diff --git a/Documentation/user/ancient.itely b/Documentation/user/ancient.itely
index 33254b0..de688b8 100644
--- a/Documentation/user/ancient.itely
+++ b/Documentation/user/ancient.itely
@@ -123,7 +123,7 @@ Stems are centered on the note heads.  This style is particularly
 useful when transcribing mensural music, e.g., for the incipit.  The
 @code{mensural} style produces note heads that mimic the look of note
 heads in historic printings of the 16th century.  Finally, the
address@hidden style also mimicks historic printings, but uses bigger
address@hidden style also mimics historic printings, but uses bigger
 note heads.
 
 The following example demonstrates the @code{neomensural} style
diff --git a/Documentation/user/bagpipes.itely b/Documentation/user/bagpipes.itely
index 6239ab9..aff28a7 100644
--- a/Documentation/user/bagpipes.itely
+++ b/Documentation/user/bagpipes.itely
@@ -35,7 +35,7 @@ highland bagpipe; to use them, add
 @end example
 
 @noindent
-at the top of your input file.  This lets you add the special gracenotes
+at the top of your input file.  This lets you add the special grace notes
 common to bagpipe music with short commands.  For example, you could
 write @code{\taor} instead of
 
diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely
index 4109be4..746bcdf 100644
--- a/Documentation/user/changing-defaults.itely
+++ b/Documentation/user/changing-defaults.itely
@@ -493,7 +493,7 @@ The next example shows a practical application.  Bar lines and time
 signatures are normally synchronized across the score.  This is done
 by the @code{Timing_translator} and @code{Default_bar_line_engraver}.
 This plug-in keeps an administration of time signature, location
-within the measure, etc.  By moving thes engraver from @code{Score} to
+within the measure, etc.  By moving these engraver from @code{Score} to
 @code{Staff} context, we can have a score where each staff has its own
 time signature.
 
@@ -870,11 +870,11 @@ Then the output at the start of this subsection can be entered as
 @node Aligning contexts
 @subsection Aligning contexts
 
-New contexts may be aligned above or below exisiting contexts.  This
+New contexts may be aligned above or below existing contexts.  This
 could be useful in setting up a vocal staff (@rlearning{Vocal ensembles}) and
 in ossia,
 
-FIXME: this section doens't work in pdf.  (?)
+FIXME: this section doesn't work in pdf.  (?)
 
 @cindex ossia
 @findex alignAboveContext
@@ -1360,7 +1360,7 @@ properties.
 
 Contexts can have properties, which are usually named in
 @code{studlyCaps}.  They mostly control the translation from
-music to notatino, eg. @code{localKeySignature} (for determining
+music to notation, eg. @code{localKeySignature} (for determining
 whether to print accidentals), @code{measurePosition} (for
 determining when to print a bar line).  Context properties can
 change value over time while interpreting a piece of music;
@@ -1389,7 +1389,7 @@ is more or less equivalent to
 \set @address@hidden #'@var{property} = #(cons (cons '@var{property} @var{value}) <previous value of @var{context})
 @end example
 
-The value of @code{context} (the alist) is used to initalize
+The value of @code{context} (the alist) is used to initialize
 the properties of individual grobs.  Grobs also have
 properties, named in Scheme style, with
 @code{dashed-words}.  The values of grob properties change
diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely
index 24cf677..b14afa6 100644
--- a/Documentation/user/chords.itely
+++ b/Documentation/user/chords.itely
@@ -330,7 +330,7 @@ The exceptions list should be encoded as
 @end example
 
 To get this information into @code{chordNameExceptions} takes a little
-manoeuvring.  The following code transforms @code{chExceptionMusic}
+maneuvering.  The following code transforms @code{chExceptionMusic}
 (which is a sequential music) into a list of exceptions.
 @example
 (sequential-music-to-chord-exceptions chExceptionMusic #t)
diff --git a/Documentation/user/converters.itely b/Documentation/user/converters.itely
index 9b293bc..95cbb92 100644
--- a/Documentation/user/converters.itely
+++ b/Documentation/user/converters.itely
@@ -47,7 +47,7 @@ MIDI (Music Instrument Digital Interface) is a standard for digital
 instruments: it specifies cabling, a serial protocol and a file
 format.  The MIDI file format is a de facto standard format for
 exporting music from other programs, so this capability may come in
-useful when importing files from a program that has a convertor for a
+useful when importing files from a program that has a converter for a
 direct format.
 
 @command{midi2ly} converts tracks into @internalsref{Staff} and
diff --git a/Documentation/user/expressive.itely b/Documentation/user/expressive.itely
index 44befce..514a2d8 100644
--- a/Documentation/user/expressive.itely
+++ b/Documentation/user/expressive.itely
@@ -342,7 +342,7 @@ To change this behavior, use
 
 Text style dynamic changes (such as @notation{cresc.} and
 @notation{dim.}) are printed with a dashed line showing their
-extent.  To surpress printing this line, use
+extent.  To suppress printing this line, use
 
 @example
 \override DynamicTextSpanner #'dash-period = #-1.0
diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely
index a58bfd1..c2b0534 100644
--- a/Documentation/user/fundamental.itely
+++ b/Documentation/user/fundamental.itely
@@ -346,7 +346,7 @@ three notes:
 @noindent
 Note that the size of the clef is the same as a clef printed
 following a clef change -- slightly smaller than the clef
-at the begining of the line.  This is usual for clefs printed
+at the beginning of the line.  This is usual for clefs printed
 in the middle of a line.
 
 The ossia section may be placed above the staff
@@ -369,7 +369,7 @@ as follows:
 @end lilypond
 
 This example uses @code{\with}, which will be explained more 
-fully later.  It is a means of modifying the default behaviour
+fully later.  It is a means of modifying the default behavior
 of a single Staff.  Here it says that the new staff should be 
 placed above the staff called @qq{main} instead of the default 
 position which is below.
@@ -568,7 +568,7 @@ separately, like this:
 @end lilypond
 
 
-This example has just two voices, but the same contruct may be
+This example has just two voices, but the same construct may be
 used to encode three or more voices by adding more back-slash
 separators.
 
@@ -671,7 +671,7 @@ command at the start of each voice:
 \relative c' @{ noteE ... @}
 @end example
 
-Let us finally analyse the voices in a more complex piece of 
+Let us finally analyze the voices in a more complex piece of 
 music.  Here are
 the notes from the first two bars of the second of Chopin's
 Deux Nocturnes, Op 32.  This example will be used at later
@@ -872,7 +872,7 @@ markup, ties, slurs, and dynamics:
 
 @lilypond[quote,ragged-right,verbatim]
 \relative c'{
-  % Default behaviour or behaviour after \oneVoice
+  % Default behavior or behavior after \oneVoice
   c d8 ~ d e4 ( f g a ) b-> c
 }
 @end lilypond
@@ -992,7 +992,7 @@ as here:
 @funindex \shiftOnn
 @funindex \shiftOnnn
 
-Closely spaced notes in a chord, or notes occuring at the same
+Closely spaced notes in a chord, or notes occurring at the same
 time in different voices, are arranged in two, occasionally more,
 columns to prevent the note heads overlapping.  These are called
 note columns.  There are separate columns for each voice, and 
@@ -1188,7 +1188,7 @@ Within LilyPond, these rules and bits of information are grouped
 in @emph{Contexts}.  We have already met the 
 @code{Voice} context. 
 Others are the @code{Staff} and @code{Score} contexts.  
-Contexts are hierarchical to reflect the heirarchical nature of 
+Contexts are hierarchical to reflect the hierarchical nature of 
 a musical score.  
 For example: a @code{Staff} context can contain many 
 @code{Voice} contexts, and a @code{Score} context can 
@@ -1227,7 +1227,7 @@ are also alternative staff and voice contexts, and contexts for
 lyrics, percussion, fret boards, figured bass, etc.
 
 The names of all context types are formed from one or more
-words, each word being capitalised and joined immediately to the 
+words, each word being capitalized and joined immediately to the 
 preceding word with no hyphen or underscore, e.g., 
 @code{GregorianTranscriptionStaff}.
 
@@ -1312,7 +1312,7 @@ operation of the engraver or the appearance of those elements
 in the printed score.
    
 Engravers all have compound names formed from words which
-describe their function.  Just the first word is capitalised, 
+describe their function.  Just the first word is capitalized, 
 and the remainder are joined to it with underscores.  Thus
 the @code{Staff_symbol_engraver} is responsible for creating the
 lines of the staff, the @code{Clef_engraver} determines and sets
@@ -1344,7 +1344,7 @@ the name, or vice versa.
 @item Staff_symbol_engraver
   @tab Engraves the five (by default) lines of the staff
 @item Stem_engraver
-  @tab Creates stems and single-stem tremulos
+  @tab Creates stems and single-stem tremolos
 @item Time_signature_engraver
   @tab Creates time signatures
 @end multitable
@@ -1676,7 +1676,7 @@ The examples above show how to remove or add engravers to
 individual contexts.  It is also possible to remove or add 
 engravers to every context of a specific type by placing the
 commands in the appropriate context in a @code{\layout}
-block.  For example, If we wanted to show ambiti for every
+block.  For example, if we wanted to show an ambitus for every
 staff in a four-staff score we could write
 
 @lilypond[quote,verbatim,ragged-right]
diff --git a/Documentation/user/input.itely b/Documentation/user/input.itely
index 62acaea..5cb75d3 100644
--- a/Documentation/user/input.itely
+++ b/Documentation/user/input.itely
@@ -305,7 +305,7 @@ It is possible to quote small fragments of a large score directly from
 the output.  This can be compared to clipping a piece of a paper score
 with scissors.
 
-This is done by definining the measures that need to be cut out
+This is done by defining the measures that need to be cut out
 separately.  For example, including the following definition
 
 
@@ -527,7 +527,7 @@ sections.
 
 TODO: everything
 
-By default, lilypnod does a pretty jazz'n job of picking
+By default, lilypond does a pretty jazz'n job of picking
 directions.  But in some cases, it may be desirable to force a
 direction.
 
@@ -672,7 +672,7 @@ I do think that a list like this, with the main contexts and a
 brief
 description of  what they do (perhaps also with a note about what
 default
-behaviour is associated with each of them, but this may be
+behavior is associated with each of them, but this may be
 unmanageable),
 should be there, and then we could simply list the remaining ones
 without
diff --git a/Documentation/user/install.itely b/Documentation/user/install.itely
index 16c9a69..faad734 100644
--- a/Documentation/user/install.itely
+++ b/Documentation/user/install.itely
@@ -209,7 +209,7 @@ make out=www web-install
 
 It is also possible to build a documentation tree in
 @file{out-www/online-root/}, with special processing, so it can be used
-on a website with content negociation for automatic language selection;
+on a website with content negotiation for automatic language selection;
 this can be achieved by issuing
 
 @example
diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely
index cb796ef..1c46d4a 100644
--- a/Documentation/user/lilypond-book.itely
+++ b/Documentation/user/lilypond-book.itely
@@ -635,8 +635,8 @@ If @code{verbatim} is used in a @code{lilypondfile} command, it is
 possible to enclose verbatim only a part of the source file.  If the
 source file contain a comment containing @samp{begin verbatim} (without
 quotes), quoting the source in the verbatim block will start after the
-last occurence of such a comment; similarly, quoting the source verbatim
-will stop just before the first occurence of a comment containing
+last occurrence of such a comment; similarly, quoting the source verbatim
+will stop just before the first occurrence of a comment containing
 @samp{end verbatim}, it there is any.  In the following source file
 example, the music will be interpreted in relative mode, but the
 verbatim quote will not show the @code{relative} block, i.e.
@@ -843,7 +843,7 @@ cd out
 @end example
 
 @itemx address@hidden
-Pad EPS boxes by this much. @var{amount} is measured in milimeters,
+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.
 
diff --git a/Documentation/user/non-music.itely b/Documentation/user/non-music.itely
index a2c6472..b7a6c3e 100644
--- a/Documentation/user/non-music.itely
+++ b/Documentation/user/non-music.itely
@@ -292,7 +292,7 @@ composer flush right on a single line.
 
 A particular place of a score can be marked using the @code{\label}
 command, either at top-level or inside music.  This label can then be
-refered to in a markup, to get the number of the page where the marked
+referred to in a markup, to get the number of the page where the marked
 point is placed, using the @code{\page-ref} markup command.
 
 @lilypond[verbatim,line-width=11.0\cm]
@@ -322,7 +322,7 @@ is not known;
 @end enumerate
 
 The reason why a gauge is needed is that, at the time markups are
-interpreted, the page breaking has not yet occured, so the page numbers
+interpreted, the page breaking has not yet occurred, so the page numbers
 are not yet known.  To work around this issue, the actual markup
 interpretation is delayed to a later time; however, the dimensions of
 the markup have to be known before, so a gauge is used to decide these
@@ -377,14 +377,14 @@ number.  These variables may be changed by the user:
     \fill-line { \null "Table des matières" \null }
     \hspace #1
   }
-  %% use larfer font size
+  %% use larger font size
   tocItemMarkup = \markup \large \fill-line {
     \fromproperty #'toc:text \fromproperty #'toc:page
   }
 }
 @end verbatim
 
-Note how the toc element text and page number are refered to in
+Note how the toc element text and page number are referred to in
 the @code{tocItemMarkup} definition.
 
 New commands and markups may also be defined to build more elaborated
diff --git a/Documentation/user/notation-appendices.itely b/Documentation/user/notation-appendices.itely
index 3989a35..a7c08b6 100644
--- a/Documentation/user/notation-appendices.itely
+++ b/Documentation/user/notation-appendices.itely
@@ -110,9 +110,9 @@ darkcyan    darkmagenta    darkyellow
 
 X color names come several variants:
 
-Any name that is spelled as a single word with capitalisation
+Any name that is spelled as a single word with capitalization
 (e.g. @q{LightSlateBlue}) can also be spelled as space separated
-words without capitalisation (e.g. @q{light slate blue}).
+words without capitalization (e.g. @q{light slate blue}).
 
 The word @q{grey} can always be spelled @q{gray} (e.g. @q{DarkSlateGray}).
 
diff --git a/Documentation/user/programming-interface.itely b/Documentation/user/programming-interface.itely
index 3219124..4212093 100644
--- a/Documentation/user/programming-interface.itely
+++ b/Documentation/user/programming-interface.itely
@@ -1144,7 +1144,7 @@ is not found, the default value is @code{2}.  Then, a list of justified
 lines is made using the @code{make-justified-lines-markup-list}
 function, which is related to the @code{\justified-lines}
 built-in markup list command.  An horizontal space is added at the
-begining using the @code{make-hspace-markup} function.  Finally, the
+beginning using the @code{make-hspace-markup} function.  Finally, the
 markup list is interpreted using the @code{interpret-markup-list}
 function.
 
diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index 11547b0..eb4a970 100644
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -287,7 +287,7 @@ a4*2/3 gis4*2/3 a4*2/3
 a4 a4
 % Double the duration of chord
 <a d>4*2
-% Duration of quarter, appears like sixteeth
+% Duration of quarter, appears like sixteenth
 b16*4 c4
 @end lilypond
 
@@ -658,7 +658,7 @@ b2^"Tutti" b4 a4
 
 @funindex \expandFullBarRests
 @funindex \compressFullBarRests
address@hidden multi-meaure rest, expanding
address@hidden multi-measure rest, expanding
 @cindex multi-measure rest, contracting
 
 By default a multi-measure rest is expanded in the printed score
@@ -668,7 +668,7 @@ multi-measure rest symbol, with the number of measures of rest
 printed above the measure:
 
 @lilypond[quote,ragged-right,fragment,verbatim]
-% Default behaviour
+% Default behavior
 \time 3/4 r2. | R2.*2 |
 \time 2/4 R2 |
 \time 4/4
@@ -738,10 +738,10 @@ R1^"right"
 Text attached to a multi-measure rest will be centered above or
 below it.  Long text attached in this way does not cause the
 measure to expand, and may collide with text in adjacent measures.
-This behaviour may be changed with the predefined command
+This behavior may be changed with the predefined command
 @code{\textLengthOn}, which will cause following bars to expand
 as necessary to accommodate text.  @code{\textLengthOff} returns
-to the default behaviour.  To left-align text within a bar attach
+to the default behavior.  To left-align text within a bar attach
 it to a zero-length skip note preceding the rest.
 
 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
@@ -866,7 +866,7 @@ The time signature is set as follows:
 Time signatures by default are printed at the start of every line
 and whenever the time signature changes.  If a change takes place
 at the end of a line a warning time signature sign is printed 
-there.  This default behaviour may be changed, see 
+there.  This default behavior may be changed, see 
 @ref{Controlling visibility of objects}.
 
 @funindex \numericTimeSignature
@@ -1371,7 +1371,7 @@ c8[^"(3+2)" c16 c8]
 
 The beams of consecutive 16th (or shorter) notes are, by default,
 not sub-divided.  That is, the three (or more) beams stretch
-unbroken over entire groups of notes.  This behaviour can
+unbroken over entire groups of notes.  This behavior can
 be modified to sub-divide the beams into sub-groups by setting 
 the property @code{subdivideBeams}.  When set, multiple beams 
 will be sub-divided at intervals defined by the current value of
@@ -1583,7 +1583,7 @@ In 4/4 time signature, this means that automatic beams could end only on
 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
 3/8, has passed within the measure).
 
-If any unexpected beam behaviour occurs, check the default automatic beam
+If any unexpected beam behavior occurs, check the default automatic beam
 settings in @file{scm/@/auto@/-beam@/.scm}
 for possible interference, because the beam
 endings defined there will still apply on top of your own overrides.  Any
@@ -1673,7 +1673,7 @@ setting the properties @code{stemLeftBeamCount} and
 draw on the left and right side, respectively, of the next note.
 If either property is set, its value will be used only once, and
 then it is erased.  In this example, the last @code{f} is printed
-with only one beam on the left side, i.e. the eigth-note beam of
+with only one beam on the left side, i.e. the eighth-note beam of
 the group as a whole.
 
 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
@@ -1840,7 +1840,7 @@ f1 \bar "|:" g \bar ":|:" a \bar ":|" b
 @cindex repeats
 
 Although the bar line types signifying repeats may be inserted
-manually they do not in themselves cause LilyPond to recognise
+manually they do not in themselves cause LilyPond to recognize
 a repeated section.  Such repeated sections are better entered
 using the various repeat commands (see @ref{Repeats}), which
 automatically print the appropriate bar lines.
@@ -1933,7 +1933,7 @@ c1 c c c
 @cindex bar numbers, regular spacing
 
 Bar numbers can be typeset at regular intervals instead of just at
-the beginning of every line.  To do this the default behaviour
+the beginning of every line.  To do this the default behavior
 must be overridden to permit bar numbers to be printed at places
 other than the start of a line.  This is controlled by the
 @code{break-visibility} property of @code{BarNumber}.  This takes
@@ -2014,7 +2014,7 @@ bar line:
 % Print a bar number every 2nd bar
 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
 c1 c1
-% Centre-align bar numbers
+% Center-align bar numbers
 \override Score.BarNumber #'self-alignment-X = #0
 c1 c1
 % Right-align bar numbers
diff --git a/Documentation/user/running.itely b/Documentation/user/running.itely
index ab16f7e..9c36469 100644
--- a/Documentation/user/running.itely
+++ b/Documentation/user/running.itely
@@ -575,7 +575,7 @@ Thus this is just a wishlist, placed here for reference.
  Doesn't always convert figured bass correctly, specifically things like {<
 >}.  Mats' comment on working around this:
    To be able to run convert-ly
-   on it, I first replaced all occurencies of '{<' to some dummy like '{#'
+   on it, I first replaced all occurrences of '{<' to some dummy like '{#'
    and similarly I replaced '>}' with '&}'.  After the conversion, I could
    then change back from '{ #' to '{ <' and from '& }' to '> }'.
  Doesn't convert all text markup correctly.  In the old markup syntax,
@@ -625,7 +625,7 @@ converted.
 @cindex reporting bugs
 
 If you have input that results in a crash or an erroneous output, then
-that is a bug.  There is a list of current bugs on our google bug tracker,
+that is a bug.  There is a list of current bugs on our Google bug tracker,
 
 @uref{http://code.google.com/p/lilypond/issues/list}
 
diff --git a/Documentation/user/scheme-tutorial.itely b/Documentation/user/scheme-tutorial.itely
index 74e18dd..757951b 100644
--- a/Documentation/user/scheme-tutorial.itely
+++ b/Documentation/user/scheme-tutorial.itely
@@ -218,7 +218,7 @@ respectively,
 We have seen how LilyPond output can be heavily modified using
 commands like
 @code{\override TextScript #'extra-offset = ( 1 . -1)}.  But
-we have even more power if we use Scheme.  For a full explantion
+we have even more power if we use Scheme.  For a full explanation
 of this, see the @ref{Scheme tutorial}, and
 @ruser{Interfaces for programmers}.
 
diff --git a/Documentation/user/spacing.itely b/Documentation/user/spacing.itely
index c4e1302..a8ea666 100644
--- a/Documentation/user/spacing.itely
+++ b/Documentation/user/spacing.itely
@@ -654,7 +654,7 @@ lines.  This behavior can be changed by setting
 @node Page breaking
 @subsection Page breaking
 
-The default page breaking may be overriden by inserting
+The default page breaking may be overridden by inserting
 @code{\pageBreak} or @code{\noPageBreak} commands.  These commands are
 analogous to @code{\break} and @code{\noBreak}.  They should be
 inserted at a bar line.  These commands force and forbid a page-break
@@ -785,7 +785,7 @@ than one, they will interfere with each other.
 
 The @code{ly:minimal-breaking} function performs minimal computations to
 calculate the page breaking: it fills a page with as many systems as
-possible before moving to the next one.  Thus, it may be prefered for
+possible before moving to the next one.  Thus, it may be preferred for
 scores with many pages, where the other page breaking functions could be
 too slow or memory demanding, or a lot of texts.  It is enabled using:
 
@@ -806,9 +806,9 @@ commands.  There are two commands to override this behavior:
 \override NonMusicalPaperColumn #'page-break-permission = ##f
 @end example
 
-When @code{line-break-permission} is overriden to false, Lily will insert
+When @code{line-break-permission} is overridden to false, Lily will insert
 line breaks at explicit @code{\break} commands and nowhere else.  When
address@hidden is overriden to false, Lily will insert
address@hidden is overridden to false, Lily will insert
 page breaks at explicit @code{\pageBreak} commands and nowhere else.
 
 @lilypond[quote,verbatim]
@@ -1059,7 +1059,7 @@ Space between systems are controlled by four @code{\paper} variables,
 @end example
 
 When only a couple of flat systems are placed on a page, the resulting
-vertical spacing may be non-eleguant: one system at the top of the page,
+vertical spacing may be non-elegant: one system at the top of the page,
 and the other at the bottom, with a huge gap between them.  To avoid this
 situation, the space added between the systems can be limited.  This
 feature is activated by setting to @code{#t} the
@@ -1320,7 +1320,7 @@ stretched according to the data in the page layout file.
 The @code{ragged-bottom} property adds space between systems, while
 the two-pass technique adds space between staves inside a system.
 
-To allow this behaviour, a @code{tweak-key} variable has to be set in
+To allow this behavior, a @code{tweak-key} variable has to be set in
 each score @code{\layout} block, and the tweaks included in each score
 music, using the @code{\scoreTweak} music function.
 
@@ -1418,7 +1418,7 @@ c^"This text is placed close to the previous text"
 TODO: this example doesn't work any more ?
 
 By default, outside-staff objects are placed without regard to
-their horizontal distance from the previously-posititioned grobs.  This
+their horizontal distance from the previously-positioned grobs.  This
 can lead to situations in which objects are placed very close to each
 other horizontally.  Setting @code{outside-staff-horizontal-padding}
 causes an object to be offset vertically so that such a situation
@@ -1456,7 +1456,7 @@ c''2
 @subsection Horizontal spacing overview
 
 The spacing engine translates differences in durations into stretchable
-distances (@q{springs}) of differring lengths.  Longer durations get
+distances (@q{springs}) of differing lengths.  Longer durations get
 more space, shorter durations get less.  The shortest durations get a
 fixed amount of space (which is controlled by
 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
@@ -1717,7 +1717,7 @@ in which each note consumes an amount of horizontal space exactly
 equivalent to its rhythmic duration.  This type of proportional spacing
 is comparable to horizontal spacing on top of graph paper.  Some late
 20th- and early 21st-century scores use proportional notation to
-clarify complex rhythmic relationships or to faciliate the placement
+clarify complex rhythmic relationships or to facilitate the placement
 of timelines or other graphics directly in the score.
 
 LilyPond supports five different settings for proportional notation,
@@ -1787,7 +1787,7 @@ The @code{proportionalNotationDuration} setting is a context setting that
 lives in @code{Score}.  Recall that context settings appear in one of
 three locations in our input file -- in a @code{\with} block, in a
 @code{\context} block, or directly in music entry
-preceeded by the @code{\set} command.  As with all
+preceded by the @code{\set} command.  As with all
 context settings, users can pick which of the three different
 locations they would like to set @code{proportionalNotationDuration}.
 
@@ -1987,7 +1987,7 @@ reduces this space to zero.
 @end lilypond
 
 Nonmusical elements like time signatures, key signatures, clefs and
-accidentals are problemmatic in proportional notation.  None of these
+accidentals are problematic in proportional notation.  None of these
 elements has rhythmic duration.  But all of these elements consume
 horizontal space.  Different proportional scores approach these
 problems differently.
@@ -2181,10 +2181,10 @@ ragged-last = ##t
 @node Page breaks
 @subsection Page breaks
 
-The default page breaking may be overriden by inserting 
+The default page breaking may be overridden by inserting 
 @code{\pageBreak} or @code{\noPageBreak} commands.
 These commands are analogous to the @code{\break} and 
address@hidden commands discused above and force or forbid 
address@hidden commands discussed above and force or forbid 
 a page-break at the point where they are inserted.
 Of course, the @code{\pageBreak} command also forces a line break.
 Like @code{\break}, the @code{\pageBreak} command is effective only
@@ -2261,7 +2261,7 @@ e4 c g\f c
 @item
 Alter the horizontal spacing via @code{SpacingSpanner}.  See
 @ruser{Changing horizontal spacing}, for more details.  Here's
-an example first showing the default behaviour:
+an example first showing the default behavior:
 
 @lilypond[verbatim,quote,ragged-right]
 \score {
diff --git a/Documentation/user/staff.itely b/Documentation/user/staff.itely
index 31459e6..e9b770b 100644
--- a/Documentation/user/staff.itely
+++ b/Documentation/user/staff.itely
@@ -46,7 +46,7 @@ line with either a bracket or a brace.
 @cindex staff, single
 @cindex drum staff
 @cindex percussion staff
address@hidden Gregorian transciption staff
address@hidden Gregorian transcription staff
 @cindex rhythmic staff
 @cindex tabstaff
 @cindex tablature
@@ -97,7 +97,7 @@ is preserved.  See @ref{Showing melody rhythms}.
 @end lilypond
 
 @item
address@hidden creates by default a tabulature with six strings in 
address@hidden creates by default a tablature with six strings in 
 standard guitar tuning.  See @ref{Tablatures basic}.
 @lilypond[verbatim,ragged-right,quote]
 \relative c'' {
@@ -153,7 +153,7 @@ Internals Reference: @internalsref{Staff}, @internalsref{DrumStaff},
 LilyPond provides different types of contexts to group single staves 
 together.  These contexts influence in the first place the appearance
 of the system start delimiter, but they have also influence on the
-behaviour of the bar lines.
+behavior of the bar lines.
 
 Each staff group context sets the property
 @code{systemStartDelimiter} to one of the values
@@ -248,7 +248,7 @@ piano music and @code{ChoirStaff} for all kind of vocal ensemble music.
 
 @c FIXME: not yet in master
 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
address@hidden {use-sqare-bracket-at-the-start-of-a-staff-group.ly}
address@hidden {use-square-bracket-at-the-start-of-a-staff-group.ly}
 
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
 {display-bracket-with-only-one-staff-in-a-system.ly}
@@ -288,7 +288,7 @@ grouping contexts.  They can both be inside any other staff context,
 including inner staff groups, though.
 
 Here is an example of an orchestral score using groupings and nesting
-of these groupings.  Note that the instrument names are omited from the
+of these groupings.  Note that the instrument names are omitted from the
 source code, see @ref{Instrument names} how to set them.
 
 @cindex staff, nested
diff --git a/Documentation/user/templates.itely b/Documentation/user/templates.itely
index c621d1e..d829be7 100644
--- a/Documentation/user/templates.itely
+++ b/Documentation/user/templates.itely
@@ -14,7 +14,7 @@ This section of the manual contains templates with the LilyPond score
 already set up for you.  Just add notes, run LilyPond, and enjoy
 beautiful printed scores!
 
address@hidden bad node name for ancient notation to avoid confict
address@hidden bad node name for ancient notation to avoid conflict
 @menu
 * Single staff::                
 * Piano templates::             
@@ -108,7 +108,7 @@ beautiful printed scores!
 {vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly}
 
 
address@hidden bad node name to avoid node name confict
address@hidden bad node name to avoid node name conflict
 @node Ancient notation templates
 @appendixsec Ancient notation templates
 
diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 7373f62..7e01094 100644
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -1090,7 +1090,7 @@ expression, so @math{-(4+5)} is a bigger expression.
 
 Time signatures entered in one staff affects all other staves by
 default.  On the other hand, the key signature of one staff does
address@hidden affect other staves.  This different default behaviour
address@hidden affect other staves.  This different default behavior
 is because scores with transposing instruments are more common
 than polyrhythmic scores.
 
diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely
index d83b528..ab4ee98 100644
--- a/Documentation/user/tweaks.itely
+++ b/Documentation/user/tweaks.itely
@@ -91,9 +91,9 @@ represent items of notation on the printed output such as
 above, and so they too all have properties associated with them,
 such as their position, size, color, etc.
 
-Some layout objects are still more specialised.  Phrasing slurs,
-crescendo hairpins, ottavo marks, and many other grobs are not
-localised in a single place -- they have a starting point, an
+Some layout objects are still more specialized.  Phrasing slurs,
+crescendo hairpins, ottava marks, and many other grobs are not
+localized in a single place -- they have a starting point, an
 ending point, and maybe other properties concerned with their
 shape.  Objects with an extended shape like these are called
 @q{Spanners}.
@@ -122,7 +122,7 @@ We met some object naming conventions previously, in
 @ref{Contexts and engravers}.  Here for reference is a list
 of the most common object and property types together with 
 the conventions for naming them and a couple of examples of 
-some real names.  We have used A to stand for any capitalised
+some real names.  We have used A to stand for any capitalized
 alphabetic character and aaa to stand for any number of
 lower-case alphabetic characters.  Other characters are used
 verbatim. 
@@ -153,7 +153,7 @@ verbatim.
 
 As we shall see shortly, the properties of different types of 
 object are modified by different commands, so it is useful to
-be able to recognise the type of object from the names of its
+be able to recognize the type of object from the names of its
 properties.
 
 
@@ -733,7 +733,7 @@ is created, but @code{font-shape} is not.  The entries in
 @code{LyricText} then tell you the values for those two
 properties which apply to @code{LyricText}.  Other objects
 which support @code{font-interface} will set these
-properties diferently when they are created.
+properties differently when they are created.
 
 Let's see if we can now construct the @code{\override} command
 to change the lyrics to italics.  The object is @code{LyricText},
@@ -750,7 +750,7 @@ Symbols are special names which are known internally to
 LilyPond.  Some of them are the names of properties,
 like @code{thickness} or @code{font-shape}, others are in
 effect special values that can be given to properties, like
address@hidden  Note the distinction from arbitary
address@hidden  Note the distinction from arbitrary
 text strings, which would appear as @code{"a text string"}.
 
 Ok, so the @code{\override} command we need to print the lyrics
@@ -795,7 +795,7 @@ included as part of the final syllable.  Similarly,
 spaces must be inserted before and after the
 period or dot, @q{.}, separating the context name from the
 object name, as otherwise the two names are run together and
-the interpreter cannot recognise them.  So the command should be:
+the interpreter cannot recognize them.  So the command should be:
 
 @example
 \override Lyrics . LyricText #'font-shape = #'italic
@@ -1058,7 +1058,7 @@ explanation of what that list should be.  The list it
 requires is actually a list of values in internal units,
 but, to avoid having to know what these are, several ways
 are provided to specify colors.  The first way is to use one
-of the @q{normal} colours listed in the first table in
+of the @q{normal} colors listed in the first table in
 @ruser{List of colors}.  To set the bar lines to white
 we write:
 
@@ -1209,7 +1209,7 @@ we simply set the stencil of each to @code{#f}, as follows:
 
 @noindent
 where the extra pair of braces after the @code{\with} clause are
-required to ensure the enclosed overrrides and music are applied
+required to ensure the enclosed overrides and music are applied
 to the ossia staff.
 
 But what is the difference between modifying the staff context by 
@@ -1219,7 +1219,7 @@ changes made in a @code{\with} clause are made at the time the
 context is created, and remain in force as the @strong{default}
 values for the duration of that context, whereas
 @code{\set} or @code{\override} commands embedded in the
-music are dynamic -- they make changes synchronised with
+music are dynamic -- they make changes synchronized with
 a particular point in the music.  If changes are unset or
 reverted using @code{\unset} or @code{\revert} they return to
 their default values, which will be the ones set in the 
@@ -1387,7 +1387,7 @@ are always calculated relative to the
 value of the @code{staff-space} property these are automatically
 scaled down in length too.  Note that this affects only the
 vertical scale of the ossia -- the horizontal scale is determined
-by the layout of the main music in order to remain synchronised 
+by the layout of the main music in order to remain synchronized 
 with it, so it is not affected by any of these changes in size.
 Of course, if the scale of all the main music were changed in this
 way then the horizontal spacing would be affected.  This is 
@@ -1411,14 +1411,14 @@ from a font) may be changed in the same way.
 @section Placement of objects
 
 @menu
-* Automatic behaviour::         
+* Automatic behavior::         
 * Within-staff objects::        
 * Outside staff objects::       
 @end menu
 
 
address@hidden Automatic behaviour
address@hidden Automatic behaviour
address@hidden Automatic behavior
address@hidden Automatic behavior
 
 There are some objects in musical notation that belong to
 the staff and there are other objects that should be 
@@ -1432,7 +1432,7 @@ vertically positioned on specific lines of the staff or are
 tied to other objects that are so positioned.  Collisions of
 note heads, stems and accidentals in closely set chords are
 normally avoided automatically.  There are commands and
-overrides which can modify this automatic behaviour, as we
+overrides which can modify this automatic behavior, as we
 shall shortly see.
 
 Objects belonging outside the staff include things such as
@@ -1456,7 +1456,7 @@ closer to the staff.  If two objects have the same
 placed closer to the staff.
 
 In the following example all the markup texts have the same 
-priority (since it is not explicity set).  Note that @q{Text3}
+priority (since it is not explicitly set).  Note that @q{Text3}
 is automatically positioned close to the staff again, nestling
 under @q{Text2}.
 
@@ -1495,9 +1495,9 @@ everything else which depends on the direction of the stems.
 These commands are essential when writing polyphonic music to
 permit interweaving melodic lines to be distinguished.
 But occasionally it may be necessary to override this automatic
-behaviour.  This can be done for whole sections of music or even
+behavior.  This can be done for whole sections of music or even
 for an individual note.  The property which controls this
-behaviour is the @code{direction} property of each layout object.
+behavior is the @code{direction} property of each layout object.
 We first explain what this does, and then introduce a number of
 ready-made commands which avoid your having to code explicit
 overrides for the more common modifications.
@@ -1507,12 +1507,12 @@ either up or down; others like stems and flags also move to
 right or left when they point up or down.  This is controlled
 automatically when @code{direction} is set.
 
-The following example shows in bar 1 the default behaviour of 
+The following example shows in bar 1 the default behavior of 
 stems, 
 with those on high notes pointing down and those on low notes
 pointing up, followed by four notes with all stems forced down, 
 four notes with all stems forced up, and finally four notes
-reverted back to the default behaviour.
+reverted back to the default behavior.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 a4 g c a
@@ -1639,7 +1639,7 @@ It controls whether fingerings may be placed above (if
 to the left (if @code{left} appears, or to the right
 (if @code{right} appears).  Conversely, if a location is not
 listed, no fingering is placed there.  LilyPond takes these 
-contraints and works out the best placement for the fingering
+constraints and works out the best placement for the fingering
 of the notes of the following chords.  Note that @code{left} and
 @code{right} are mutually exclusive -- fingering may be placed
 only on one side or the other, not both.
@@ -1834,7 +1834,7 @@ Changing the @code{outside-staff-priority} can also be used to
 control the vertical placement of individual objects, although
 the results may not always be desirable.  Suppose we would
 like @qq{Text3} to be placed above @qq{Text4} in the example
-under Automatic behaviour, above (see @ref{Automatic behaviour}).
+under Automatic behavior, above (see @ref{Automatic behavior}).
 All we need to do is to look up the priority of @code{TextScript}
 in the IR or in the tables above, and increase the priority of
 @qq{Text3} to a higher value:
@@ -1863,7 +1863,7 @@ command.
 
 By default, text produced by markup takes up no horizontal space
 as far as laying out the music is concerned.  The @code{\textLengthOn}
-command reverses this behaviour, causing the notes to be spaced
+command reverses this behavior, causing the notes to be spaced
 out as far as is necessary to accommodate the text:
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
@@ -1874,7 +1874,7 @@ c^"Text3"
 c^"Text4"
 @end lilypond  
 
-The command to revert to the default behaviour is 
+The command to revert to the default behavior is 
 @code{\textLengthOff}.  Remember @code{\once} only works with
 @code{\override}, @code{\set}, @code{\revert} or @code{unset},
 so cannot be used with @code{\textLengthOn}.
@@ -1901,7 +1901,7 @@ R1
 % Turn off collision avoidance
 \once \override TextScript #'outside-staff-priority = ##f
 \textLengthOn  % and turn on textLengthOn
-c,,2^"Long Text   "  % Spaces at end are honoured
+c,,2^"Long Text   "  % Spaces at end are honored
 c''2
 @end lilypond
 
@@ -2138,7 +2138,7 @@ This property is available for all objects which support the
 to the leftmost extent and the second is added to the rightmost
 extent.  Negative numbers move the edge to the left, positive to
 the right, so to widen an object the first number must be negative,
-the second positive.  Note that not all objects honour both
+the second positive.  Note that not all objects honor both
 numbers.  For example, the @code{Accidental} object only takes
 notice of the first (left edge) number.
 
@@ -2159,7 +2159,7 @@ and notes in different voices.
 
 @cindex force-hshift property
 
-Closely spaced notes in a chord, or notes occuring at the same
+Closely spaced notes in a chord, or notes occurring at the same
 time in different voices, are arranged in two, occasionally more,
 columns to prevent the note heads overlapping.  These are called
 note columns, and an object called @code{NoteColumn} is created
@@ -2186,7 +2186,7 @@ are available for the object in question.
 
 @item
 Finally, when all else fails, objects may be manually repositioned
-relative to the staff center line verically, or by
+relative to the staff center line vertically, or by
 displacing them by any distance to a new position.  The
 disadvantages are that the correct values for the repositioning
 have to be worked out, often by trial and error, for every object
@@ -2875,7 +2875,7 @@ using one of the @code{\shift} commands.  But which one?
 The C is in voice two which has shift off, and the two D's are in
 voices one and three, which have shift off and shift on,
 respectively.  So we have to shift the C a further level still
-using @code{\shiftOnn} to avoid it interferring with the two D's.  
+using @code{\shiftOnn} to avoid it interfering with the two D's.  
 Applying these changes gives:
 
 @lilypond[quote,verbatim,ragged-right]
diff --git a/Documentation/user/vocal.itely b/Documentation/user/vocal.itely
index fcdf647..9ee8c87 100644
--- a/Documentation/user/vocal.itely
+++ b/Documentation/user/vocal.itely
@@ -510,7 +510,7 @@ Centered hyphens are entered as @samp{ -- } between syllables of a same word
 will be centered between the syllables, and its length will be adjusted
 depending on the space between the syllables.
 
-In tighly engraved music, hyphens can be removed.  Whether this
+In tightly engraved music, hyphens can be removed.  Whether this
 happens can be controlled with the @code{minimum-distance} (minimum
 distance between two syllables) and the @code{minimum-length}
 (threshold below which hyphens are removed).
@@ -906,7 +906,7 @@ These numbers are put just before the start of the first syllable.
 @subsubsection Adding dynamics marks
 
 Stanzas differing in loudness may be indicated by putting a
-dynamics mark before each stanza.  In Lilypond, everthing coming in
+dynamics mark before each stanza.  In Lilypond, everything coming in
 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
 are no different.  For technical reasons, you have to set the stanza
 outside @code{\lyricmode}:
diff --git a/Documentation/user/working.itely b/Documentation/user/working.itely
index 216f577..ab7f328 100644
--- a/Documentation/user/working.itely
+++ b/Documentation/user/working.itely
@@ -560,7 +560,7 @@ file with @code{\include "../global.ly"}, which contains
 The LilyPond input syntax occasionally changes.  As LilyPond itself
 improves, the syntax (input language) is modified accordingly.  Sometimes
 these changes are made to make the input easier to read and write or
-sometimes the changes are made to accomodate new features of LilyPond.
+sometimes the changes are made to accommodate new features of LilyPond.
 
 LilyPond comes with a file that makes this updating easier:
 @code{convert-ly}.  For details about how to run this program, see
@@ -646,7 +646,7 @@ examples are used for
 
 @itemize
 @item Bug reports
address@hidden Sending a help request to mailists
address@hidden Sending a help request to mailing lists
 @item Adding an example to the @uref{http://lsr.dsi.unimi.it/,
 LilyPond Snippet Repository}
 @end itemize