Doc: In NR, always write comma after `e.g.' and `i.e.'.

This especially improves the formatting of `notation.pdf'.

13 files changed, 51 insertions, 51 deletions

diff --git a/Documentation/notation/ancient.itely b/Documentation/notation/ancient.itely
index 714584210a..1fda153665 100644
--- a/Documentation/notation/ancient.itely
+++ b/Documentation/notation/ancient.itely
@@ -682,7 +682,7 @@ mensural notation or coloratio sections in white mensural notation.
 Because note head style does not influence flag count, in
 this style a semiminima should be notated as @code{a8*2}, not
 @code{a4}, otherwise it will look like a minima.
-The multiplier can be different if coloratio is used e.g. to notate
+The multiplier can be different if coloratio is used, e.g., to notate
 triplets.
 
 Use @code{semipetrucci} style to draw half-colored
@@ -1471,7 +1471,7 @@ with any of the following commands:
 @funindex \linea
 @code{\linea}.
 
-@item Ligatures, properly speaking (i.e. notes joined together), are
+@item Ligatures, properly speaking (i.e., notes joined together), are
 produced by placing one of the joining commands @code{\pes} or
 @code{\flexa}, for upwards and downwards movement, respectively,
 @emph{between} the notes to be joined.
@@ -1525,7 +1525,7 @@ Liquescent neumes
 
 Another main category of notes in Gregorian chant is the so-called
 liquescent neumes.  They are used under certain circumstances at
-the end of a syllable which ends in a @q{liquescent} letter, i.e.
+the end of a syllable which ends in a @q{liquescent} letter, i.e.,
 the sounding consonants that can hold a tone (the nasals, l, r, v,
 j, and their diphthong equivalents).  Thus, the liquescent neumes
 are never used alone (although some of them can be produced), and
@@ -2637,7 +2637,7 @@ typical scenarios are outlined, with suggestions of solutions.
 These involve:
 
 @itemize
-@item how to make incipits (i.e. prefatory material to indicate
+@item how to make incipits (i.e., prefatory material to indicate
 what the original has looked like) to modern transcriptions of
 mensural music;
 @item how to achieve the @emph{Mensurstriche} layout frequently
@@ -2697,7 +2697,7 @@ produced.  If no instrument name is required then use
 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
 for bar lines that are drawn between the staves of a system but
 not through the staves themselves.  It is a common way to preserve
-the rhythmic appearance of the original, i.e. not having to break
+the rhythmic appearance of the original, i.e., not having to break
 syncopated notes at bar lines, while still providing the
 orientation aids that bar lines give.
 
@@ -2835,7 +2835,7 @@ verba = \lyricmode {
 @end lilypond
 
 Another common situation is transcription of neumatic or
-melismatic chants, i.e. chants with a varying number of notes
+melismatic chants, i.e., chants with a varying number of notes
 to each syllable.  In this case, one would want to set the
 syllable groups clearly apart, usually also the subdivisions of a
 longer melisma.  One way to achieve this is to use a fixed
diff --git a/Documentation/notation/changing-defaults.itely b/Documentation/notation/changing-defaults.itely
index f5546a790a..60702dc4f7 100644
--- a/Documentation/notation/changing-defaults.itely
+++ b/Documentation/notation/changing-defaults.itely
@@ -1952,7 +1952,7 @@ the @code{#}@tie{}character.
 
 Contexts properties are usually named in
 @code{studlyCaps}.  They mostly control the translation from
-music to notation, e.g. @code{localAlterations} (for determining
+music to notation, e.g., @code{localAlterations} (for determining
 whether to print accidentals), or @code{measurePosition} (for
 determining when to print a bar line).  Context properties can
 change value over time while interpreting a piece of music;
@@ -2436,7 +2436,7 @@ a context will still show the values of their respective parent's
 context.
 
 The lifetime and value of a context property is dynamic and only
-available when music is being interpreted (i.e. @q{iterated}).  At the
+available when music is being interpreted (i.e., @q{iterated}).  At the
 time of the context's creation, properties are initialized from its
 corresponding definitions (along with any other modifications) of that
 context.  Any subsequent changes are achieved with any
@@ -2467,7 +2467,7 @@ own grob definition.
 
 Grob definitions are accessed with a different set of commands and are
 manipulated using @code{\override} and @code{\revert} and have a name
-starting with a capital letter (e.g. @samp{NoteHead}); whereas normal
+starting with a capital letter (e.g., @samp{NoteHead}); whereas normal
 context properties are manipulated using @code{\set} and @code{\unset}
 and are named starting with a lowercase letter.
 
@@ -2715,7 +2715,7 @@ be desirable to force a particular direction or placement.
 @node Articulation direction indicators
 @unnumberedsubsubsec Articulation direction indicators
 
-By default some directions are always up or always down (e.g.
+By default some directions are always up or always down (e.g.,
 dynamics or fermata), while other things can alternate between
 up or down based on the stem direction (like slurs or accents).
 
@@ -2732,9 +2732,9 @@ but a direction indicator is @strong{always} required before
 @item @code{\tweak} commands
 @item @code{\markup} commands
 @item @code{\tag} commands
-@item string markups, e.g. -"string"
-@item fingering instructions, e.g. @w{@code{-1}}
-@item articulation shortcuts, e.g. @w{@code{-.}}, @w{@code{->}}, @w{@code{--}}
+@item string markups, e.g., -"string"
+@item fingering instructions, e.g., @w{@code{-1}}
+@item articulation shortcuts, e.g., @w{@code{-.}}, @w{@code{->}}, @w{@code{--}}
 @end itemize
 
 Direction indicators affect only the next note:
@@ -3505,7 +3505,7 @@ to print them and @code{all-invisible} to suppress them.
 
 The @code{break-visibility} property controls the visibility of
 key signatures and changes of clef only at the start of lines,
-i.e. after a break.  It has no effect on the visibility of the
+i.e., after a break.  It has no effect on the visibility of the
 key signature or clef following an explicit key change or an
 explicit clef change within or at the end of a line.  In the
 following example the key signature following the explicit change
@@ -4567,7 +4567,7 @@ Extending LilyPond:
 
 Unpure-pure containers are useful for overriding @emph{Y-axis} spacing
 calculations - specifically @code{Y-offset} and @code{Y-extent} - with a
-Scheme function instead of a literal (i.e. a number or pair).
+Scheme function instead of a literal (i.e., a number or pair).
 
 For certain grobs, the @code{Y-extent} is based on the @code{stencil}
 property, overriding the stencil property of one of these will
diff --git a/Documentation/notation/contemporary.itely b/Documentation/notation/contemporary.itely
index 665a847d7f..8a0466903b 100644
--- a/Documentation/notation/contemporary.itely
+++ b/Documentation/notation/contemporary.itely
@@ -142,7 +142,7 @@ addressed in @ref{Grouping staves}.
 @unnumberedsubsubsec Extended polymetric notation
 
 @ignore
-    Extended examples e.g. different instruments
+    Extended examples e.g., different instruments
     or ensembles with independent tempi
 @end ignore
 
diff --git a/Documentation/notation/editorial.itely b/Documentation/notation/editorial.itely
index e329810ae5..73e5ffbece 100644
--- a/Documentation/notation/editorial.itely
+++ b/Documentation/notation/editorial.itely
@@ -350,7 +350,7 @@ Markup texts or strings may be used for finger changes.
 
 @funindex \thumb
 
-A thumb-script can be added (e.g. cello music) to indicate
+A thumb-script can be added (e.g., cello music) to indicate
 that a note should be played with the thumb.
 
 @lilypond[verbatim,quote]
diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely
index a69f678735..f9a587a930 100644
--- a/Documentation/notation/fretted-strings.itely
+++ b/Documentation/notation/fretted-strings.itely
@@ -194,7 +194,7 @@ calligraphic tablature clef is added automatically.
 @end lilypond
 
 Default tablatures do not contain any symbols for tone duration nor any
-other musical symbols such as e.g. expressive marks.
+other musical symbols such as expressive marks, for example.
 
 @lilypond[quote,ragged-right,verbatim]
 symbols = {
@@ -668,7 +668,7 @@ one for each string, ordered by string number from 1 to N,
 where string 1 is at the top of the tablature staff and
 string N is at the bottom.  This ordinarily results in ordering
 from highest pitch to lowest pitch, but some instruments
-(e.g. ukulele) do not have strings ordered by pitch.
+(e.g., ukulele) do not have strings ordered by pitch.
 
 A string pitch in a string tuning list is a LilyPond pitch
 object.  Pitch objects are created with the Scheme function
diff --git a/Documentation/notation/input.itely b/Documentation/notation/input.itely
index c4224727ed..24ccf61d1b 100644
--- a/Documentation/notation/input.itely
+++ b/Documentation/notation/input.itely
@@ -365,7 +365,7 @@ A direct scheme expression, such as
 @code{#(ly:set-option 'point-and-click #f)}.
 
 @item
-A @code{\header} block.  This sets the global (i.e. the top of
+A @code{\header} block.  This sets the global (i.e., the top of
 file) header block.  This is the block containing the default
 settings of titling fields like composer, title, etc. for all
 books within the file (see @ref{Titles explained}).
@@ -496,11 +496,11 @@ circumstances to avoid errors:
 
 @item Around every opening and closing curly bracket.
 
-@item After every command or variable, i.e. every item that
+@item After every command or variable, i.e., every item that
 begins with a @code{\} sign.
 
 @item After every item that is to be interpreted as a Scheme
-expression, i.e. every item that begins with a @code{#}@tie{}sign.
+expression, i.e., every item that begins with a @code{#}@tie{}sign.
 
 @item To separate all elements of a Scheme expression.
 
@@ -1128,7 +1128,7 @@ variable = \markup @{
 
 The @var{procedure} is called each time the @code{\markup} command
 in which it appears is evaluated.  The @var{procedure} should test
-for a particular condition and interpret (i.e. print) the
+for a particular condition and interpret (i.e., print) the
 @var{markup} argument if and only if the condition is true.
 
 A number of ready-made procedures for testing various conditions are
@@ -1331,7 +1331,7 @@ left/bottom edge and zero implies the mark is centered on the edge.
 
 @item Context
 is the context in which the grob being footnoted is created.  It
-may be omitted if the grob is in a bottom context, e.g. a
+may be omitted if the grob is in a bottom context, e.g., a
 @code{Voice} context.
 
 @item GrobName
@@ -2212,7 +2212,7 @@ followed by a music expression.  If @emph{and only if} the symbols
 are valid LilyPond identifiers (alphabetic characters only, no
 numbers, underscores, or dashes) which cannot be confused with notes,
 the @code{#'} may be omitted and, as a shorthand, a list of symbols
-can use the dot separator: i.e. @code{\tag #'(violinI violinII)} can
+can use the dot separator: i.e., @code{\tag #'(violinI violinII)} can
 be written @code{\tag violinI.violinII}.  The same applies to
 @code{\keepWithTag} and @code{\removeWithTag}.
 
@@ -2734,7 +2734,7 @@ in your source file.  This will render only the last 5 measures
 (assuming 4/4 time signature) of every @code{\score} in the input
 file.  For longer pieces, rendering only a small part is often an order
 of magnitude quicker than rendering it completely.  When working on the
-beginning of a score you have already typeset (e.g. to add a new part),
+beginning of a score you have already typeset (e.g., to add a new part),
 the @code{showFirstLength} property may be useful as well.
 
 Skipping parts of a score can be controlled in a more fine-grained
@@ -2888,7 +2888,7 @@ following (without taking dots into account).  For example;
 @noindent
 The c will take the value of a crotchet.
 
-@item Ornaments (i.e. mordents, trills and turns et al.)
+@item Ornaments (i.e., mordents, trills and turns et al.)
 @item Rallentando, accelerando, ritardando and a tempo
 @item Slurs, including phrasing slurs
 @item Tenuto
@@ -2913,8 +2913,8 @@ and portato
 @item Glissandi
 @item Falls and doits
 @item Microtonal chords
-@item Rhythms entered as annotations, e.g. swing
-@item Tempo changes without @code{\tempo} (e.g. entered as annotations)
+@item Rhythms entered as annotations, e.g., swing
+@item Tempo changes without @code{\tempo} (e.g., entered as annotations)
 @item Tremolos that @emph{are} entered with a @q{@code{:}[@var{number}]}
 value
 @end itemize
@@ -2936,8 +2936,8 @@ To create a MIDI output file from a LilyPond input file, insert a
 @}
 @end example
 
-@warning{ A @code{@bs{}score} block that, as well as the music, contains
-only a @code{@bs{}midi} block (i.e. @emph{without} the @code{@bs{}layout}
+@warning{A @code{@bs{}score} block that, as well as the music, contains
+only a @code{@bs{}midi} block (i.e., @emph{without} the @code{@bs{}layout}
 block), will only produce MIDI output files.  No notation will be
 printed.}
 
diff --git a/Documentation/notation/notation-appendices.itely b/Documentation/notation/notation-appendices.itely
index 3d8bf79f43..388c8bc388 100644
--- a/Documentation/notation/notation-appendices.itely
+++ b/Documentation/notation/notation-appendices.itely
@@ -859,12 +859,12 @@ darkcyan    darkmagenta    darkyellow
 X color names come several variants:
 
 Any name that is spelled as a single word with capitalization
-(e.g. @q{LightSlateBlue}) can also be spelled as space separated
-words without capitalization (e.g. @q{light slate blue}).
+(e.g., @q{LightSlateBlue}) can also be spelled as space separated
+words without capitalization (e.g., @q{light slate blue}).
 
-The word @q{grey} can always be spelled @q{gray} (e.g. @q{DarkSlateGray}).
+The word @q{grey} can always be spelled @q{gray} (e.g., @q{DarkSlateGray}).
 
-Some names can take a numerical suffix (e.g. @q{LightSalmon4}).
+Some names can take a numerical suffix (e.g., @q{LightSalmon4}).
 
 
 @subsubheading Color Names without a numerical suffix:
@@ -2366,7 +2366,7 @@ An association list or @strong{alist} for short is a Scheme pair
 which associates a value with a key: @w{@code{(key . value)}}.  For
 example, in @file{scm/lily.scm}, the alist
 @w{@qq{type-p-name-alist}} associates certain type predicates
-(e.g.@tie{}@code{ly:music?}) with names (e.g.@tie{}@qq{music}) so
+(e.g., @code{ly:music?}) with names (e.g., @qq{music}) so
 that type-check failures can be reported with a console message that
 includes the name of the expected type predicate.
 
@@ -2392,7 +2392,7 @@ performed.
 In Scheme, a @strong{closure} is created when a function, usually
 a lambda expression, is passed as a variable.  The closure contains
 the function's code plus references to the lexical bindings of the
-function's free variables (i.e. those variables used in the
+function's free variables (i.e., those variables used in the
 expression but defined outside it).  When this function is applied
 to different arguments later, the free variable bindings that were
 captured in the closure are used to obtain the values of the free
diff --git a/Documentation/notation/percussion.itely b/Documentation/notation/percussion.itely
index be6bc04c35..b17dd888ee 100644
--- a/Documentation/notation/percussion.itely
+++ b/Documentation/notation/percussion.itely
@@ -168,7 +168,7 @@ Snippets:
 @node Pitched percussion
 @unnumberedsubsubsec Pitched percussion
 
-Certain pitched percussion instruments (e.g. xylophone,
+Certain pitched percussion instruments (e.g., xylophone,
 vibraphone, and timpani) are written using normal staves.
 This is covered in other sections of the manual.
 
diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index 3aa7738e2b..992182dae3 100644
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -841,7 +841,7 @@ relative mode within transposed music, an additional @code{\relative}
 must be placed inside @code{\transpose}.
 
 Triple accidentals will not be printed if using @code{\transpose}. An
-@q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
+@q{enharmonically equivalent} pitch will be used instead (e.g., d-flat
 rather than e-triple-flat).
 
 
diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 704d96e007..2c7c7714c0 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -981,7 +981,7 @@ Internals Reference:
 @cindex multi-measure rests and fingerings
 
 @knownissues
-Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
+Fingerings over multi-measure rests (e.g., @code{R1*10-4}) may result
 in the fingering numeral colliding with the bar counter
 numeral.
 
@@ -1489,7 +1489,7 @@ Internal Reference:
 @funindex \cadenzaOff
 
 In metered music bar lines are inserted and bar numbers are calculated
-automatically. In unmetered music (i.e. cadenzas), this is not
+automatically. In unmetered music (i.e., cadenzas), this is not
 desirable and can be @q{switched off} using the command
 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
 using @code{\cadenzaOff}.
diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index a29dd9c4ae..337fef0953 100644
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -1123,7 +1123,7 @@ the same @code{Voice} so that if any such spanners start or end in a
 different @code{Voice}, they may not be printed properly or at all.
 
 If the @code{\partcombine} function cannot combine both music
-expressions (i.e. when both voices have different durations), it will
+expressions (i.e., when both voices have different durations), it will
 give the voices, internally, its own custom names: @code{one} and
 @code{two} respectively.  This means if there is any @qq{switch} to a
 differently named @code{Voice} context, the events in that differently
diff --git a/Documentation/notation/spacing.itely b/Documentation/notation/spacing.itely
index bd6d4d4b78..23ed5c0f30 100644
--- a/Documentation/notation/spacing.itely
+++ b/Documentation/notation/spacing.itely
@@ -570,20 +570,20 @@ the distance between two (title or top-level) markups.
 @funindex last-bottom-spacing
 
 the distance from the last system or top-level markup on a page to
-the bottom of the printable area (i.e. the top of the bottom
+the bottom of the printable area (i.e., the top of the bottom
 margin).
 
 @item top-system-spacing
 @funindex top-system-spacing
 
-the distance from the top of the printable area (i.e. the bottom
+the distance from the top of the printable area (i.e., the bottom
 of the top margin) to the first system on a page, when there is no
 (title or top-level) markup between the two.
 
 @item top-markup-spacing
 @funindex top-markup-spacing
 
-the distance from the top of the printable area (i.e. the bottom
+the distance from the top of the printable area (i.e., the bottom
 of the top margin) to the first (title or top-level) markup on a
 page, when there is no system between the two.
 @end table
@@ -927,7 +927,7 @@ scores (if there are two or more scores), or by ending a score on an
 even-numbered page.  The values of the following three variables may
 be increased to make these actions less likely.
 
-The values are penalties, i.e. the higher the value the less likely
+The values are penalties, i.e., the higher the value the less likely
 will be the associated action relative to other choices.
 
 @table @code
@@ -1431,7 +1431,7 @@ issue:
 @end lilypond
 
 A @code{\break} command that occurrs at a bar line will also ignored if
-the previous measure ends in the middle of a note (e.g. when a tuplet
+the previous measure ends in the middle of a note (e.g., when a tuplet
 begins in one measure and ends in another).  In this case remove the
 @code{Forbid_line_break_engraver} from the @code{Voice} context and,
 use a simultaneous music construction inserting the @code{\break} at the
@@ -1943,7 +1943,7 @@ non-staff line if @code{staff-affinity} is @code{UP}.
 
 Each distance is measured between the @emph{reference points} of
 the two items.  The reference point for a staff is the vertical
-center of its @code{StaffSymbol} (i.e. the middle line if
+center of its @code{StaffSymbol} (i.e., the middle line if
 @code{line-count} is odd; the middle space if @code{line-count} is
 even).  The reference points for individual non-staff lines are
 given in the following table:
@@ -2107,7 +2107,7 @@ non-staff line.  Choices are @code{UP}, @code{DOWN}, and
 placed equidistant between the two nearest staves on either side,
 unless collisions or other spacing constraints prevent this.
 Adjacent non-staff lines should have non-increasing
-@code{staff-affinity} from top to bottom, e.g. a non-staff line
+@code{staff-affinity} from top to bottom, e.g., a non-staff line
 set to @code{UP} should not immediately follow one that is set to
 @code{DOWN}.  Non-staff lines at the top of a system should use
 @code{DOWN}; those at the bottom should use @code{UP}.  Setting
@@ -2333,7 +2333,7 @@ Internals Reference:
 
 @emph{Non-staff lines} (such as @code{Lyrics}, @code{ChordNames},
 etc.) are contexts whose layout objects are engraved like staves
-(i.e. in horizontal lines within systems).  Specifically,
+(i.e., in horizontal lines within systems).  Specifically,
 non-staff lines are non-staff contexts that contain the
 @rinternals{Axis_group_engraver}.
 
diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely
index b06de6f40b..0d6d4abf2a 100644
--- a/Documentation/notation/vocal.itely
+++ b/Documentation/notation/vocal.itely
@@ -1902,7 +1902,7 @@ are to be ignored.
 @cindex grace notes and lyrics
 @cindex lyrics on grace notes
 
-By default, grace notes (e.g. via @code{\grace}) do not get assigned
+By default, grace notes (e.g., via @code{\grace}) do not get assigned
 syllables when using @code{\lyricsto}, but this behavior can be
 changed: