X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;ds=sidebyside;f=Documentation%2Fuser%2Frhythms.itely;h=8387123d8bd6025155cf82a5e6beb8b9efb103a1;hb=87fba3a14fb6b6253ab67c1174a2789760543fa3;hp=e201364ff91ae9fc351a95c4df3ae10becca853b;hpb=1bc5dc8562745eb82f0cd92a6011786b7b61c434;p=lilypond.git

diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index e201364ff9..8387123d8b 100644
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -6,7 +6,7 @@
     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
@@ -267,7 +267,7 @@ Learning Manual: @rlearning{Tweaking methods}.
 Notation Reference:
 @ref{Time administration},
 @ref{Scaling durations},
-@ref{Objects connected to the input},
+@ref{The tweak command},
 @ref{Polymetric notation}.
 
 Snippets:
@@ -353,7 +353,7 @@ notation, see @ref{Polymetric notation}.
 
 Notation Reference:
 @ref{Tuplets},
-@ref{Skips},
+@ref{Invisible rests},
 @ref{Polymetric notation}.
 
 Snippets:
@@ -516,7 +516,7 @@ Rests are entered as part of the music in music expressions.
 
 @menu
 * Rests::
-* Skips::
+* Invisible rests::
 * Full measure rests::
 @end menu
 
@@ -551,7 +551,7 @@ commands shown:
   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
 
@@ -601,14 +601,15 @@ longest and shortest), but the number of glyphs is limited: there
 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}:
@@ -676,7 +677,7 @@ Rests for one or more full measures are entered like notes with
 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
@@ -773,6 +774,8 @@ R1^"wrong"
 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},
@@ -796,15 +799,12 @@ R1^"right"
 @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
@@ -824,7 +824,6 @@ 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.
 
-
 @seealso
 
 Music Glossary:
@@ -894,7 +893,7 @@ 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
-@ref{Controlling visibility of objects}.
+@ref{Visibility of objects}.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \time 2/4
@@ -910,8 +909,8 @@ c c c c
 @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
@@ -1034,11 +1033,11 @@ Partial or pick-up measures, such as an anacrusis or upbeat, are
 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 |
@@ -1080,17 +1079,6 @@ Internal Reference:
 
 @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.
@@ -1106,10 +1094,10 @@ 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
@@ -1145,7 +1133,7 @@ Music Glossary:
 @rglos{cadenza}
 
 Notation Reference:
-@ref{Controlling visibility of objects}
+@ref{Visibility of objects}
 
 Snippets:
 @rlsr{Rhythms}.
@@ -1172,32 +1160,8 @@ to indicate where breaks can occur.
 @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}
 
@@ -1205,7 +1169,7 @@ This notation can be created by setting a common time signature
 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}.
 
@@ -1282,6 +1246,37 @@ moving the @code{Timing_translator} to the @code{Staff} context.
 >>
 @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
 
@@ -1299,14 +1294,17 @@ Snippets:
 
 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
@@ -1316,7 +1314,7 @@ 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
-@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.
 
@@ -1334,11 +1332,6 @@ 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.
 
-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}
@@ -1359,8 +1352,8 @@ Internals Reference:
 @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.
@@ -1373,14 +1366,116 @@ 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
 
-@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
@@ -1426,9 +1521,13 @@ c4 c8 c8. c16 c8.
 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]
@@ -1439,6 +1538,7 @@ c8[^"(2+3)" c16 c8]
 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
@@ -1472,6 +1572,7 @@ For more information about @code{make-moment}, see
 @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}.
@@ -1486,6 +1587,7 @@ c8 \repeat unfold 15 { c[ c] } c
 @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
@@ -1503,7 +1605,12 @@ f8 f''8 f8 f''8
 
 @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}.
@@ -1540,24 +1647,32 @@ defined in @file{scm/@/auto@/-beam@/.scm}.
 
 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}.
@@ -1567,6 +1682,7 @@ 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
 
@@ -1579,9 +1695,11 @@ note is a certain duration
 
 @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
@@ -1591,6 +1709,7 @@ signatures
 
 @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
@@ -1599,21 +1718,27 @@ e8 e f f e e d d
 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
@@ -1713,6 +1838,8 @@ Snippets:
 @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
@@ -1727,6 +1854,7 @@ marking the begin and end point with @code{[} and @code{]}
 }
 @end lilypond
 
+@funindex \noBeam
 
 Individual notes may be marked with @code{\noBeam} to prevent them
 from being beamed:
@@ -1735,9 +1863,6 @@ from being beamed:
 \time 2/4 c8 c\noBeam c c
 @end lilypond
 
-@funindex ]
-@funindex [
-
 @funindex stemLeftBeamCount
 @funindex stemRightBeamCount
 
@@ -1750,6 +1875,7 @@ 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.
 
+TODO -- no difference based on stemLeftBeamCount in this example
 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
 {
   f8[ r16 f g a]
@@ -1768,6 +1894,10 @@ the group as a whole.
 @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
@@ -1788,6 +1918,8 @@ 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.
 
+@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
@@ -1810,6 +1942,9 @@ 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.
 
+@c TODO -- resolve whether or not midi is capitalized -- policy 
+@c  decision needed
+
 @knownissues
 
 The @code{\featherDurations} command only works with very short
@@ -1854,9 +1989,14 @@ double bar line is usually placed at the end of a piece:
 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
@@ -1937,7 +2077,7 @@ c c c c
 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]
 <<
@@ -2020,7 +2160,7 @@ 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]
-\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
@@ -2036,7 +2176,7 @@ and here the bar numbers are printed every two measures
 except at the end of the line:
 
 @lilypond[verbatim,ragged-right,quote,fragment,relative]
-\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
@@ -2084,7 +2224,7 @@ bar line:
 
 @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
@@ -2179,6 +2319,11 @@ especially if the score is polyphonic, so a good place to start
 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
 
@@ -2322,20 +2467,22 @@ For common tweaks to the positioning of rehearsal marks, see
 
 @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
@@ -2356,42 +2503,35 @@ Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
 @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
@@ -2403,39 +2543,50 @@ command.  It takes two arguments: the main note, and the grace
 notes following the main note.
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-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 {
@@ -2444,59 +2595,69 @@ should be inside the grace expression, for example,
     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
 
 
@@ -2505,10 +2666,11 @@ in other staves by setting @code{strict-grace-spacing} to
 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}.
 
@@ -2526,8 +2688,8 @@ synchronized.  Take care when you mix staves with grace notes and
 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
@@ -2535,10 +2697,15 @@ 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]
-<< \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.
@@ -2551,33 +2718,40 @@ 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}.
 
@@ -2663,3 +2837,4 @@ Snippets:
 
 Internals Reference: @rinternals{Timing_translator},
 @rinternals{Score}
+