version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.51"
@ignore
GDP TODO list
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. Predefined commands are available to
force a particular direction manually, for details
-see @ref{Controlling direction and placement}.
+see @ref{Direction and placement}.
@predefined
The automatic placement of the tuplet bracket above or below the
notes may be overridden manually with predefined commands, for
-details see @ref{Controlling direction and placement}.
+details see @ref{Direction and placement}.
Tuplets may be nested:
Notation Reference:
@ref{Time administration},
@ref{Scaling durations},
-@ref{Objects connected to the input},
+@ref{The tweak command},
@ref{Polymetric notation}.
Snippets:
Notation Reference:
@ref{Tuplets},
-@ref{Skips},
+@ref{Invisible rests},
@ref{Polymetric notation}.
Snippets:
The vertical placement of ties may be controlled, see
Predefined commands, or for details, see
-@ref{Controlling direction and placement}.
+@ref{Direction and placement}.
@cindex ties, appearance
@funindex \tieDotted
@menu
* Rests::
-* Skips::
+* Invisible rests::
* Full measure rests::
@end menu
r\longa
% Print a breve rest
r\breve
- r1 r2 r4 r8 r16 r32 r64
+ r1 r2 r4 r8 r16 r32 r64 r128
}
@end lilypond
are rests from 128th to maxima (8 x whole).
-@node Skips
-@subsubsection Skips
+@node Invisible rests
+@subsubsection Invisible rests
@cindex skip
@cindex invisible rest
@cindex rest, invisible
@cindex spacer note
@funindex s
+@funindex \skip
An invisible rest (also called a @q{spacer rest}) can be entered
like a note with the note name@tie{}@code{s}:
the note name uppercase @code{R}:
@lilypond[quote,fragment,verbatim,relative=2]
-% Rest bars contracted to single bar
+% Rest measures contracted to single measure
\compressFullBarRests
R1*4
R1*24
R1^"right"
@end lilypond
+When a multi-measure rest immediately follows a @code{\partial}
+setting, resulting bar-check warnings may not be displayed.
@predefined
@code{\textLengthOn},
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{positioning-multi--measure-rests.ly}
-@c TODO -- convert to snippet
+@c TODO -- convert to snippet -- submitted to Neil
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
measure length is determined by the length of the text, the text will
appear to be centered.
-
@seealso
Music Glossary:
-@rglos{multi-measure rest},
-@rglos{church rests}.
+@rglos{multi-measure rest}.
Notation Reference:
@ref{Durations},
@funindex \defaultTimeSignature
@cindex time signature style
-The symbol that is printed in 2/2 and 4/4 time can be customized
-to use a numeric style:
+The time signature symbol that is used in 2/2 and 4/4 time can be
+changed to a numeric style:
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
% Default style
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 @emph{notes}
-which are to be placed before the first complete measure:
+where @code{duration} is the rhythmic length of the interval
+before the start of the first complete measure:
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\partial 4 e4 |
@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.
@cindex unmetered music
Bar lines and bar numbers are calculated automatically. For
-unmetered music (cadenzas, for example), this is not desirable.
-To turn off automatic bar lines and bar numbers, use the command
-@code{\cadenzaOn}, and use @code{\cadenzaOff} to turn them on
-again.
+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.
@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
c4 d e d
@cindex polymetric signatures
@cindex meter, polymetric
-@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
+Polymetric notation is supported, either explicitly or through
+clever use of markup features.
@strong{Staves with different time signatures, equal measure lengths}
for each staff but replacing the symbol manually by setting
@code{timeSignatureFraction} to the desired fraction and scaling
the printed durations in each staff to the common time
-signature. This done with @code{\scaleDurations}, which
+signature. This is done with @code{\scaleDurations}, which
is used in a similar way to @code{\times}, but does not create
a tuplet bracket, see @ref{Scaling durations}.
>>
@end lilypond
+@snippets
+
+@c TODO -- Convert to snippet. -- Sent to Neil 8/14/08
+
+@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
+
@seealso
Internals Reference:
@rinternals{TimeSignature},
-@rinternals{Timing-translator},
+@rinternals{Timing_translator},
@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
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.
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}
@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.
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]
-\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
+
+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
c16 c8
@end lilypond
+@predefined
+@code{\autoBeamOff},
+@code{\autoBeamOn}.
@snippets
+@c TODO -- convert to snippet
Beaming patterns may be altered with the @code{beatGrouping} property,
@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
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
@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}.
@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
@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}.
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
-@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}.
@end itemize
+TODO -- convert to music example
For example, if automatic beams should always end on the first quarter
note, use
@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 |
+% 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
@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
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
-#(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
-@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
+% 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
@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
}
@end lilypond
+@funindex \noBeam
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
\time 2/4 c8 c\noBeam c c
@end lilypond
-@funindex ]
-@funindex [
-
@funindex stemLeftBeamCount
@funindex stemRightBeamCount
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]
@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
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
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
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.}
+@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
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{GrandStaff}.
+@code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
@lilypond[quote,ragged-right,fragment,verbatim]
<<
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
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
@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
correcting input is by scanning for failed bar checks and
incorrect durations.
+If successive bar checks are off by the same musical interval,
+only the first warning message is displayed. This allows the
+warning to focus on the source of the timing error.
+
+
@funindex |
@funindex pipeSymbol
@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.
-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
@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
-\grace { c16[ d16] } c2 c4
+\grace { c16[ d16] } c2
@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]
-b4 \acciaccatura d8 c4
+\grace c8 b4
+\acciaccatura d8 c4
\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]
-<< \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
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
-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_( }
- { s2 \grace { c16[ d] } } >>
- c4)
+ { s2 s4. \grace { c16[ d] } } >>
+ c1)
}
@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
-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 {
f16->
\stemNeutral
}
- g4
+ g4 e c2
}
@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.
-@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
-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.
-@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
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}.
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
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
+Predefined commands, like @code{\voiceOne}, which are intended to
+change the behaviour of the notation after a grace note, may not
+be effective if placed immediately before the grace note -- they
+should be placed after it.
+
Grace sections should only be used within sequential music
expressions. Nesting or juxtaposing grace sections is not
supported, and might produce crashes or other errors.
@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
-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]
-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 Staff { \cadenza c'4 }
+ \new Staff {
+ \MyCadenza c'1
+ \MyCadenza c'1
+ }
\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
+Music Glossary:
+@rglos{cadenza}.
+
Snippets:
@rlsr{Rhythms}.
Internals Reference: @rinternals{Timing_translator},
@rinternals{Score}
+
projects / lilypond.git / blobdiff