Doc: ensure two spaces after end of sentence.

42 files changed, 232 insertions, 232 deletions

diff --git a/Documentation/contributor/doc-translation-list.itexi b/Documentation/contributor/doc-translation-list.itexi
index 8a259bf079..a72560c967 100644
--- a/Documentation/contributor/doc-translation-list.itexi
+++ b/Documentation/contributor/doc-translation-list.itexi
@@ -16,7 +16,7 @@ Priorities:
 Files of priority 1 should be submitted along all files generated by
 starting a new language in the same commit and thus a unique patch, and
 the translation of files marked with priority 2 should be committed to
-Git at the same time and thus sent in a single patch. Files
+Git at the same time and thus sent in a single patch.  Files
 marked with priority 3 or more may be submitted individually.  Word
 counts (excluding LilyPond snippets) are given for each file.  For
 knowing how to commit your work to Git, then make patches of your new
diff --git a/Documentation/contributor/doc-work.itexi b/Documentation/contributor/doc-work.itexi
index 3cc7de0e29..6a9d0e0d2e 100644
--- a/Documentation/contributor/doc-work.itexi
+++ b/Documentation/contributor/doc-work.itexi
@@ -76,7 +76,7 @@ For additions to the documentation,
 @enumerate
 
 @item
-Tell us where the addition should be placed. Please include both
+Tell us where the addition should be placed.  Please include both
 the section number and title (i.e. "LM 2.13 Printing lyrics").
 
 @item
@@ -84,7 +84,7 @@ Please write exact changes to the text.
 
 @item
 A formal patch to the source code is @emph{not} required; we can
-take care of the technical details. Here is an example of a
+take care of the technical details.  Here is an example of a
 perfect documentation report:
 
 @verbatim
@@ -122,7 +122,7 @@ Helpful User
 @subheading Larger contributions
 
 To replace large sections of the documentation, the guidelines are
-stricter. We cannot remove parts of the current documentation
+stricter.  We cannot remove parts of the current documentation
 unless we are certain that the new version is an improvement.
 
 @enumerate
@@ -141,7 +141,7 @@ Please prepare a formal git patch.
 @end enumerate
 
 Once you have followed these guidelines, please send a message to
-lilypond-devel with your documentation submissions. Unfortunately
+lilypond-devel with your documentation submissions.  Unfortunately
 there is a strict “no top-posting” check on the mailing list; to avoid
 this, add:
 
@@ -369,7 +369,7 @@ excepted in Templates, where `doctitle' may be omitted.
 
 @item
 Avoid long stretches of input code.  Nobody is going to read
-them in print.  Create small examples. However, this does not mean
+them in print.  Create small examples.  However, this does not mean
 it has be minimal.
 
 @item
@@ -1361,7 +1361,7 @@ an email to @code{translations-request@@lilynet.net} with subject
 @code{subscribe} and an empty message body.  Unless mentioned explicitly,
 or except if a translations coordinator contacts you privately, you
 should send questions, remarks and patches to the list
-@code{translations@@lilynet.net}. Please note that traffic is high
+@code{translations@@lilynet.net}.  Please note that traffic is high
 on the English-speaking list @code{lilypond-user@@gnu.org}, so it may
 take some time before your request or contribution is handled.
 
@@ -1527,7 +1527,7 @@ should at least write the node definition (that is, the @code{@@node
 @@@var{section_commmand} @@translationof} trio mentioned above) in the
 expected source file and define all its parent nodes; for each node you
 have defined this way but have not translated, insert a line that
-contains @code{@@untranslated}. That is, you should end up
+contains @code{@@untranslated}.  That is, you should end up
 for each untranslated node with something like
 
 @example
@@ -1577,7 +1577,7 @@ from the direct translation of a piece of English translation, using
 comments i.e. lines starting with @q{@code{@@c}}.
 
 Finally, press in Emacs @key{C-c C-u C-a} to update or generate
-menus. This process should be made easier in the future, when the helper
+menus.  This process should be made easier in the future, when the helper
 script @command{texi-langutils.py} and the makefile target are updated.
 
 Some pieces of text manipulated by build scripts that appear in the
diff --git a/Documentation/contributor/issues.itexi b/Documentation/contributor/issues.itexi
index b3c8404d8c..32e1ff4270 100644
--- a/Documentation/contributor/issues.itexi
+++ b/Documentation/contributor/issues.itexi
@@ -372,7 +372,7 @@ information is available from in @ref{Regression tests}.
 @item
 Checking all issues: we try to mark each Issue @q{fixed} when we
 fix it, but occasionally one or two issues will slip through the
-cracks.  It is therefore good to check all Issues. If you see the
+cracks.  It is therefore good to check all Issues.  If you see the
 same (broken) output as the initial report, then simply post a
 @qq{Problem still exists in 2.x.y} message to the issue.
 
diff --git a/Documentation/contributor/programming-work.itexi b/Documentation/contributor/programming-work.itexi
index aa8da23a8e..ef917b5afc 100644
--- a/Documentation/contributor/programming-work.itexi
+++ b/Documentation/contributor/programming-work.itexi
@@ -48,7 +48,7 @@ music event is assigned a moment, or a time in the music when the event
 begins.
 
 Each type of music event has an associated iterator.  Iterators are defined in
-*-iterator.cc. During iteration, an
+*-iterator.cc.  During iteration, an
 event's iterator is called to deliver that music event to the appropriate
 context(s).
 
@@ -194,7 +194,7 @@ in the documentation.  You can find these guidelines at
 When making changes or fixing bugs in LilyPond, one of the initial
 challenges is finding out where in the code tree the functions to
 be modified live.  With nearly 3000 files in the source tree,
-trial-and-error searching is generally ineffective. This section
+trial-and-error searching is generally ineffective.  This section
 describes a process for finding interesting code.
 
 @subsection Using the ROADMAP
@@ -317,7 +317,7 @@ The class Class_name is coded in @q{class-name.*}
 @node Indentation
 @subsection Indentation
 
-Standard GNU coding style is used. In emacs:
+Standard GNU coding style is used.  In emacs:
 
 @verbatim
              (add-hook 'c++-mode-hook
@@ -556,7 +556,7 @@ future.  Even better would be to have an English (en_BR, en_AM)
 guide helping programmers writing consistent messages for all GNU
 programs.
 
-Non-preferred messages are marked with `+'. By convention,
+Non-preferred messages are marked with `+'.  By convention,
 ungrammatical examples are marked with `*'.  However, such ungrammatical
 examples may still be preferred.
 
@@ -564,7 +564,7 @@ examples may still be preferred.
 
 @item
 Every message to the user should be localized (and thus be marked
-for localization). This includes warning and error messages.
+for localization).  This includes warning and error messages.
 
 @item
 Do not localize/gettextify:
@@ -593,10 +593,10 @@ warning (_ ("need music in a score"));
 error (_f ("cannot open file: `%s'", file_name));
 @end example
 
-In some rare cases you may need to call `gettext ()' by hand. This
+In some rare cases you may need to call `gettext ()' by hand.  This
 happens when you pre-define (a list of) string constants for later
-use. In that case, you'll probably also need to mark these string
-constants for translation, using `_i (STRING)'. The `_i' macro is
+use.  In that case, you'll probably also need to mark these string
+constants for translation, using `_i (STRING)'.  The `_i' macro is
 a no-op, it only serves as a marker for `xgettext'.
 
 @example
@@ -616,7 +616,7 @@ foo (int i)
 See also `flower/getopt-long.cc' and `lily/main.cc'.
 
 @item
-Do not use leading or trailing whitespace in messages. If you need
+Do not use leading or trailing whitespace in messages.  If you need
 whitespace to be printed, prepend or append it to the translated
 message
 
@@ -633,7 +633,7 @@ foo.ly: 12: not a duration: 3
 @end example
 
 Messages containing a final verb, or a gerund (`-ing'-form) always
-start with a capital. Other (simpler) messages start with a
+start with a capital.  Other (simpler) messages start with a
 lowercase letter
 
 @example
@@ -647,7 +647,7 @@ Avoid abbreviations or short forms, use `cannot' and `do not'
 rather than `can't' or `don't'
 To avoid having a number of different messages for the same
 situation, well will use quoting like this `"message: `%s'"' for all
-strings. Numbers are not quoted:
+strings.  Numbers are not quoted:
 
 @example
 _f ("cannot open file: `%s'", name_str)
@@ -655,9 +655,9 @@ _f ("cannot find character number: %d", i)
 @end example
 
 @item
-Think about translation issues. In a lot of cases, it is better to
-translate a whole message. English grammar must not be imposed on the
-translator. So, instead of
+Think about translation issues.  In a lot of cases, it is better to
+translate a whole message.  English grammar must not be imposed on the
+translator.  So, instead of
 
 @example
 stem at  + moment.str () +  does not fit in beam
@@ -670,7 +670,7 @@ _f ("stem at %s does not fit in beam", moment.str ())
 @end example
 
 @item
-Split up multi-sentence messages, whenever possible. Instead of
+Split up multi-sentence messages, whenever possible.  Instead of
 
 @example
 warning (_f ("out of tune!  Can't find: `%s'", "Key_engraver"));
@@ -688,7 +688,7 @@ warning (_f ("Loading default font"));
 
 @item
 If you must have multiple-sentence messages, use full punctuation.
-Use two spaces after end of sentence punctuation. No punctuation
+Use two spaces after end of sentence punctuation.  No punctuation
 (esp. period) is used at the end of simple messages.
 
 @example
@@ -699,14 +699,14 @@ _f ("Huh?  Not a Request: `%s'.  Ignoring.", request)
 
 @item
 Do not modularize too much; words frequently cannot be translated
-without context. It is probably safe to treat most occurrences of
+without context.  It is probably safe to treat most occurrences of
 words like stem, beam, crescendo as separately translatable words.
 
 @item
 When translating, it is preferable to put interesting information
 at the end of the message, rather than embedded in the middle.
 This especially applies to frequently used messages, even if this
-would mean sacrificing a bit of eloquency. This holds for original
+would mean sacrificing a bit of eloquency.  This holds for original
 messages too, of course.
 
 @example
@@ -719,7 +719,7 @@ niet te openen: `foo.ly'*    (3)
 
 The first nl message, although grammatically and stylistically
 correct, is not friendly for parsing by humans (even if they speak
-dutch). I guess we would prefer something like (2) or (3).
+dutch).  I guess we would prefer something like (2) or (3).
 
 @item
 Do not run make po/po-update with GNU gettext < 0.10.35
@@ -1026,7 +1026,7 @@ performs in evaluating the procedure.
 @section Tracing object relationships
 
 Understanding the LilyPond source often boils down to figuring out what
-is happening to the Grobs. Where (and why) are they being created,
+is happening to the Grobs.  Where (and why) are they being created,
 modified and destroyed? Tracing Lily through a debugger in order to
 identify these relationships can be time-consuming and tedious.
 
@@ -1758,7 +1758,7 @@ pipeline, is it not too late??
 Joe Neeman answered:
 
 We create lots of extra grobs (eg. a BarNumber at every bar line) but
-most of them are not drawn. See the break-visibility property in
+most of them are not drawn.  See the break-visibility property in
 item-interface.
 
 
@@ -1775,7 +1775,7 @@ the body text are Han-Wen's answers.
 @subheading Figuring out how things work.
 
 I must admit that when I want to know how a program works, I use grep
-and emacs and dive into the source code. The comments and the code
+and emacs and dive into the source code.  The comments and the code
 itself are usually more revealing than technical documents.
 
 @subheading What's a grob, and how is one used?
@@ -1786,7 +1786,7 @@ class) -notes, clefs, etc.
 
 There are two other derived classes System (derived from Spanner,
 containing a "line of music") and Paper_column (derived from Item, it
-contains all items that happen at the same moment). They are separate
+contains all items that happen at the same moment).  They are separate
 classes because they play a special role in the linebreaking process.
 
 @subheading What's a smob, and how is one used?
@@ -1812,7 +1812,7 @@ Constructed during "interpreting" phase.
 Engravers
 
 Executive branch of Contexts, plugins that create grobs, usually one
-engraver per grob type. Created  together with context.
+engraver per grob type.  Created  together with context.
 
 @item
 Layout Objects
@@ -1822,9 +1822,9 @@ Layout Objects
 @item
 Grob Interfaces
 
-These are not C++ classes per se. The idea of a Grob interface hasn't
-crystallized well. ATM, an interface is a symbol, with a bunch of grob
-properties. They are not objects that are created or destroyed.
+These are not C++ classes per se.  The idea of a Grob interface hasn't
+crystallized well.  ATM, an interface is a symbol, with a bunch of grob
+properties.  They are not objects that are created or destroyed.
 
 @item
 Iterators
@@ -1843,20 +1843,20 @@ BTW, the entry point for interpreting is ly:run-translator
 @subheading Can you get to Context properties from a Music object?
 
 You can create music object with a Scheme function that reads context
-properties (the \applycontext syntax). However, that function is
+properties (the \applycontext syntax).  However, that function is
 executed during Interpreting, so you can not really get Context
 properties from Music objects, since music objects are not directly
-connected to Contexts. That connection is made by the  Music_iterators
+connected to Contexts.  That connection is made by the  Music_iterators
 
 @subheading Can you get to Music properties from a Context object?
 
 Yes, if you are given the music object within a Context
-object. Normally, the music objects enter Contexts in synchronized
+object.  Normally, the music objects enter Contexts in synchronized
 fashion, and the synchronization is done by Music_iterators.
 
 @subheading What is the relationship between C++ classes and Scheme objects?
 
-Smobs are C++ objects in Scheme. Scheme objects (lists, functions) are
+Smobs are C++ objects in Scheme.  Scheme objects (lists, functions) are
 manipulated from C++ as well using the GUILE C function interface
 (prefix: scm_)
 
@@ -1873,11 +1873,11 @@ Export a C++ function to Scheme with LY_DEFINE.
 
 Good question.  Things used to be clear-cut, but we have Scheme
 and SMOBs now, which means that interactions do not follow a very
-rigid format anymore. See below for an overview, though.
+rigid format anymore.  See below for an overview, though.
 
 @subheading Does the parser make Scheme procedure calls or C++ function calls?
 
-Both. And the Scheme calls can call C++ and vice versa. It's nested,
+Both.  And the Scheme calls can call C++ and vice versa.  It's nested,
 with the SCM datatype as lubrication between the interactions
 
 (I think the word "lubrication" describes the process better than the
@@ -1885,7 +1885,7 @@ traditional word "glue")
 
 @subheading How do the front-end and back-end get started?
 
-Front-end: a file is parsed, the rest follows from that. Specifically,
+Front-end: a file is parsed, the rest follows from that.  Specifically,
 
 Parsing leads to a Music + Music_output_def object (see parser.yy,
 definition of toplevel_expression )
@@ -1897,7 +1897,7 @@ During interpreting, Global_context + Music leads to a bunch of
 Contexts (see Global_translator::run_iterator_on_me ()).
 
 After interpreting, Global_context contains a Score_context (which
-contains staves, lyrics etc.) as a child. Score_context::get_output ()
+contains staves, lyrics etc.) as a child.  Score_context::get_output ()
 spews a Music_output object (either a Paper_score object for notation
 or Performance object for MIDI).
 
@@ -1924,14 +1924,14 @@ to produce TeX and PS.
 @end itemize
 
 Interactions between grobs and putting things into .tex and .ps files
-have gotten a little more complex lately. Jan has implemented
+have gotten a little more complex lately.  Jan has implemented
 page-breaking, so now the backend also involves Paper_book,
-Paper_lines and other things. This area is still heavily in flux, and
+Paper_lines and other things.  This area is still heavily in flux, and
 perhaps not something you should want to look at.
 
 @subheading How do the front-end and back-end communicate?
 
-There is no communication from backend to front-end. From front-end to
+There is no communication from backend to front-end.  From front-end to
 backend is simply the program flow: music + definitions gives
 contexts, contexts yield output, after processing, output is written
 to disk.
@@ -1958,7 +1958,7 @@ Music_iterators can set and read context properties, idem for
 Engravers and Contexts
 
 Music_iterators can send "synthetic" music events (which aren't in
-the input) to a context. These are caught by Engravers. This is
+the input) to a context.  These are caught by Engravers.  This is
 mostly a one way communication channel.
 
 part-combine-status is part of such a synthetic event, used by
@@ -1973,14 +1973,14 @@ procedure has a Music argument.  Does this mean I should use
 a Music property?
 
 \autochange is one of these extra strange beasts: it requires
-look-ahead to decide when to change staves. This is achieved by
+look-ahead to decide when to change staves.  This is achieved by
 running the interpreting step twice (see scm/part-combiner.scm , at
 the bottom), and storing the result of the first step (where to switch
 staves) in a Music property.  Since you want to influence that
 where-to-switch list, your must affect the code in
-make-autochange-music (scm/part-combiner.scm). That code is called
+make-autochange-music (scm/part-combiner.scm).  That code is called
 directly from the parser and there are no official "parsing
-properties" yet, so there is no generic way to tune \autochange. We
+properties" yet, so there is no generic way to tune \autochange.  We
 would have to invent something new for this, or add a separate
 argument,
 
@@ -2065,8 +2065,8 @@ while to figure that out, and I still didn't know who did the calling in the
 first place.  I only know a little bit about Flex and Bison, so reading those
 files helped only a little bit.
 
-@emph{Han-Wen:} GDB can be of help here. Set a breakpoint in C++, and run. When you
-hit the breakpoint, do a backtrace. You can inspect Scheme objects
+@emph{Han-Wen:} GDB can be of help here.  Set a breakpoint in C++, and run.  When you
+hit the breakpoint, do a backtrace.  You can inspect Scheme objects
 along the way by doing
 
 @example
diff --git a/Documentation/contributor/release-work.itexi b/Documentation/contributor/release-work.itexi
index b1a79e477f..85fe4c1565 100644
--- a/Documentation/contributor/release-work.itexi
+++ b/Documentation/contributor/release-work.itexi
@@ -226,7 +226,7 @@ A @qq{major release} means an update of @code{x} in @code{2.x.0}.
 
 Before release:
 
-* write release notes. note: stringent size requirements for
+* write release notes.  note: stringent size requirements for
  various websites, so be brief.
 
 * write preface section for manual.
diff --git a/Documentation/contributor/source-code.itexi b/Documentation/contributor/source-code.itexi
index ac3ccc0674..e266036f4d 100644
--- a/Documentation/contributor/source-code.itexi
+++ b/Documentation/contributor/source-code.itexi
@@ -883,7 +883,7 @@ that looks like this:
 
 @example
 
-# Please enter the commit message for your changes. Lines starting
+# Please enter the commit message for your changes.  Lines starting
 # with '#' will be ignored, and an empty message aborts the commit.
 # On branch master
 # Changes to be committed:
@@ -1637,7 +1637,7 @@ clicking on the usual Windows close-window widget.
 @subsection Git GUI
 
 Almost all subsequent work will use the Git Graphical User
-Interface, which avoids having to type command line commands. To
+Interface, which avoids having to type command line commands.  To
 start Git GUI first start the Git bash shell by clicking on the
 desktop icon, and type
 
diff --git a/Documentation/essay/engraving.itely b/Documentation/essay/engraving.itely
index 225170c131..61795e1a73 100644
--- a/Documentation/essay/engraving.itely
+++ b/Documentation/essay/engraving.itely
@@ -83,9 +83,9 @@ and movement, and it feels like a living, breathing piece of music,
 while the newer edition seems cold and mechanical.
 
 It is hard to immediately see what makes the difference with the newer
-edition. Everything looks neat and tiny, possibly even @qq{better}
-because it looks more computerized and uniform. This really puzzled us
-for quite a while. We wanted to improve computer notation, but we first
+edition.  Everything looks neat and tiny, possibly even @qq{better}
+because it looks more computerized and uniform.  This really puzzled us
+for quite a while.  We wanted to improve computer notation, but we first
 had to figure out what was wrong with it.
 
 The answer lies in the precise, mathematical uniformity of the newer
@@ -112,9 +112,9 @@ into a rigid grid of musical markings.
 
 There are other differences as well: in the hand-engraved edition the
 vertical lines are all stronger, the slurs lie closer to the note heads,
-and there is more variety in the slopes of the beams. Although such
+and there is more variety in the slopes of the beams.  Although such
 details may seem like nitpicking, the result is a score that is easier
-to read. In the computer-generated output, each line is nearly identical
+to read.  In the computer-generated output, each line is nearly identical
 and if the musician looks away for a moment she will be lost on the
 page.
 
@@ -370,7 +370,7 @@ the eye.
 The spacing algorithms in LilyPond even take the barlines into account,
 which is why the final up-stem in the properly spaced example has been
 given a little more space before the barline to keep it from looking
-crowded. A down-stem would not need this adjustment.
+crowded.  A down-stem would not need this adjustment.
 
 @node Ledger lines
 @unnumberedsubsec Ledger lines
@@ -595,7 +595,7 @@ for each possible configuration we compute an ugliness score and we
 choose the least ugly configuration.
 
 For example, here are three possible slur configurations, and LilyPond
-has given each one a score in @q{ugly points}. The first example gets
+has given each one a score in @q{ugly points}.  The first example gets
 15.39 points for grazing one of the noteheads:
 
 @lilypond
@@ -757,10 +757,10 @@ We made our comparison by engraving the last seven measures of the piece
 the subject returns in a three-part stretto and leads into the closing
 section.  In the Finale version, we have resisted the temptation to make
 any adjustments to the default output because we are trying to show the
-things that each software package gets right without assistance. The
+things that each software package gets right without assistance.  The
 only major edits that we made were adjusting the page size to match this
 essay and forcing the music onto two systems to make the comparison
-easier. By default Finale would have engraved two systems of three
+easier.  By default Finale would have engraved two systems of three
 measures each and a final, full-width system containing a single
 measure.
 
@@ -869,8 +869,8 @@ collision than Finale does.
 @end itemize
 
 This example is not intended to suggest that Finale cannot be used to
-produce publication-quality output. On the contrary, in the hands of a
-skilled user it can and does, but it requires skill and time. One of the
+produce publication-quality output.  On the contrary, in the hands of a
+skilled user it can and does, but it requires skill and time.  One of the
 fundamental differences between LilyPond and commercial scorewriters is
 that LilyPond hopes to reduce the amount of human intervention to an
 absolute minimum, while other packages try to provide an attractive
@@ -898,9 +898,9 @@ engraving error.
 
 If you are interested in examining these examples in more detail, the
 full seven-measure excerpt can be found at the end of this essay along
-with four different published engravings. Close examination reveals that
+with four different published engravings.  Close examination reveals that
 there is some acceptable variation among the hand-engravings, but that
-LilyPond compares reasonably well to that acceptable range. There are
+LilyPond compares reasonably well to that acceptable range.  There are
 still some shortcomings in the LilyPond output, for example, it appears
 a bit too aggressive in shortening some of the stems, so there is room
 for further development and fine-tuning.
@@ -1026,7 +1026,7 @@ components: parsing and representation take up less than 10% of
 the source code.
 
 When designing the structures used in LilyPond, we made some different
-decisions than are apparent in other software. Consider the hierarchical
+decisions than are apparent in other software.  Consider the hierarchical
 nature of music notation:
 
 @lilypond[quote,fragment]
diff --git a/Documentation/extending/programming-interface.itely b/Documentation/extending/programming-interface.itely
index 7b1637e564..17dce57395 100644
--- a/Documentation/extending/programming-interface.itely
+++ b/Documentation/extending/programming-interface.itely
@@ -530,8 +530,8 @@ It would be nice to make the @code{double-box} command customizable:
 here, the @code{box-padding} values are hard coded, and cannot be
 changed by the user.  Also, it would be better to distinguish the
 padding between the two boxes, from the padding between the inner box
-and the text. So we will introduce a new property,
-@code{inter-box-padding}, for the padding between the two boxes. The
+and the text.  So we will introduce a new property,
+@code{inter-box-padding}, for the padding between the two boxes.  The
 @code{box-padding} will be used for the inner padding.  The new code is
 now as follows:
 
diff --git a/Documentation/extending/scheme-tutorial.itely b/Documentation/extending/scheme-tutorial.itely
index c1d5858203..c9be04076b 100644
--- a/Documentation/extending/scheme-tutorial.itely
+++ b/Documentation/extending/scheme-tutorial.itely
@@ -28,9 +28,9 @@ Scheme.  If you want to know more about Scheme, see
 @uref{http://@/www@/.schemers@/.org}.
 
 LilyPond uses the GNU Guile implementation of Scheme, which is
-based on the Scheme @qq{R5RS} standard. If you are learning Scheme
+based on the Scheme @qq{R5RS} standard.  If you are learning Scheme
 to use with LilyPond, working with a different implementation (or
-referring to a different standard) is not recommended. Information
+referring to a different standard) is not recommended.  Information
 on guile can be found at @uref{http://www.gnu.org/software/guile/}.
 The @qq{R5RS} Scheme standard is located at
 @uref{http://www.schemers.org/Documents/Standards/R5RS/}.
@@ -68,7 +68,7 @@ Scheme.  On most systems you can experiment in a Scheme sandbox by
 opening a terminal window and typing @q{guile}.  On some systems,
 notably Windows, you may need to set the environment variable
 @code{GUILE_LOAD_PATH} to the directory @code{../usr/shr/guile/1.8}
-in the LilyPond installation. For the full path to this directory
+in the LilyPond installation.  For the full path to this directory
 see @rlearning{Other sources of information}.  Alternatively, Windows
 users may simply choose @q{Run} from the Start menu and enter
 @q{guile}.
diff --git a/Documentation/included/chord-names-jazz.ly b/Documentation/included/chord-names-jazz.ly
index d71422c405..79573df63c 100644
--- a/Documentation/included/chord-names-jazz.ly
+++ b/Documentation/included/chord-names-jazz.ly
@@ -2,7 +2,7 @@
 \header {
 
 texidoc = " Chord names are generated from a list pitches.  The
-functions which construct these names can be customised. Here are shown
+functions which construct these names can be customised.  Here are shown
 Jazz chords, following Ignatzek (pp. 17-18, 1995) and
 an alternative Jazz  chord notation.
 
diff --git a/Documentation/included/compile.itexi b/Documentation/included/compile.itexi
index 7f023f0058..0663f03524 100644
--- a/Documentation/included/compile.itexi
+++ b/Documentation/included/compile.itexi
@@ -906,7 +906,7 @@ been tested using OS X 10.5 (Leopard).
 First, install the relevant dependencies using MacPorts.
 
 Next, add the following to your relevant shell initialization
-files. This is @code{~/.profile} by default. You should create
+files.  This is @code{~/.profile} by default.  You should create
 this file if it does not exist.
 
 @example
@@ -928,7 +928,7 @@ FLEXLEXER_FILE = /opt/local/include/FlexLexer.h
 @end example
 
 At this point, you should verify that you have the appropriate
-fonts installed with your ghostscript installation. Check @code{ls
+fonts installed with your ghostscript installation.  Check @code{ls
 /opt/local/share/ghostscript/fonts} for: 'c0590*' files (.pfb,
 .pfb and .afm).  If you don't have them, run the following
 commands to grab them from the ghostscript SVN server and install
@@ -940,7 +940,7 @@ sudo mv urw-fonts-1.0.7pre44/* /opt/local/share/ghostscript/fonts/
 rm -rf urw-fonts-1.07pre44
 @end example
 
-Now run the @code{./configure} script. To avoid complications with
+Now run the @code{./configure} script.  To avoid complications with
 automatic font detection, add
 
 @example
@@ -1024,9 +1024,9 @@ installation directory structure.
 
 
 It can be useful to have both the stable and the development versions
-of Lilypond available at once. One way to do this on GNU/Linux is to
+of Lilypond available at once.  One way to do this on GNU/Linux is to
 install the stable version using the precompiled binary, and run the
-development version from the source tree. After running @command{make
+development version from the source tree.  After running @command{make
 all} from the top directory of the Lilypond source files, there will
 be a binary called @code{lilypond} in the @code{out} directory:
 
@@ -1035,7 +1035,7 @@ be a binary called @code{lilypond} in the @code{out} directory:
 @end example
 
 This binary can be run without actually doing the @code{make
-install} command. The advantage to this is that you can have all
+install} command.  The advantage to this is that you can have all
 of the latest changes available after pulling from git and running
 @code{make all}, without having to uninstall the old version and
 reinstall the new.
@@ -1082,8 +1082,8 @@ TODO: rewrite for lily-git.tcl !!!  do before GOP!  -gp
 
 Since it is not possible to compile Lilypond on Windows, some
 developers may find it useful to install a GNU/Linux virtual
-machine. A disk image with a special remix of @strong{Ubuntu}
-has been created for this purpose. It has all of the Lilypond
+machine.  A disk image with a special remix of @strong{Ubuntu}
+has been created for this purpose.  It has all of the Lilypond
 build dependencies in place, so that once installed, it is
 ready to compile both Lilypond and the Documentation.
 The @code{lilybuntu} remix is available for download here:
@@ -1095,7 +1095,7 @@ The @code{lilybuntu} remix is available for download here:
 We do not necessarily recommend any one virtualization tool,
 however the @code{lilybuntu} remix is known to work well on
 @uref{http://www.virtualbox.org/wiki/Downloads, Sun VirtualBox},
-which is a free download. Consult your virtualization software's
+which is a free download.  Consult your virtualization software's
 documentation for instructions on setting up the software and
 for general instructions on installing a virtual machine.
 
@@ -1104,10 +1104,10 @@ Steps to setting up @code{lilybuntu} in a virtual machine:
 @enumerate
 @item Download the @code{lilybuntu} disk image.
 
-@item Install @code{lilybuntu}. You will use the @code{.iso}
-file as the boot disk. It should not be necessary to burn it
+@item Install @code{lilybuntu}.  You will use the @code{.iso}
+file as the boot disk.  It should not be necessary to burn it
 to a DVD, but consult the documentation for your virtualization
-software for specific instructions. If possible, use at least
+software for specific instructions.  If possible, use at least
 the recommended amount of RAM for the virtual machine (384 MB on
 VirtualBox), and use a dynamically expanding virtual hard drive.
 A virtual hard drive with 6 GB will be enough to compile LilyPond,
@@ -1166,7 +1166,7 @@ Type:
 Edit local.make for local Makefile overrides.
 @end example
 
-@item First type @code{make all} to build Lilypond. This will take
+@item First type @code{make all} to build Lilypond.  This will take
 a while.
 
 @item When Lilypond is finished building, build the documentation
diff --git a/Documentation/included/generating-output.itexi b/Documentation/included/generating-output.itexi
index bea5144f30..1d9de533d3 100644
--- a/Documentation/included/generating-output.itexi
+++ b/Documentation/included/generating-output.itexi
@@ -91,7 +91,7 @@ Double-click the LilyPond icon on your desktop, an example file will open.
 @sourceimage{Learning_Win7_Welcome_File_Whole,,,}
 
 From the menus that appear along the top of the example file,
-select @w{@code{File > Save as}}. Do not use the @w{@code{File > Save}}
+select @w{@code{File > Save as}}.  Do not use the @w{@code{File > Save}}
 for the example file as this will not work until you have given it a
 valid LilyPond file name.
 
@@ -124,7 +124,7 @@ Or simply double-click the @file{test.ly}.
 @subsubheading Step 3. View output
 
 During the compilation of the @file{test.ly} file, a command window
-will, very briefly open and then close. Three additional files will
+will, very briefly open and then close.  Three additional files will
 have been created during this process.
 
 @sourceimage{Learning_Win7_All_Files_Created,,,}
@@ -156,7 +156,7 @@ during the compilation attempt, for any errors.
 This log file is overwritten each time you compile your LilyPond file.
 
 The PS file is used internally by LilyPond to create the PDF file and
-can be ignored. It also gets overwritten each time you compile your
+can be ignored.  It also gets overwritten each time you compile your
 file.
 
 If you are viewing your file in a PDF viewer, then you must close the
diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely
index 0c374e4df0..a7faab2504 100644
--- a/Documentation/learning/common-notation.itely
+++ b/Documentation/learning/common-notation.itely
@@ -872,7 +872,7 @@ Notation Reference:
 
 Polyphonic music in lilypond, while not difficult, uses concepts
 that we haven't discussed yet, so we're not going to introduce
-them here. Instead, the following sections introduce these concepts
+them here.  Instead, the following sections introduce these concepts
 and explain them thoroughly.
 
 @seealso
diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely
index 10d0d8f8bd..811b1dc493 100644
--- a/Documentation/learning/fundamental.itely
+++ b/Documentation/learning/fundamental.itely
@@ -643,7 +643,7 @@ Here's another simple example:
 @end lilypond
 
 It is not necessary to use a separate @code{<< \\ >>} construct
-for each bar. For music with few notes in each bar this layout
+for each bar.  For music with few notes in each bar this layout
 can help the legibility of the code, but if there are many
 notes in each bar it may be better to split out each voice
 separately, like this:
@@ -889,7 +889,7 @@ odd-numbered voices taking upward stems and the even-numbered
 voices downward ones.  The stems for voices 1 and 2 are right,
 but the stems in voice 3 should go down in this particular piece
 of music.  We can correct this by skipping voice three
-and placing the music in voice four. This is done by simply
+and placing the music in voice four.  This is done by simply
 adding another pair of @code{\\}.
 
 @lilypond[quote,verbatim,fragment,ragged-right]
@@ -916,7 +916,7 @@ voices to occupy the same vertical note column provided the stems are
 in opposite directions, but the notes from the third and fourth voices
 are displaced, if necessary, to avoid the note heads colliding.  This
 usually works well, but in this example the notes of the lowest voice
-are clearly not well placed by default. LilyPond provides several ways
+are clearly not well placed by default.  LilyPond provides several ways
 to adjust the horizontal placing of notes.  We are not quite ready yet
 to see how to correct this, so we shall leave this problem until a
 later section --- see the @code{force-hshift} property in @ref{Fixing
@@ -1149,7 +1149,7 @@ relative to the other notes.
 The @code{\shiftOn}, @code{\shiftOnn}, @code{\shiftOnnn}, and
 @code{\shiftOff} commands specify the degree to which notes and
 chords of the voice should be shifted if a collision
-would otherwise occur. By default, the outer voices (normally
+would otherwise occur.  By default, the outer voices (normally
 voices one and two) have @code{\shiftOff} specified, while the
 inner voices (three and four) have @code{\shiftOn} specified.
 When a shift is applied, voices one and three are shifted to
diff --git a/Documentation/learning/tweaks.itely b/Documentation/learning/tweaks.itely
index daeb0d4736..8c29eeccba 100644
--- a/Documentation/learning/tweaks.itely
+++ b/Documentation/learning/tweaks.itely
@@ -562,7 +562,7 @@ should find
      Line thickness, generally measured in @code{line-thickness}
 @end example
 
-This looks a good bet to change the heaviness. It tells us that
+This looks a good bet to change the heaviness.  It tells us that
 the value of @code{thickness} is a simple @emph{number},
 that the default value is 1.2, and that the units are
 in another property called @code{line-thickness}.
@@ -1632,7 +1632,7 @@ Then it sorts the outside-staff objects according to their
 @code{outside-staff-priority}.  The outside-staff objects are
 taken one by one, beginning with the object with the lowest
 @code{outside-staff-priority}, and placed so that they do not
-collide with any objects that have already been placed. That is,
+collide with any objects that have already been placed.  That is,
 if two outside-staff grobs are competing for the same space, the
 one with the lower @code{outside-staff-priority} will be placed
 closer to the staff.  If two objects have the same
@@ -2033,7 +2033,7 @@ It also shows how ottava brackets are created.
 @cindex rehearsal marks, tweaking placement
 
 Note that bar numbers, metronome marks and rehearsal marks are not
-shown. By default these are created in the @code{Score} context and
+shown.  By default these are created in the @code{Score} context and
 their @code{outside-staff-priority} is ignored relative to the layout
 objects which are created in the @code{Staff} context.  If you wish to
 place bar numbers, metronome marks or rehearsal marks in accordance
@@ -3720,7 +3720,7 @@ inst =
 @end example
 
 We will refer to this file using the @code{\include} command near
-the top of the music file. (The extension @code{.ily} is used to
+the top of the music file.  (The extension @code{.ily} is used to
 distinguish this included file, which is not meant to be compiled
 on its own, from the main file.)
 Now let's modify our music (let's save this file as @file{"music.ly"}).
diff --git a/Documentation/music-glossary.tely b/Documentation/music-glossary.tely
index ef649b2996..c62b359ac3 100644
--- a/Documentation/music-glossary.tely
+++ b/Documentation/music-glossary.tely
@@ -818,7 +818,7 @@ S: upptakt,
 FI: kohotahti.
 
 An anacrusis (also known as pickup or upbeat) is an incomplete measure
-of music before a section of music. It also refers to the initial
+of music before a section of music.  It also refers to the initial
 note(s) of a melody occurring in that incomplete measure.
 
 @lilypond[quote,relative=1]
@@ -1081,7 +1081,7 @@ FI: käsinkirjoitettu nuotti.
 
 @item Music prepared for photoreproduction by freehand drawing, with
 the aid of a straightedge ruler and T-square only, which attempts to
-emulate engraving. This required more skill than did engraving.
+emulate engraving.  This required more skill than did engraving.
 
 @end itemize
 
@@ -1235,7 +1235,7 @@ DK: bjælke,
 S: balk,
 FI: palkki.
 
-Line connecting a series of notes (shorter than a quarter note). The
+Line connecting a series of notes (shorter than a quarter note).  The
 number of beams determines the note value of the connected notes.
 
 @lilypond[quote,notime,relative=2,line-width=13\cm]
@@ -1602,9 +1602,9 @@ S: ackord,
 FI: sointu.
 
 Three or more tones sounding simultaneously.  In traditional European music
-the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+the base chord is a @emph{triad} consisting of two thirds.  @emph{Major}
 (major + minor third) as well as @emph{minor} (minor + major third) chords
-may be extended with more thirds. Four-tone @emph{seventh chords} and
+may be extended with more thirds.  Four-tone @emph{seventh chords} and
 five-tone @emph{ninth} major chords are most often used as dominants
 (functional harmony).  Chords having no third above the lower notes to
 define their mood are a special case called @q{open chords}.  The lack of
@@ -1792,7 +1792,7 @@ the top line high F:
 
 Staves of five lines are usually used, and the clef superimposed on them
 indicates which five lines have been selected from this @notation{grand
-staff}. For example, the treble or G clef indicates that the top five lines
+staff}.  For example, the treble or G clef indicates that the top five lines
 have been selected:
 
 @lilypond[quote]
@@ -2562,7 +2562,7 @@ DK: diatonisk skala,
 S: diatonisk skala,
 FI: diatoninen asteikko.
 
-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S).  Scales
 played on the white keys of a piano keyboard are diatonic.  These scales
 are sometimes called, somewhat inaccurately, @q{church modes}).
 
@@ -4411,28 +4411,28 @@ S: ?,
 FI: käännös.
 
 When a chord sounds with a bass note that differs from the root of the
-chord, it is said to be @emph{inverted}. The number of inversions that a
+chord, it is said to be @emph{inverted}.  The number of inversions that a
 chord can have is one fewer than the number of constituent notes.  For
 example, triads (which have three constituent notes) can have three
 positions, two of which are inversions:
 
 @table @dfn
 @item Root position
-The root note is in the bass, and above that are the third and the fifth. A
+The root note is in the bass, and above that are the third and the fifth.  A
 triad built on the first scale degree, for example, is marked @notation{I}.
 
 @item First inversion
-The third is in the bass, and above it are the fifth and the root. This
+The third is in the bass, and above it are the fifth and the root.  This
 creates an interval of a sixth and a third above the bass note, and so is
-marked in figured Roman notation as @notation{6/3}. This is commonly
+marked in figured Roman notation as @notation{6/3}.  This is commonly
 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
 characteristic interval of the inversion, and so always implies
 @notation{6/3}.
 
 @item Second inversion
-The fifth is in the bass, and above it are the root and the third. This
+The fifth is in the bass, and above it are the root and the third.  This
 creates an interval of a sixth and a fourth above the bass note, and so is
-marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
+marked as @notation{I6/4} or @notation{Ic}.  Second inversion is the most
 unstable chord position.
 @end table
 
@@ -4534,7 +4534,7 @@ S: ?,
 FI: antaa väristä.
 
 [French: @q{Let vibrate}]  Most frequently associated with harp
-parts. Marked @notation{l.v.} in the score.
+parts.  Marked @notation{l.v.} in the score.
 
 @seealso
 No cross-references.
@@ -4553,7 +4553,7 @@ S: largo,
 FI: largo, hitaasti, leveästi.
 
 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+expressiveness.  @emph{Larghetto} is less slow than largo.
 
 
 @node leading note
@@ -5603,7 +5603,7 @@ FI: usean tahdin mittainen tauko.
 Multi-measure rests are conventionally typeset with a combination of
 longa, breve and whole rests for shorter and a long horizontal bar for
 longer spans of rest, with a number above to indicate the duration (in
-measures) of the rest. The former style is called @q{Kirchenpausen} in
+measures) of the rest.  The former style is called @q{Kirchenpausen} in
 German, as a reminiscence of its use in Renaissance vocal polyphony.
 
 @lilypond[quote,relative=2]
@@ -6318,7 +6318,7 @@ of a more or less pronounced individuality.
 [Italian: past participle of @emph{portare}, @q{to carry}]
 
 A stroke in which each of several notes is separated slightly within a slur,
-without changing the bow's direction. It is used for passages of a
+without changing the bow's direction.  It is used for passages of a
 @notation{cantabile} character.
 
 @seealso
@@ -6506,7 +6506,7 @@ The quality of a triad is determined by the precise arrangement of its
 intervals.  Tertian triads can be described as a series of three notes.  The
 first element is the root note (or simply @q{root}) of the chord, the second
 note is the @q{third} of the chord, and the last note is the @q{fifth} of
-the chord. These are described below:
+the chord.  These are described below:
 
 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
 @headitem Chord name
@@ -6530,9 +6530,9 @@ the chord. These are described below:
 There are various types of seventh chords depending on the quality of the
 original chord and the quality of the seventh added.
 
-Five common types of seventh chords have standard symbols. The chord quality
+Five common types of seventh chords have standard symbols.  The chord quality
 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
-and D^m7 are all identical). The last three chords are not commonly used
+and D^m7 are all identical).  The last three chords are not commonly used
 except in jazz.
 
 @seealso
diff --git a/Documentation/notation/changing-defaults.itely b/Documentation/notation/changing-defaults.itely
index a0dfd6182f..682c8e3e60 100644
--- a/Documentation/notation/changing-defaults.itely
+++ b/Documentation/notation/changing-defaults.itely
@@ -123,8 +123,8 @@ Contexts are arranged hierarchically:
 @node Score - the master of all contexts
 @unnumberedsubsubsec Score - the master of all contexts
 
-This is the top level notation context. No other context can
-contain a Score context. By default the Score context handles
+This is the top level notation context.  No other context can
+contain a Score context.  By default the Score context handles
 the administration of time signatures and makes sure that items
 such as clefs, time signatures, and key-signatures are aligned
 across staves.
@@ -140,7 +140,7 @@ executed.
 @strong{@emph{StaffGroup}}
 
 Groups staves while adding a bracket on the left side, grouping
-the staves together. The bar lines of the contained staves are
+the staves together.  The bar lines of the contained staves are
 connected vertically.  @code{StaffGroup} only consists of a collection
 of staves, with a bracket in front and spanning bar lines.
 
diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely
index acbb4252d5..da052ad202 100644
--- a/Documentation/notation/chords.itely
+++ b/Documentation/notation/chords.itely
@@ -63,7 +63,7 @@ found at @ref{Input modes}.
 Chords entered using chord mode are music elements, and can be
 transposed just like chords entered using simultaneous music.
 @code{\chordmode} is absolute, as @code{\relative} has no effect
-on @code{chordmode} blocks. However, in @code{\chordmode} the
+on @code{chordmode} blocks.  However, in @code{\chordmode} the
 absolute pitches are one octave higher than in note mode.
 
 Chord mode and note mode can be mixed in sequential music:
@@ -612,7 +612,7 @@ this property.
 @item majorSevenSymbol
 
 This property contains the markup object used to follow the output
-of @code{chordRootNamer} to identify a major 7 chord. Predefined
+of @code{chordRootNamer} to identify a major 7 chord.  Predefined
 options are @code{whiteTriangleMarkup} and
 @code{blackTriangleMarkup}.
 
@@ -623,7 +623,7 @@ options are @code{whiteTriangleMarkup} and
 When the chord name contains additional pitches other than the root
 (e.g., an added bass note), this function is used to print the
 additional pitch.  By default the pitch is printed using
-@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
+@code{chordRootNamer}.  The @code{chordNoteNamer} property can be set
 to a specialized function to change this behavior.  For example, the
 bass note can be printed in lower case.
 
diff --git a/Documentation/notation/editorial.itely b/Documentation/notation/editorial.itely
index a673cdd184..4301839fa5 100644
--- a/Documentation/notation/editorial.itely
+++ b/Documentation/notation/editorial.itely
@@ -412,7 +412,7 @@ c2 \parenthesize <c e g>
 c2 <c \parenthesize e g>
 @end lilypond
 
-Non-note objects may be parenthesized as well. For articulations,
+Non-note objects may be parenthesized as well.  For articulations,
 a hyphen is needed before the @code{\parenthesize} command.
 
 @lilypond[verbatim,quote,relative=2]
diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely
index 2626c0cfb7..fdc61caa23 100644
--- a/Documentation/notation/fretted-strings.itely
+++ b/Documentation/notation/fretted-strings.itely
@@ -226,7 +226,7 @@ If you would like a certain pitch to be played on a specific string
 you can add a string number indication to the pitch name.  If you
 define pitch names and string numbers without a chord construct
 (@code{<>}) the string number indications do not appear in traditional
-notation. It is much more comfortable to define the playing position
+notation.  It is much more comfortable to define the playing position
 by using the value of @code{minimumFret}.  The default value for
 minimumFret is 0.
 
@@ -1536,8 +1536,8 @@ music = \relative c' {
 @end lilypond
 
 Another playing technique (especially used on electric guitars) is
-called @notation{palm mute}. The string is hereby partly muted by the
-palm of the striking hand (hence the name). Lilypond supports
+called @notation{palm mute}.  The string is hereby partly muted by the
+palm of the striking hand (hence the name).  Lilypond supports
 the notation of palm mute-style notes by changing the note head to a
 triangle shape.
 
diff --git a/Documentation/notation/input.itely b/Documentation/notation/input.itely
index 15ad7b4826..1dd00e6c5c 100644
--- a/Documentation/notation/input.itely
+++ b/Documentation/notation/input.itely
@@ -876,13 +876,13 @@ statements of their own.  By default, these second-level
 @code{\include} statements are not interpreted until they have
 been brought into the main file, so the file names they specify
 must all be relative to the directory containing the main file,
-not the directory containing the included file. However,
+not the directory containing the included file.  However,
 this behavior can be changed by passing the option
 @code{-drelative-includes} option at the command line
 (or by adding @code{#(ly:set-option 'relative-includes #t)}
-at the top of the main input file). With @code{relative-includes}
+at the top of the main input file).  With @code{relative-includes}
 set, the path for each @code{\include} command will be taken
-relative to the file containing that command. This behavior is
+relative to the file containing that command.  This behavior is
 recommended and it will become the default behavior in a future
 version of lilypond.
 
@@ -1544,8 +1544,8 @@ of specifying the initial or overall MIDI tempo is described below,
 see @ref{MIDI block}.
 
 Due to some limitations on Windows, the default extension for
-MIDI files on Windows is @code{.mid}. Other operating systems still
-use the extension @code{.midi}. If a different extension is preferred,
+MIDI files on Windows is @code{.mid}.  Other operating systems still
+use the extension @code{.midi}.  If a different extension is preferred,
 insert the following line at the top-level of the input file,
 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
 
@@ -1719,7 +1719,7 @@ The following items of notation are reflected in the MIDI output:
 
 @itemize
 @item Pitches
-@item Microtones (See @ref{Accidentals}. Rendering needs a
+@item Microtones (See @ref{Accidentals}.  Rendering needs a
 player that supports pitch bend.)
 @item Chords entered as chord names
 @item Rhythms entered as note durations, including tuplets
diff --git a/Documentation/notation/keyboards.itely b/Documentation/notation/keyboards.itely
index b2989fa70e..d073804d2b 100644
--- a/Documentation/notation/keyboards.itely
+++ b/Documentation/notation/keyboards.itely
@@ -620,9 +620,9 @@ Notation Reference:
 @cindex pedal diagrams, harp
 
 Harps have seven strings per octave that may be sounded at the natural,
-flattened, or sharpened pitch. In lever harps, each string is adjusted
+flattened, or sharpened pitch.  In lever harps, each string is adjusted
 individually, but in pedal harps every string with the same pitch name
-is controlled by a single pedal. From the player's left to right, the
+is controlled by a single pedal.  From the player's left to right, the
 pedals are D, C, and B on the left and E, F, G, and A on the right.
 The position of the pedals may be indicated with text marks:
 
@@ -645,7 +645,7 @@ c!1_\markup { \harp-pedal #"^o--|vv-^" }
 The @code{\harp-pedal} command accepts a string of characters, where
 @code{^} is the highest pedal position (flattened pitch), @code{-} is
 the middle pedal position (natural pitch), @code{v} is the lowest pedal
-position (sharpened pitch), and @code{|} is the divider. A prefixed
+position (sharpened pitch), and @code{|} is the divider.  A prefixed
 @code{o} will circle the following pedal symbol.
 
 @seealso
diff --git a/Documentation/notation/notation-appendices.itely b/Documentation/notation/notation-appendices.itely
index 6b58d17b65..7fdbe53ae5 100644
--- a/Documentation/notation/notation-appendices.itely
+++ b/Documentation/notation/notation-appendices.itely
@@ -18,7 +18,7 @@
 Note for editors and translators: In the following menu, two entries
 are needed to link to a pair of automatically generated sections.
 Please keep them and, if using emacs, do not run
-texinfo-all-menus-update without manually restoring them back. These
+texinfo-all-menus-update without manually restoring them back.  These
 menu entries are:
 
 * Text markup commands::
diff --git a/Documentation/notation/percussion.itely b/Documentation/notation/percussion.itely
index dd26226af7..f61283f10f 100644
--- a/Documentation/notation/percussion.itely
+++ b/Documentation/notation/percussion.itely
@@ -94,7 +94,7 @@ note names may be found in @ref{Percussion notes}.
 @cindex percussion clef
 
 Note that the normal notation of pitches (such as @code{cis4}) in a
-@code{DrumStaff} context will cause an error message. Percussion clefs
+@code{DrumStaff} context will cause an error message.  Percussion clefs
 are added automatically to a @code{DrumStaff} context but they can also
 be set explicitly.  Other clefs may be used as well.
 
diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index 527eaa4a6f..6cd5969633 100644
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -916,7 +916,7 @@ This section discusses how to alter the output of pitches.
 @funindex \clef
 @funindex clef
 
-The clef may be altered.  Middle C is shown in every example. The
+The clef may be altered.  Middle C is shown in every example.  The
 following clef names can (but do not need to) be enclosed in quotes.
 
 @lilypond[verbatim,quote,relative=1]
diff --git a/Documentation/notation/repeats.itely b/Documentation/notation/repeats.itely
index 7ffba85d30..46726cd052 100644
--- a/Documentation/notation/repeats.itely
+++ b/Documentation/notation/repeats.itely
@@ -640,7 +640,7 @@ durations, are supported.
 @funindex tremolo
 
 Tremolos can take two forms: alternation between two chords or two
-notes, and rapid repetition of a single note or chord. Tremolos
+notes, and rapid repetition of a single note or chord.  Tremolos
 consisting of an alternation are indicated by adding beams between the
 notes or chords being alternated, while tremolos consisting of the
 rapid repetition of a single note are indicated by adding beams or
diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 5bd9010b96..8d83dd3c9d 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -2726,7 +2726,7 @@ Internals Reference:
 @funindex \grace
 @funindex grace
 
-Grace notes are ornaments that are written out. Grace notes
+Grace notes are ornaments that are written out.  Grace notes
 are printed in a smaller font and take up no logical time
 in a measure.
 
@@ -2795,7 +2795,7 @@ finally at 1/2 of the main note.
 @end lilypond
 
 The space between the main note and the grace note may also be
-specified using spacers. The following example places the grace
+specified using spacers.  The following example places the grace
 note after a space lasting 7/8 of the main note.
 
 @lilypond[quote,verbatim,relative=2]
diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index bbe2b7ce3c..529b588522 100644
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -283,7 +283,7 @@ voices in a single staff is illustrated in the following example:
 @end lilypond
 
 @noindent
-Here, voices are instantiated explicitly and are given names. The
+Here, voices are instantiated explicitly and are given names.  The
 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices
 so that first and third voices get stems up, second and fourth
 voices get stems down, third and fourth voice note heads are
@@ -791,7 +791,7 @@ be ignored.  Likewise, partcombining isn't designed to work with lyrics;
 when one of the voices is explicitly named in order to attach lyrics to
 it, the partcombining stops working.
 
-@code{\partcombine} only observes onset times of notes. It cannot
+@code{\partcombine} only observes onset times of notes.  It cannot
 determine whether a previously started note is playing or not, leading
 to various problems.
 
diff --git a/Documentation/notation/spacing.itely b/Documentation/notation/spacing.itely
index d8b2eb7031..da64448d74 100644
--- a/Documentation/notation/spacing.itely
+++ b/Documentation/notation/spacing.itely
@@ -38,10 +38,10 @@ staff lines accordingly."
 
 Actually I found, that the @internalsref{StaffSymbol} at line 481
 sends to an incomplete
-documentation. The property staff-space is not explained here. I
+documentation.  The property staff-space is not explained here.  I
 thought Y-extent might be of
 help, but it is in turn explained by x-space which again is
-missing from the list. Who has the
+missing from the list.  Who has the
 knowledge to fix this?
 
 
@@ -216,7 +216,7 @@ present between a title and the staff that follows it;
 space increases when a page is stretched.
 If this is zero, the distance to the next staff will not stretch at all;
 @item @var{minimum-distance} -- the minimum distance to place between
-the baseline of a title and the center of the staff that follows it. This differs
+the baseline of a title and the center of the staff that follows it.  This differs
 from @var{padding} in that the height of a staff has no effect on
 the application of @var{minimum-distance} (whereas the height of a
 staff is crucial for @var{padding}).
@@ -229,7 +229,7 @@ after-title-spacing = #'((space . 2) (padding . 0.5))
 @end example
 
 
-If a page has a ragged bottom, @var{space} is not stretched. In particular, the
+If a page has a ragged bottom, @var{space} is not stretched.  In particular, the
 resulting distance on such a page is the largest of
 @itemize @bullet
 @item @var{space},
@@ -249,7 +249,7 @@ the baseline of the title that follows it.  See @var{after-title-spacing}.
 @funindex between-scores-system-spacing
 
 Specifies the spacing between two systems if they are in different scores, but
-there is no title between them. See @var{after-title-spacing}.
+there is no title between them.  See @var{after-title-spacing}.
 
 @item between-system-spacing
 @funindex between-system-spacing
@@ -466,7 +466,7 @@ first system.  Default: @code{0}.
 
 @end table
 
-If some values are not set, defaults will be taken. Their exact
+If some values are not set, defaults will be taken.  Their exact
 value is adjusted, depending on the paper size specified.  Currently,
 the following values are affected by this scaling:
 
@@ -587,7 +587,7 @@ never consider blank pages in the middle of a score.  Default:
 @funindex check-consistency
 
 If set to true, check whether @code{left-margin}, @code{right-margin} and
-@code{line-width} fit each other. Also make sure that their combination
+@code{line-width} fit each other.  Also make sure that their combination
 does not exceed the available @code{paper-width}.  Default: @code{##t}.
 
 @item first-page-number
@@ -597,13 +597,13 @@ The value of the page number on the first page.  Default:
 @code{#1}.
 
 @item max-systems-per-page
-The maximum number of systems that will be placed on a page. This
+The maximum number of systems that will be placed on a page.  This
 is currently supported only by the @code{ly:optimal-breaking} algorithm.
 Default: unset.
 
 @item min-systems-per-page
-The minimum number of systems that will be placed on a page. This
-may cause pages to be overfilled if it is made too large. This is
+The minimum number of systems that will be placed on a page.  This
+may cause pages to be overfilled if it is made too large.  This is
 currently supported only by the @code{ly:optimal-breaking} algorithm.
 Default: unset.
 
@@ -930,11 +930,11 @@ Snippets:
 @cindex line breaks
 @cindex breaking lines
 
-Line breaks are normally determined automatically. They are chosen
+Line breaks are normally determined automatically.  They are chosen
 so that lines look neither cramped nor loose, and consecutive
 lines have similar density.  Occasionally you might want to
 override the automatic breaks; you can do this by specifying
-@code{\break}. This will force a line break at this point.  However,
+@code{\break}.  This will force a line break at this point.  However,
 line breaks can only occur at the end of @q{complete} bars, i.e.,
 where there are no notes or tuplets left @q{hanging} over the bar
 line.  If you want to have a line break where there is no bar line,
@@ -946,13 +946,13 @@ The opposite command, @code{\noBreak}, forbids a line break at the
 bar line where it is inserted.
 
 The most basic settings influencing line spacing are @code{indent}
-and @code{line-width}. They are set in the @code{\layout} block.
+and @code{line-width}.  They are set in the @code{\layout} block.
 They control the indentation of the first line of music, and the
 lengths of the lines.
 
 If @code{ragged-right} is set to true in the @code{\layout} block,
 then systems end at their natural horizontal length, instead of
-being spread horizontally to fill the whole line. This is useful
+being spread horizontally to fill the whole line.  This is useful
 for short fragments, and for checking how tight the natural
 spacing is.
 
@@ -1559,7 +1559,7 @@ to which it does not belong.
 \layout {
   \context {
     \Lyrics
-    % By default, Lyrics are placed close together. Here, we allow them to
+    % By default, Lyrics are placed close together.  Here, we allow them to
     % be stretched more widely.
     \override VerticalAxisGroup
       #'inter-loose-line-spacing #'stretchability = #1000
@@ -1638,7 +1638,7 @@ variables.
 There are two more @code{\paper} block variables that affect vertical
 spacing: if @var{ragged-bottom} is set to @code{##t} then no pages will
 be stretched (which means that neither the space between systems nor the
-space within systems will be stretched). If @var{ragged-last-bottom}
+space within systems will be stretched).  If @var{ragged-last-bottom}
 is set to @code{##t} then the last page will not be stretched.
 
 @seealso
@@ -2480,14 +2480,14 @@ timeline or graphic if we want.
 
 Note that the LilyPond's proportional notation package expects
 that all proportional scores set the SpacingSpanner's
-'uniform-stretching attribute to ##t. Setting
+'uniform-stretching attribute to ##t.  Setting
 proportionalNotationDuration without also setting the
 SpacingSpanner's 'uniform-stretching attribute to ##t will, for
 example, cause Skips to consume an incorrect amount of horizontal
 space.
 
 The SpacingSpanner is an abstract grob that lives in the Score
-context. As with our settings of proportionalNotationDuration,
+context.  As with our settings of proportionalNotationDuration,
 overrides to the SpacingSpanner can occur in any of three
 different places in our input file – in the Score \with block, in
 a Score \context block, or in note entry directly.
@@ -2578,14 +2578,14 @@ property of @code{SpacingSpanner}.  Compare the two scores below:
 @end lilypond
 
 Both scores are proportional, but the spacing in the first score
-is too loose because of the clef change. The spacing of the second
+is too loose because of the clef change.  The spacing of the second
 score remains strict, however, because strict-note-spacing is
 turned on.  Turning on strict-note-spacing causes the width of
 time signatures, key signatures, clefs and accidentals to play no
 part in the spacing algorithm.
 
 In addition to the settings given here, there are other settings
-that frequently appear in proportional scores. These include:
+that frequently appear in proportional scores.  These include:
 
 @itemize
 @item @code{\override SpacingSpanner #'strict-grace-spacing = ##t}
@@ -2654,7 +2654,7 @@ All layout dimensions are displayed in staff-spaces, regardless
 of the units specified in the @code{\paper} or @code{\layout} block.
 In the above example, @code{paper-height} has a value of 59.75
 @code{staff-spaces}, and the @code{staff-size} is 20 points (the
-default value). Note that:
+default value).  Note that:
 
 @multitable {1 staff-space} {staff-size)/4 * (25.4/72.27) mm}
 
@@ -2670,7 +2670,7 @@ default value). Note that:
 
 @noindent
 In this case, one @code{staff-space} is approximately equal to
-1.757mm. Thus the @code{paper-height} measurement of 59.75
+1.757mm.  Thus the @code{paper-height} measurement of 59.75
 @code{staff-spaces} is equivalent to 105 millimeters, the height
 of @code{a6} paper in landscape orientation.  The pairs
 (@var{a},@var{b}) are intervals, where @var{a} is the lower
@@ -2714,7 +2714,7 @@ setting a value, even the same value as the number of systems
 being typeset by default, will sometimes cause more systems to
 be fitted onto each page, as an estimation step is then bypassed,
 giving a more accurate fit to each page.  Also, forcing an actual
-reduction in the number of systems may save a further page. For
+reduction in the number of systems may save a further page.  For
 example, if the default layout has 11 systems, the following
 assignment will force a layout with 10 systems.
 
diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely
index 8d37fe33fa..dca7d4245a 100644
--- a/Documentation/notation/staff.itely
+++ b/Documentation/notation/staff.itely
@@ -88,7 +88,7 @@ For details, see @ref{Percussion staves}.
 
 @code{RhythmicStaff} creates a single-line staff that only
 displays the rhythmic values of the input.  Real durations are
-preserved. For details, see @ref{Showing melody rhythms}.
+preserved.  For details, see @ref{Showing melody rhythms}.
 
 @lilypond[verbatim,quote,relative=2]
 \new RhythmicStaff { c4 d e f }
diff --git a/Documentation/notation/text.itely b/Documentation/notation/text.itely
index cdef0fd841..c2cf111a68 100644
--- a/Documentation/notation/text.itely
+++ b/Documentation/notation/text.itely
@@ -607,7 +607,7 @@ or dynamics, do not provide all characters, as mentioned in @ref{New
 dynamic marks} and @ref{Manual repeat marks}.
 
 @c \concat is actually documented in Align (it is not
-@c a font-switching command). But we need it here. -vv
+@c a font-switching command).  But we need it here. -vv
 
 When used inside a word, some font-switching or formatting commands
 may produce an unwanted blank space.  This can easily be solved by
@@ -892,7 +892,7 @@ as shown in the following example.
     \line \bold { Acto I }
     \wordwrap \italic {
       (La escena representa el corral de una casa de
-      gitanos en el Albaicín de Granada. Al fondo una
+      gitanos en el Albaicín de Granada.  Al fondo una
       puerta por la que se ve el negro interior de
       una Fragua, iluminado por los rojos resplandores
       del fuego.)
@@ -902,7 +902,7 @@ as shown in the following example.
     \line \bold { Acto II }
     \override #'(line-width . 50)
     \justify \italic {
-      (Calle de Granada. Fachada de la casa de Carmela
+      (Calle de Granada.  Fachada de la casa de Carmela
       y su hermano Manuel con grandes ventanas abiertas
       a través de las que se ve el patio
       donde se celebra una alegre fiesta)
diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely
index 86a71118a5..9cf034d27c 100644
--- a/Documentation/notation/vocal.itely
+++ b/Documentation/notation/vocal.itely
@@ -403,7 +403,7 @@ A comment is in tracker waiting for response ---FV
 
 
 Be careful when defining a variable with lyrics that creates a new
-context, for example, using the deprecated @code{\lyrics} command. See
+context, for example, using the deprecated @code{\lyrics} command.  See
 the next erroneous example:
 
 @example
@@ -653,12 +653,12 @@ for every extra note that has to be added to the melisma.
 @c duplicated: TODO fix
 Additionally, you can make an extender line to be typeset to indicate
 the melisma in the score, writing a double underscore next to the
-first syllable of the melisma. This example shows the three elements
+first syllable of the melisma.  This example shows the three elements
 that are used for this purpose (all of them surrounded by spaces):
 double hyphens to separate syllables in a word, underscores to add
 notes to a melisma, and a double underscore to put an extender line.
 
-@c wrong: extender line only on last syllable of a word. Change example
+@c wrong: extender line only on last syllable of a word.  Change example
 @lilypond[relative=1,verbatim,fragment,quote]
 { \set melismaBusyProperties = #'()
  c d( e) f f( e) e e  }
@@ -897,7 +897,7 @@ lyr = \lyricmode { I like my cat! }
 
 This method is recommended only if the music in the @code{Devnull}
 context does not contain melismata.  Melismata are defined by the
-@code{Voice} context. Connecting lyrics to a @code{Devnull} context
+@code{Voice} context.  Connecting lyrics to a @code{Devnull} context
 makes the voice/lyrics links to get lost, and so does the info on
 melismata.  Therefore, if you link lyrics to a @code{Devnull} context,
 the implicit melismata get ignored.
diff --git a/Documentation/notation/wind.itely b/Documentation/notation/wind.itely
index f7d6b8b05a..21f5d1aa11 100644
--- a/Documentation/notation/wind.itely
+++ b/Documentation/notation/wind.itely
@@ -48,7 +48,7 @@ staccato are usually shown by articulation marks, sometimes combined
 with slurs, see @ref{Articulations and ornamentations} and @ref{List of
 articulations}.
 @item Flutter tonguing is usually indicated by placing a tremolo mark
-and a text markup on the note. See @ref{Tremolo repeats}.
+and a text markup on the note.  See @ref{Tremolo repeats}.
 @end itemize
 
 There are also other aspects of musical notation that can apply to wind
@@ -58,7 +58,7 @@ instruments:
 @item Many wind instruments are transposing instruments, see
 @ref{Instrument transpositions}.
 @item The slide glissando are characteristic of the trombone, but other
-winds may perform keyed or valved glissandi. See @ref{Glissando}.
+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
 @ref{Grace notes}.
@@ -66,11 +66,11 @@ instruments but common for French Horns, are usually written out as
 and doits}.
 @item Key slaps or valve slaps are often shown by the @code{cross} style
 of @ref{Special note heads}.
-@item Woodwinds can overblow low notes to sound harmonics. These are
-shown by the @code{flageolet} articulation. See @ref{List of articulations}.
+@item Woodwinds can overblow low notes to sound harmonics.  These are
+shown by the @code{flageolet} articulation.  See @ref{List of articulations}.
 @item The use of brass mutes is usually indicated by a text markup, but
 where there are many rapid changes it is better to use the
-@code{stopped} and @code{open} articulations. See @ref{Articulations and
+@code{stopped} and @code{open} articulations.  See @ref{Articulations and
 ornamentations} and @ref{List of articulations}.
 @item Stopped horns are indicated by the @code{stopped} articulation.
 See @ref{Articulations and ornamentations}.
diff --git a/Documentation/notation/world.itely b/Documentation/notation/world.itely
index 00a46bb6d1..b7ecce0317 100644
--- a/Documentation/notation/world.itely
+++ b/Documentation/notation/world.itely
@@ -367,7 +367,7 @@ related through common lower tetra chords, or through modulation.
 @item
 There is not a complete consistency, sometimes even in the same
 text on how key signatures for particular maqams should be
-specified. It is common, however, to use a key signature per
+specified.  It is common, however, to use a key signature per
 group, rather than a different key signature for each different
 maqam.
 
diff --git a/Documentation/snippets.tely b/Documentation/snippets.tely
index 258a35882c..b44f4c5a90 100644
--- a/Documentation/snippets.tely
+++ b/Documentation/snippets.tely
@@ -9,7 +9,7 @@
 @macro manualIntro
 This document shows a selected set of LilyPond snippets from the
 @uref{http://lsr@/.dsi@/.unimi@/.it,LilyPond Snippet Repository}
-(LSR). It is in the public domain.
+(LSR).  It is in the public domain.
 
 We would like to address many thanks to Sebastiano Vigna for maintaining
 LSR web site and database, and the University of Milano for hosting LSR.
diff --git a/Documentation/topdocs/README.texi b/Documentation/topdocs/README.texi
index a2876c957d..20a051f983 100644
--- a/Documentation/topdocs/README.texi
+++ b/Documentation/topdocs/README.texi
@@ -30,7 +30,7 @@ The primary download site for sourcecode is
 
 For compiling and running LilyPond see the installation instructions.
 These instructions can be found when you unpack lilypond, as
-@file{lilypond-x.y.z/INSTALL.txt}. They are also available on the web
+@file{lilypond-x.y.z/INSTALL.txt}.  They are also available on the web
 at
 @uref{http://lilypond.org/doc/v2.12/Documentation/topdocs/INSTALL.html}.
 
diff --git a/Documentation/usage/latex-lilypond-example.latex b/Documentation/usage/latex-lilypond-example.latex
index bd278d3dca..8125748360 100644
--- a/Documentation/usage/latex-lilypond-example.latex
+++ b/Documentation/usage/latex-lilypond-example.latex
@@ -21,8 +21,8 @@
 
 \section{LilyPond-book + LaTeX}
 
-This is an examplefile for mixing LilyPond and Latex. It is also
-used to test lilypond-book. View the source to see how it is done.
+This is an examplefile for mixing LilyPond and Latex.  It is also
+used to test lilypond-book.  View the source to see how it is done.
 
 A simple scale:
 
@@ -33,7 +33,7 @@ A simple scale:
 \end{lilypond}
 
 LilyPond-book search for the \verb|\score| command when it decides
-if the code is only a fragment. Thus, in the following code, you have
+if the code is only a fragment.  Thus, in the following code, you have
 to use \verb|fragment| option, because the comment confuses lilypond-book.
 
 \begin{lilypond}[fragment]
@@ -116,9 +116,9 @@ c' e'
 \end{lilypond}
 
 has also the \verb|eps| options, but is not floating because there
-are an empty line before and after the lilypond block. That is
+are an empty line before and after the lilypond block.  That is
 correct behaviour because it follows La\TeX{} convention that an
-empty line signals a new paragraph. The \verb|eps| option
+empty line signals a new paragraph.  The \verb|eps| option
 is not necessary when you want the music in a paragraph on its own.
 
 \subsection{More examples}
@@ -155,7 +155,7 @@ Tables\footnote{ and footnote:
 
 \pagebreak
 
-Testing of spacing. The next music is surrounded by an empty line.
+Testing of spacing.  The next music is surrounded by an empty line.
 text text text text text text text text text text text text
 text text text text text text text text text text text text
 
diff --git a/Documentation/usage/lilypond-book.itely b/Documentation/usage/lilypond-book.itely
index daf9b4dcfd..ae2278e9ca 100644
--- a/Documentation/usage/lilypond-book.itely
+++ b/Documentation/usage/lilypond-book.itely
@@ -488,7 +488,7 @@ of lilypond.
 
 For inserting LilyPond snippets it is good to keep the conformity of our
 DocBook document, thus allowing us to use DocBook editors, validation
-etc. So we don't use custom tags, only specify a convention based on the
+etc.  So we don't use custom tags, only specify a convention based on the
 standard DocBook elements.
 
 @subheading Common conventions
@@ -618,7 +618,7 @@ Since this is the default, @code{nofragment} is redundant normally.
 
 @item indent=@var{size}\@var{unit}
 Set indentation of the first music system to @var{size}, using
-@var{unit} as units. @var{unit} is one of the following strings:
+@var{unit} as units.  @var{unit} is one of the following strings:
 @code{cm}, @code{mm}, @code{in}, or @code{pt}.  This option affects
 LilyPond, not the text layout.
 
@@ -847,7 +847,7 @@ See the documentation of Texinfo for further details.
 Specify the document type to process: @code{html}, @code{latex},
 @code{texi} (the default) or @code{docbook}.  If this option is missing,
 @command{lilypond-book} tries to detect the format automatically, see
-@ref{Filename extensions}. Currently, @code{texi} is the same as
+@ref{Filename extensions}.  Currently, @code{texi} is the same as
 @code{texi-html}.
 
 @c This complicated detail is not implemented, comment it out -jm
@@ -915,7 +915,7 @@ useful if your document is processed with @command{xelatex}, for
 example.
 
 @itemx --left-padding=@var{amount}
-Pad EPS boxes by this much. @var{amount} is measured in millimeters,
+Pad EPS boxes by this much.  @var{amount} is measured in millimeters,
 and is 3.0 by default.  This option should be used if the lines of
 music stick out of the right margin.
 
@@ -1127,7 +1127,7 @@ and so on.
 
 The fonts of snippets set with LilyPond will have to be set from
 inside
-of the snippet. For this you should read the AU on how to use
+of the snippet.  For this you should read the AU on how to use
 lilypond-book.
 
 \selectlanguage{ngerman}
diff --git a/Documentation/usage/running.itely b/Documentation/usage/running.itely
index e6d83537d2..8649b6fa4a 100644
--- a/Documentation/usage/running.itely
+++ b/Documentation/usage/running.itely
@@ -389,7 +389,7 @@ Be verbose: show full paths of all files read, and give timing
 information.
 
 @item -w,--warranty
-Show the warranty with which GNU LilyPond comes. (It comes with
+Show the warranty with which GNU LilyPond comes.  (It comes with
 @strong{NO WARRANTY}!)
 @end table
 
diff --git a/Documentation/usage/suggestions.itely b/Documentation/usage/suggestions.itely
index 74833b6960..9abc1712df 100644
--- a/Documentation/usage/suggestions.itely
+++ b/Documentation/usage/suggestions.itely
@@ -257,10 +257,10 @@ Another very useful debugging technique is constructing
 @cindex make
 
 Pretty well all the platforms Lilypond can run on support a software
-facility called @code{make}. This software reads a special file called a
+facility called @code{make}.  This software reads a special file called a
 @code{Makefile} that defines what files depend on what others and what
 commands you need to give the operating system to produce one file from
-another. For example the makefile would spell out how to produce
+another.  For example the makefile would spell out how to produce
 @code{ballad.pdf} and @code{ballad.midi} from @code{ballad.ly} by
 running Lilypond.
 
@@ -271,9 +271,9 @@ This is true for very large projects with many included files and
 different output options (e.g. full score, parts, conductor's
 score, piano reduction, etc.), or for projects that
 require difficult commands to build them (such as
-@code{lilypond-book} projects). Makefiles vary greatly in
+@code{lilypond-book} projects).  Makefiles vary greatly in
 complexity and flexibility, according to the needs and skills of
-the authors. The program GNU Make comes installed on GNU/Linux
+the authors.  The program GNU Make comes installed on GNU/Linux
 distributions and on MacOS X, and it is also available for Windows.
 
 See the @strong{GNU Make Manual} for full details on using
@@ -282,9 +282,9 @@ can do.
 
 The commands to define rules in a makefile differ
 according to platform; for instance the various forms of Linux and
-MacOS use @code{bash}, while Windows uses @code{cmd}. Note that on
+MacOS use @code{bash}, while Windows uses @code{cmd}.  Note that on
 MacOS X, you need to configure the system to use the command-line
-interpreter. Here are some example makefiles, with versions for both
+interpreter.  Here are some example makefiles, with versions for both
 Linux/MacOS and Windows.
 
 The first example is for an orchestral work in four
@@ -332,10 +332,10 @@ files in the @code{Notes} directory:
 
 The makefile will have targets of @code{score} (entire piece in
 full score), @code{movements} (individual movements in full score),
-and @code{parts} (individual parts for performers). There
+and @code{parts} (individual parts for performers).  There
 is also a target @code{archive} that will create a tarball of
-the source files, suitable for sharing via web or email. Here is
-the makefile for GNU/Linux or MacOS X. It should be saved with the
+the source files, suitable for sharing via web or email.  Here is
+the makefile for GNU/Linux or MacOS X.  It should be saved with the
 name @code{Makefile} in the top directory of the project:
 
 @warning{When a target or pattern rule is defined, the
@@ -433,12 +433,12 @@ archive:
 @end example
 
 
-There are special complications on the Windows platform. After
+There are special complications on the Windows platform.  After
 downloading and installing GNU Make for Windows, you must set the
 correct path in the system's environment variables so that the
-DOS shell can find the Make program. To do this, right-click on
+DOS shell can find the Make program.  To do this, right-click on
 "My Computer," then choose @code{Properties} and
-@code{Advanced}. Click @code{Environment Variables}, and then
+@code{Advanced}.  Click @code{Environment Variables}, and then
 in the @code{System Variables} pane, highlight @code{Path}, click
 @code{edit}, and add the path to the GNU Make executable file, which
  will look something like this:
@@ -449,7 +449,7 @@ C:\Program Files\GnuWin32\bin
 
 The makefile itself has to be altered to handle different shell
 commands and to deal with spaces that are present
-in some default system directories. The @code{archive} target
+in some default system directories.  The @code{archive} target
 is eliminated since Windows does not have the @code{tar} command,
 and Windows also has a different default extension for midi files.
 
@@ -525,8 +525,8 @@ all: score parts movements
 
 
 The next Makefile is for a @command{lilypond-book} document done in
-LaTeX. This project has an index, which requires that the
-@command{latex} command be run twice to update links. Output files are
+LaTeX.  This project has an index, which requires that the
+@command{latex} command be run twice to update links.  Output files are
 all stored in the @code{out} directory for .pdf output and in the
 @code{htmlout} directory for the html output.
 
@@ -581,11 +581,11 @@ archive:
 
 TODO: make this thing work on Windows
 
-The previous makefile does not work on Windows. An alternative
+The previous makefile does not work on Windows.  An alternative
 for Windows users would be to create a simple batch file
-containing the build commands. This will not
+containing the build commands.  This will not
 keep track of dependencies the way a makefile does, but it at
-least reduces the build process to a single command. Save the
+least reduces the build process to a single command.  Save the
 following code as @command{build.bat} or @command{build.cmd}.
 The batch file can be run at the DOS prompt or by simply
 double-clicking its icon.
diff --git a/Documentation/web/download.itexi b/Documentation/web/download.itexi
index 3dab2a8169..08238c9ce5 100644
--- a/Documentation/web/download.itexi
+++ b/Documentation/web/download.itexi
@@ -437,10 +437,10 @@ For Windows 2000, XP, Vista and Windows 7.
 
 @item
 Locate the downloaded file and double-click on it to start the
-installer. Follow the instructions given to you by the installer;
+installer.  Follow the instructions given to you by the installer;
 we recommend that you leave all the install options checked and
-use the default installation location. Click the @q{Finish} button
-when the installer has completed. LilyPond is now installed.
+use the default installation location.  Click the @q{Finish} button
+when the installer has completed.  LilyPond is now installed.
 
 @end enumerate
 
@@ -452,12 +452,12 @@ To uninstall LilyPond either:
 
 @item
 Locate the LilyPond folder from the @q{Start} menu and click on the
-@q{Uninstall} icon. Click the @q{Finish} button when the uninstaller
+@q{Uninstall} icon.  Click the @q{Finish} button when the uninstaller
 has completed.
 
 @item
 Or from within the Control Panel, locate and select LilyPond and then
-choose the option to uninstall/remove the software. Click the @q{Finish}
+choose the option to uninstall/remove the software.  Click the @q{Finish}
 button when the uninstaller has completed.
 
 @end enumerate
diff --git a/Documentation/web/introduction.itexi b/Documentation/web/introduction.itexi
index 58c933efde..b5a0b93dff 100644
--- a/Documentation/web/introduction.itexi
+++ b/Documentation/web/introduction.itexi
@@ -139,7 +139,7 @@ simply save a file for later reference.
 
 Put fragments of music into texts without cutting and pasting
 pictures.  Integrate music into @LaTeX{} or HTML seamlessly, or add
-music to OpenOffice.org with OOoLilyPond. Plugins are also available
+music to OpenOffice.org with OOoLilyPond.  Plugins are also available
 to allow LilyPond code in various blogs and wikis, making online
 collaboration possible.
 
@@ -195,7 +195,7 @@ team makes sure that problems are solved quickly.
 
 Several developers, themselves active LilyPond users, have also
 written tools specifically aimed at making the process of editing
-LilyPond files faster and more effective. For some examples, see
+LilyPond files faster and more effective.  For some examples, see
 @ref{Easier editing}.
 
 @divEnd
@@ -213,7 +213,7 @@ already decided to try LilyPond, first read about our
 @unnumberedsec Examples
 
 LilyPond is a powerful and flexible tool for engraving tasks of
-all kinds. Please browse our gallery of examples and be inspired!
+all kinds.  Please browse our gallery of examples and be inspired!
 
 
 @newsItem
@@ -285,7 +285,7 @@ staff.
 @newsItem
 @subsubheading Schenker Graphs
 
-Standard output can be modified heavily. Here is an impressive
+Standard output can be modified heavily.  Here is an impressive
 Schenkerian analysis, created by Kris Schaffer, for an article
 in @uref{http://www.linuxjournal.com/article/8364 , Linux Journal.}.
 The colors have been added for better visibility.
@@ -631,7 +631,7 @@ Software authors in an article titled
 Delen van KENNIS zonder WINSTBEJAG} (Non-profit sharing of
 knowlegde) in its @q{DS2 bijlage}.  LilyPond is used as an example
 and the article is interspersed with quotes from an email
-interview with Jan Nieuwenhuizen. This marks LilyPond's first
+interview with Jan Nieuwenhuizen.  This marks LilyPond's first
 appearance in mainstream printed press.
 
 @item
@@ -1006,7 +1006,7 @@ systems.
 
 Denemo is a graphical editor which generates LilyPond source code,
 and also allows audio playback.  It allows users to view the
-LilyPond source code in parallel to the graphical view. Extra
+LilyPond source code in parallel to the graphical view.  Extra
 LilyPond tweaks can be attached to notes, chords etc. and are stored
 with the Denemo file, so that users can continue to edit graphically.
 
@@ -1015,7 +1015,7 @@ view, and any syntax errors in your LilyPond tweaks are highlighted in
 the text view when printed from there.
 
 @warning{Denemo officially supports an outdated Lilypond version 2.8.7,
-which lacks many of the features added since then. The Denemo developers
+which lacks many of the features added since then.  The Denemo developers
 are actively working to bring it up to our present stable version, 2.12.}
 @divEnd
 
@@ -1033,7 +1033,7 @@ Emacs is a text editor with language-sensitive capabilities for
 many different computer languages.  Emacs is a highly extensible
 editor and can be used as an Integrated Development Environment.
 There is a @q{lilypond mode} which supplies the language
-definitions for working with LilyPond source files. As well, one of
+definitions for working with LilyPond source files.  As well, one of
 our developers has written @uref{http://nicolas.sceaux.free.fr/
 lilypond/lyqi.html,lyqi}, an Emacs major mode.
 
@@ -1101,7 +1101,7 @@ export but is being actively developed.
 
 @item
 @uref{http://canorus.org,Canorus} can also export to LilyPond, but
-is still beta-software. Testers are welcome, though.
+is still beta-software.  Testers are welcome, though.
 
 @item
 @uref{http://www.volny.cz/smilauer/rumor/rumor.html,Rumor}, a realtime