X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Frhythms.itely;h=680e96c4fdeb78cc58dfb216915a8b60c463eab1;hb=312f7ebc83ec9fb8cbbddfcf78b65a8502c16ab2;hp=dd084a2156ad03fe2c4b1ff9f45c2cc452839217;hpb=2e8af646c57285dc4946205ddab0257bc4ef6270;p=lilypond.git

diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index dd084a2156..680e96c4fd 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.13.44"
+@c \version "2.15.18"
 
 @node Rhythms
 @section Rhythms
@@ -142,9 +142,11 @@ the staff; see @ref{Direction and placement}.
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-the-number-of-augmentation-dots-per-note.ly}
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{alternative-breve-note.ly}
 
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{changing-the-number-of-augmentation-dots-per-note.ly}
 
 @seealso
 Music Glossary:
@@ -171,9 +173,7 @@ Internals Reference:
 @rinternals{Dots},
 @rinternals{DotColumn}.
 
-
 @knownissues
-
 @c Deliberately duplicated in Durations and Rests.  -gp
 There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited:
@@ -249,26 +249,25 @@ see @ref{Scaling durations}.
 @funindex tupletNumberFormatFunction
 @funindex tupletSpannerDuration
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {entering-several-tuplets-using-only-one--times-command.ly}
 
 @cindex Tuplet number changes
 
 @funindex TupletNumber
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {changing-the-tuplet-number.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {non-default-tuplet-numbers.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {controlling-tuplet-bracket-visibility.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {permitting-line-breaks-within-beamed-tuplets.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{triplet},
@@ -292,7 +291,6 @@ Internals Reference:
 @rinternals{TupletNumber},
 @rinternals{TimeScaledMusic}.
 
-
 @cindex grace notes within tuplet brackets
 
 @knownissues
@@ -372,7 +370,6 @@ and expanded:
 One application of this command is in polymetric
 notation, see @ref{Polymetric notation}.
 
-
 @seealso
 Notation Reference:
 @ref{Tuplets},
@@ -520,10 +517,24 @@ c2 ~ c
 c2 ~ c
 @end lilypond
 
-Dash pattern definitions for ties have the same structure as
-dash pattern definitions for slurs.
-For more information about complex dash patterns,
-see the snippets under @ref{Slurs}.
+Dash pattern definitions for ties have the same structure as dash
+pattern definitions for slurs. For more information about complex dash
+patterns, see @ref{Slurs}.
+
+Override @var{whiteout} and @var{layer} layout properties for ties that
+collide with other objects in a staff.
+
+@lilypond[verbatim,quote,ragged-right,relative=2]
+\override Tie #'layer = #-2
+\override Staff.TimeSignature #'layer = #-1
+\override Staff.KeySignature #'layer = #-1
+\override Staff.TimeSignature #'whiteout = ##t
+\override Staff.KeySignature #'whiteout = ##t
+b2 b~
+\time 3/4
+\key a \major
+b r4
+@end lilypond
 
 @predefined
 @code{\tieUp},
@@ -537,16 +548,14 @@ see the snippets under @ref{Slurs}.
 @code{\tieSolid}.
 @endpredefined
 
-
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {using-ties-with-arpeggios.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {engraving-ties-manually.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{tie},
@@ -557,6 +566,7 @@ Notation Reference:
 @ref{Automatic note splitting}.
 
 Snippets:
+@rlsr{Expressive marks},
 @rlsr{Rhythms}.
 
 Internals Reference:
@@ -565,14 +575,11 @@ Internals Reference:
 @rinternals{TieColumn},
 @rinternals{Tie}.
 
-
 @knownissues
-Switching staves when a tie is active will not produce a slanted
-tie.
-
-Changing clefs or ottavations during a tie is not really
-well-defined.  In these cases, a slur may be preferable.
+Switching staves when a tie is active will not produce a slanted tie.
 
+Changing clefs or ottavations during a tie is not really well-defined.
+In these cases, a slur may be preferable.
 
 
 @node Writing rests
@@ -648,10 +655,9 @@ a4\rest d4\rest
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {rest-styles.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{breve},
@@ -667,9 +673,7 @@ Snippets:
 Internals Reference:
 @rinternals{Rest}.
 
-
 @knownissues
-
 @c Deliberately duplicated in Durations and Rests.  -gp
 There is no fundamental limit to rest durations (both in terms of
 longest and shortest), but the number of glyphs is limited: there
@@ -751,7 +755,6 @@ any kind.
 \skip 1 \skip1 \skip 1
 @end lilypond
 
-
 @seealso
 Learning Manual:
 @rlearning{Visibility and color of objects}.
@@ -916,19 +919,18 @@ setting, resulting bar-check warnings may not be displayed.
 @cindex rest, church
 @cindex kirchenpausen
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {changing-form-of-multi-measure-rests.ly}
 
 @cindex multi-measure rests, positioning
 @cindex positioning multi-measure rests
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {positioning-multi-measure-rests.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {multi-measure-rest-markup.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{multi-measure rest}.
@@ -947,7 +949,6 @@ Internals Reference:
 @rinternals{MultiMeasureRestNumber},
 @rinternals{MultiMeasureRestText}.
 
-
 @cindex fingerings and multi-measure rests
 @cindex multi-measure rests and fingerings
 
@@ -966,6 +967,7 @@ into a single multi-measure rest.
 
 Multi-measure rests do not take part in rest collisions.
 
+
 @node Displaying rhythms
 @subsection Displaying rhythms
 
@@ -1198,20 +1200,9 @@ for different staves by moving the @code{Timing_translator} and the
 
 
 @snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-the-time-signature-without-affecting-the-beaming.ly}
-
-@cindex compound time signatures
-@cindex time signature, compound
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{compound-time-signatures.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{time signature}
@@ -1227,6 +1218,7 @@ Internals Reference:
 @rinternals{TimeSignature},
 @rinternals{Timing_translator}.
 
+
 @node Metronome marks
 @unnumberedsubsubsec Metronome marks
 
@@ -1289,20 +1281,19 @@ d4 g e c
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
 
 @c perhaps also an example of how to move it horizontally?
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {changing-the-tempo-without-a-metronome-mark.ly}
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {creating-metronome-marks-in-markup-mode.ly}
 
 For more details, see @ref{Formatting text}.
 
-
 @seealso
 Music Glossary:
 @rglos{metronome},
@@ -1328,54 +1319,57 @@ Internals Reference:
 @cindex upbeat
 @cindex partial measure
 @cindex measure, partial
+@cindex measure, pickup
 @cindex pickup measure
-@cindex measure, change length
 
 @funindex measurePosition
 @funindex \partial
 @funindex partial
 
-Partial or pick-up measures, such as an anacrusis or upbeat, are
-entered using the @code{\partial} command, with the syntax
+Partial or pick-up measures, such as an @emph{anacrusis} or an
+@emph{upbeat}, are entered using the @code{\partial} command,
 
 @example
 \partial @var{duration}
 @end example
 
 @noindent
-where @code{@var{duration}} is the rhythmic length of the
-remaining interval of the current measure before the start of the
-next.
+where @code{@var{duration}} is the @emph{remaining} length of the
+partial measure @emph{before} the start of the next full measure.
 
-@lilypond[quote,verbatim,relative=2]
-\partial 4 e4 |
-a2. c,4 |
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\partial 8
+e8 | a4 c8 b c4 |
 @end lilypond
 
-The partial measure can be any duration less than the full measure:
+The @var{duration} can be any value less than a full measure:
 
-@lilypond[quote,verbatim,relative=2]
-\partial 8*3 c8 d e |
-a2. c,4 |
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\partial 4.
+r4 e8 | a4 c8 b c4 |
 @end lilypond
 
-Internally, @code{\partial @var{duration}} is translated into:
+The @code{\partial @var{duration}} can also be written as;
 
 @example
 \set Timing.measurePosition -@var{duration}
 @end example
 
-For example, @code{\partial 8*3} becomes:
+So @code{\partial 8} becomes:
 
-@example
-\set Timing.measurePosition = #(ly:make-moment -3 8)
-@end example
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\set Timing.measurePosition = #(ly:make-moment -1 8)
+e8 | a4 c8 b c4 |
+@end lilypond
 
 The property @code{measurePosition} contains a rational number
 indicating how much of the measure has passed at this point.  Note
 that this is set to a negative number by the @code{\partial} command:
-i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
-@qq{there is a quarter note left in the measure.}
+i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
+meaning @qq{there is a quarter note left in the measure.}
 
 @seealso
 Music Glossary:
@@ -1391,11 +1385,18 @@ Internal Reference:
 @rinternals{Timing_translator}.
 
 @knownissues
+The @code{\partial} command should be used only at the beginning of a
+piece.  If you use it after the beginning, warnings or problems may
+occur, so use @code{\set Timing.measurePosition} instead.
+
+@lilypond[quote,verbatim,relative=1]
+\time 6/8
+\partial 8
+e8 | a4 c8 b[ c b] |
+\set Timing.measurePosition = #(ly:make-moment -1 4)
+r8 e,8 | a4 c8 b[ c b] |
+@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 or effects may occur, in this case use
-@code{\set Timing.measurePosition} instead.
 
 @node Unmetered music
 @unnumberedsubsubsec Unmetered music
@@ -1468,7 +1469,6 @@ shown in @ref{Polymetric notation}.
 @code{\cadenzaOff}.
 @endpredefined
 
-
 @seealso
 Music Glossary:
 @rglos{cadenza}.
@@ -1481,7 +1481,6 @@ Notation Reference:
 Snippets:
 @rlsr{Rhythms}.
 
-
 @cindex cadenza line breaks
 @cindex cadenza page breaks
 @cindex unmetered music, line breaks
@@ -1493,7 +1492,6 @@ Snippets:
 @cindex page breaks in unmetered music
 
 @knownissues
-
 LilyPond will insert line breaks and page breaks only at a
 bar line.  Unless the unmetered music ends before the end of the
 staff line, you will need to insert invisible bar lines with
@@ -1539,42 +1537,38 @@ piece with @code{\cadenzaOn}, otherwise strange errors may occur.
 @funindex \times
 @funindex times
 
-Polymetric notation is supported, either explicitly or by modifying
-the visible time signature symbol and scaling the note durations.
+Polymetric notation is supported explicitly or by manually modifying the
+visible time signature symbol and/or scaling note durations.
 
-@strong{@i{Staves with different time signatures, equal measure lengths}}
+@subsubheading Different time signatures with equal-length measures
 
-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; see @ref{Time signature}.  The scaling 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}.
+Set a common time signature for each staff, and set the
+@code{timeSignatureFraction} to the desired fraction.  Then use the
+@code{\scaleDurations} function to scale the durations of the notes in
+each staff to the common time signature.
 
 @cindex beams, with polymetric meters
 @cindex polymetric meters, with beams
 
-In this example, music with the time signatures of 3/4, 9/8, and
-10/8 are used in parallel.  In the second staff, shown durations
-are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
-staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
-It will often be necessary to insert beams manually, as the
-duration scaling affects the autobeaming rules.
+In the following example, music with the time signatures of 3/4, 9/8 and
+10/8 are used in parallel.  In the second staff, shown durations are
+multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
+shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4).  It
+may be necessary to insert beams manually, as the duration scaling will
+affect the autobeaming rules.
 
 @lilypond[quote,verbatim]
 \relative c' <<
   \new Staff {
     \time 3/4
     c4 c c |
-    c c c |
+    c4 c c |
   }
   \new Staff {
     \time 3/4
     \set Staff.timeSignatureFraction = #'(9 . 8)
     \scaleDurations #'(2 . 3)
-    \repeat unfold 6 { c8[ c c] }
+      \repeat unfold 6 { c8[ c c] }
   }
   \new Staff {
     \time 3/4
@@ -1582,13 +1576,13 @@ duration scaling affects the autobeaming rules.
     \scaleDurations #'(3 . 5) {
       \repeat unfold 2 { c8[ c c] }
       \repeat unfold 2 { c8[ c] } |
-      c4. c4. \times 2/3 { c8[ c c] } c4
+      c4. c \times 2/3 { c8[ c c] } c4
     }
   }
 >>
 @end lilypond
 
-@strong{@i{Staves with different time signatures, unequal bar lengths}}
+@subsubheading Different time signatures with unequal-length measures
 
 Each staff can be given its own independent time signature by
 moving the @code{Timing_translator} and the
@@ -1632,11 +1626,44 @@ moving the @code{Timing_translator} and the
 >>
 @end lilypond
 
-@snippets
+@funindex \compoundMeter
+@cindex compound time signatures
+@cindex time signature, compound
+
+@subsubheading Compound time signatures
+
+These are created using the @code{\compoundMeter} function.  The syntax
+for this is:
+
+@example
+\compoundMeter #'@code{(list of lists)}
+@end example
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{compound-time-signatures.ly}
+The simplest construction is a single list, where the @emph{last} number
+indicates the bottom number of the time signature and those that come
+before it, the top numbers.
+
+@lilypond[quote,verbatim]
+\relative c' {
+  \compoundMeter #'((2 2 2 8))
+  \repeat unfold 6 c8 \repeat unfold 12 c16
+}
+@end lilypond
+
+More complex meters can be constructed using additional lists.  Also,
+automatic beaming settings will be adjusted depending on the values.
+
+@lilypond[quote,verbatim]
+\relative c' {
+  \compoundMeter #'((1 4) (3 8))
+  \repeat unfold 5 c8 \repeat unfold 10 c16
+}
 
+\relative c' {
+  \compoundMeter #'((1 2 3 8) (3 4))
+  \repeat unfold 12 c8
+}
+@end lilypond
 
 @seealso
 Music Glossary:
@@ -1645,6 +1672,8 @@ Music Glossary:
 @rglos{meter}.
 
 Notation Reference:
+@ref{Automatic beams},
+@ref{Manual beams},
 @ref{Time signature},
 @ref{Scaling durations}.
 
@@ -1657,15 +1686,13 @@ Internals Reference:
 @rinternals{Default_bar_line_engraver},
 @rinternals{Staff}.
 
-
 @knownissues
+When using different time signatures in parallel, notes at the same
+moment will 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.
 
-When using different time signatures in parallel, notes
-at the same moment will 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
 @unnumberedsubsubsec Automatic note splitting
@@ -1703,7 +1730,6 @@ inserts ties for notes.  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.
 
-
 @seealso
 Music Glossary:
 @rglos{tie}
@@ -1722,9 +1748,7 @@ Internals Reference:
 @rinternals{Completion_rest_engraver},
 @rinternals{Forbid_line_break_engraver}.
 
-
 @knownissues
-
 Not all durations (especially those containing tuplets) can be
 represented exactly with normal notes and dots, but the
 @code{Completion_heads_engraver} will not insert tuplets.
@@ -1805,10 +1829,9 @@ be done with the @code{Pitch_squash_engraver} and
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {guitar-strum-rhythms.ly}
 
-
 @seealso
 Snippets:
 @rlsr{Rhythms}.
@@ -1867,10 +1890,9 @@ c16 c8
 
 @warning{If beams are used to indicate melismata in songs, then
 automatic beaming should be switched off with @code{\autoBeamOff}
-and the beams indicated manually.}
-
-@warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
-produce unintended results.  See the snippet below for more information.}
+and the beams indicated manually.  Using @code{@bs{}partcombine} with
+@code{@bs{}autoBeamOff} can produce unintended results.  See the
+snippets for more information.}
 
 Beaming patterns that differ from the automatic defaults can be
 created; see @ref{Setting automatic beam behavior}.
@@ -1887,16 +1909,16 @@ created; see @ref{Setting automatic beam behavior}.
 @funindex breakable
 
 @snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {beams-across-line-breaks.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {changing-beam-knee-gap.ly}
 
 @cindex beams, \partcombine with \autoBeamOff
 @cindex voices, \partcombine with \autoBeamOff
 
-@lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
+@lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
 {partcombine-and-autobeamoff.ly}
 
 @seealso
@@ -1919,6 +1941,13 @@ Internals Reference:
 @rinternals{beam-interface},
 @rinternals{unbreakable-spanner-interface}.
 
+@knownissues
+The properties of a beam are determined at the @emph{start} of its
+construction and any additional beam-property changes that occur before
+the beam has been completed will not take effect until the @emph{next},
+new beam starts.
+
+
 @node Setting automatic beam behavior
 @unnumberedsubsubsec Setting automatic beam behavior
 
@@ -2036,7 +2065,7 @@ c16 c c |
 of beaming-rules.
 
 At this time the only available value of rule-type is
-@code{#'end} for beam ending.
+@code{'end} for beam ending.
 
 Beaming-rules is a scheme alist (or list of pairs) that indicates the
 beam type and the grouping to be applied to beams containing notes with
@@ -2100,17 +2129,31 @@ if @code{beamExceptions} is not reset.
 \repeat unfold 8 {c8}
 @end lilypond
 
-In a similar fashion, eighth notes in 3/4 time are beamed as a full
-measure by default.  To beam eighth notes in 3/4 time on the beat,
-reset @code{beamExceptions}.
+In traditional engraving, eighth notes can have special beaming rules.
+A measure consisting of only eighth notes can be beamed in one.  This rule is
+controlled by the context property @code{beamWholeMeasure}:
 
 @lilypond[quote,verbatim,relative=2]
 \time 3/4
-% by default we beam in (3) due to beamExceptions
-\repeat unfold 6 {a8} |
-% This will beam (1 1 1) due to beatLength
-\set Timing.beamExceptions = #'()
-\repeat unfold 6 {a8}
+% By default we beam in one
+\repeat unfold 6 { a8 }
+% We can avoid beaming in one
+\set Timing.beamWholeMeasure = ##f
+\repeat unfold 6 { a8 }
+@end lilypond
+
+In some engraving from the Romantic and Classical periods,
+a half-measure of eighth notes can be beamed
+together even though this violates the general rule (see Gould, p. 153).
+This behavior is controlled by the context property @code{beamHalfMeasure}:
+
+@lilypond[quote,verbatim,relative=2]
+\time 3/4
+% By default we avoid half-measure beams
+r4. a8 a a |
+% We can allow half-measure beams
+\set Timing.beamHalfMeasure = ##t
+r4. a8 a a |
 @end lilypond
 
 @i{@strong{How automatic beaming works}}
@@ -2154,24 +2197,28 @@ The default beaming rules can be found in
 
 @cindex beams, subdividing
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {subdividing-beams.ly}
 
+@cindex beamlets, orienting
+
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{strict-beat-beaming.ly}
+
 @cindex measure groupings
 @cindex beats, grouping
 @cindex grouping beats
 @cindex measure sub-grouping
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {conducting-signs,-measure-grouping-signs.ly}
 
 @cindex beam, endings in a score
 @cindex beam, endings with multiple voices
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {beam-endings-in-score-context.ly}
 
-
 @seealso
 Installed Files:
 @file{scm/beam-settings.scm}.
@@ -2185,7 +2232,6 @@ Internals Reference:
 @rinternals{BeamForbidEvent},
 @rinternals{beam-interface}.
 
-
 @knownissues
 If a score ends while an automatic beam has not been ended and is
 still accepting notes, this last beam will not be typeset at all.
@@ -2240,6 +2286,7 @@ beaming settings for a time signature are described in
 >>
 @end lilypond
 
+
 @node Manual beams
 @unnumberedsubsubsec Manual beams
 
@@ -2321,10 +2368,9 @@ g16 a]
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {flat-flags-and-beam-nibs.ly}
 
-
 @seealso
 Notation Reference:
 @ref{Direction and placement},
@@ -2392,7 +2438,6 @@ 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.
 
-
 @predefined
 @code{\featherDurations}.
 @endpredefined
@@ -2401,9 +2446,7 @@ note durations only approximately, but the MIDI output is exact.
 Snippets:
 @rlsr{Rhythms}.
 
-
 @knownissues
-
 The @code{\featherDurations} command only works with very short
 music snippets, and when numbers in the fraction are small.
 
@@ -2411,7 +2454,6 @@ music snippets, and when numbers in the fraction are small.
 @node Bars
 @subsection Bars
 
-
 @menu
 * Bar lines::
 * Bar numbers::
@@ -2651,7 +2693,6 @@ The default bar type used for automatically inserted bar lines is
 @code{"|"}.  This may be changed at any time with
 @samp{\set Timing.defaultBarType = @var{bartype}}.
 
-
 @seealso
 Notation Reference:
 @ref{Line breaking},
@@ -2715,30 +2756,33 @@ c1 | c | c | c
 c1 | c | c | c
 @end lilypond
 
-
 @snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {printing-the-bar-number-for-the-first-measure.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {printing-bar-numbers-at-regular-intervals.ly}
 
 @cindex measure number, format
 @cindex bar number, format
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {printing-bar-numbers-inside-boxes-or-circles.ly}
 
+@cindex bar numbers, with letters
+@cindex bar numbers, with repeats
+
+@lilypondfile[verbatim,quote,texidoc,doctitle]
+{alternative-bar-numbering.ly}
+
 @cindex bar number alignment
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {aligning-bar-numbers.ly}
 
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
 {removing-bar-numbers-from-a-score.ly}
 
-
 @seealso
 Snippets:
 @rlsr{Rhythms}.
@@ -2747,7 +2791,6 @@ Internals Reference:
 @rinternals{BarNumber},
 @rinternals{Bar_number_engraver}.
 
-
 @cindex bar number collision
 @cindex collision, bar number
 
@@ -2836,7 +2879,6 @@ example,
 will print a warning if the @code{currentBarNumber} is not 123
 when it is processed.
 
-
 @seealso
 Snippets:
 @rlsr{Rhythms}.
@@ -2980,6 +3022,10 @@ For common tweaks to the positioning of rehearsal marks, see
 @ref{Formatting text}.  For more precise control, see
 @code{break-alignable-interface} in @ref{Aligning objects}.
 
+The file @file{scm/translation-functions.scm} contains
+the definitions of @code{format-mark-numbers} and
+@code{format-mark-letters}.  They can be used as inspiration for
+other formatting functions.
 
 @seealso
 Notation Reference:
@@ -2988,10 +3034,7 @@ Notation Reference:
 @ref{Aligning objects}.
 
 Installed Files:
-@file{scm/translation-functions.scm} contains
-the definitions of @code{format-mark-numbers} and
-@code{format-mark-letters}.  They can be used as inspiration for
-other formatting functions.
+@file{scm/translation-functions.scm}.
 
 Snippets:
 @rlsr{Rhythms}.
@@ -3021,33 +3064,39 @@ Internals Reference:
 @cindex acciaccatura
 
 @funindex \grace
-@funindex grace
+@funindex \slashedGrace
+@funindex \acciaccatura
+@funindex \appoggiatura
 
-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.
+Grace notes are musical ornaments, printed in a smaller font, that take
+up no additional logical time in a measure.
 
 @lilypond[quote,relative=2,verbatim]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2
+c4 \grace b16 a4(
+\grace { b16[ c16] } a2)
 @end lilypond
 
-LilyPond also supports two special types of grace notes, the
+There are three other types of grace notes possible; 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.
+note with a slashed stem -- and the @emph{appoggiatura}, which takes a
+fixed fraction of the main note it is attached to and prints without the
+slash.  It is also possible to write a grace note with a slashed stem,
+like the @emph{acciaccatura} but without the slur, so as to place it
+between notes that are slurred themselves, using the
+@code{\slashedGrace} function.
 
 @lilypond[quote,relative=2,verbatim]
-\grace c8 b4
 \acciaccatura d8 c4
 \appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
+\acciaccatura { g16[ f] } e2
+\slashedGrace a,8 g4
+\slashedGrace b16 a4(
+\slashedGrace b8 a2)
 @end lilypond
 
-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
+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,relative=2,verbatim]
 <<
@@ -3134,19 +3183,18 @@ direction is overridden and then reverted.
 
 @snippets
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {using-grace-note-slashes-with-normal-heads.ly}
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {tweaking-grace-layout-within-music.ly}
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {redefining-grace-note-global-defaults.ly}
 
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
 {positioning-grace-notes-with-floating-space.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{grace notes},
@@ -3154,6 +3202,7 @@ Music Glossary:
 @rglos{appoggiatura}.
 
 Notation Reference:
+@ref{Scaling durations},
 @ref{Manual beams}.
 
 Installed Files:
@@ -3170,7 +3219,6 @@ Internals Reference:
 
 
 @knownissues
-
 @cindex acciaccatura, multi-note
 @cindex multi-note acciaccatura
 @cindex grace-note synchronization
@@ -3204,9 +3252,9 @@ durations in the other staves.  For the above example
 >>
 @end lilypond
 
-The use of grace notes within voice contexts confuses the way the
-voice is typeset. This can be overcome by inserting a rest or note
-between the voice command and the grace note.
+The use of grace notes within voice contexts confuses the way the voice
+is typeset. This can be overcome by inserting a rest or note between the
+voice command and the grace note.
 
 @lilypond[quote,verbatim]
 accMusic = {
@@ -3231,9 +3279,33 @@ accMusic = {
 }
 @end lilypond
 
-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.
+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.
+
+Each grace note in MIDI output has a length of 1/4 of its actual
+duration.  If the combined length of the grace notes is greater than the
+length of the preceding note a @qq{@code{Going back in MIDI time}}
+error will be generated.  Either make the grace notes shorter in
+duration, for example:
+
+@example
+\acciaccatura @{ c'8[ d' e' f' g'] @}
+@end example
+
+becomes:
+
+@example
+\acciaccatura @{ c'16[ d' e' f' g'] @}
+@end example
+
+Or explicitly change the musical duration:
+
+@example
+\acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
+@end example
+
+See @ref{Scaling durations}.
 
 
 @node Aligning to cadenzas
@@ -3265,15 +3337,14 @@ MyCadenza = \relative c' {
     \MyCadenza c'1
   }
   \new Staff {
-    #(ly:export (mmrest-of-length MyCadenza))
+    $(mmrest-of-length MyCadenza)
     c'1
-    #(ly:export (skip-of-length MyCadenza))
+    $(skip-of-length MyCadenza)
     c'1
   }
 >>
 @end lilypond
 
-
 @seealso
 Music Glossary:
 @rglos{cadenza}.
@@ -3358,7 +3429,6 @@ duration of n/m of a whole note.  For example,
 @code{ly:make-moment 7 16} is the duration of seven sixteenths
 notes.
 
-
 @seealso
 Notation Reference:
 @ref{Bar numbers},
@@ -3370,4 +3440,3 @@ Snippets:
 Internals Reference:
 @rinternals{Timing_translator},
 @rinternals{Score}.
-