Updates to rhythms.itely

[lilypond.git] / Documentation / user / rhythms.itely

diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index c644863b3bf0e9c6b27c5dcc58cc202c48ccd820..22d86d69c7ce1f85d04b91b05eac816cd68819fc 100644 (file)
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -267,7 +267,7 @@ Learning Manual: @rlearning{Tweaking methods}.
 Notation Reference:
 @ref{Time administration},
 @ref{Scaling durations},
 Notation Reference:
 @ref{Time administration},
 @ref{Scaling durations},

-@ref{Objects connected to the input},
+@ref{The tweak command},

 @ref{Polymetric notation}.
 
 Snippets:
 @ref{Polymetric notation}.
 
 Snippets:


@@ -799,33 +799,8 @@ setting, resulting bar-check warnings may not be displayed.
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
 {positioning-multi--measure-rests.ly}
 
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
 {positioning-multi--measure-rests.ly}
 

-@c TODO -- convert to snippet
-Markups attached to a multi-measure rest will be centered above or
-below it.  Long markups attached to multi-measure rests do not cause
-the measure to expand. To expand a multi-measure rest to fit the markup,
-use a spacer rest with an attached markup before the multi-measure rest:
-
-@c -- music is somewhat compressed vertically.  I thought it
-@c    was good because the emphasis is not on the content
-@c    of the markup, but on the place the markup was attached -cs
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\compressFullBarRests
-\textLengthOn
-s1*0^\markup { [MAJOR GENERAL] }
-R1*19
-s1*0_\markup { \italic { Cue: ... it is yours } }
-s1*0^\markup { A }
-R1*30^\markup { [MABEL] }
-\textLengthOff
-c4^\markup { CHORUS } d f c
-@end lilypond
-
-@noindent
-Note that the spacer rest causes a bar to be inserted.
-Text attached to a spacer rest in this way is left-aligned to the
-position where the note would be placed in the measure, but if the
-measure length is determined by the length of the text, the text will
-appear to be centered.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{multi--measure-rest-markup.ly}

 
 @seealso
 
 
 @seealso
 


@@ -896,7 +871,7 @@ Time signatures are printed at the beginning of a piece
 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 behavior may be changed, see
 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 behavior may be changed, see

-@ref{Controlling visibility of objects}.
+@c ref{Controlling visibility of objects}.

 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \time 2/4
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \time 2/4


@@ -948,11 +923,27 @@ context, which is normally aliased to @code{Score}.  Changing the
 value of @code{timeSignatureFraction} causes the new time
 signature symbol to be printed without changing the other
 properties.  The property @code{measureLength} determines where
 value of @code{timeSignatureFraction} causes the new time
 signature symbol to be printed without changing the other
 properties.  The property @code{measureLength} determines where

-bar lines should be inserted and, with @code{beatLength}, how
+bar lines should be inserted and, with @code{beatLength}
+and @code{beatGrouping}, how

 automatic beams should be generated.
 
 automatic beams should be generated.
 

-TODO Add example of using beatLength.
-@c beatLength is broken - see bug 511
+@lilypond[quote,verbatim,relative=2]
+\time 3/4 % auto beam on 1/4 note groups       
+a16 a a a a a a a a a a a a a a a
+\time 12/16 % no defined auto-beaming for this time sig
+a16 a a a a a a a a a a a a a a a
+\time 3/4
+a16 a a a a a a a a a a a a a a a
+\set Score.timeSignatureFraction = #'(12 16) %keep 3/4 beaming 
+                                             % due to beatLength
+a16 a a a a a a a a a a a a a a a
+\set Score.beatLength = #(ly:make-moment 1 8) %beam on 1/8 notes
+a16 a a a a a a a a a a a a a a a
+\set Score.beatLength = #(ly:make-moment 1 16)
+\set Score.beatGrouping = #'(3 4 2 3) %beam on 3/16, 7/16, 9/16, 12/16
+a16 a a a a a a a a a a a a a a a
+@end lilypond
+

 
 @c End of snippet
 
 
 @c End of snippet
 


@@ -1014,12 +1005,6 @@ Internals Reference:
 @rinternals{Timing_translator}.
 
 
 @rinternals{Timing_translator}.
 
 

-@knownissues
-
-Automatic beaming does not use the measure grouping specified with
-@code{set-time-signature}.
-
-

 @node Upbeats
 @subsubsection Upbeats
 
 @node Upbeats
 @subsubsection Upbeats
 


@@ -1036,7 +1021,7 @@ Partial or pick-up measures, such as an anacrusis or upbeat, are
 entered using the @code{\partial} command, with the syntax
 
 @example
 entered using the @code{\partial} command, with the syntax
 
 @example

-\partial @var{duration} @emph{notes}
+\partial @var{duration} 

 @end example
 
 where @code{duration} is the rhythmic length of the interval
 @end example
 
 where @code{duration} is the rhythmic length of the interval


@@ -1068,31 +1053,20 @@ command: i.e., @code{\partial 4} is internally translated to
 
 @seealso
 
 
 @seealso
 

-Music Glossary: @rglos{anacrusis}
+Music Glossary: 
+@rglos{anacrusis}.

 
 

-Notation Reference: @ref{Grace notes}
+Notation Reference: 
+@ref{Grace notes}.

 
 Snippets:
 @rlsr{Rhythms}.
 
 Internal Reference:
 
 Snippets:
 @rlsr{Rhythms}.
 
 Internal Reference:

-@rinternals{Timing_translator}
+@rinternals{Timing_translator}.

 
 @knownissues
 
 
 @knownissues
 

-@cindex grace notes, in anacruses
-
-This command does not take into account grace notes at the start
-of the music.  If the pick-up starts with one or more grace
-notes, then the @code{\partial} should follow the grace note(s):
-
-@lilypond[verbatim,quote,ragged-right,relative,fragment]
-\grace f16
-\partial 4
-g4
-a2 g2
-@end lilypond
-

 The @code{\partial} command is intended to be used only at the
 beginning of a piece.  If you use it after the beginning, some
 odd warnings may occur.
 The @code{\partial} command is intended to be used only at the
 beginning of a piece.  If you use it after the beginning, some
 odd warnings may occur.


@@ -1108,7 +1082,7 @@ odd warnings may occur.
 @cindex unmetered music
 
 Bar lines and bar numbers are calculated automatically.  For
 @cindex unmetered music
 
 Bar lines and bar numbers are calculated automatically.  For

-unmetered music (cadenzas, for example), this is not desirable.
+unmetered music (some cadenzas, for example), this is not desirable.

 To turn off automatic calculation of bar lines and bar numbers,
 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff} 
 to turn them on again.
 To turn off automatic calculation of bar lines and bar numbers,
 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff} 
 to turn them on again.


@@ -1144,10 +1118,10 @@ d4 e d c
 @seealso
 
 Music Glossary:
 @seealso
 
 Music Glossary:

-@rglos{cadenza}
+@rglos{cadenza}.

 
 Notation Reference:
 
 Notation Reference:

-@ref{Controlling visibility of objects}
+@c ref{Controlling visibility of objects}.

 
 Snippets:
 @rlsr{Rhythms}.
 
 Snippets:
 @rlsr{Rhythms}.


@@ -1177,38 +1151,6 @@ to indicate where breaks can occur.
 Polymetric notation is supported, either explicitly or through
 clever use of markup features.
 
 Polymetric notation is supported, either explicitly or through
 clever use of markup features.
 

-@c Each of these examples uses \set or \override, and therefore
-@c by policy should be converted to a snippet.
-@c Do we want to have a section with a very brief (two-line 
-@c introduction, and have most of the content be in snippets?
-
-@strong{Alternating time signatures}
-
-Regularly alternating double time signatures are not supported
-explicitly, but they can be faked.  In the next example, the
-double time signature is created with markup text, while the
-real time signature is set in the usual way with @code{\time}.
-
-@lilypond[verbatim,ragged-right]
-% Create 9/8 split into 2/4 + 5/8
-tsMarkup = \markup {
-  \override #'(baseline-skip . 2) \number {
-    \column { "2" "4" }
-    \vcenter "+"
-    \bracket \column { "5" "8" }
-  }
-}
-
-{
-  \override Staff.TimeSignature #'stencil =
-    #ly:text-interface::print
-  \override Staff.TimeSignature #'text = #tsMarkup
-  \time 9/8
-  c'2 \bar ":" c'4 c'4.
-  c'2 \bar ":" c'4 c'4.
-}
-@end lilypond
-

 @strong{Staves with different time signatures, equal measure lengths}
 
 This notation can be created by setting a common time signature
 @strong{Staves with different time signatures, equal measure lengths}
 
 This notation can be created by setting a common time signature


@@ -1249,9 +1191,6 @@ staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
 >> }
 @end lilypond
 
 >> }
 @end lilypond
 

-@c I guess this example doesn't use \set or \override, and so
-@c could stay in the manual.
-

 @strong{Staves with different time signatures, unequal bar lengths}
 
 Each staff can be given its own independent time signature by
 @strong{Staves with different time signatures, unequal bar lengths}
 
 Each staff can be given its own independent time signature by


@@ -1295,6 +1234,11 @@ moving the @code{Timing_translator} to the @code{Staff} context.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{compound-time-signatures.ly}
+

 
 @seealso
 
 
 @seealso
 


@@ -1307,19 +1251,20 @@ Notation Reference: @ref{Scaling durations}
 
 Snippets:
 @rlsr{Rhythms}.
 
 Snippets:
 @rlsr{Rhythms}.

-@c Is this still permitted?
-@c @lsr{contemporary,compound-time-signature}

 
 Internals Reference:
 @rinternals{TimeSignature},
 
 Internals Reference:
 @rinternals{TimeSignature},

-@rinternals{Timing-translator},
+@rinternals{Timing_translator},

 @rinternals{Staff}.
 
 @knownissues
 
 @rinternals{Staff}.
 
 @knownissues
 

-When using different time signatures in parallel, the spacing is
-aligned vertically, but bar lines distort the regular spacing.
-
+When using different time signatures in parallel, notes
+at the same moment will be be placed at the same horizontal
+location.  However, the bar lines in the different staves
+will cause the note spacing to be less regular in each of the
+individual staves than would be normal without the different
+time signatures.

 
 @node Automatic note splitting
 @subsubsection Automatic note splitting
 
 @node Automatic note splitting
 @subsubsection Automatic note splitting


@@ -1329,7 +1274,7 @@ aligned vertically, but bar lines distort the regular spacing.
 
 Long notes which overrun bar lines can be converted automatically
 to tied notes.  This is done by replacing the
 
 Long notes which overrun bar lines can be converted automatically
 to tied notes.  This is done by replacing the

-@code{Note_heads_engraver} by the
+@code{Note_heads_engraver} with the

 @code{Completion_heads_engraver}.  In the following
 example, notes crossing the bar lines are split and tied.
 
 @code{Completion_heads_engraver}.  In the following
 example, notes crossing the bar lines are split and tied.
 


@@ -1347,11 +1292,6 @@ inserts ties.  One of its uses is to debug complex scores: if the
 measures are not entirely filled, then the ties show exactly how
 much each measure is off.
 
 measures are not entirely filled, then the ties show exactly how
 much each measure is off.
 

-To allow line breaking on the bar lines where the
-@code{Completion_heads_engraver} has inserted a split note, remove
-the @code{Forbid_line_break_engraver} too.
-
-

 @seealso
 
 Music Glossary: @rglos{tie}
 @seealso
 
 Music Glossary: @rglos{tie}


@@ -1372,8 +1312,8 @@ Internals Reference:
 @knownissues
 
 Not all durations (especially those containing tuplets) can be
 @knownissues
 
 Not all durations (especially those containing tuplets) can be

-represented exactly with normal notes and dots, but the engraver
-will not insert tuplets.
+represented exactly with normal notes and dots, but the 
+@code{Completion_heads_engraver} will not insert tuplets.

 
 The @code{Completion_heads_engraver} only affects notes; it does not
 split rests.
 
 The @code{Completion_heads_engraver} only affects notes; it does not
 split rests.


@@ -1386,14 +1326,116 @@ Sometimes you might want to show only the rhythm of a melody.  This
 can be done with the rhythmic staff.  All pitches of notes on such a
 staff are squashed, and the staff itself has a single line
 
 can be done with the rhythmic staff.  All pitches of notes on such a
 staff are squashed, and the staff itself has a single line
 

-@c TODO Devise a more realistic example, perhaps with lyrics -td

 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]

-\new RhythmicStaff {
-  \time 4/4
-  c4 e8 f g2 | r4 g r2 | g1 | r1 |
-}
+<<
+  \new RhythmicStaff {
+    \new Voice = "myRhythm" {
+      \time 4/4
+      c4 e8 f g2
+      r4 g g f
+      g1
+    }
+  }
+  \new Lyrics {
+    \lyricsto "myRhythm" {
+      This is my song
+      I like to sing
+    }
+  }
+>>

 @end lilypond
 
 @end lilypond
 

+Guitar chord charts often show the strumming rhythms.  This can
+be done with the @code{Pitch_squash_engraver} and
+@code{\improvisationOn}.
+
+ 
+@lilypond[quote,verbatim]
+<<
+  \new ChordNames {
+    \chordmode {
+      c1 f g c
+    }
+  }
+
+  \new Voice \with {
+    \consists Pitch_squash_engraver
+  } \relative c'' {
+    \improvisationOn
+    c4 c8 c c4 c8 c
+    f4 f8 f f4 f8 f
+    g4 g8 g g4 g8 g
+    c4 c8 c c4 c8 c
+  }
+>>
+@end lilypond
+
+@predefined
+@code{\improvisationOn},
+@code{\improvisationOff}.
+
+@snippets
+@c TODO -- Convert to snippet;
+@c     tag for both Rhythms and Guitar? Move to @seealso?
+
+For guitar music, it is possible to show strum rhythms, along
+with melody notes, chord names, and fret diagrams.
+
+
+@lilypond[quote,verbatim]
+\include "predefined-guitar-fretboards.ly"
+<<
+  \new ChordNames {
+    \chordmode {
+      c1 f g c
+    }
+  }
+
+  \new FretBoards {
+    \chordmode {
+      c1 f g c
+    }
+  }
+
+  
+  \new Voice \with {
+    \consists Pitch_squash_engraver
+  } \relative c'' {
+    \improvisationOn
+    c4 c8 c c4 c8 c
+    f4 f8 f f4 f8 f
+    g4 g8 g g4 g8 g
+    c4 c8 c c4 c8 c
+  }
+
+
+  \new Voice = "melody" {
+    \relative c'' {
+      \improvisationOff
+      c2 e4 e4 
+      f2. r4
+      g2. a4
+      e4 c2.
+    }
+  }
+ 
+  \new Lyrics {
+    \lyricsto "melody" {
+      This is my song.
+      I like to sing.
+    }
+  }
+>>
+@end lilypond
+
+@seealso
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{RhythmicStaff},
+@rinternals{Pitch_squash_engraver}.

 
 @node Beams
 @subsection Beams
 
 @node Beams
 @subsection Beams


@@ -1439,9 +1481,13 @@ c4 c8 c8. c16 c8.
 c16 c8
 @end lilypond
 
 c16 c8
 @end lilypond
 

+@predefined
+@code{\autoBeamOff},
+@code{\autoBeamOn}.

 
 @snippets
 
 
 @snippets
 

+@c TODO -- convert to snippet

 Beaming patterns may be altered with the @code{beatGrouping} property,
 
 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
 Beaming patterns may be altered with the @code{beatGrouping} property,
 
 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]


@@ -1452,6 +1498,7 @@ c8[^"(2+3)" c16 c8]
 c8[^"(3+2)" c16 c8]
 @end lilypond
 
 c8[^"(3+2)" c16 c8]
 @end lilypond
 

+@c TODO  convert to snippet

 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 behavior can
 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 behavior can


@@ -1485,6 +1532,7 @@ For more information about @code{make-moment}, see
 @cindex break, line
 @cindex line breaks
 
 @cindex break, line
 @cindex line breaks
 

+@c TODO  convert to snippet

 Line breaks are normally forbidden when beams cross bar lines.
 This behavior can be changed by setting the @code{breakable}
 property: @code{\override Beam #'breakable = ##t}.
 Line breaks are normally forbidden when beams cross bar lines.
 This behavior can be changed by setting the @code{breakable}
 property: @code{\override Beam #'breakable = ##t}.


@@ -1499,6 +1547,7 @@ c8 \repeat unfold 15 { c[ c] } c
 @cindex kneed beams
 @cindex auto-knee-gap
 
 @cindex kneed beams
 @cindex auto-knee-gap
 

+@c TODO convert to snippet

 Kneed beams are inserted automatically when a large gap is
 detected between the note heads.  This behavior can be tuned
 through the @code{auto-knee-gap} property.  A kneed beam is
 Kneed beams are inserted automatically when a large gap is
 detected between the note heads.  This behavior can be tuned
 through the @code{auto-knee-gap} property.  A kneed beam is


@@ -1516,7 +1565,12 @@ f8 f''8 f8 f''8
 
 @seealso
 
 
 @seealso
 

-Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
+Notation Reference: 
+@ref{Manual beams}, 
+@ref{Setting automatic beam behavior}.
+
+Installed Files:
+@file{scm/auto-beam.scm}.

 
 Snippets:
 @rlsr{Rhythms}.
 
 Snippets:
 @rlsr{Rhythms}.


@@ -1553,24 +1607,32 @@ defined in @file{scm/@/auto@/-beam@/.scm}.
 
 In order to add a rule to the list, use
 @example
 
 In order to add a rule to the list, use
 @example

-#(override-auto-beam-setting '(be p q n m) a b [context])
+#(override-auto-beam-setting 
+  '(beam-limit beam-numerator  beam-denominator
+     time-signature-numerator time-signature-denominator) 
+  moment-numerator moment-denominator [context])

 @end example
 
 @itemize
 
 @end example
 
 @itemize
 

-@item @code{be} is either @code{begin} or @code{end}.
+@item @code{beam-limit} is the type of automatic beam limit
+defined, either @code{begin} or @code{end}.

 
 

-@item @code{p/q} is the duration of the note for which you want
-to add a rule.  A beam is considered to have the duration of its
-shortest note.  Set @code{p} and @code{q} to @code{'*'} to
-have this apply to any beam.
+@item @code{beam-numerator/beam-denominator} is the beam duration
+for which you want to add a rule.  A beam is considered to have 
+the duration of its shortest note.  Set @code{beam-numerator} and 
+@code{beam-denominator} to @code{'*'} to
+have this rule apply beams of any duration.

 
 

-@item @code{n/m} is the time signature to which
-this rule should apply.  Set @code{n} and @code{m} to @code{'*'}
-to have this apply in any time signature.
+@item @code{time-signature-numerator/time-signature-denominator}
+is the time signature to which
+this rule should apply.  Set @code{time-signature-numerator} and 
+@code{time-signature-denominator} to @code{'*'}
+to have this rule apply in any time signature.

 
 

-@item @code{a/b} is the position in the bar at which the beam should
-begin/end.
+@item @code{monent-numerator/moment-denominator} is the position 
+in the bar at which the beam should
+begin or end.

 
 @item @code{context} is optional, and it specifies the context at which
 the change should be made.  The default is @code{'Voice}.
 
 @item @code{context} is optional, and it specifies the context at which
 the change should be made.  The default is @code{'Voice}.


@@ -1580,6 +1642,7 @@ the change should be made.  The default is @code{'Voice}.
 
 @end itemize
 
 
 @end itemize
 

+TODO -- convert to music example

 For example, if automatic beams should always end on the first quarter
 note, use
 
 For example, if automatic beams should always end on the first quarter
 note, use
 


@@ -1592,9 +1655,11 @@ note is a certain duration
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \time 2/4
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \time 2/4

+% end 1/16 beams for all time signatures at the 1/16 moment

 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
 a16 a a a a a a a |
 a32 a a a a16 a a a a a |
 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
 a16 a a a a a a a |
 a32 a a a a16 a a a a a |

+% end 1/32 beams for all time signatures at the 1/16 moment

 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
 a32 a a a a16 a a a a a |
 @end lilypond
 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
 a32 a a a a16 a a a a a |
 @end lilypond


@@ -1604,6 +1669,7 @@ signatures
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \time 5/8
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \time 5/8

+% end beams of all durations in 5/8 time signature at the 2/8 moment

 #(override-auto-beam-setting '(end * * 5 8) 2 8)
 c8 c d d d
 \time 4/4
 #(override-auto-beam-setting '(end * * 5 8) 2 8)
 c8 c d d d
 \time 4/4


@@ -1612,21 +1678,27 @@ e8 e f f e e d d
 c8 c d d d
 @end lilypond
 
 c8 c d d d
 @end lilypond
 

-You can also remove a previously set beam-ending rule by using
+Existing auto-beam rules are removed by using

 
 @example
 
 @example

-#(revert-auto-beam-setting '(be p q n m) a b [context])
+#(revert-auto-beam-setting 
+  '(beam-limit beam-numerator  beam-denominator
+     time-signature-numerator time-signature-denominator) 
+  moment-numerator moment-denominator [context])

 @end example
 
 @noindent
 @end example
 
 @noindent

-@code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
-@code{b} and @code{context} are the same as above.  Note that the
-default rules are specified in @file{scm/@/auto@/-beam@/.scm},
+@code{beam-limit}, @code{beam-numerator}, @code{beam-denominator}, 
+@code{time-signature-numerator}, @code{time-signature-denominator},
+@code{moment-numerator}, @code{moment-denominator} and @code{context}
+are the same as above.  Note that the default auto-beaming rules are 
+specified in @file{scm/@/auto@/-beam@/.scm},

 so you can revert rules that you did not explicitly create.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \time 4/4
 a16 a a a a a a a a a a a a a a a
 so you can revert rules that you did not explicitly create.
 
 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
 \time 4/4
 a16 a a a a a a a a a a a a a a a

+% undo a rule ending 1/16 beams in 4/4 time at 1/4 moment

 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
 a16 a a a a a a a a a a a a a a a
 @end lilypond
 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
 a16 a a a a a a a a a a a a a a a
 @end lilypond


@@ -1726,6 +1798,8 @@ Snippets:
 @subsubsection Manual beams
 
 @cindex beams, manual
 @subsubsection Manual beams
 
 @cindex beams, manual

+@funindex ]
+@funindex [

 
 In some cases it may be necessary to override the automatic
 beaming algorithm.  For example, the autobeamer will not put beams
 
 In some cases it may be necessary to override the automatic
 beaming algorithm.  For example, the autobeamer will not put beams


@@ -1748,9 +1822,6 @@ from being beamed:
 \time 2/4 c8 c\noBeam c c
 @end lilypond
 
 \time 2/4 c8 c\noBeam c c
 @end lilypond
 

-@funindex ]
-@funindex [
-

 @funindex stemLeftBeamCount
 @funindex stemRightBeamCount
 
 @funindex stemLeftBeamCount
 @funindex stemRightBeamCount
 


@@ -1763,6 +1834,7 @@ then it is erased.  In this example, the last @code{f} is printed
 with only one beam on the left side, i.e., the eighth-note beam of
 the group as a whole.
 
 with only one beam on the left side, i.e., the eighth-note beam of
 the group as a whole.
 

+TODO -- no difference based on stemLeftBeamCount in this example

 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
 {
   f8[ r16 f g a]
 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
 {
   f8[ r16 f g a]


@@ -1781,6 +1853,10 @@ the group as a whole.
 @cindex beams, feathered
 @funindex \featherDurations
 
 @cindex beams, feathered
 @funindex \featherDurations
 

+TODO -- this section relies on overrides.  We need to either add
+a predefined, move this to snippets (whole section), or violate
+policy for this section.
+

 Feathered beams are used to indicate that a small group of notes
 should be played at an increasing (or decreasing) tempo, without
 changing the overall tempo of the piece.  The extent of the
 Feathered beams are used to indicate that a small group of notes
 should be played at an increasing (or decreasing) tempo, without
 changing the overall tempo of the piece.  The extent of the


@@ -1801,6 +1877,8 @@ which notes are to have their durations modified.  Normally
 these would delimit the same group of notes, but this is not
 required: the two commands are independent.
 
 these would delimit the same group of notes, but this is not
 required: the two commands are independent.
 

+@c TODO -- eliminate "Talking through code"
+

 In the following example the eight 16th notes occupy exactly the
 same time as a half note, but the first note is one half as long
 as the last one, with the intermediate notes gradually
 In the following example the eight 16th notes occupy exactly the
 same time as a half note, but the first note is one half as long
 as the last one, with the intermediate notes gradually


@@ -1823,6 +1901,9 @@ the last four 32nd notes are at a constant tempo.
 The spacing in the printed output represents the
 note durations only approximately, but the midi output is exact.
 
 The spacing in the printed output represents the
 note durations only approximately, but the midi output is exact.
 

+@c TODO -- resolve whether or not midi is capitalized -- policy 
+@c  decision needed
+

 @knownissues
 
 The @code{\featherDurations} command only works with very short
 @knownissues
 
 The @code{\featherDurations} command only works with very short


@@ -1867,9 +1948,14 @@ double bar line is usually placed at the end of a piece:
 e4 d c2 \bar "|."
 @end lilypond
 
 e4 d c2 \bar "|."
 @end lilypond
 

+@c TODO -- make this warning more clear.  What does it mean?

 @warning{An incorrect duration can lead to poorly formatted
 music.}
 
 @warning{An incorrect duration can lead to poorly formatted
 music.}
 

+@c TODO -- check this.  I think this behavior no longer happens
+@c with completion_heads_engraver, but it may with note_heads_engraver
+@c Make an example showing the problem
+

 It is not invalid if the final note in a measure does not
 end on the automatically entered bar line: the note is assumed
 to carry over into the next measure.  But if a long sequence
 It is not invalid if the final note in a measure does not
 end on the automatically entered bar line: the note is assumed
 to carry over into the next measure.  But if a long sequence


@@ -2033,7 +2119,7 @@ line visible}, @code{beginning of line visible}.  In the following
 example bar numbers are printed at all possible places:
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]
 example bar numbers are printed at all possible places:
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]

-\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+\override Score.BarNumber #'break-visibility = #'#(#t #t #t)

 \set Score.currentBarNumber = #11
 \bar ""  % Permit first bar number to be printed
 c1 c c c
 \set Score.currentBarNumber = #11
 \bar ""  % Permit first bar number to be printed
 c1 c c c


@@ -2049,7 +2135,7 @@ and here the bar numbers are printed every two measures
 except at the end of the line:
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]
 except at the end of the line:
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]

-\override Score.BarNumber #'break-visibility = ##(#f #t #t)
+\override Score.BarNumber #'break-visibility = #'#(#f #t #t)

 \set Score.currentBarNumber = #11
 \bar ""  % Permit first bar number to be printed
 % Print a bar number every second measure
 \set Score.currentBarNumber = #11
 \bar ""  % Permit first bar number to be printed
 % Print a bar number every second measure


@@ -2097,7 +2183,7 @@ bar line:
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]
 \set Score.currentBarNumber = #111
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]
 \set Score.currentBarNumber = #111

-\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+\override Score.BarNumber #'break-visibility = #'#(#t #t #t)

 % Increase the size of the bar number by 2
 \override Score.BarNumber #'font-size = #2
 % Print a bar number every second measure
 % Increase the size of the bar number by 2
 \override Score.BarNumber #'font-size = #2
 % Print a bar number every second measure


@@ -2340,20 +2426,22 @@ For common tweaks to the positioning of rehearsal marks, see
 
 @seealso
 
 
 @seealso
 

-Snippets:
-@rlsr{Rhythms}.
-
-This manual: @ref{The Feta font}, @ref{Formatting text}.
-
-Internals Reference: @rinternals{RehearsalMark}.
+This manual: 
+@ref{The Feta font}, 
+@ref{Formatting text}.

 
 

-Init files: @file{scm/@/translation@/-functions@/.scm} contains
+Installed Files: 
+@file{scm/@/translation@/-functions@/.scm} contains

 the definition of @code{format-mark-numbers} and
 @code{format-mark-letters}.  They can be used as inspiration for
 other formatting functions.
 
 the definition of @code{format-mark-numbers} and
 @code{format-mark-letters}.  They can be used as inspiration for
 other formatting functions.
 

-Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
+Snippets:
+@rlsr{Rhythms}.

 
 

+Internals Reference: @rinternals{RehearsalMark}.
+
+Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}

 
 @node Special rhythmic concerns
 @subsection Special rhythmic concerns
 
 @node Special rhythmic concerns
 @subsection Special rhythmic concerns


@@ -2374,42 +2462,35 @@ Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
 @cindex appoggiatura
 @cindex acciaccatura
 
 @cindex appoggiatura
 @cindex acciaccatura
 

-Grace notes are ornaments that are written out. They are made with
-the @code{\grace} command.  By prefixing this keyword to a music
-expression, a new one is formed, which will be printed in a
-smaller font and takes up no logical time in a measure.
+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.

 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 c4 \grace c16 c4
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 c4 \grace c16 c4

-\grace { c16[ d16] } c2 c4
+\grace { c16[ d16] } c2

 @end lilypond
 
 @end lilypond
 

-Two special forms of the @code{\grace} command exist.
-An @emph{acciaccatura}, which should be played as very short,
-is denoted by a slurred small note with a slashed stem.  The
-@emph{appoggiatura}, a grace note that takes a fixed fraction of the
-main note, is denoted as a slurred note in small print without
-a slash.  They are entered with the commands @code{\acciaccatura}
-and @code{\appoggiatura}, as demonstrated in the following
-example:
+Lilypond also supports two special types of grace notes, the 
+@emph{acciaccatura}--an unmeasured grace note indicated by a slurred 
+small note with a slashed stem--and the @emph{appoggiatura}, which 
+takes a fixed fraction of the main note and appears in small print 
+without a slash. 

 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]

-b4 \acciaccatura d8 c4
+\grace c8 b4 
+\acciaccatura d8 c4

 \appoggiatura e8 d4
 \acciaccatura { g16[ f] } e4
 @end lilypond
 
 \appoggiatura e8 d4
 \acciaccatura { g16[ f] } e4
 @end lilypond
 

-@noindent
-@code{\acciaccatura} and @code{\appoggiatura} start a slur,
-@code{\grace} does not.
-

 The placement of grace notes is synchronized between different
 staves.  In the following example, there are two sixteenth grace
 notes for every eighth grace note
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 The placement of grace notes is synchronized between different
 staves.  In the following example, there are two sixteenth grace
 notes for every eighth grace note
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]

-<< \new Staff { e4 \grace { c16[ d e f] } e4 }
-   \new Staff { c4 \grace { g8[ b] } c4 } >>
+<< \new Staff { e2 \grace { c16[ d e f] } e2 }
+   \new Staff { c2 \grace { g8[ b] } c2 } >>

 @end lilypond
 
 @funindex \afterGrace
 @end lilypond
 
 @funindex \afterGrace


@@ -2421,39 +2502,50 @@ command.  It takes two arguments: the main note, and the grace
 notes following the main note.
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 notes following the main note.
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]

-c1 \afterGrace d1 { c16[ d] } c4
+c1 \afterGrace d1 { c16[ d] } c1

 @end lilypond
 
 @end lilypond
 

-This will put the grace notes after a @q{space} lasting 3/4 of the
-length of the main note.  The fraction 3/4 can be changed by
-setting @code{afterGraceFraction}, i.e.,
-
-@example
-#(define afterGraceFraction (cons 7 8))
-@end example
+This will put the grace notes after a space lasting 3/4 of the
+length of the main note.  The default fraction 3/4 can be changed by
+setting @code{afterGraceFraction}.  The following example shows
+the results from setting the space at the default,  at 15/16, and 
+finally at 1/2 of the main note.

 
 

-@noindent
-will put the grace note at 7/8 of the main note.
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+<<
+  \new Staff {
+    c1 \afterGrace d1 { c16[ d] } c1
+  }
+  \new Staff {
+    #(define afterGraceFraction (cons 15 16))
+    c1 \afterGrace d1 { c16[ d] } c1
+  }
+  \new Staff {
+    #(define afterGraceFraction (cons 1 2))
+    c1 \afterGrace d1 { c16[ d] } c1
+  }
+>>
+@end lilypond

 
 

-The same effect can be achieved manually by doing
+The space between the main note and the grace note may also be
+specified using spacers. The following example places the grace
+note after a space lasting 7/8 of the main note.

 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Voice {
   << { d1^\trill_( }
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Voice {
   << { d1^\trill_( }

-     { s2 \grace { c16[ d] } } >>
-  c4)
+     { s2 s4. \grace { c16[ d] } } >>
+  c1)

 }
 @end lilypond
 
 }
 @end lilypond
 

-@noindent
-By adjusting the duration of the skip note (here it is a
-half-note), the space between the main note and the grace
-may be adjusted.
-

 A @code{\grace} music expression will introduce special
 typesetting settings, for example, to produce smaller type, and
 A @code{\grace} music expression will introduce special
 typesetting settings, for example, to produce smaller type, and

-set directions.  Hence, when introducing layout tweaks, they
-should be inside the grace expression, for example,
+set directions.  Hence, when introducing layout tweaks to
+override the special settings, they should be placed inside
+the grace expression. The overrides should also be reverted
+inside the grace expression. Here, the grace note's default stem
+direction is overriden and then reverted.

 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Voice {
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Voice {


@@ -2462,59 +2554,69 @@ should be inside the grace expression, for example,
     f16->
     \stemNeutral
   }
     f16->
     \stemNeutral
   }

-  g4
+  g4 e c2

 }
 @end lilypond
 
 }
 @end lilypond
 

-@noindent
-The overrides should also be reverted inside the grace expression.
+
+@cindex stem, with slash
+
+
+@snippets
+
+The slash through the stem found in @emph{acciaccatura}s can be applied 
+in other situations:
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\relative c'' {
+  \override Stem #'stroke-style = #"grace"
+  c8( d2) e8( f4)
+}
+@end lilypond

 
 The layout of grace expressions can be changed throughout the
 music using the function @code{add-grace-property}.  The following
 example undefines the @code{Stem} direction for this grace, so
 that stems do not always point up.
 
 
 The layout of grace expressions can be changed throughout the
 music using the function @code{add-grace-property}.  The following
 example undefines the @code{Stem} direction for this grace, so
 that stems do not always point up.
 

-@example
-\new Staff @{
-  #(add-grace-property 'Voice 'Stem 'direction '())
-  @dots{}
-@}
-@end example
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\relative c'' {
+  \new Staff {
+    #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
+    #(remove-grace-property 'Voice 'Stem 'direction)
+    \new Voice {
+       \acciaccatura { f16 } g4 
+       \grace { d16[ e] } f4
+       \appoggiatura { a,32[ b c d] } e2
+    }
+  }
+}
+@end lilypond

 
 

-@noindent

 Another option is to change the variables @code{startGraceMusic},
 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
 @code{stopAppoggiaturaMusic}.  The default values of these can be
 Another option is to change the variables @code{startGraceMusic},
 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
 @code{stopAppoggiaturaMusic}.  The default values of these can be

-seen in the file @file{ly/@/grace@/-init@/.ly}.  By redefining
+seen in the file @code{ly/@/grace@/-init@/.ly}.  By redefining

 them other effects may be obtained.
 
 them other effects may be obtained.
 

-@cindex stem, with slash
-
-@noindent
-The slash through the stem in @emph{acciaccatura}s can be obtained in
-other situations by @code{\override Stem  #'stroke-style =
-#"grace"}.
+Grace notes may be forced to align with regular notes
+in other staves:

 
 

-
-@snippets
-
-Grace notes may be forced to use align with regular notes
-in other staves by setting @code{strict-grace-spacing} to
-##t:
-
-@lilypond[verbatim,quote,relative=2]
-<<
-  \override Score.SpacingSpanner #'strict-grace-spacing = ##t
-  \new Staff {
-    c4
-    \afterGrace c4 { c16[ c8 c16] }
-    c4 r
-  }
-  \new Staff {
-    c16 c c c c c c c c4 r
-  }
->>
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+  <<
+    \override Score.SpacingSpanner #'strict-grace-spacing = ##t
+    \new Staff {
+      c4
+      \afterGrace c4 { c16[ c8 c16] }
+      c4 r
+    }
+    \new Staff {
+      c16 c c c c c c c c4 r
+    }
+  >>
+}

 @end lilypond
 
 
 @end lilypond
 
 


@@ -2523,10 +2625,11 @@ in other staves by setting @code{strict-grace-spacing} to
 Music Glossary:
 @rglos{grace notes},
 @rglos{acciaccatura},
 Music Glossary:
 @rglos{grace notes},
 @rglos{acciaccatura},

-@rglos{appoggiatura}
+@rglos{appoggiatura}.

 
 

-Snippets:
-@rlsr{Rhythms}.
+Installed Files: @file{ly/@/grace@/-init@/.ly}.
+
+Snippets: @rlsr{Rhythms}.

 
 Internals Reference: @rinternals{GraceMusic}.
 
 
 Internals Reference: @rinternals{GraceMusic}.
 


@@ -2544,8 +2647,8 @@ synchronized.  Take care when you mix staves with grace notes and
 staves without, for example,
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 staves without, for example,
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]

-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
-   \new Staff { c4 \bar "|:" d4 } >>
+<< \new Staff { e4 \bar "|:" \grace c16 d2. }
+   \new Staff { c4 \bar "|:" d2. } >>

 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent


@@ -2553,8 +2656,8 @@ This can be remedied by inserting grace skips of the corresponding
 durations in the other staves.  For the above example
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 durations in the other staves.  For the above example
 
 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]

-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
-   \new Staff { c4 \bar "|:" \grace s16 d4 } >>
+<< \new Staff { e4 \bar "|:" \grace c16 d2. }
+   \new Staff { c4 \bar "|:" \grace s16 d2. } >>

 @end lilypond
 
 Grace sections should only be used within sequential music
 @end lilypond
 
 Grace sections should only be used within sequential music


@@ -2569,33 +2672,40 @@ supported, and might produce crashes or other errors.
 @cindex aligning to cadenza
 
 In an orchestral context, cadenzas present a special problem: when
 @cindex aligning to cadenza
 
 In an orchestral context, cadenzas present a special problem: when

-constructing a score that includes a cadenza, all other
-instruments should skip just as many notes as the length of the
-cadenza, otherwise they will start too soon or too late.
+constructing a score that includes a measured cadenza or other solo
+passage, all other instruments should skip just as many notes as the 
+length of the cadenza, otherwise they will start too soon or too late. 

 
 

-A solution to this problem is to use the functions
+One solution to this problem is to use the functions

 @code{mmrest-of-length} and @code{skip-of-length}.  These Scheme
 @code{mmrest-of-length} and @code{skip-of-length}.  These Scheme

-functions take a piece of music as argument, and generate a multi-measure
-rest or @code{\skip}, exactly as long as the piece.  The use of
-@code{mmrest-of-length} is demonstrated in the following example.
+functions take a defined piece of music as an argument and generate a 
+multi-measure rest or @code{\skip} exactly as long as the piece.  

 
 @lilypond[verbatim,ragged-right,quote]
 
 @lilypond[verbatim,ragged-right,quote]

-cadenza = \relative c' {
-  c4 d8 << { e f g } \\ { d4. } >>
-  g4 f2 g4 g
+MyCadenza = \relative c' {
+  c4 d8 e f g g4 
+  f2 g4 g

 }
 
 \new GrandStaff <<
 }
 
 \new GrandStaff <<

-  \new Staff { \cadenza c'4 }
+  \new Staff { 
+    \MyCadenza c'1 
+    \MyCadenza c'1
+  }

   \new Staff {
   \new Staff {

-    #(ly:export (mmrest-of-length cadenza))
-    c'4
+    #(ly:export (mmrest-of-length MyCadenza))
+    c'1
+    #(ly:export (skip-of-length MyCadenza))
+    c'1

   }
 >>
 @end lilypond
 
 @seealso
 
   }
 >>
 @end lilypond
 
 @seealso
 

+Music Glossary:
+@rglos{cadenza}.
+

 Snippets:
 @rlsr{Rhythms}.
 
 Snippets:
 @rlsr{Rhythms}.
 


@@ -2681,3 +2791,4 @@ Snippets:
 
 Internals Reference: @rinternals{Timing_translator},
 @rinternals{Score}
 
 Internals Reference: @rinternals{Timing_translator},
 @rinternals{Score}

+