new Staff {
     \time 4/4
 
-    c8[ c8 cis8 cis8]
+    c''8[ c8 cis8 cis8]
     cis8[ cis8 cis8 cis]
   }
   {
diff --git a/input/regression/spacing-accidental-tie.ly b/input/regression/spacing-accidental-tie.ly
index b5fe6dc0c8..f60a68f89d 100644
--- a/input/regression/spacing-accidental-tie.ly
+++ b/input/regression/spacing-accidental-tie.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Horizontal spacing works as expected on tied notes with
@@ -8,9 +8,9 @@ but accidentals that are printed don't collide with anything."
 
 \paper { ragged-right = ##t }
 
-\relative c'
+\relative
 { \time 1/4
-  cis16 cis cis cis~
+  cis'16 cis cis cis~
   cis cis cis cis
   c c c c \break
 
diff --git a/input/regression/spacing-accidental.ly b/input/regression/spacing-accidental.ly
index 632099154d..8089d81d88 100644
--- a/input/regression/spacing-accidental.ly
+++ b/input/regression/spacing-accidental.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Accidentals sticking out to the left
@@ -8,9 +8,9 @@ of a note will take a little more space, but only if the spacing is tight."
 
 \layout { ragged-right = ##t}
 
-\relative c'' {
+\relative {
   \time 8/4
-  c2 c2 cis2 cis2 |
+  c''2 c2 cis2 cis2 |
   c8 c8 cis8 cis8 cis c c c]
 }
 
diff --git a/input/regression/spacing-correction-accidentals.ly b/input/regression/spacing-correction-accidentals.ly
index cada938d57..1c94c87408 100644
--- a/input/regression/spacing-correction-accidentals.ly
+++ b/input/regression/spacing-correction-accidentals.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "If right hand stems have accidentals, optical spacing
@@ -6,8 +6,8 @@ correction is still applied, but only if the stem directions are
 different."
 }
 
-\relative c' {
+\relative {
   \time 2/4
-  c8 cis''
+  c'8 cis''
   cis8 cis,,
 }
diff --git a/input/regression/spacing-end-of-line.ly b/input/regression/spacing-end-of-line.ly
index a4027f9af2..94adb0faf9 100644
--- a/input/regression/spacing-end-of-line.ly
+++ b/input/regression/spacing-end-of-line.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   
   texidoc ="Broken engraving of a bar at the end of a line does not upset 
@@ -11,8 +11,8 @@
   ragged-right = ##t }
 
 
-\relative c' {
-  c2.. r8
+\relative {
+  c'2.. r8
   c2.. r8
   \time 3/4 \break
   e2 e4 | e2 e4 \time 4/4 \break
diff --git a/input/regression/spacing-ended-voice.ly b/input/regression/spacing-ended-voice.ly
index 19213cf8dd..f752b1d80e 100644
--- a/input/regression/spacing-ended-voice.ly
+++ b/input/regression/spacing-ended-voice.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header { texidoc = "
 A voicelet (a very short voice to get polyphonic chords correct)
 should not confuse the spacing engine."
@@ -7,8 +7,8 @@ should not confuse the spacing engine."
 \layout { ragged-right = ##t }
 
 
-{  \context Staff \relative c' {
-  c4
+{  \context Staff \relative {
+  c'4
   <<
     { r4 dis'4 } \\
     { r4 fis,4 } \\
diff --git a/input/regression/spacing-folded-clef.ly b/input/regression/spacing-folded-clef.ly
index 665bae99e4..be6055edd9 100644
--- a/input/regression/spacing-folded-clef.ly
+++ b/input/regression/spacing-folded-clef.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
 texidoc = "A clef can be folded below notes in a different staff, if
 this does not disrupt the flow of the notes."
@@ -6,8 +6,8 @@ this does not disrupt the flow of the notes."
 
 \layout { ragged-right = ##t}
 
-\relative c'' <<
-    \new Staff  { c4  c16[ c c  c] c4 c4 }
+\relative <<
+    \new Staff  { c''4  c16[ c c  c] c4 c4 }
     \new Staff { \clef bass c,2 \clef treble  c'2 }
 >>
 
diff --git a/input/regression/spacing-folded-clef2.ly b/input/regression/spacing-folded-clef2.ly
index 6f5777b93d..9a68dc8e99 100644
--- a/input/regression/spacing-folded-clef2.ly
+++ b/input/regression/spacing-folded-clef2.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
 
 texidoc = "A clef can be folded below notes in a different staff, if
@@ -19,8 +19,8 @@ can show where columns are in the score."
     }
 }
 		   
-\relative c'' <<
-    \new Staff  { c4 c4 c4 c \bar "|." }
+\relative <<
+    \new Staff  { c''4 c4 c4 c \bar "|." }
     \new Staff { \clef bass c,2 \clef treble  c'2 }
 >>
 
diff --git a/input/regression/spacing-folded-clef3.ly b/input/regression/spacing-folded-clef3.ly
index 74e4fc392a..ccac4283df 100644
--- a/input/regression/spacing-folded-clef3.ly
+++ b/input/regression/spacing-folded-clef3.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Voices that go back and forth between staves do not confuse the spacing engine."
@@ -7,9 +7,9 @@
 \paper { ragged-right = ##t }
 
 \new PianoStaff <<
-        \new Staff = "rh" \relative c'' {
+        \new Staff = "rh" \relative {
                 \time 6/8
-                bes16 c d
+                bes'16 c d
                 \change Staff = lh
                 \stemUp bes a g
                 \change Staff = rh
@@ -25,9 +25,9 @@
 >>
 
 \new PianoStaff <<
-        \new Staff = "rh" \relative c'' {
+        \new Staff = "rh" \relative {
                 \time 6/8
-                bes16 c d
+                bes'16 c d
                 \change Staff = lh
                 \stemUp bes a g
                 \change Staff = rh
diff --git a/input/regression/spacing-grace-duration.ly b/input/regression/spacing-grace-duration.ly
index 70f4f9b522..a4b7e4767f 100644
--- a/input/regression/spacing-grace-duration.ly
+++ b/input/regression/spacing-grace-duration.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
   texidoc = "Spacing uses the duration of the notes, but disregards
@@ -11,10 +11,10 @@
 
 \layout { ragged-right = ##t}
 
-\relative c''
+\relative
 \context Voice 
 {
-  c8[  c8]
+  c''8[  c8]
   \grace {  b16 }
   c8[ c8]  c8[ c8] 
 
diff --git a/input/regression/spacing-grace.ly b/input/regression/spacing-grace.ly
index 3d64bb03e8..99fda4aad7 100644
--- a/input/regression/spacing-grace.ly
+++ b/input/regression/spacing-grace.ly
@@ -5,13 +5,13 @@
   run are spaced accordingly. "
 }
 
-\version "2.17.28"
+\version "2.19.21"
 
 \paper {  ragged-right = ##t }
 
-\relative c''
+\relative
 {
-  c4
+  c''4
   \grace { c16  }
   c
   \grace { c16  }
diff --git a/input/regression/spacing-horizontal-skyline-grace.ly b/input/regression/spacing-horizontal-skyline-grace.ly
index b99c173eef..e2a375ded4 100644
--- a/input/regression/spacing-horizontal-skyline-grace.ly
+++ b/input/regression/spacing-horizontal-skyline-grace.ly
@@ -6,7 +6,7 @@ and the barline do not collide."
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \paper
 {
@@ -20,7 +20,7 @@ and the barline do not collide."
   \time 6/8
   \clef bass
   s2. |
-  \relative c <<
+  \relative <<
     {
       <des ges b des>4\arpeggio
     }
diff --git a/input/regression/spacing-loose-polyphony.ly b/input/regression/spacing-loose-polyphony.ly
index 43fdb6e8d4..ce56c5f8be 100644
--- a/input/regression/spacing-loose-polyphony.ly
+++ b/input/regression/spacing-loose-polyphony.ly
@@ -1,4 +1,4 @@
-\version "2.17.11"
+\version "2.19.21"
 
 \header {
   texidoc = "Loose columns (here, the treble clef) are spaced
@@ -10,8 +10,8 @@ correctly in polyphonic music.
   \new Staff \relative c' {
     \tuplet 3/2 { g'4 a2 }
   }
-  \new Staff \relative c' {
-    \clef bass fis,,8 cis'
+  \new Staff \relative {
+    \clef bass fis,8 cis'
     \clef treble g'' fis,
   }
 >>
diff --git a/input/regression/spacing-non-adjacent-columns1.ly b/input/regression/spacing-non-adjacent-columns1.ly
index 0780f39775..557f268ff2 100644
--- a/input/regression/spacing-non-adjacent-columns1.ly
+++ b/input/regression/spacing-non-adjacent-columns1.ly
@@ -1,15 +1,15 @@
-\version "2.16.0"
+\version "2.19.21"
 \paper {ragged-right = ##t}
 \header {
   texidoc = "The spacing engine avoids collisions between non-adjacent columns."
 }
 
 
-foo = \relative c'' {
-  g'32[ c,]
+foo = \relative {
+  g''32[ c,]
 }
 
-bar = \relative c {
+bar = \relative {
   c16 <feses ases ceses eses ases ceses eses geses beses deses>4
 }
 
diff --git a/input/regression/spacing-non-adjacent-columns2.ly b/input/regression/spacing-non-adjacent-columns2.ly
index 977647a985..84abc21629 100644
--- a/input/regression/spacing-non-adjacent-columns2.ly
+++ b/input/regression/spacing-non-adjacent-columns2.ly
@@ -1,15 +1,15 @@
-\version "2.16.0"
+\version "2.19.21"
 \paper {ragged-right = ##t}
 \header {
   texidoc = "The spacing engine avoids collisions between non-adjacent columns."
 }
 
 
-foo = \relative c'' {
-  g'32[ c,]
+foo = \relative {
+  g''32[ c,]
 }
 
-bar = \relative c {
+bar = \relative {
   s16 <feses ases ceses eses ases ceses eses geses beses deses>4
 }
 
diff --git a/input/regression/spacing-rest.ly b/input/regression/spacing-rest.ly
index 89dfc2770e..d0c4a257f2 100644
--- a/input/regression/spacing-rest.ly
+++ b/input/regression/spacing-rest.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Rests get a little less space, since they are narrower.
 However, the quarter rest in feta font is relatively wide, causing this 
@@ -10,9 +10,9 @@ effect to be very small.
 \layout {
   ragged-right = ##t
 }
-\relative c'' \context Staff {
+\relative \context Staff {
   \time 12/4
-  r4 c4 c4 c4 r4 r4 c4
+  r4 c''4 c4 c4 r4 r4 c4
 }
 
 
diff --git a/input/regression/spacing-section.ly b/input/regression/spacing-section.ly
index 1ae03f66e9..a1bf1f3bd3 100644
--- a/input/regression/spacing-section.ly
+++ b/input/regression/spacing-section.ly
@@ -11,10 +11,10 @@ the 4/16, and a 16th in the second section takes as much space as a
 {
   ragged-right = ##t
   }
-\version "2.16.0"
-\relative c' {
+\version "2.19.21"
+\relative {
   \time 2/4
-  c4 c8 c 
+  c'4 c8 c 
   c8 c c4 c16[ c c8] c4
 
   \newSpacingSection
diff --git a/input/regression/spacing-short-notes.ly b/input/regression/spacing-short-notes.ly
index c556abafd3..4e0accf86c 100644
--- a/input/regression/spacing-short-notes.ly
+++ b/input/regression/spacing-short-notes.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
   
   texidoc = "Notes that are shorter than the common shortest note get a
@@ -12,10 +12,10 @@ eighth note. "
 
 \layout { ragged-right = ##t}
 
-\relative c''
+\relative
 {
   \time 2/4 
-  c16 c c c c4 c4
+  c''16 c c c c4 c4
   c8 c8 c8 c8
   c8 c8 c4
   c8 c8 c4
diff --git a/input/regression/spacing-stick-out.ly b/input/regression/spacing-stick-out.ly
index cd78aa7bfd..ae2a46e539 100644
--- a/input/regression/spacing-stick-out.ly
+++ b/input/regression/spacing-stick-out.ly
@@ -7,11 +7,11 @@
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \layout { ragged-right = ##t } 
 
-\relative c' {
-  c1 c1^"This is a really long text" c
+\relative {
+  c'1 c1^"This is a really long text" c
 }
 
diff --git a/input/regression/spacing-to-grace.ly b/input/regression/spacing-to-grace.ly
index 49c8c930fb..99202cfe73 100644
--- a/input/regression/spacing-to-grace.ly
+++ b/input/regression/spacing-to-grace.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
   texidoc ="Space from a normal note (or barline) to a grace note is
@@ -12,8 +12,8 @@
 
 \context Voice 
 { \time 2/4
-  \relative c'' {
-    e8 e \grace d8 e e \grace f8 e es, d' d
+  \relative {
+    e''8 e \grace d8 e e \grace f8 e es, d' d
     e8 e e e \grace { \stemDown f8 \stemNeutral } e es, d'
 
   }  
diff --git a/input/regression/span-bar-allow-span-bar.ly b/input/regression/span-bar-allow-span-bar.ly
index d1525438dc..7a93ffd8e2 100644
--- a/input/regression/span-bar-allow-span-bar.ly
+++ b/input/regression/span-bar-allow-span-bar.ly
@@ -1,5 +1,5 @@
 
-\version "2.19.2"
+\version "2.19.21"
 
 \header {
   texidoc = "The @code{SpanBarStub} grob takes care of horizontal spacing
@@ -16,8 +16,8 @@ span bar were not there.
   \new GrandStaff <<
     \new Staff
       \new Voice = "upper"
-        \relative c'' {
-          c2 c c c
+        \relative {
+          c''2 c c c
           \once \override Staff.BarLine.allow-span-bar = ##f
           c2 c c c
           c2 c c c
@@ -31,8 +31,8 @@ span bar were not there.
 
     \new Staff
       \new Voice = "middle"
-        \relative c'' {
-          c2 c c c
+        \relative {
+          c''2 c c c
           c2 c c c
           c2 c c c
           \once \override Staff.BarLine.allow-span-bar = ##f
@@ -45,8 +45,8 @@ span bar were not there.
 
     \new Staff
       \new Voice = "lower"
-        \relative c'' {
-          c2 c c c
+        \relative {
+          c''2 c c c
           c2 c c c
           c2 c c c
           c2 c c c
diff --git a/input/regression/span-bar-partial.ly b/input/regression/span-bar-partial.ly
index adf890e5fc..9113a0acd1 100644
--- a/input/regression/span-bar-partial.ly
+++ b/input/regression/span-bar-partial.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "Span bars can be turned on/@/off on a staff-by-staff basis."
 }
@@ -10,9 +10,9 @@
   ragged-right =##t 
 }
 
-\relative c' \new StaffGroup <<
+\relative \new StaffGroup <<
   \new Staff {
-    c1
+    c'1
     \once \override Staff.BarLine.allow-span-bar = ##f
     c1 c1 c1
     \bar "|."
diff --git a/input/regression/span-bar-spacing.ly b/input/regression/span-bar-spacing.ly
index f58812751d..a4a109abcf 100644
--- a/input/regression/span-bar-spacing.ly
+++ b/input/regression/span-bar-spacing.ly
@@ -8,12 +8,12 @@ edge of a bar line.  This spacing should also take place when
 "
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
-upper = \relative c' {
+upper = \relative {
   \key f \minor \time 12/8 
   r4. r8 r r r r r r r r 
-  e8 e e e e e e e e e e e 
+  e'8 e e e e e e e e e e e 
   e, e'! e! e! e! e! e! e! e! e! e! e!
 }
 
diff --git a/input/regression/span-bar.ly b/input/regression/span-bar.ly
index 4984602916..d102aaf246 100644
--- a/input/regression/span-bar.ly
+++ b/input/regression/span-bar.ly
@@ -1,4 +1,4 @@
-\version "2.17.30"
+\version "2.19.21"
 \header {
   texidoc = "Span bars are drawn only between staff bar lines. By setting 
 bar lines to transparent, they are shown only between systems.
@@ -16,7 +16,7 @@ between systems.
   ragged-right =##t 
 }
 
-\relative c' \new StaffGroup <<
+\relative \new StaffGroup <<
   \new Staff {
     a1
     \once \hide Score.BarLine
diff --git a/input/regression/staccato-pos.ly b/input/regression/staccato-pos.ly
index df275a688a..72ee58c48b 100644
--- a/input/regression/staccato-pos.ly
+++ b/input/regression/staccato-pos.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header{
 
@@ -24,8 +24,8 @@
     e-. g-. b-. d-.
   }
   \context Voice {
-    \relative c' {
-      e'4-. f-. g-. d-. c-. b-.
+    \relative {
+      e''4-. f-. g-. d-. c-. b-.
       \stemDown
       e,-. d-. c-. b-. a-. g-.    
     }
diff --git a/input/regression/staff-halfway.ly b/input/regression/staff-halfway.ly
index 68e5e72beb..41bbe84170 100644
--- a/input/regression/staff-halfway.ly
+++ b/input/regression/staff-halfway.ly
@@ -2,14 +2,14 @@
   texidoc = "Staves can be started and stopped at command. "
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \paper {
   ragged-right = ##t
 }
 
-\relative c'' {
-  b b \stopStaff b b \startStaff
+\relative {
+  b' b \stopStaff b b \startStaff
   \clef bass
   c,, c
 }
diff --git a/input/regression/staff-online-symbol-absence.ly b/input/regression/staff-online-symbol-absence.ly
index cb2c168f27..698183fe22 100644
--- a/input/regression/staff-online-symbol-absence.ly
+++ b/input/regression/staff-online-symbol-absence.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 \header {
 
   texidoc = "Symbols that need on-staffline info (like dots and ties)
@@ -9,8 +9,8 @@
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
+\relative {
   \time 5/8
-  f4 ~ 4 
+  f'4 ~ 4 
   f4 f4.
 }
diff --git a/input/regression/staff-tweak.ly b/input/regression/staff-tweak.ly
index 36e75dba38..b614b827be 100644
--- a/input/regression/staff-tweak.ly
+++ b/input/regression/staff-tweak.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "The staff is a grob (graphical object) which may be adjusted as well, for example, to have 6 thick lines and a slightly large @code{staff-space}.
@@ -11,7 +11,7 @@ However, beams remain correctly quantized."
 }
 
 
-mus =  \relative c' { c4 g' d'8 d d d }
+mus =  \relative { c'4 g' d'8 d d d }
 
 
 <<
diff --git a/input/regression/stanza-number.ly b/input/regression/stanza-number.ly
index eaf7b7c936..2e315d8317 100644
--- a/input/regression/stanza-number.ly
+++ b/input/regression/stanza-number.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Stanza numbers are put left of their lyric.  They
 are aligned in a column."
 }
 
-\relative c'' { r4 r4 c4 c4 }
+\relative { r4 r4 c''4 c4 }
 \addlyrics {
   \skip 2
   \set stanza = "1."
diff --git a/input/regression/stem-direction.ly b/input/regression/stem-direction.ly
index 39b6716360..3623788e49 100644
--- a/input/regression/stem-direction.ly
+++ b/input/regression/stem-direction.ly
@@ -1,5 +1,5 @@
 
-\version "2.19.2"
+\version "2.19.21"
 
 \header{
 texidoc="
@@ -12,8 +12,8 @@ notes, and up for low notes.
 \layout {
     ragged-right = ##t
 }  
-\context Voice \relative c {
-    b''4 ~ 8(b8) e4 e,
+\context Voice \relative {
+    b'4 ~ 8(b8) e4 e,
     
 }
 
diff --git a/input/regression/stem-tremolo-position.ly b/input/regression/stem-tremolo-position.ly
index 538b5133b9..7881c1318b 100644
--- a/input/regression/stem-tremolo-position.ly
+++ b/input/regression/stem-tremolo-position.ly
@@ -5,12 +5,12 @@
     tilted extra on stem-down notes with a flag."
 }
 
-\version "2.16.0"
+\version "2.19.21"
 \layout {
     ragged-right = ##T
 }
 
-\relative c' {
-  c16:32 e: f: a: c,4:8 c4:32 c8:16 \noBeam c16:32 \noBeam c16:64 |
+\relative {
+  c'16:32 e: f: a: c,4:8 c4:32 c8:16 \noBeam c16:32 \noBeam c16:64 |
   c''16:32 e: f: a: c,4:8 c4:32 c8:16 \noBeam c16:32 \noBeam c16:64 |
 }
diff --git a/input/regression/stem-tremolo-staff-space.ly b/input/regression/stem-tremolo-staff-space.ly
index c89ded2dbd..84db1ff042 100644
--- a/input/regression/stem-tremolo-staff-space.ly
+++ b/input/regression/stem-tremolo-staff-space.ly
@@ -4,14 +4,14 @@
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \layout {
   ragged-right = ##t
 }
 
-fragment = \relative c' {
-  c4:64 c:64 c8:64 c:64 c:64 c:64 c:64
+fragment = \relative {
+  c'4:64 c:64 c8:64 c:64 c:64 c:64 c:64
 }
 
 
diff --git a/input/regression/stencil-hacking.ly b/input/regression/stencil-hacking.ly
index 41192b986a..40d450fcd6 100644
--- a/input/regression/stencil-hacking.ly
+++ b/input/regression/stencil-hacking.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header { texidoc=" You can write stencil callbacks in Scheme, thus
 providing custom glyphs for notation elements.  A simple example is
@@ -46,8 +46,8 @@ GROB.  It does not affect the dimensions of the stencil.
     
 
 \layout { ragged-right = ##t }
-\relative c' {
-    c4 e
+\relative {
+    c'4 e
 
     \override NoteHead.stencil
     =
diff --git a/input/regression/string-number-styles.ly b/input/regression/string-number-styles.ly
index dcf3eafc48..11a7c07cd9 100644
--- a/input/regression/string-number-styles.ly
+++ b/input/regression/string-number-styles.ly
@@ -4,13 +4,13 @@ string number indications.  Predefined options
 are arabic (used by default) and roman numerals."
 }
 
-\version "2.19.16"
+\version "2.19.21"
 \paper {
   ragged-right = ##t
 }
 
-\relative c'' {
-  c2\2
+\relative {
+  c''2\2
   \romanStringNumbers
   a\3
   \override StringNumber.number-type = #'roman-lower
diff --git a/input/regression/string-number.ly b/input/regression/string-number.ly
index 76243ba684..f856faf8d2 100644
--- a/input/regression/string-number.ly
+++ b/input/regression/string-number.ly
@@ -4,13 +4,13 @@ positioning mechanism as finger instructions."
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 \paper {
   ragged-right = ##t
 }
 
-\relative c' {
-  <c\1 e\2 g\3>
+\relative {
+  <c'\1 e\2 g\3>
   c4
   \set fingeringOrientations = #'(down left up)
   \set stringNumberOrientations = #'(down right up)
diff --git a/input/regression/system-separator.ly b/input/regression/system-separator.ly
index 52b4f398ba..9b6e7456ad 100644
--- a/input/regression/system-separator.ly
+++ b/input/regression/system-separator.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "System separators may be defined as markups in the
@@ -10,8 +10,8 @@ centered between the boundary staves of each system."
   system-separator-markup = \slashSeparator
 }
 
-foobar = \relative c' {
-  c1 c \break
+foobar = \relative {
+  c'1 c \break
   c1 c \break
   c1 c
 }
diff --git a/input/regression/tablature-chord-repetition-finger.ly b/input/regression/tablature-chord-repetition-finger.ly
index be67208185..9bc3663731 100644
--- a/input/regression/tablature-chord-repetition-finger.ly
+++ b/input/regression/tablature-chord-repetition-finger.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 
 \header {
   texidoc = "In a TabStaff, the chord repetition function needs
@@ -7,7 +7,7 @@ to retain string and fingering information.  Using
 on the main staff."
 }
 
-Guitar = \relative c' {
+Guitar = \relative {
   r8 < gis-6 cis-6 b-0 > ~ q4 q8 ~ 8 q4
 }
 
diff --git a/input/regression/tablature-chord-repetition.ly b/input/regression/tablature-chord-repetition.ly
index 0d08b705c5..c46d6ea815 100644
--- a/input/regression/tablature-chord-repetition.ly
+++ b/input/regression/tablature-chord-repetition.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 
 \header {
   texidoc = "In a TabStaff, the chord repetition function needs
@@ -10,7 +10,7 @@ music in the tabstaff, not affecting other contexts."
 
 \tabChordRepetition
 
-Guitar = \relative c' {
+Guitar = \relative {
   r8 < gis\4 cis\3 b\2 > ~ q4 q8 ~ 8 q4
 }
 
diff --git a/input/regression/tablature-default-strings.ly b/input/regression/tablature-default-strings.ly
index 605b1af353..c8b4815979 100644
--- a/input/regression/tablature-default-strings.ly
+++ b/input/regression/tablature-default-strings.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -7,7 +7,7 @@ for fret calculations if no strings are defined explicitly.
 "
 }
 
-mymusic = \relative c {
+mymusic = \relative {
   <c c'>4
   \set defaultStrings = #'(5 3)
   <c c'>4
diff --git a/input/regression/tablature-dot-placement.ly b/input/regression/tablature-dot-placement.ly
index a7d3afc09f..b86c0573a7 100644
--- a/input/regression/tablature-dot-placement.ly
+++ b/input/regression/tablature-dot-placement.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -9,8 +9,8 @@ respect two-digit fret numbers.
 
 }
 
-myMusic = \relative c'  {
-  <f\3 a c>4.
+myMusic = \relative  {
+  <f'\3 a c>4.
   <f\3 g d'>4.
   <f\3 a d>4
 }
diff --git a/input/regression/tablature-glissando.ly b/input/regression/tablature-glissando.ly
index 1d96ac09f7..07905c0c49 100644
--- a/input/regression/tablature-glissando.ly
+++ b/input/regression/tablature-glissando.ly
@@ -1,11 +1,11 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header{ texidoc = "Glissando lines in tablature have the right slope."
        }
 
 \paper { ragged-right = ##f } % strech the staff to make glissando lines visible
 
-glissandotest = \relative c {
+glissandotest = \relative {
    c4\5 \glissando d\5 \glissando e\5 f\5 |
    c4\5 \glissando d\5 \glissando c2\5 |
    c4\5 \glissando c'\4 c\4 \glissando c,\5
diff --git a/input/regression/tablature-grace-notes.ly b/input/regression/tablature-grace-notes.ly
index a09ba83998..2663d7fee3 100644
--- a/input/regression/tablature-grace-notes.ly
+++ b/input/regression/tablature-grace-notes.ly
@@ -1,9 +1,9 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header{ texidoc = "Fret numbers belonging to grace notes are smaller."
        }
 
-gracenotes = \relative c {
+gracenotes = \relative {
    c4 d e f
    \grace e8 c4 d e f
    \grace \parenthesize e8 c4 d e f
diff --git a/input/regression/tablature-harmonic-tie.ly b/input/regression/tablature-harmonic-tie.ly
index 5160684568..e430fd3b4b 100644
--- a/input/regression/tablature-harmonic-tie.ly
+++ b/input/regression/tablature-harmonic-tie.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -7,8 +7,8 @@ nor the harmonic brackets for the second note appear in the tablature.
 "
 }
 
-music =  \relative c' {
-  s2.  <d\4\harmonic>4 ~ |
+music =  \relative {
+  s2.  <d'\4\harmonic>4 ~ |
   <d\4\harmonic>1  |
 }
 
diff --git a/input/regression/tablature-harmonic.ly b/input/regression/tablature-harmonic.ly
index 139ca26c48..72a32c157e 100644
--- a/input/regression/tablature-harmonic.ly
+++ b/input/regression/tablature-harmonic.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
   texidoc = "Harmonics get angled brackets in tablature.
@@ -9,8 +9,8 @@
 }
 
 \new TabVoice
-\relative c' {
-  <c\2 g'\1\harmonic>4
+\relative {
+  <c'\2 g'\1\harmonic>4
   <c g'\1\harmonic>4
   <c\2 g'\harmonic>4
   <c g'\harmonic>4
diff --git a/input/regression/tablature-letter.ly b/input/regression/tablature-letter.ly
index b1e85522a0..9af4d79abb 100644
--- a/input/regression/tablature-letter.ly
+++ b/input/regression/tablature-letter.ly
@@ -1,4 +1,4 @@
-\version "2.17.27"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -13,9 +13,9 @@ if the length is too short.
 "
 }
 
-notes = \relative c' {
+notes = \relative {
   \time 3/4
-  <f d>4. <bes>8 <g e>4
+  <f' d>4. <bes>8 <g e>4
   \set fretLabels = \markuplist {"a" "b" \italic \smaller "c"}
   <f d>4. <bes>8 <g e>4
   \set fretLabels = \markuplist {\with-color #red "a"
diff --git a/input/regression/tablature-negative-fret.ly b/input/regression/tablature-negative-fret.ly
index 92a35fc09f..28d08f427d 100644
--- a/input/regression/tablature-negative-fret.ly
+++ b/input/regression/tablature-negative-fret.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "Requested string for pitch requires negative fret: string ~a pitch ~a") 1 "#<Pitch c' >")
 #(ly:expect-warning (_ "Ignoring string request and recalculating."))
@@ -20,8 +20,8 @@ all three cases demonstrated.
 
 }
 
-myMusic = \relative c'  {
-  <c\1>1 ^\markup { recalculate }
+myMusic = \relative  {
+  <c'\1>1 ^\markup { recalculate }
   \set TabStaff.handleNegativeFrets = #'include
   <c\1>1 ^ \markup { include }
   \set TabStaff.handleNegativeFrets = #'ignore
diff --git a/input/regression/tablature-slide.ly b/input/regression/tablature-slide.ly
index 54b7c62daf..2352c78288 100644
--- a/input/regression/tablature-slide.ly
+++ b/input/regression/tablature-slide.ly
@@ -4,13 +4,13 @@
   texidoc = "Tab supports slides."
 }
 
-\version "2.17.15"
+\version "2.19.21"
 \paper {
   ragged-right = ##T
 }
 
 
-\relative c' \new TabVoice
+\relative \new TabVoice
 {
-  <c g'\harmonic> d\2\glissando e\2
+  <c' g'\harmonic> d\2\glissando e\2
 }
diff --git a/input/regression/tablature-string-tunings.ly b/input/regression/tablature-string-tunings.ly
index c38ae9e633..9f50d45a13 100644
--- a/input/regression/tablature-string-tunings.ly
+++ b/input/regression/tablature-string-tunings.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -11,7 +11,7 @@
 
 \new TabStaff {
   \set TabStaff.stringTunings = \stringTuning <gis'' dis'' ais' f'>
-  \relative c''  { c4 d e f }
+  \relative  { c''4 d e f }
 }
 
 
diff --git a/input/regression/tablature-tie-behaviour.ly b/input/regression/tablature-tie-behaviour.ly
index 06b97dbd1b..381cb249ce 100644
--- a/input/regression/tablature-tie-behaviour.ly
+++ b/input/regression/tablature-tie-behaviour.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 
 \header{ texidoc = "In tablature, notes that are tied to are invisible
                      except after a line break or within a second volta;
@@ -8,14 +8,14 @@
                     invisible completely, even after line breaks."
         }
 
-firstpart = \relative c {
+firstpart = \relative {
   f2 ~ 4   e
   g8 g ~ g g ~ g g~ g g ~
   1
 }
 
-secondpart = \relative c' {
-  c1 ~ \break c2 ~ 2
+secondpart = \relative {
+  c'1 ~ \break c2 ~ 2
 }
 
 thirdpart = \relative c' {
diff --git a/input/regression/tag-filter.ly b/input/regression/tag-filter.ly
index f5131fe0af..0c4be0b3e6 100644
--- a/input/regression/tag-filter.ly
+++ b/input/regression/tag-filter.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 \header {
 
   texidoc = "The @code{\\tag} command marks music expressions with a
@@ -14,9 +14,9 @@ notes and fingerings, but the score has not."
 \layout { ragged-right= ##t }
 
 common =
-\relative c''  {
+\relative  {
 
-  c1
+  c''1
   \relative c' <<
     \tag #'part <<
       R1 \\
diff --git a/input/regression/test-output-distance.ly b/input/regression/test-output-distance.ly
index ef10b57f9c..2a5aa6031e 100644
--- a/input/regression/test-output-distance.ly
+++ b/input/regression/test-output-distance.ly
@@ -5,7 +5,7 @@ it should always show up in the output-distance testing. "
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 
 #(define time (gettimeofday))
@@ -18,7 +18,7 @@ it should always show up in the output-distance testing. "
   ragged-right = ##f
 }
 
-\new PianoStaff << \new Staff \relative c' { c4 d f8_\f[ g-.] r4 }
+\new PianoStaff << \new Staff \relative { c'4 d f8_\f[ g-.] r4 }
 		   \new Staff { \clef "bass" R1 }
 		>>
 
diff --git a/input/regression/text-spanner-full-rest.ly b/input/regression/text-spanner-full-rest.ly
index 92e44cc121..b54af7d58c 100644
--- a/input/regression/text-spanner-full-rest.ly
+++ b/input/regression/text-spanner-full-rest.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Text spanners ending on, or broken across, full-measure
@@ -7,7 +7,7 @@ rests extend to the rests, or over the rests, as appropriate."
 
 \layout { ragged-right = ##t }
 
-\relative c'' {
-  a1\startTextSpan b1 R1 \break
+\relative {
+  a'1\startTextSpan b1 R1 \break
   \tempo "tempo" R1 a1 b1 R1\stopTextSpan
 }
diff --git a/input/regression/text-spanner-override-order.ly b/input/regression/text-spanner-override-order.ly
index cf1d6f1904..e68f7ddc30 100644
--- a/input/regression/text-spanner-override-order.ly
+++ b/input/regression/text-spanner-override-order.ly
@@ -5,10 +5,10 @@
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
-sample = \relative c'' {
-  c2\startTextSpan c2 \break
+sample = \relative {
+  c''2\startTextSpan c2 \break
   c2 c2 \stopTextSpan
 }
 
diff --git a/input/regression/tie-arpeggio-collision.ly b/input/regression/tie-arpeggio-collision.ly
index 7f433605de..3ac83f4327 100644
--- a/input/regression/tie-arpeggio-collision.ly
+++ b/input/regression/tie-arpeggio-collision.ly
@@ -8,12 +8,12 @@ unarpegiated case."
   
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 
 \layout { ragged-right = ##t }
-\new Staff \relative c'' {
-  <e c a f>2~ <e c a f> |
+\new Staff \relative {
+  <e'' c a f>2~ <e c a f> |
   \set tieWaitForNote = ##t
   e8~ c~ a~ f~ <e' c a f>2 |
   f,8~ a~ c~ e~ <f, a c e>2 |
diff --git a/input/regression/tie-arpeggio.ly b/input/regression/tie-arpeggio.ly
index f37269d544..eabcaa78cb 100644
--- a/input/regression/tie-arpeggio.ly
+++ b/input/regression/tie-arpeggio.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "unterminated tie"))
 #(ly:expect-warning (_ "unterminated tie"))
@@ -14,8 +14,8 @@
 }
 
 \paper { ragged-right =  ##t }
-\relative c' {
-  c~ e~ g~ <c, e g>
+\relative {
+  c'~ e~ g~ <c, e g>
   \set tieWaitForNote = ##t
   c~ e~ g~ <c, e g>
 
diff --git a/input/regression/tie-broken.ly b/input/regression/tie-broken.ly
index b444e23650..970ce05e98 100644
--- a/input/regression/tie-broken.ly
+++ b/input/regression/tie-broken.ly
@@ -3,11 +3,11 @@
 texidoc = "Ties behave properly at line breaks."
   }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \paper { ragged-right = ##t } 
 
-\relative c'
+\relative
 {
   r2...  <b e a>16 ~
   \break
diff --git a/input/regression/tie-chord-broken-extremal.ly b/input/regression/tie-chord-broken-extremal.ly
index 64844ae5a4..78fc013e49 100644
--- a/input/regression/tie-chord-broken-extremal.ly
+++ b/input/regression/tie-chord-broken-extremal.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header { texidoc = "
 
@@ -8,8 +8,8 @@ are tried for the extremal ties in a chord.
 
 " }
 
-\relative c'' {
-  \time 4/4 <bis bis>1 ~ \break
+\relative {
+  \time 4/4 <bis' bis>1 ~ \break
 
   \override Tie.details.multi-tie-region-size = #1
   \time 3/4 <bis bis>2.~ \break
diff --git a/input/regression/tie-chord-debug.ly b/input/regression/tie-chord-debug.ly
index db69ea9485..097fb7fe45 100644
--- a/input/regression/tie-chord-debug.ly
+++ b/input/regression/tie-chord-debug.ly
@@ -5,7 +5,7 @@ decisions made."
   
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \paper
 {
@@ -13,7 +13,7 @@ decisions made."
   debug-tie-scoring = ##t
 }
 
-\relative g' {
-  <a b e f> ~
+\relative {
+  <a' b e f> ~
   <a b e f>
 }
diff --git a/input/regression/tie-chord-partial.ly b/input/regression/tie-chord-partial.ly
index e131b25479..5db1f7386d 100644
--- a/input/regression/tie-chord-partial.ly
+++ b/input/regression/tie-chord-partial.ly
@@ -2,14 +2,14 @@
 {
   texidoc = "Individual chord notes can also be tied"
 }
-\version "2.16.0"
+\version "2.19.21"
 
 \paper {
   ragged-right = ##t
 }
 
-\relative c' {
-  <c~ e g>  <c e g~> <c e g>
+\relative {
+  <c'~ e g>  <c e g~> <c e g>
 }
 
 
diff --git a/input/regression/tie-chord.ly b/input/regression/tie-chord.ly
index af3ec740a9..1b9819e7ae 100644
--- a/input/regression/tie-chord.ly
+++ b/input/regression/tie-chord.ly
@@ -11,7 +11,7 @@ each system."
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \paper {
   indent = #0.0
@@ -61,8 +61,8 @@ translate x y z to x~x y~y z~z
 baseChords =
 \applyMusic #(lambda (mus)
 	      (ly:music-property mus 'element))
-\relative c'' {
-  <c e>  
+\relative {
+  <c'' e>  
   <b c e>
   <a c e>
   <a b e>
diff --git a/input/regression/tie-direction-broken.ly b/input/regression/tie-direction-broken.ly
index d1260ecc1e..c29db4b584 100644
--- a/input/regression/tie-direction-broken.ly
+++ b/input/regression/tie-direction-broken.ly
@@ -1,5 +1,5 @@
 
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
 
@@ -13,8 +13,8 @@
   ragged-right = ##t
 }
 
-\relative c'' {
- bes1~ \break
+\relative {
+ bes'1~ \break
  bes2.
  \stemUp bes4 ~ \break
  bes1 
diff --git a/input/regression/tie-direction-manual.ly b/input/regression/tie-direction-manual.ly
index ba29a6ead5..7cc75acf4b 100644
--- a/input/regression/tie-direction-manual.ly
+++ b/input/regression/tie-direction-manual.ly
@@ -4,13 +4,13 @@
 This makes correction in complex chords easier."
 
 }
-\version "2.16.0"
+\version "2.19.21"
 \paper
 {
   ragged-right= ##t
 }
 
-\relative c' {
-  <f^~ d'>(  <e f c'>)
+\relative {
+  <f'^~ d'>(  <e f c'>)
 }
 
diff --git a/input/regression/tie-dot.ly b/input/regression/tie-dot.ly
index 57e098e72a..14a9117c14 100644
--- a/input/regression/tie-dot.ly
+++ b/input/regression/tie-dot.ly
@@ -3,13 +3,13 @@
   texidoc = "Ties avoid collisions with dots."
 }
 
-\version "2.19.2"
+\version "2.19.21"
 
 \paper { ragged-right = ##T }
 
-\relative c'' {
+\relative {
   \time 12/8
-  d4*3/2~ d8[ e] r8
+  d''4*3/2~ d8[ e] r8
   d4.~ 8 e f
 }
 
diff --git a/input/regression/tie-grace.ly b/input/regression/tie-grace.ly
index da27120371..21689ab9ea 100644
--- a/input/regression/tie-grace.ly
+++ b/input/regression/tie-grace.ly
@@ -1,13 +1,13 @@
 
-\version "2.19.2"
+\version "2.19.21"
 \header {
   texidoc = "Tying a grace to a following grace or main note works."
 }
 
 \layout { ragged-right= ##t }
 
-\context Voice \relative c'' {
-  c4 \grace { c8 ~ 16 ~ } c4 
+\context Voice \relative {
+  c''4 \grace { c8 ~ 16 ~ } c4 
 }
 
 
diff --git a/input/regression/tie-manual.ly b/input/regression/tie-manual.ly
index b9a535b8fe..d04d4cf430 100644
--- a/input/regression/tie-manual.ly
+++ b/input/regression/tie-manual.ly
@@ -11,16 +11,16 @@ You can leave a Tie alone by introducing a non-pair value
 
 }
 
-\version "2.17.6"
+\version "2.19.21"
 
 \layout {
   ragged-right = ##t
 }
 
 
-\relative c'' {
+\relative {
   
-  <b d f g>~
+  <b' d f g>~
 
   
   \once \override TieColumn.tie-configuration =
diff --git a/input/regression/tie-single-chord.ly b/input/regression/tie-single-chord.ly
index 7997e39ec4..4bc7507a8b 100644
--- a/input/regression/tie-single-chord.ly
+++ b/input/regression/tie-single-chord.ly
@@ -5,13 +5,13 @@
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 
 \paper
 {
   ragged-right = ##t
 }
 
-\relative c' {
-  <f d'>~ <e f c'>
+\relative {
+  <f' d'>~ <e f c'>
 }
diff --git a/input/regression/tie-single.ly b/input/regression/tie-single.ly
index 59799a215c..2526c98231 100644
--- a/input/regression/tie-single.ly
+++ b/input/regression/tie-single.ly
@@ -22,11 +22,11 @@ that otherwise don't fit in a space
   ragged-right = ##t
 }
 
-\version "2.19.2"
+\version "2.19.21"
 
 frag =
-\relative c'' {
-  c16 c2...~ 16 ~ 2... |
+\relative {
+  c''16 c2...~ 16 ~ 2... |
   c4~8 c8~16 c16~32 c16.~[ c64]~ 64[ c8..] |
 }
 
diff --git a/input/regression/tie-unterminated.ly b/input/regression/tie-unterminated.ly
index 77049bdf2a..1f5dd010af 100644
--- a/input/regression/tie-unterminated.ly
+++ b/input/regression/tie-unterminated.ly
@@ -1,4 +1,4 @@
-\version "2.19.2"
+\version "2.19.21"
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "unterminated tie"))
 
@@ -7,8 +7,8 @@
   be created, lilypond prints out a warning unless @code{tieWaitForNote} is set."
 }
 
-\relative c' {
-  c1~ 1 |
+\relative {
+  c'1~ 1 |
   c1~ <e c> |
   c1~ d |
   <c e>1~ c |
diff --git a/input/regression/tie-whole.ly b/input/regression/tie-whole.ly
index 5b62f19c22..85a3245518 100644
--- a/input/regression/tie-whole.ly
+++ b/input/regression/tie-whole.ly
@@ -5,12 +5,12 @@
 
   
   }
-\version "2.17.15"
+\version "2.19.21"
 
 \paper { ragged-right =  ##t }
-\relative c'
+\relative
 {
-  <f d a>1~
+  <f' d a>1~
   <f d a>1~
   <f d a>1~
 }
diff --git a/input/regression/trill-spanner-auto-stop.ly b/input/regression/trill-spanner-auto-stop.ly
index 22bee2755c..1a8c79edec 100644
--- a/input/regression/trill-spanner-auto-stop.ly
+++ b/input/regression/trill-spanner-auto-stop.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 \header {
   texidoc = "Consecutive trill spans work without explicit
 @code{\\stopTrillSpan} commands, since successive trill spanners
@@ -8,8 +8,8 @@ will automatically become the right bound of the previous trill.
 
 \paper { ragged-right = ##f }
 
-\relative c'' {
-  c1\startTrillSpan
+\relative {
+  c''1\startTrillSpan
   c1\startTrillSpan
   c2\stopTrillSpan r
 }
diff --git a/input/regression/trill-spanner-chained.ly b/input/regression/trill-spanner-chained.ly
index 502e32bd39..bf51f1a357 100644
--- a/input/regression/trill-spanner-chained.ly
+++ b/input/regression/trill-spanner-chained.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 \header {
   texidoc = "Chained trills end at the next trill or barline.
 Collisions can be prevented by overriding @code{bound-details}.
@@ -7,8 +7,8 @@ Collisions can be prevented by overriding @code{bound-details}.
 
 \paper { ragged-right = ##f }
 
-\relative c'' {
-  g8 f\startTrillSpan ~
+\relative {
+  g'8 f\startTrillSpan ~
   f8 g\stopTrillSpan \startTrillSpan ~
   g8 r\stopTrillSpan r4
   \once \override TrillSpanner.to-barline = ##t
diff --git a/input/regression/trill-spanner-grace.ly b/input/regression/trill-spanner-grace.ly
index 6cb82618f8..18d7f0d4c6 100644
--- a/input/regression/trill-spanner-grace.ly
+++ b/input/regression/trill-spanner-grace.ly
@@ -2,11 +2,11 @@
     texidoc = "Trill spanner can end on a grace note"
 }
 
-\version "2.17.28"
+\version "2.19.21"
 \layout {
     ragged-right = ##T
 }
-\relative c' \new Voice {
-    << { c1 \startTrillSpan }
+\relative \new Voice {
+    << { c'1 \startTrillSpan }
        { s2. \grace { d16\stopTrillSpan e } } >>
     c4 }
diff --git a/input/regression/trill-spanner-scaled.ly b/input/regression/trill-spanner-scaled.ly
index 19d7b9eb53..0e5a1deef8 100644
--- a/input/regression/trill-spanner-scaled.ly
+++ b/input/regression/trill-spanner-scaled.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc = "
@@ -13,10 +13,10 @@ even if scaled to a smaller size.
     fontSize = #-6
     \override StaffSymbol.staff-space = #(magstep -6)
   }
-  \relative c' {
-    c1\startTrillSpan | c\stopTrillSpan |
+  \relative {
+    c'1\startTrillSpan | c\stopTrillSpan |
   }
-  \new Staff \relative c' {
-    c1\startTrillSpan | c\stopTrillSpan |
+  \new Staff \relative {
+    c'1\startTrillSpan | c\stopTrillSpan |
   }
 >>
diff --git a/input/regression/trill-spanner.ly b/input/regression/trill-spanner.ly
index c56ab05480..8380bb6612 100644
--- a/input/regression/trill-spanner.ly
+++ b/input/regression/trill-spanner.ly
@@ -5,10 +5,10 @@ the wavy line should appear to come from the crook of the r"
 
 }
 
-\version "2.16.0"
+\version "2.19.21"
 \paper { ragged-right = ##t }
-\relative c'' {
-  c1\startTrillSpan
+\relative {
+  c''1\startTrillSpan
   c\stopTrillSpan
 }
 
diff --git a/input/regression/typography-demo.ly b/input/regression/typography-demo.ly
index 8f51e21475..c4cdb0b842 100644
--- a/input/regression/typography-demo.ly
+++ b/input/regression/typography-demo.ly
@@ -8,7 +8,7 @@ heavily mutilated Edition Peters Morgenlied by Schubert"
 
 }
 
-\version "2.19.12"
+\version "2.19.21"
 #(ly:expect-warning (_ "(De)crescendo with unspecified starting volume in MIDI."))
 
 ignoreMelisma =	\set ignoreMelismata = ##t
@@ -44,7 +44,7 @@ melody =    \relative c'' \repeat volta 2 \context Voice = "singer" {
     { \stemDown f8.[ g16] } >> \stemNeutral a8 |
   fis4  g8 c16[ b a g] f[ e] |
   d4 f8
-  \transpose a' e' \relative c'' { a16[ g fis! g] f![ d]  } |
+  \transpose a' e' \relative { a'16[ g fis! g] f![ d]  } |
   g4. r8 gis gis |
   a4 a16.[ b32] c8[( a]) fis8 |
   g4.~ 8-\fermata
diff --git a/input/regression/utf-8.ly b/input/regression/utf-8.ly
index cf5d79ddb4..bfcc8cb309 100644
--- a/input/regression/utf-8.ly
+++ b/input/regression/utf-8.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 %% Edit this file using a Unicode aware editor, such as GVIM, GEDIT, Emacs
 
@@ -54,8 +54,8 @@ portuguese = \lyricmode {
   ragged-right = ##T
 }
 
-\relative c' {
-  c2 d e f g f e
+\relative {
+  c'2 d e f g f e
 }
 \addlyrics { \bulgarian }
 \addlyrics { \hebrew }
diff --git a/input/regression/volta-markup-text.ly b/input/regression/volta-markup-text.ly
index cd29427b5c..b8adcb0c83 100644
--- a/input/regression/volta-markup-text.ly
+++ b/input/regression/volta-markup-text.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc = "Volte using @code{repeatCommands} can have markup
@@ -7,8 +7,8 @@ text."
 
 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
 
-\relative c'' {
-  c1
+\relative {
+  c''1
   \set Score.repeatCommands = #(list (list 'volta voltaAdLib) 'start-repeat)
   c4 b d e
   \set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat)
diff --git a/input/regression/warn-expected-warning-missing.ly b/input/regression/warn-expected-warning-missing.ly
index bdb6dc2425..ddf5d8dcc1 100644
--- a/input/regression/warn-expected-warning-missing.ly
+++ b/input/regression/warn-expected-warning-missing.ly
@@ -1,4 +1,4 @@
-\version "2.16.0"
+\version "2.19.21"
 
 #(ly:set-option 'warning-as-error #f)
 #(ly:expect-warning (_ "this is a warning that won't be triggered"))
@@ -9,4 +9,4 @@ warning about this fact. This will be used to detect missing warnings
 in our regtests."
 }
 
-\relative c' { c4 }
+\relative { c'4 }
diff --git a/input/regression/woodwind-diagrams-empty.ly b/input/regression/woodwind-diagrams-empty.ly
index 4bf1dba344..35b9009a0e 100644
--- a/input/regression/woodwind-diagrams-empty.ly
+++ b/input/regression/woodwind-diagrams-empty.ly
@@ -1,68 +1,68 @@
-\version "2.16.0"
+\version "2.19.21"
 
 \header {
   texidoc="Empty woodwind diagrams for all instruments
 in woodwind-diagrams.scm."
 }
 
-\relative c' {
-  c1^\markup {
+\relative {
+  c'1^\markup {
     \woodwind-diagram
       #'piccolo
       #'()
   }
 }
 
-\relative c' {
-  c1^\markup {
+\relative {
+  c'1^\markup {
     \woodwind-diagram
       #'flute
       #'()
   }
 }
 
-\relative c' {
-  c1^\markup {
+\relative {
+  c'1^\markup {
     \woodwind-diagram
       #'oboe
       #'()
   }
 }
 
-\relative c' {
-  c1^\markup {
+\relative {
+  c'1^\markup {
     \woodwind-diagram
       #'clarinet
       #'()
   }
 }
 
-\relative c' {
-  c1^\markup {
+\relative {
+  c'1^\markup {
     \woodwind-diagram
       #'bass-clarinet
       #'()
   }
 }
 
-\relative c' {
-  c1^\markup {
+\relative {
+  c'1^\markup {
     \woodwind-diagram
       #'saxophone
       #'()
   }
 }
 
-\relative c' {
-  c1^\markup {
+\relative {
+  c'1^\markup {
     \woodwind-diagram
       #'bassoon
       #'()
   }
 }
 
-\relative c' {
-  c1^\markup {
+\relative {
+  c'1^\markup {
     \woodwind-diagram
       #'contrabassoon
       #'()
diff --git a/input/regression/zero-staff-space.ly b/input/regression/zero-staff-space.ly
index 6e3eb0a428..d6820208e1 100644
--- a/input/regression/zero-staff-space.ly
+++ b/input/regression/zero-staff-space.ly
@@ -1,4 +1,4 @@
-\version "2.17.6"
+\version "2.19.21"
 
 \header {
   texidoc="
@@ -9,7 +9,7 @@ Setting staff-space to 0 does not cause a segmentation fault.
 \new Staff \with {
   \override StaffSymbol.staff-space = #0
   } {
-  \relative c' {
-    c1 \bar ":|."
+  \relative {
+    c'1 \bar ":|."
   }
 }
diff --git a/ly/Welcome-to-LilyPond-MacOS.ly b/ly/Welcome-to-LilyPond-MacOS.ly
index 8fa7409ea8..07d41477a1 100644
--- a/ly/Welcome-to-LilyPond-MacOS.ly
+++ b/ly/Welcome-to-LilyPond-MacOS.ly
@@ -23,12 +23,12 @@ That's it.  For more information, visit http://lilypond.org .
 
 %}
 
-\version "2.19.20"  % necessary for upgrading to future LilyPond versions.
+\version "2.19.21"  % necessary for upgrading to future LilyPond versions.
 
 \header{
   title = "A scale in LilyPond"
 }
 
-\relative c' {
-  c d e f g a b c
+\relative {
+  c' d e f g a b c
 }
diff --git a/ly/Welcome_to_LilyPond.ly b/ly/Welcome_to_LilyPond.ly
index bffb070968..269a8a9f13 100644
--- a/ly/Welcome_to_LilyPond.ly
+++ b/ly/Welcome_to_LilyPond.ly
@@ -32,7 +32,7 @@ Good luck with LilyPond!  Happy engraving.
 
 %}
 
-\version "2.19.20"  % necessary for upgrading to future LilyPond versions.
+\version "2.19.21"  % necessary for upgrading to future LilyPond versions.
 
 \header{
   title = "A scale in LilyPond"
@@ -40,6 +40,6 @@ Good luck with LilyPond!  Happy engraving.
 http://lilypond.org/introduction.html"
 }
 
-\relative c' {
-  c d e f g a b c
+\relative {
+  c' d e f g a b c
 }
-- 
2.39.2