@c ***** Headers *****
+@c For use as the Level 5 header
+@macro subsubsubheading {TEXT}
+@subsubheading @i{\TEXT\}
+@end macro
+
@ifclear snippets-sections
@macro lydoctitle {TEXT}
@need 600
@node Sectioning commands
@subsection Sectioning commands
-Most of the manual operates at the
+The Notation Reference uses section headings at four, occasionally
+five, levels.
+
+@itemize
+
+@item Level 1: @@chapter
+@item Level 2: @@section
+@item Level 3: @@subsection
+@item Level 4: @@unnumberedsubsubsec
+@item Level 5: @@subsubsubheading
+@end itemize
+
+The first three levels are numbered in html, the last two are not.
+Numbered sections correspond to a single html page in the split html
+documents.
+
+The first four levels always have accompanying nodes so they can be
+referenced and are also included in the ToC in html.
+
+Most of the manual is written at level 4 under headings created with
@example
@@node Foo
-@@subsubsection Foo
+@@unnumberedsubsubsec Foo
@end example
-@noindent
-level. Sections are created with
+Level 3 subsections are created with
@example
@@node Foo
No commas may be used in the node names.
@item
-If a heading is desired without creating a @code{@@node}, please use
-the following:
+If a heading is desired without creating a @code{@@node}, please use:
@example
-@@subheading Foo
+@@subsubsubheading Foo
@end example
@item
@warning{Any note that does not lie within the given scale will be
left untransformed.}
-@subsubheading Modal transposition
+@subsubsubheading Modal transposition
@cindex modal transposition
@cindex transposition, modal
}
@end lilypond
-@subsubheading Modal inversion
+@subsubsubheading Modal inversion
@cindex modal inversion
@cindex inversion, modal
Polymetric notation is supported explicitly or by manually modifying the
visible time signature symbol and/or scaling note durations.
-@subsubheading Different time signatures with equal-length measures
+@subsubsubheading Different time signatures with equal-length measures
Set a common time signature for each staff, and set the
@code{timeSignatureFraction} to the desired fraction. Then use the
>>
@end lilypond
-@subsubheading Different time signatures with unequal-length measures
+@subsubsubheading Different time signatures with unequal-length measures
Each staff can be given its own independent time signature by
moving the @code{Timing_translator} and the
@cindex compound time signatures
@cindex time signature, compound
-@subsubheading Compound time signatures
+@subsubsubheading Compound time signatures
These are created using the @code{\compoundMeter} function. The syntax
for this is:
@end example
-@subsubheading @i{Beaming based on @code{baseMoment} and @code{beatStructure}}
+@subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
In most instances, automatic beams will end at the end of a beat.
The ending points for beats are determined by the context properties
the time signature. Any exceptions to this default can be found in
@file{scm/time-signature-settings.scm}.
-@subsubheading @i{Beaming based on @code{beamExceptions}}
+@subsubsubheading Beaming based on @code{beamExceptions}
Special autobeaming rules (other than ending a beam on a beat)
are defined in the @code{beamExceptions} property.
r4. a8 a a |
@end lilypond
-@subsubheading @i{How automatic beaming works}
+@subsubsubheading How automatic beaming works
When automatic beaming is enabled, the placement of automatic beams
is determined by the context properties
@funindex \oneVoice
@funindex oneVoice
-@strong{@i{Explicitly instantiating voices}}
+@subsubsubheading Explicitly instantiating voices
The basic structure needed to achieve multiple independent
voices in a single staff is illustrated in the following example:
command returns all the voice settings to the neutral default
directions.
-@strong{@i{Temporary polyphonic passages}}
+@subsubsubheading Temporary polyphonic passages
A temporary polyphonic passage can be created with the following
construct:
Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
required to define the settings of each voice.
-@strong{@i{The double backslash construct}}
+@subsubsubheading The double backslash construct
The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
more) expressions are separated by double backslashes, behaves
@code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
@rlearning{Explicitly instantiating voices}.
-@strong{@i{Voice order}}
+@subsubsubheading Voice order
When entering multiple voices in the input file, use the following
order:
@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
created @q{across} voices.}
-@strong{@i{Identical rhythms}}
+@subsubsubheading Identical rhythms
In the special case that we want to typeset parallel pieces of music
that have the same rhythm, we can combine them into a single