Updates to NR chapter 2 (issue 10543044)

[PhilEHolmes]

Reviewers: ,

Message:
Please review

Description:
2nd tranche of proposed changes to the NR.

Please review this at https://codereview.appspot.com/10543044/

Affected files:
  M Documentation/notation/ancient.itely
  M Documentation/notation/chords.itely
  M Documentation/notation/fretted-strings.itely
  M Documentation/notation/vocal.itely
  M Documentation/notation/wind.itely


Index: Documentation/notation/ancient.itely
diff --git a/Documentation/notation/ancient.itely  
b/Documentation/notation/ancient.itely
index  
0dbcffaa327048a136f371c8e314bd5ec5c0b9f6..431966679a8b5342947c57c75f0c783b25aed6f0  
100644
--- a/Documentation/notation/ancient.itely
+++ b/Documentation/notation/ancient.itely
@@ -556,34 +556,35 @@ to particular time fractions.  In other words, to get  
a particular mensuration s
 {
   \set Score.timing = ##f
   \set Score.barAlways = ##t
-  s_\markup { "\\time 4/4" }^\markup { "       " \musicglyph
+  \textLengthOn
+  s^\markup { "\\time 4/4" }_\markup { "       " \musicglyph
 #"timesig.neomensural44" }
   s
-  s_\markup { "\\time 2/2" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 2/2" }_\markup { "       " \musicglyph
 #"timesig.neomensural22" }
   s
-  s_\markup { "\\time 6/4" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 6/4" }_\markup { "       " \musicglyph
 #"timesig.neomensural64" }
   s
-  s_\markup { "\\time 6/8" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 6/8" }_\markup { "       " \musicglyph
 #"timesig.neomensural68" }
   \break
-  s_\markup { "\\time 3/2" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 3/2" }_\markup { "       " \musicglyph
 #"timesig.neomensural32" }
   s
-  s_\markup { "\\time 3/4" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 3/4" }_\markup { "       " \musicglyph
 #"timesig.neomensural34" }
   s
-  s_\markup { "\\time 9/4" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 9/4" }_\markup { "       " \musicglyph
 #"timesig.neomensural94" }
   s
-  s_\markup { "\\time 9/8" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 9/8" }_\markup { "       " \musicglyph
 #"timesig.neomensural98" }
   \break
-  s_\markup { "\\time 4/8" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 4/8" }_\markup { "       " \musicglyph
 #"timesig.neomensural48" }
   s
-  s_\markup { "\\time 2/4" }^\markup { "       " \musicglyph
+  s^\markup { "\\time 2/4" }_\markup { "       " \musicglyph
 #"timesig.neomensural24" }
 }
 @end lilypond
Index: Documentation/notation/chords.itely
diff --git a/Documentation/notation/chords.itely  
b/Documentation/notation/chords.itely
index  
80f716bd1b82aed00cfca5a1447c0358c250aa91..b1a24f21184fd0e76594df878538064da44463f4  
100644
--- a/Documentation/notation/chords.itely
+++ b/Documentation/notation/chords.itely
@@ -438,21 +438,20 @@ Chords can be entered as simultaneous notes or  
through the use of
 chord mode.  The displayed chord name will be the same, regardless
 of the mode of entry, unless there are inversions or added bass notes:

address@hidden,quote,relative=1]
address@hidden,quote]
+chordmusic = \relative c'{
+  <c e g>2 <f bes c>
+  <f c' e g>1
+  \chordmode {
+    c2 f:sus4 c1:/f
+  }
+}
 <<
   \new ChordNames {
-    <c e g>2  <f bes c>
-    <f c' e g>1
-    \chordmode {
-      c2 f:sus4 c1:/f
-    }
+    \chordmusic
   }
   {
-    <c e g>2  <f bes c>
-    <f, c' e g>1
-    \chordmode {
-      c2 f:sus4 c1:/f
-    }
+    \chordmusic
   }
 >>
 @end lilypond
Index: Documentation/notation/fretted-strings.itely
diff --git a/Documentation/notation/fretted-strings.itely  
b/Documentation/notation/fretted-strings.itely
index  
2d791de85bb6ccba41c8014b87552e99397c666b..e415158c1e9d65f1ebac46e1782b542fe322ddd8  
100644
--- a/Documentation/notation/fretted-strings.itely
+++ b/Documentation/notation/fretted-strings.itely
@@ -1396,7 +1396,7 @@ the interface properties belong to  
@code{FretBoards.FretBoard}.
 @lilypondfile[verbatim,quote,texidoc,doctitle]
 {defining-predefined-fretboards-for-other-instruments.ly}

address@hidden,quote,texidoc,doctitle]
address@hidden,quote,texidoc,doctitle,ragged-right]
 {chordchanges-for-fretboards.ly}

 @lilypondfile[verbatim,quote,texidoc,doctitle]
Index: Documentation/notation/vocal.itely
diff --git a/Documentation/notation/vocal.itely  
b/Documentation/notation/vocal.itely
index  
3d082ce8293da5e1d0e8c79097f905fd78928ec8..ea9581171485c6dce87649fed90b76d7a5087327  
100644
--- a/Documentation/notation/vocal.itely
+++ b/Documentation/notation/vocal.itely
@@ -383,7 +383,7 @@ the named Voice context containing the melody with
 @lilypond[quote,verbatim,relative=2]
 <<
   \new Voice = "melody" {
-    a4 a a a
+    a1 a4. a8 a2
   }
   \new Lyrics \lyricsto "melody" {
     These are the words
@@ -596,11 +596,16 @@ spaces between the syllables, you can surround the  
phrase with
 quotes or use a @code{_} character.  Alternatively, you can use
 the tilde symbol (@code{~}) to get a lyric tie.

address@hidden,ragged-right,verbatim]
address@hidden,ragged-right,verbatim,relative=2]
 {
-  \relative c'' { \autoBeamOff
-    r8 b c fis, fis c' b e, }
-  \addlyrics { Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da }
+  { \autoBeamOff
+    r8 b c fis, fis c' b e,
+  }
+  \addlyrics
+  {
+    \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are  
visible
+    Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
+  }
   \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
   \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
 }
@@ -620,9 +625,9 @@ Internals Reference:
 @funindex \melisma
 @funindex \melismaEnd

-Sometimes, particularly in Medieval music, several notes are to be
-sung on one syllable; such vocalises are called melismata, or
address@hidden  The syllable to a melisma is usually
+Sometimes, particularly in Medieval and baroque music, several notes are
+sung on one syllable; this is called melisa, see
address@hidden  The syllable to a melisma is usually
 left-aligned with the first note of the melisma.

 When a melisma occurs on a syllable other that the last one in a
@@ -2154,8 +2159,8 @@ etc.
 Choral music is usually notated on two, three or four staves within
 a @code{ChoirStaff} group.  Accompaniment, if required, is placed
 beneath in a @code{PianoStaff} group, which is usually reduced in
-size for @emph{a capella} choral works.  The notes for each vocal
-part are placed in a @code{Voice} context, with each staff
+size for rehearsal of @emph{a cappella} choral works.  The notes for
+each vocal part are placed in a @code{Voice} context, with each staff
 being given either a single vocal part (i.e., one @code{Voice}) or
 a pair of vocal parts (i.e., two @code{Voice}s).

Index: Documentation/notation/wind.itely
diff --git a/Documentation/notation/wind.itely  
b/Documentation/notation/wind.itely
index  
dfb0d585ffe2a1dfcafca335e57506837421dd72..64fee0f3ca3bfb03406e0b8bf1873f3c82788fbf  
100644
--- a/Documentation/notation/wind.itely
+++ b/Documentation/notation/wind.itely
@@ -57,7 +57,7 @@ Other aspects of musical notation that can apply to wind  
instruments:
 @itemize
 @item Many wind instruments are transposing instruments, see
 @ref{Instrument transpositions}.
address@hidden The slide glissando are characteristic of the trombone, but other
address@hidden Slide glissandi are characteristic of the trombone, but other
 winds may perform keyed or valved glissandi.  See @ref{Glissando}.
 @item Harmonic series glissandi, which are possible on all brass
 instruments but common for French Horns, are usually written out as