Program reference: @internalsref{TransposedMusic}.
-Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
+Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
@refbugs
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
@end lilypond
+Use the @code{\tweak} function to override nested tuplets beginning at the
+same music moment. In this example, @code{\tweak} specifies fraction
+text for the
+outer @code{TupletNumber} and denominator text for the @code{TupletNumber}
+of the first of the three inner tuplets.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+ \tweak #'text #tuplet-number::calc-fraction-text
+ \times 4/3 {
+ \tweak #'text #tuplet-number::calc-denominator-text
+ \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c'8[ c'8 c'8] }
+ }
+}
+@end lilypond
+
+Here @code{\tweak} and @code{\override} work together to specify
+@code{TupletBracket} direction. The first @code{\tweak} positions
+the @code{TupletBracket} of the outer
+tuplet above the staff. The second @code{\tweak} positions the
+@code{TupletBracket} of the first of the three inner tuplets below the
+staff. Note that this pair of @code{\tweak} functions affects only
+the outer tuplet and the first of the three inner tuplets because only
+those two tuplets begin at the same music moment. We use @code{\override}
+in the usual way to position the @code{TupletBrackets} of
+the second and third of the inner tuplets below the staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+ \tweak #'text #tuplet-number::calc-fraction-text
+ \tweak #'direction #up
+ \times 4/3 {
+ \tweak #'direction #down
+ \times 2/3 { c'8[ c'8 c'8] }
+ \override TupletBracket #'direction = #down
+ \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c'8[ c'8 c'8] }
+ }
+}
+@end lilypond
+
Tuplet brackets can be made to run to prefatory matter or
the next note
@seealso
-This manual: @ref{Tuplets}
+This manual: @ref{Tuplets}.
@node Bar check
If you want to allow line breaking on the bar lines where
@internalsref{Completion_heads_engraver} splits notes, you must
-also remove @internalsref{Forbid_line_breaks_engraver}.
+also remove @internalsref{Forbid_line_break_engraver}.
@refbugs
Accidentals and key signatures often confuse new users, because
unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}.
+more information, see @ref{Accidentals}, or @ref{Accidentals and key signatures}.
@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
\key g \major
@end lilypond
There are many more options for its layout. See @ref{Ancient time
-signatures} for more examples.
+signatures}, for more examples.
@code{\time} sets the property @code{timeSignatureFraction},
@code{beatLength} and @code{measureLength} in the @code{Timing}
Program reference: @internalsref{TimeSignature}, and
@internalsref{Timing_translator}.
-Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
+Examples: @lsr{contemporary,compound-time-signature.ly}.
@refbugs
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
connected between different staves of a @code{StaffGroup},
-@code{PianoStaff}, or @code{ChoirStaff}.
+@code{PianoStaff}, or @code{GrandStaff}.
@lilypond[quote,ragged-right,fragment,verbatim]
<<
The staff symbol may be tuned in the number, thickness and distance
of lines, using properties. This is demonstrated in the example files
-@inputfileref{input/@/test,staff@/-lines@/.ly},
-@inputfileref{input/@/test,staff@/-size@/.ly}.
+@lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
+@lsr{staff,changing-the-staff-size.ly}.
In addition, staves may be started and stopped at will. This is done
with @code{\startStaff} and @code{\stopStaff}.
Program reference: @internalsref{StaffSymbol}.
-Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
-@inputfileref{input/@/test@/,ossia.ly},
-@inputfileref{input/@/test,staff@/-size@/.ly},
-@lsr{staff,staff-line-positions.ly}
+Examples: @lsrdir{staff}
@node Writing music in parallel
When these automatic decisions are not good enough, beaming can be
entered explicitly. It is also possible to define beaming patterns
-that differ from the defaults. See @ref{Setting automatic beam behavior}
+that differ from the defaults. See @ref{Setting automatic beam behavior},
for details.
Individual notes may be marked with @code{\noBeam} to prevent them
@refbugs
Kneed beams are inserted automatically when a large gap is detected
-between the note heads. This behavior can be tuned through the object.
+between the note heads. This behavior can be tuned through the
+@code{auto-knee-gap} object.
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
@code{afterGraceFraction}, ie.
@example
-afterGraceFraction = #(cons 7 8)
+#(define afterGraceFraction (cons 7 8))
@end example
@noindent
\alternative { {d2 d} {f f,} }
@end lilypond
-In the following example, the first ending is not a complete
-bar (it only had 3 beats). The beginning of the second ending
-contains the 4th beat from the first ending. This @q{extra}
-beat in the second ending is due to the first time ending,
-and has nothing to do with the @code{\partial} at the
-beginning of the example.
+Repeats with upbeats may be created.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Staff {
- \partial 4
- \repeat volta 4 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b2. } }
+ \partial 4 e |
+ \repeat volta 4 { c2 d2 | e2 f2 | }
+ \alternative { { g4 g g e } { a a a a | b2. } }
}
@end lilypond
projects / lilypond.git / blobdiff