X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Frhythms.itely;h=78e0433690fbe15c5a67b2c31300312518494dd0;hb=b28d44a1cea8120501e648bb8626064a94cd4036;hp=2a91c0d0b6e1cad60eafa4117a4238d3e40e8509;hpb=f1163b25f88ad7b6b3953894dc452dfaad36fa81;p=lilypond.git
diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 2a91c0d0b6..78e0433690 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -7,7 +7,7 @@
Guide, node Updating translation committishes..
@end ignore
-@c \version "2.19.0"
+@c \version "2.19.22"
@node Rhythms
@section Rhythms
@@ -60,21 +60,25 @@ whole you must use the @code{\longa} (a double breve) and
specified. Shorter values are possible, but only as beamed notes.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Here are the same durations with automatic beaming turned off.
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-\autoBeamOff
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ \autoBeamOff
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
A note with the duration of a quadruple breve may be entered with
@@ -89,17 +93,19 @@ If the duration is omitted, it is set to the previously
entered duration. The default for the first note is a quarter
note.
-@lilypond[quote,verbatim,relative=2]
-a a a2 a a4 a a1 a
+@lilypond[quote,verbatim]
+\relative { a' a a2 a a4 a a1 a }
@end lilypond
Durations occuring on their own within a music sequence will take
their pitches from the preceding note or chord.
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c \longa \breve 1 2
-4 8 16 32 64 128 128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c'' \longa \breve 1 2
+ 4 8 16 32 64 128 128
+}
@end lilypond
@cindex notes, dotted
@@ -113,8 +119,8 @@ To obtain dotted note lengths, place a dot (@code{.}) after the
duration. Double-dotted notes are specified by appending two
dots, and so on.
-@lilypond[quote,verbatim,relative=2]
-a4 b c4. b8 a4. b4.. c8.
+@lilypond[quote,verbatim]
+\relative { a'4 b c4. b8 a4. b4.. c8. }
@end lilypond
Some durations cannot be represented with just binary durations
@@ -199,34 +205,35 @@ rests from 128th to maxima (8 x whole) may be printed.
@funindex tuplet
Tuplets are made from a music expression with the @code{\tuplet}
-command, multiplying the speed of the music expression by a
-fraction:
+command, multiplying the speed of the music expression by a fraction:
@example
\tuplet @var{fraction} @{ @var{music} @}
@end example
@noindent
-The fraction's numerator will be printed over or
-under the notes, optionally with a bracket. The most common
-tuplets are triplets: 3@tie{}notes sound within the duration
-normally allowed for@tie{}2:
+The fraction's numerator will be printed over or under the notes,
+optionally with a bracket. The most common tuplets are triplets
+(3@tie{}notes sound within the duration normally allowed for@tie{}2).
-@lilypond[quote,verbatim,relative=2]
-a2 \tuplet 3/2 { b4 4 4 }
-c4 c \tuplet 3/2 { b4 a g }
+@lilypond[quote,verbatim]
+\relative {
+ a'2 \tuplet 3/2 { b4 4 4 }
+ c4 c \tuplet 3/2 { b4 a g }
+}
@end lilypond
@cindex tuplet grouping
@noindent
When entering long passages of tuplets, having to write a separate
-@code{\tuplet} command for each group is inconvenient. It is
-possible to specify the duration of one tuplet group directly
-before the music in order to have the tuplets grouped
-automatically:
+@code{\tuplet} command for each group is inconvenient. It is possible
+to specify the duration of one tuplet group directly before the music
+in order to have the tuplets grouped automatically:
-@lilypond[quote,verbatim,relative=2]
-g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+@lilypond[quote,verbatim]
+\relative {
+ g'2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+}
@end lilypond
@cindex tuplet bracket placement
@@ -238,22 +245,31 @@ g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
@funindex \tupletNeutral
@funindex tupletNeutral
-Tuplet brackets may be manually placed above or below the staff;
-see @ref{Direction and placement}.
+Tuplet brackets may be manually placed above or below the staff:
+
+@lilypond[quote,verbatim]
+\relative {
+ \tupletUp \tuplet 3/2 { c''8 d e }
+ \tupletNeutral \tuplet 3/2 { c8 d e }
+ \tupletDown \tuplet 3/2 { f,8 g a }
+ \tupletNeutral \tuplet 3/2 { f8 g a }
+}
+@end lilypond
Tuplets may be nested:
-@lilypond[quote,verbatim,relative=2]
-\autoBeamOff
-c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+@lilypond[quote,verbatim]
+\relative {
+ \autoBeamOff
+ c''4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+}
@end lilypond
-Modifying nested tuplets which begin at the same musical moment
-must be done with @code{\tweak}.
-
-To modify the duration of notes without printing a tuplet bracket,
-see @ref{Scaling durations}.
+Modifying nested tuplets which begin at the same musical moment must be
+done with @code{\tweak}.
+To modify the duration of notes without printing a tuplet bracket, see
+@ref{Scaling durations}.
@predefined
@code{\tupletUp},
@@ -271,7 +287,7 @@ see @ref{Scaling durations}.
@funindex tupletSpannerDuration
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
-{entering-several-tuplets-using-only-one--times-command.ly}
+{entering-several-tuplets-using-only-one--tuplet-command.ly}
@cindex Tuplet number changes
@@ -299,6 +315,7 @@ Learning Manual:
@rlearning{Tweaking methods}.
Notation Reference:
+@ref{Direction and placement},
@ref{Time administration},
@ref{Scaling durations},
@ref{The tweak command},
@@ -312,20 +329,6 @@ Internals Reference:
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
-@cindex grace notes within tuplet brackets
-
-@knownissues
-Grace notes may be placed within tuplet brackets, @emph{except}
-when a staff begins with a grace note followed by a tuplet. In this
-particular case, the grace note must be placed before the @code{\tuplet}
-command to avoid errors.
-
-@cindex tempo marks within tuplet brackets
-
-When using a tuplet at the beginning of a piece with a @code{\tempo}
-mark, the music must be explicitly entered in a @code{\new Voice}
-block, as discussed in @rlearning{Voices contain music}.
-
@node Scaling durations
@unnumberedsubsubsec Scaling durations
@@ -346,16 +349,18 @@ the preceding note will include any scaling factor.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Alter durations to triplets
-a4*2/3 gis a
-% Normal durations
-a4 a
-% Double the duration of chord
-4*2
-% Duration of quarter, appears like sixteenth
-b16*4 c4
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Alter durations to triplets
+ a'4*2/3 gis a
+ % Normal durations
+ a4 a
+ % Double the duration of chord
+ 4*2
+ % Duration of quarter, appears like sixteenth
+ b16*4 c4
+}
@end lilypond
The duration of spacer rests may also be modified by
@@ -375,17 +380,19 @@ the internal duration of the notes will be multiplied by the
fraction @emph{num}/@emph{den}. Here is an example showing how music
can be compressed and expanded:
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Normal durations
-4 c8 a
-% Scale music by *2/3
-\scaleDurations 2/3 {
- 4. c8 a f
-}
-% Scale music by *2
-\scaleDurations 2/1 {
- 4 c8 b
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Normal durations
+ 4 c8 a
+ % Scale music by *2/3
+ \scaleDurations 2/3 {
+ 4. c8 a f
+ }
+ % Scale music by *2
+ \scaleDurations 2/1 {
+ 4 c8 b
+ }
}
@end lilypond
@@ -430,15 +437,15 @@ A tie is entered by appending a tilde symbol (@code{~}) to the first
of each pair of notes being tied. This indicates that the note
should be tied to the following note, which must be at the same pitch.
-@lilypond[quote,verbatim,relative=2]
-a2~ a4~ a16 r r8
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Ties can make use of the @q{last explicit pitch} interpretation of
isolated durations:
-@lilypond[quote,verbatim,relative=2]
-a2 ~ 4 ~ 16 r r8
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Ties are used either when the note crosses a bar line, or when
@@ -446,9 +453,9 @@ dots cannot be used to denote the rhythm. Ties should also be
used when note values cross larger subdivisions of the measure:
@lilypond[verbatim,quote]
-\relative c' {
- r8 c~ c2 r4 |
- r8^"not" c2~ c8 r4
+\relative {
+ r8 c'~ 2 r4 |
+ r8^"not" c2~ 8 r4
}
@end lilypond
@@ -465,10 +472,12 @@ match are connected. When no note heads match, no ties will be
created. Chords may be partially tied by placing the ties inside
the chord.
-@lilypond[quote,verbatim,relative=1]
-2 ~ 2
-4~
-
+@lilypond[quote,verbatim]
+\relative c' {
+ 2~ 2 |
+ 4~
+ |
+}
@end lilypond
@cindex repeating ties
@@ -482,13 +491,16 @@ the chord.
When a second alternative of a repeat starts with a tied note, you
have to specify the repeated tie as follows:
-@lilypond[quote,relative=2,verbatim]
-\repeat volta 2 { c g 2~ }
-\alternative {
- % First alternative: following note is tied normally
- { 2. r4 }
- % Second alternative: following note has a repeated tie
- { 2\repeatTie d4 c } }
+@lilypond[quote,verbatim]
+\relative {
+ \repeat volta 2 { c'' g 2~ }
+ \alternative {
+ % First alternative: following note is tied normally
+ { 2. r4 }
+ % Second alternative: following note has a repeated tie
+ { 2\repeatTie d4 c }
+ }
+}
@end lilypond
@cindex laissez vibrer
@@ -502,8 +514,8 @@ notes must not be damped at the end. It is used in notation for
piano, harp and other string and percussion instruments. They can
be entered as follows:
-@lilypond[quote,verbatim,relative=1]
-1\laissezVibrer
+@lilypond[quote,verbatim,fragment]
+1\laissezVibrer
@end lilypond
@cindex ties, placement
@@ -534,47 +546,53 @@ Ties may be made to curve up or down manually; see
Ties may be made dashed, dotted, or a combination of solid and
dashed.
-@lilypond[quote, verbatim, relative=1]
-\tieDotted
-c2~ c
-\tieDashed
-c2~ c
-\tieHalfDashed
-c2~ c
-\tieHalfSolid
-c2~ c
-\tieSolid
-c2~ c
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDotted
+ c2~ 2
+ \tieDashed
+ c2~ 2
+ \tieHalfDashed
+ c2~ 2
+ \tieHalfSolid
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
Custom dash patterns can be specified:
-@lilypond[quote, verbatim, relative=1]
-\tieDashPattern #0.3 #0.75
-c2~ c
-\tieDashPattern #0.7 #1.5
-c2~ c
-\tieSolid
-c2~ c
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDashPattern #0.3 #0.75
+ c2~ 2
+ \tieDashPattern #0.7 #1.5
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@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 @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
+Override @var{whiteout-box} and @var{layer} layout properties of objects
+that should cause a gap in ties.
+
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ \override Tie.layer = #-2
+ \override Staff.TimeSignature.layer = #-1
+ \override Staff.KeySignature.layer = #-1
+ \override Staff.TimeSignature.whiteout = ##t
+ \override Staff.KeySignature.whiteout = ##t
+ b'2 b~
+ \time 3/4
+ \key a \major
+ b r4
+}
@end lilypond
@predefined
@@ -659,7 +677,7 @@ commands:
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
@@ -690,8 +708,8 @@ be placed at the staff position where the note would appear. This
allows for precise manual formatting of polyphonic music, since the
automatic rest collision formatter will not move these rests.
-@lilypond[quote,verbatim,relative=2]
-a4\rest d4\rest
+@lilypond[quote,verbatim]
+\relative { a'4\rest d4\rest }
@end lilypond
@snippets
@@ -737,9 +755,11 @@ are rests from 128th to maxima (8 x whole).
An invisible rest (also called a @q{spacer rest}) can be entered
like a note with the note name@tie{}@code{s}:
-@lilypond[verbatim,quote,relative=2]
-c4 c s c
-s2 c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 c s c |
+ s2 c |
+}
@end lilypond
@cindex lyrics, skip
@@ -751,10 +771,10 @@ command @code{\skip} is used to skip a musical moment.
the lyrics derive their durations from the notes in an associated
melody through @code{\addlyrics} or @code{\lyricsto}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- a2 \skip2 a2 a2
+ a'2 \skip2 a'2 a'2
}
\new Lyrics {
\lyricmode {
@@ -767,14 +787,14 @@ melody through @code{\addlyrics} or @code{\lyricsto}.
Because @code{\skip} is a command, it does not affect the default
durations of following notes, unlike@tie{}@code{s}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- \repeat unfold 8 { a4 }
+ \repeat unfold 8 { a'4 }
}
{
- a4 \skip 2 a |
- s2 a
+ a'4 \skip 2 a' |
+ s2 a'
}
>>
@end lilypond
@@ -784,16 +804,16 @@ A spacer rest implicitly causes @code{Staff} and @code{Voice}
contexts to be created if none exist, just like notes and rests
do:
-@lilypond[quote,verbatim,relative=2]
-s1 s s
+@lilypond[quote,verbatim]
+{ s1 s s }
@end lilypond
@code{\skip} simply skips musical time; it creates no output of
any kind.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% This is valid input, but does nothing
-\skip 1 \skip1 \skip 1
+{ \skip 1 \skip1 \skip 1 }
@end lilypond
@seealso
@@ -821,18 +841,21 @@ Internals Reference:
@cindex whole rest for a full measure
@cindex rest, whole for a full measure
+@funindex compressMMRests
+@funindex \compressMMRests
@funindex R
Rests for one or more full measures are entered like notes with
the note name uppercase @code{R}:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% Rest measures contracted to single measure
-\compressFullBarRests
-R1*4
-R1*24
-R1*4
-b2^"Tutti" b4 a4
+\compressMMRests {
+ R1*4
+ R1*24
+ R1*4
+ b'2^"Tutti" b'4 a'4
+}
@end lilypond
The duration of full-measure rests is identical to the duration
@@ -840,22 +863,23 @@ notation used for notes. The duration in a multi-measure rest must
always be an integral number of measure-lengths, so augmentation dots
or fractions must often be used:
-@lilypond[quote,verbatim,relative=2]
-\compressFullBarRests
-\time 2/4
-R1 | R2 |
-\time 3/4
-R2. | R2.*2 |
-\time 13/8
-R1*13/8 | R1*13/8*12 |
-\time 10/8
-R4*5*4 |
+@lilypond[quote,verbatim]
+\compressMMRests {
+ \time 2/4
+ R1 | R2 |
+ \time 3/4
+ R2. | R2.*2 |
+ \time 13/8
+ R1*13/8 | R1*13/8*12 |
+ \time 10/8
+ R4*5*4 |
+}
@end lilypond
A full-measure rest is printed as either a whole or breve rest,
centered in the measure, depending on the time signature.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
@@ -867,26 +891,21 @@ R1*2 |
@cindex multi-measure rest, expanding
@cindex multi-measure rest, contracting
-@funindex \expandFullBarRests
-@funindex expandFullBarRests
-@funindex \compressFullBarRests
-@funindex compressFullBarRests
-
By default a multi-measure rest is expanded in the printed score to
show all the rest measures explicitly. Alternatively, a multi-measure
rest can be shown as a single measure containing a multi-measure rest
symbol, with the number of measures of rest printed above the measure:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
% Default behavior
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
\time 4/4
% Rest measures contracted to single measure
-\compressFullBarRests
-r1 | R1*17 | R1*4 |
-% Rest measures expanded
-\expandFullBarRests
+\compressMMRests {
+ r1 | R1*17 | R1*4 |
+}
+% Rest measures expanded again
\time 3/4
R2.*2 |
@end lilypond
@@ -909,11 +928,12 @@ Markups can be added to multi-measure rests.
The predefined command @code{\fermataMarkup}
is provided for adding fermatas.
-@lilypond[quote,verbatim,relative=2]
-\compressFullBarRests
-\time 3/4
-R2.*10^\markup { \italic "ad lib." }
-R2.^\fermataMarkup
+@lilypond[quote,verbatim]
+\compressMMRests {
+ \time 3/4
+ R2.*10^\markup { \italic "ad lib." }
+ R2.^\fermataMarkup
+}
@end lilypond
@warning{Markups attached to a multi-measure rest are objects of type
@@ -921,7 +941,7 @@ R2.^\fermataMarkup
be directed to the correct object, or they will be ignored. See the
following example:}
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
\override TextScript.padding = #5
R1^"wrong"
@@ -940,17 +960,14 @@ setting, resulting bar-check warnings may not be displayed.
@funindex textLengthOff
@funindex \fermataMarkup
@funindex fermataMarkup
-@funindex \compressFullBarRests
-@funindex compressFullBarRests
-@funindex \expandFullBarRests
-@funindex expandFullBarRests
+@funindex \compressMMRests
+@funindex compressMMRests
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
-@code{\compressFullBarRests},
-@code{\expandFullBarRests}.
+@code{\compressMMRests}.
@endpredefined
@@ -1033,12 +1050,14 @@ Multi-measure rests do not take part in rest collisions.
The time signature is set as follows:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c2
-\time 3/4 c2.
+@lilypond[quote,verbatim,fragment]
+\time 2/4 c''2
+\time 3/4 c''2.
@end lilypond
-@cindex time signature, visibility of
+Mid-measure time signature changes are covered in @ref{Upbeats}.
+
+@cindex time signature visibility
Time signatures are printed at the beginning of a piece
and whenever the time signature changes. If a change takes place
@@ -1046,14 +1065,16 @@ at the end of a line a warning time signature sign is printed
there. This default behavior may be changed, see
@ref{Visibility of objects}.
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c2 c
-\break
-c c
-\break
-\time 4/4
-c c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4
+ c2 c
+ \break
+ c c
+ \break
+ \time 4/4
+ c c c c
+}
@end lilypond
@cindex time signature style
@@ -1067,18 +1088,20 @@ c c c c
The time signature symbol that is used in 2/2 and 4/4 time can be
changed to a numeric style:
-@lilypond[quote,verbatim,relative=2]
-% Default style
-\time 4/4 c1
-\time 2/2 c1
-% Change to numeric style
-\numericTimeSignature
-\time 4/4 c1
-\time 2/2 c1
-% Revert to default style
-\defaultTimeSignature
-\time 4/4 c1
-\time 2/2 c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ % Default style
+ \time 4/4 c1
+ \time 2/2 c1
+ % Change to numeric style
+ \numericTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+ % Revert to default style
+ \defaultTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+}
@end lilypond
@@ -1103,9 +1126,9 @@ argument:
@lilypond[quote,verbatim]
\score {
\new Staff {
- \relative c' {
+ \relative {
\time #'(2 2 3) 7/8
- \repeat unfold 7 { c8 } |
+ \repeat unfold 7 { c'8 } |
\time #'(3 2 2) 7/8
\repeat unfold 7 { c8 } |
}
@@ -1158,37 +1181,6 @@ for the time signature that go beyond ending at every beat, as
described in @ref{Setting automatic beam behavior}.
@end enumerate
-The context containing @code{\overrideTimeSignatureSettings} must
-be instantiated before the @code{\overrideTimeSignatureSettings}
-call is executed. That means it must either be explicitly
-instantiated or there must be music in the context before the
-@code{\overrideTimeSignatureSettings} call:
-
-@lilypond[quote,verbatim]
-\score {
- \relative c' {
- % This call will fail because the context isn't yet instantiated
- \overrideTimeSignatureSettings
- 4/4 % timeSignatureFraction
- 1/4 % baseMomentFraction
- #'(3 1) % beatStructure
- #'() % beamExceptions
- \time 4/4
- c8^\markup {"Beamed (2 2)"}
- \repeat unfold 7 { c8 } |
- % This call will succeed
- \overrideTimeSignatureSettings
- 4/4 % timeSignatureFraction
- 1/4 % baseMomentFraction
- #'(3 1) % beatStructure
- #'() % beamExceptions
- \time 4/4
- c8^\markup {"Beamed (3 1)"}
- \repeat unfold 7 { c8 } |
- }
-}
-@end lilypond
-
@cindex time signature properties, restoring default values
@cindex restoring default properties for time signatures
@@ -1199,8 +1191,8 @@ to the original values:
@lilypond[quote,verbatim]
\score{
- \relative c' {
- \repeat unfold 8 { c8 } |
+ \relative {
+ \repeat unfold 8 { c'8 } |
\overrideTimeSignatureSettings
4/4 % timeSignatureFraction
1/4 % baseMomentFraction
@@ -1304,50 +1296,62 @@ Internals Reference:
A basic metronome mark is simple to write:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 120
+ c'2 d
+ e4. d8 c2
+}
@end lilypond
Metronome marks may also be printed as a range of two numbers:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 40 - 46
-c4. e8 a4 g
-b,2 d4 r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 40 - 46
+ c'4. e8 a4 g
+ b,2 d4 r
+}
@end lilypond
Tempo indications with text can be used instead:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegretto"
+ c''4 e d c
+ b4. a16 b c4 r4
+}
@end lilypond
Combining a metronome mark and text will automatically place the
metronome mark within parentheses:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegro" 4 = 160
+ g'4 c d e
+ d4 b g2
+}
@end lilypond
In general, the text can be any markup object:
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo \markup { \italic Faster } 4 = 132
+ a'8-. r8 b-. r gis-. r a-. r
+}
@end lilypond
A parenthesized metronome mark with no textual indication may be
written by including an empty string in the input:
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "" 8 = 96
+ d''4 g e c
+}
@end lilypond
@funindex \markLengthOn
@@ -1362,16 +1366,17 @@ to prevent tempo indications from overlapping, and @code{\markLengthOff}
restores the default behavior of ignoring tempo marks
for horizontal spacing.
-@lilypond[verbatim,quote,relative=0]
-\compressFullBarRests
-\markLengthOn
-\tempo "Molto vivace"
-R1*12
-\tempo "Meno mosso"
-R1*16
-\markLengthOff
-\tempo "Tranquillo"
-R1*20
+@lilypond[verbatim,quote]
+\compressMMRests {
+ \markLengthOn
+ \tempo "Molto vivace"
+ R1*12
+ \tempo "Meno mosso"
+ R1*16
+ \markLengthOff
+ \tempo "Tranquillo"
+ R1*20
+}
@end lilypond
@snippets
@@ -1398,7 +1403,7 @@ Music Glossary:
Notation Reference:
@ref{Formatting text},
-@ref{MIDI output}.
+@ref{Creating MIDI output}.
Snippets:
@rlsr{Staff notation}.
@@ -1416,74 +1421,70 @@ Internals Reference:
@cindex measure, partial
@cindex measure, pickup
@cindex pickup measure
+@cindex time signature, mid-measure
@funindex measurePosition
@funindex \partial
@funindex partial
Partial or pick-up measures, such as an @emph{anacrusis} or an
-@emph{upbeat}, are entered using the @code{\partial} command,
+@emph{upbeat}, are entered using the @code{\partial} command:
@example
\partial @var{duration}
@end example
-@noindent
-where @code{@var{duration}} is the @emph{remaining} length of the
-partial measure @emph{before} the start of the next full measure.
+When @code{\partial} is used at the beginning of a score,
+@code{@var{duration}} is the length of the music preceding the
+first bar.
-@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\partial 8
-e8 | a4 c8 b c4 |
+@lilypond[quote,verbatim]
+\relative {
+ \time 3/4
+ \partial 4.
+ r4 e'8 | a4 c8 b c4 |
+}
@end lilypond
-The @var{duration} can be any value less than a full measure:
+When @code{\partial} is used after the beginning of a score,
+@code{@var{duration}} is the @emph{remaining} length of the
+current measure. It does not create a new numbered bar.
-@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\partial 4.
-r4 e8 | a4 c8 b c4 |
+@lilypond[quote,verbatim]
+\relative {
+ \set Score.barNumberVisibility = #all-bar-numbers-visible
+ \override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+ \time 9/8
+ d''4.~ 4 d8 d( c) b | c4.~ 4. \bar "||"
+ \time 12/8
+ \partial 4.
+ c8( d) e | f2.~ 4 f8 a,( c) f |
+}
@end lilypond
-@code{\partial @var{duration}} can also be written as:
+The @code{\partial} command is @emph{required} when the time
+signature changes in mid measure, but it may also be used alone.
-@example
-\set Timing.measurePosition -@var{duration}
-@end example
-
-So the first example above could be written:
-
-@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,
-which is usually positive and indicates how much of the measure
-has passed at this point. @code{\partial @var{duration}} is
-defined such that no numbered bar gets created: when used at the
-beginning of a measure, @code{measurePosition} is set to a
-negative number, implying that the current bar will be
-@emph{preceded} by additional material. When used after a measure
-has already started, however, it moves the requested distance
-before the @emph{end} of the bar.
-
-@lilypond[quote,verbatim,relative=1]
-\set Score.barNumberVisibility = #all-bar-numbers-visible
-\override Score.BarNumber.break-visibility =
- #end-of-line-invisible
-\time 6/8
-\partial 8
-e8 | a4 c8 b[ c b] |
-\partial 4
-r8 e,8 | a4 \bar "||"
-\partial 4
-r8 e8 | a4
-c8 b[ c b] |
+@lilypond[quote,verbatim]
+\relative {
+ \set Score.barNumberVisibility = #all-bar-numbers-visible
+ \override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+ \time 6/8
+ \partial 8
+ e'8 | a4 c8 b[ c b] |
+ \partial 4
+ r8 e,8 | a4 \bar "||"
+ \partial 4
+ r8 e8 | a4
+ c8 b[ c b] |
+}
@end lilypond
+The @code{\partial} command sets the @code{Timing.measurePosition}
+property, which is a rational number that indicates how much of
+the measure has passed.
@seealso
Music Glossary:
@@ -1532,26 +1533,30 @@ desirable and can be @q{switched off} using the command
@code{\cadenzaOn}, then @q{switched back on} at the appropriate place
using @code{\cadenzaOff}.
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
Bar numbering is resumed at the end of the cadenza.
-@lilypond[verbatim,relative=2,quote]
-% Show all bar numbers
-\override Score.BarNumber.break-visibility = #all-visible
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@lilypond[verbatim,quote]
+\relative c'' {
+ % Show all bar numbers
+ \override Score.BarNumber.break-visibility = #all-visible
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
@end lilypond
Inserting a @code{\bar} command within a cadenza does not start a new
@@ -1562,28 +1567,32 @@ subsequent accidentals should be printed, forced accidentals or
reminder accidentals need to be inserted manually, see
@ref{Accidentals}.
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-cis4 d cis d
-\bar "|"
-% First cis is printed without alteration even if it's after a \bar
-cis4 d cis! d
-\cadenzaOff
-\bar "|"
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ cis4 d cis d
+ \bar "|"
+ % First cis is printed without alteration even if it's after a \bar
+ cis4 d cis! d
+ \cadenzaOff
+ \bar "|"
+}
@end lilypond
Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
beaming in cadenzas must be entered manually. See @ref{Manual beams}.
-@lilypond[verbatim,relative=2,quote]
-\repeat unfold 8 { c8 }
-\cadenzaOn
-cis8 c c c c
-\bar"|"
-c8 c c
-\cadenzaOff
-\repeat unfold 8 { c8 }
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 8 { c''8 }
+ \cadenzaOn
+ cis8 c c c c
+ \bar"|"
+ c8 c c
+ \cadenzaOff
+ \repeat unfold 8 { c8 }
+}
@end lilypond
These predefined commands affect all staves in the score, even when
@@ -1637,8 +1646,8 @@ stretches of unmetered music to permit breaking:
@cindex double time signatures
@cindex signatures, polymetric
-@cindex time signatures, polymetric
-@cindex time signatures, double
+@cindex time signature, polymetric
+@cindex time signature, double
@cindex polymetric signatures
@cindex meter, polymetric
@@ -1669,10 +1678,10 @@ may be necessary to insert beams manually, as the duration scaling will
affect the autobeaming rules.
@lilypond[quote,verbatim]
-\relative c' <<
+\relative <<
\new Staff {
\time 3/4
- c4 c c |
+ c'4 c c |
c4 c c |
}
\new Staff {
@@ -1715,10 +1724,10 @@ moving the @code{Timing_translator} and the
% Now each staff has its own time signature.
-\relative c' <<
+\relative <<
\new Staff {
\time 3/4
- c4 c c |
+ c'4 c c |
c4 c c |
}
\new Staff {
@@ -1755,9 +1764,9 @@ indicates the bottom number of the time signature and those that come
before it, the top numbers.
@lilypond[quote,verbatim]
-\relative c' {
+\relative {
\compoundMeter #'((2 2 2 8))
- \repeat unfold 6 c8 \repeat unfold 12 c16
+ \repeat unfold 6 c'8 \repeat unfold 12 c16
}
@end lilypond
@@ -1765,14 +1774,14 @@ 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' {
+\relative {
\compoundMeter #'((1 4) (3 8))
- \repeat unfold 5 c8 \repeat unfold 10 c16
+ \repeat unfold 5 c'8 \repeat unfold 10 c16
}
-\relative c' {
+\relative {
\compoundMeter #'((1 2 3 8) (3 4))
- \repeat unfold 12 c8
+ \repeat unfold 12 c'8
}
@end lilypond
@@ -1825,15 +1834,16 @@ overrun bar lines are split automatically by replacing the
following example, notes and rests crossing the bar lines are split,
notes are also tied.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver"
}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
+\relative {
+ c'2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2
+}
@end lilypond
These engravers split all running notes and rests at the bar line, and
@@ -1841,6 +1851,37 @@ 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.
+The property @code{completionUnit} sets a preferred duration for
+the split notes.
+
+@lilypond[quote,verbatim]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+} \relative {
+ \time 9/8 g\breve. d''4. \bar "||"
+ \set completionUnit = #(ly:make-moment 3 8)
+ g\breve. d4.
+}
+@end lilypond
+
+These engravers split notes with scaled duration, such as those in tuplets,
+into notes with the same scale-factor as in the input note.
+
+@lilypond[quote,verbatim]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+} \relative {
+ \time 2/4 r4
+ \tuplet 3/2 {g'4 a b}
+ \scaleDurations 2/3 {g a b}
+ g4*2/3 a b
+ \tuplet 3/2 {g4 a b}
+ r4
+}
+@end lilypond
+
@seealso
Music Glossary:
@rglos{tie}
@@ -1860,12 +1901,12 @@ Internals Reference:
@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.
-
-The @code{Completion_heads_engraver} only affects notes; it does not
-split rests.
+For consistency with previous behavior, notes and rests with
+duration longer than a measure, such as @code{c1*2}, are split into
+notes without any scale factor, @code{@{ c1 c1 @}}. The property
+@code{completionFactor} controls this behavior, and setting it to
+@code{#f} cause split notes and rest to have the scale factor
+of the input durations.
@node Showing melody rhythms
@@ -1878,12 +1919,12 @@ 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
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new RhythmicStaff {
- \new Voice = "myRhythm" {
+ \new Voice = "myRhythm" \relative {
\time 4/4
- c4 e8 f g2
+ c'4 e8 f g2
r4 g g f
g1
}
@@ -1976,9 +2017,11 @@ By default, beams are inserted automatically:
@funindex \autoBeamOff
@funindex autoBeamOff
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c8 c c c8. c16 c8
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4 c8 c c c
+ \time 6/8 c8 c c c8. c16 c8
+}
@end lilypond
If these automatic decisions are not satisfactory, beaming can be
@@ -1988,12 +2031,14 @@ entered manually if beams are to be extended over rests.
If automatic beaming is not required, it may be turned off with
@code{\autoBeamOff} and on with @code{\autoBeamOn}:
-@lilypond[quote,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
+@lilypond[quote,verbatim]
+\relative c' {
+ c4 c8 c8. c16 c8. c16 c8
+ \autoBeamOff
+ c4 c8 c8. c16 c8.
+ \autoBeamOn
+ c16 c8
+}
@end lilypond
@cindex melismata, with beams
@@ -2068,6 +2113,7 @@ new beam starts.
@funindex autoBeaming
@funindex baseMoment
@funindex beamExceptions
+@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
@@ -2113,34 +2159,46 @@ units of @code{baseMoment}. By default, @code{baseMoment} is one
over the denominator of the time signature. By default, each unit of
length @code{baseMoment} is a single beat.
-@lilypond[quote,relative=2,verbatim]
-\time 5/16
-c16^"default" c c c c |
-% beamExceptions are unlikely to be defined for 5/16 time,
-% but let's disable them anyway to be sure
-\set Timing.beamExceptions = #'()
-\set Timing.beatStructure = #'(2 3)
-c16^"(2+3)" c c c c |
-\set Timing.beatStructure = #'(3 2)
-c16^"(3+2)" c c c c |
+Note that there are separate @code{beatStructure} and @code{baseMoment}
+values for each time signature. Changes to these variables apply only
+to the time signature that is currently in force, hence those changes
+must be placed after the @code{\time} command which starts a new time
+signature section, not before it. New values given to a particular
+time signature are retained and reinstated whenever that time signature
+is re-established.
+
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 5/16
+ c16^"default" c c c c |
+ % beamExceptions are unlikely to be defined for 5/16 time,
+ % but let's disable them anyway to be sure
+ \set Timing.beamExceptions = #'()
+ \set Timing.beatStructure = #'(2 3)
+ c16^"(2+3)" c c c c |
+ \set Timing.beatStructure = #'(3 2)
+ c16^"(3+2)" c c c c |
+}
@end lilypond
-@lilypond[quote,relative=2,verbatim]
-\time 4/4
-a8^"default" a a a a a a a
-% Disable beamExceptions because they are definitely
-% defined for 4/4 time
-\set Timing.beamExceptions = #'()
-\set Timing.baseMoment = #(ly:make-moment 1/4)
-\set Timing.beatStructure = #'(1 1 1 1)
-a8^"changed" a a a a a a a
+@lilypond[quote,verbatim]
+\relative {
+ \time 4/4
+ a'8^"default" a a a a a a a
+ % Disable beamExceptions because they are definitely
+ % defined for 4/4 time
+ \set Timing.beamExceptions = #'()
+ \set Timing.baseMoment = #(ly:make-moment 1/4)
+ \set Timing.beatStructure = #'(1 1 1 1)
+ a8^"changed" a a a a a a a
+}
@end lilypond
Beam setting changes can be limited to specific contexts. If no
setting is included in a lower-level context, the setting of the
enclosing context will apply.
-@lilypond[quote, verbatim,relative=1]
+@lilypond[quote, verbatim]
\new Staff {
\time 7/8
% No need to disable beamExceptions
@@ -2148,15 +2206,15 @@ enclosing context will apply.
\set Staff.beatStructure = #'(2 3 2)
<<
\new Voice = one {
- \relative c'' {
- a8 a a a a a a
+ \relative {
+ a'8 a a a a a a
}
}
\new Voice = two {
- \relative c' {
+ \relative {
\voiceTwo
\set Voice.beatStructure = #'(1 3 3)
- f8 f f f f f f
+ f'8 f f f f f f
}
}
>>
@@ -2167,18 +2225,18 @@ When multiple voices are used the @code{Staff} context must be
specified if the beaming is to be applied to all voices in the
staff:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 7/8
% rhythm 3-1-1-2
% Change applied to Voice by default -- does not work correctly
% Because of autogenerated voices, all beating will
% be at baseMoment (1 . 8)
\set beatStructure = #'(3 1 1 2)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
% Works correctly with context Staff specified
\set Staff.beatStructure = #'(3 1 1 2)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
@end lilypond
The value of @code{baseMoment} can be adjusted to change
@@ -2186,13 +2244,13 @@ the beaming behavior, if desired. When this is done,
the value of @code{beatStructure} must be set to be
compatible with the new value of @code{baseMoment}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 5/8
% No need to disable beamExceptions
% as they are not defined for 5/8 time
\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'(7 3)
-\repeat unfold 10 { a16 }
+\repeat unfold 10 { a'16 }
@end lilypond
@code{baseMoment} is a @i{moment}; a unit of musical duration. A
@@ -2209,42 +2267,26 @@ the time signature. Any exceptions to this default can be found in
Special autobeaming rules (other than ending a beam on a beat)
are defined in the @code{beamExceptions} property.
-@lilypond[quote,relative=2,verbatim]
-\time 3/16
-\set Timing.beatStructure = #'(2 1)
-\set Timing.beamExceptions =
- #'( ;start of alist
- (end . ;entry for end of beams
- ( ;start of alist of end points
- ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
- ))) %close all entries
-c16 c c |
-\repeat unfold 6 { c32 } |
-@end lilypond
-
-@code{beamExceptions} is an alist with a key of rule-type and a value
-of beaming-rules.
-
-At this time the only available value of rule-type is
-@code{'end} for beam ending.
+The value for @code{beamExceptions}, a somewhat complex Scheme
+data structure, is easiest generated with the
+@code{\beamExceptions} function. This function is given one or
+more manually beamed measure-length rhythmic patterns (measures
+have to be separated by a bar check@tie{}@code{|} since the
+function has no other way to discern the measure length). Here is
+a simple example:
-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
-a shortest duration of that beam type.
-
-@example
-#'((beam-type1 . grouping-1)
- (beam-type2 . grouping-2)
- (beam-type3 . grouping-3))
-@end example
-
-Beam type is a scheme pair indicating the duration of the beam,
-e.g., @code{(1 . 16)}.
-
-Grouping is a scheme list indicating the grouping to be applied to
-the beam. The grouping is in units of the beam type.
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 3/16
+ \set Timing.beatStructure = #'(2 1)
+ \set Timing.beamExceptions =
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
+ c16 c c |
+ \repeat unfold 6 { c32 } |
+}
+@end lilypond
-@warning{ A @code{beamExceptions} value must be @emph{complete}
+@warning{A @code{beamExceptions} value must be @emph{complete}
exceptions list. That is, every exception that should be applied
must be included in the setting. It is not possible to add, remove,
or change only one of the exceptions. While this may seem cumbersome,
@@ -2257,15 +2299,17 @@ and @code{Timing.beamExceptions} are set. Setting the time signature
will reset the automatic beaming settings for the @code{Timing}
context to the default behavior.
-@lilypond[quote,verbatim,relative=2]
-\time 6/8
-\repeat unfold 6 { a8 }
-% group (4 + 2)
-\set Timing.beatStructure = #'(4 2)
-\repeat unfold 6 { a8 }
-% go back to default behavior
-\time 6/8
-\repeat unfold 6 { a8 }
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 6/8
+ \repeat unfold 6 { a8 }
+ % group (4 + 2)
+ \set Timing.beatStructure = #'(4 2)
+ \repeat unfold 6 { a8 }
+ % go back to default behavior
+ \time 6/8
+ \repeat unfold 6 { a8 }
+}
@end lilypond
The default automatic beaming settings for a time signature
@@ -2279,28 +2323,28 @@ beam the measure in two if there are only eighth notes. The
@code{beamExceptions} rule can override the @code{beatStructure} setting
if @code{beamExceptions} is not reset.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(3 3 2)
% This won't beam (3 3 2) because of beamExceptions
-\repeat unfold 8 {c8} |
+\repeat unfold 8 {c''8} |
% This will beam (3 3 2) because we clear beamExceptions
\set Timing.beamExceptions = #'()
-\repeat unfold 8 {c8}
+\repeat unfold 8 {c''8}
@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}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 3/4
% by default we beam in (6) due to beamExceptions
-\repeat unfold 6 {a8} |
+\repeat unfold 6 {a'8} |
% This will beam (1 1 1) due to default baseMoment and beatStructure
\set Timing.beamExceptions = #'()
-\repeat unfold 6 {a8}
+\repeat unfold 6 {a'8}
@end lilypond
In engraving from the Romantic and Classical periods,
@@ -2310,11 +2354,13 @@ but modern practice is to avoid the false impression of 6/8 time
This behavior is controlled by the context property @code{beamHalfMeasure},
which has effect only in time signatures with 3 in the numerator:
-@lilypond[quote,verbatim,relative=2]
-\time 3/4
-r4. a8 a a |
-\set Timing.beamHalfMeasure = ##f
-r4. a8 a a |
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 3/4
+ r4. a8 a a |
+ \set Timing.beamHalfMeasure = ##f
+ r4. a8 a a |
+}
@end lilypond
@subsubsubheading How automatic beaming works
@@ -2413,16 +2459,17 @@ beaming that was set in an earlier staff.
One way to avoid this problem is to set the time signature
in only one staff.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\time 3/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(1 5)
- \repeat unfold 6 { a8 }
+ \set Timing.beamExceptions = #'()
+ \repeat unfold 6 { a'8 }
}
\new Staff {
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
@@ -2432,7 +2479,7 @@ that the desired beaming will always be used. Changes in automatic
beaming settings for a time signature are described in
@ref{Time signature}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\overrideTimeSignatureSettings
@@ -2441,11 +2488,11 @@ beaming settings for a time signature are described in
#'(1 5) % beatStructure
#'() % beamExceptions
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
\new Staff {
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
@@ -2467,8 +2514,8 @@ often set to follow the meter of the lyrics rather than the
notes. Such beams can be specified manually by
marking the begin and end point with @code{[} and @code{]}.
-@lilypond[quote,relative=1,verbatim]
-r4 r8[ g' a r] r g[ | a] r
+@lilypond[quote,verbatim]
+\relative { r4 r8[ g' a r] r g[ | a] r }
@end lilypond
@cindex manual beams, direction shorthand for
@@ -2476,8 +2523,8 @@ r4 r8[ g' a r] r g[ | a] r
Beaming direction can be set manually using direction indicators:
-@lilypond[quote,relative=2,verbatim]
-c8^[ d e] c,_[ d e f g]
+@lilypond[quote,verbatim]
+\relative { c''8^[ d e] c,_[ d e f g] }
@end lilypond
@funindex \noBeam
@@ -2486,20 +2533,24 @@ c8^[ d e] c,_[ d e f g]
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c8 c\noBeam c c
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ c''8 c\noBeam c c
+}
@end lilypond
Grace note beams and normal note beams can occur simultaneously.
Unbeamed grace notes are not put into normal note beams.
-@lilypond[quote,verbatim,relative=2]
-c4 d8[
-\grace { e32 d c d }
-e8] e[ e
-\grace { f16 }
-e8 e]
+@lilypond[quote,verbatim]
+\relative {
+ c''4 d8[
+ \grace { e32 d c d }
+ e8] e[ e
+ \grace { f16 }
+ e8 e]
+}
@end lilypond
@funindex stemLeftBeamCount
@@ -2514,14 +2565,16 @@ 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.
-@lilypond[quote,relative=2,verbatim]
-a8[ r16 f g a]
-a8[ r16
-\set stemLeftBeamCount = #2
-\set stemRightBeamCount = #1
-f16
-\set stemLeftBeamCount = #1
-g16 a]
+@lilypond[quote,verbatim]
+\relative a' {
+ a8[ r16 f g a]
+ a8[ r16
+ \set stemLeftBeamCount = #2
+ \set stemRightBeamCount = #1
+ f16
+ \set stemLeftBeamCount = #1
+ g16 a]
+}
@end lilypond
@@ -2586,16 +2639,18 @@ as the last one, with the intermediate notes gradually
lengthening. The first four 32nd notes gradually speed up, while
the last four 32nd notes are at a constant tempo.
-@lilypond[relative=1,verbatim,quote]
-\override Beam.grow-direction = #LEFT
-\featherDurations #(ly:make-moment 2/1)
-{ c16[ c c c c c c c] }
-\override Beam.grow-direction = #RIGHT
-\featherDurations #(ly:make-moment 2/3)
-{ c32[ d e f] }
-% revert to non-feathered beams
-\override Beam.grow-direction = #'()
-{ g32[ a b c] }
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Beam.grow-direction = #LEFT
+ \featherDurations #(ly:make-moment 2/1)
+ { c16[ c c c c c c c] }
+ \override Beam.grow-direction = #RIGHT
+ \featherDurations #(ly:make-moment 2/3)
+ { c32[ d e f] }
+ % revert to non-feathered beams
+ \override Beam.grow-direction = #'()
+ { g32[ a b c] }
+}
@end lilypond
@noindent
@@ -2648,8 +2703,8 @@ The simple bar lines inserted automatically can be changed to
other types with the @code{\bar} command. For example, a closing
double bar line is usually placed at the end of a piece:
-@lilypond[quote,relative=1,verbatim]
-e4 d c2 \bar "|."
+@lilypond[quote,verbatim]
+\relative { e'4 d c2 \bar "|." }
@end lilypond
It is not invalid if the final note in a measure does not
@@ -2704,45 +2759,51 @@ exists, the effects of the original bar line are not altered.
Two types of simple bar lines and five types of double bar lines are
available for manual insertion:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|"
-f1 \bar "."
-g1 \bar "||"
-a1 \bar ".|"
-b1 \bar ".."
-c1 \bar "|.|"
-d1 \bar "|."
-e1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar "|"
+ f1 \bar "."
+ g1 \bar "||"
+ a1 \bar ".|"
+ b1 \bar ".."
+ c1 \bar "|.|"
+ d1 \bar "|."
+ e1
+}
@end lilypond
@noindent
together with dotted and dashed bar lines:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ";"
-g1 \bar "!"
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ";"
+ g1 \bar "!"
+ a1
+}
@end lilypond
@noindent
and nine types of repeat bar lines:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ".|:"
-g1 \bar ":..:"
-a1 \bar ":|.|:"
-b1 \bar ":|.:"
-c1 \bar ":.|.:"
-d1 \bar "[|:"
-e1 \bar ":|][|:"
-f1 \bar ":|]"
-g1 \bar ":|."
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ".|:"
+ g1 \bar ":..:"
+ a1 \bar ":|.|:"
+ b1 \bar ":|.:"
+ c1 \bar ":.|.:"
+ d1 \bar "[|:"
+ e1 \bar ":|][|:"
+ f1 \bar ":|]"
+ g1 \bar ":|."
+ a1
+}
@end lilypond
Additionally, a bar line can be printed as a simple tick:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "'" g1
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "'" g'1
@end lilypond
However, as such ticks are typically used in Gregorian chant, it is
preferable to use @code{\divisioMinima} there instead, described in
@@ -2750,8 +2811,8 @@ the section @ref{Divisiones} in Gregorian chant.
Lilypond supports kievan notation and provides a special kievan
bar line:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "k"
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "k"
@end lilypond
Further details of this notation are explained in
@ref{Typesetting Kievan square notation}.
@@ -2761,20 +2822,22 @@ Further details of this notation are explained in
For in-line segno signs, there are three types of bar lines which
differ in their behavior at line breaks:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar "S"
-c4 c c c \break
-\bar "S"
-c4 c c c
-\bar "S-|"
-c4 c c c \break
-\bar "S-|"
-c4 c c c
-\bar "S-S"
-c4 c c c \break
-\bar "S-S"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar "S"
+ c4 c c c \break
+ \bar "S"
+ c4 c c c
+ \bar "S-|"
+ c4 c c c \break
+ \bar "S-|"
+ c4 c c c
+ \bar "S-S"
+ c4 c c c \break
+ \bar "S-S"
+ c1
+}
@end lilypond
@cindex repeats
@@ -2790,48 +2853,53 @@ In addition, you can specify @code{".|:-||"}, which is equivalent to
line at the end of the line and a start repeat at the beginning of
the next line.
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ".|:-||"
-c4 c c c \break
-\bar ".|:-||"
-c4 c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ".|:-||"
+ c4 c c c \break
+ \bar ".|:-||"
+ c4 c c c
+}
@end lilypond
For combinations of repeats with the segno sign, there are six different
variations:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ":|.S"
-c4 c c c \break
-\bar ":|.S"
-c4 c c c
-\bar ":|.S-S"
-c4 c c c \break
-\bar ":|.S-S"
-c4 c c c
-\bar "S.|:-S"
-c4 c c c \break
-\bar "S.|:-S"
-c4 c c c
-\bar "S.|:"
-c4 c c c \break
-\bar "S.|:"
-c4 c c c
-\bar ":|.S.|:"
-c4 c c c \break
-\bar ":|.S.|:"
-c4 c c c
-\bar ":|.S.|:-S"
-c4 c c c \break
-\bar ":|.S.|:-S"
-c1
-@end lilypond
-
-Additionally there is an @code{\inStaffSegno} command which
-creates a segno bar, placed in cooperation
-with the @code{\repeat volta} command.
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ":|.S"
+ c4 c c c \break
+ \bar ":|.S"
+ c4 c c c
+ \bar ":|.S-S"
+ c4 c c c \break
+ \bar ":|.S-S"
+ c4 c c c
+ \bar "S.|:-S"
+ c4 c c c \break
+ \bar "S.|:-S"
+ c4 c c c
+ \bar "S.|:"
+ c4 c c c \break
+ \bar "S.|:"
+ c4 c c c
+ \bar ":|.S.|:"
+ c4 c c c \break
+ \bar ":|.S.|:"
+ c4 c c c
+ \bar ":|.S.|:-S"
+ c4 c c c \break
+ \bar ":|.S.|:-S"
+ c1
+}
+@end lilypond
+
+Additionally there is an @code{\inStaffSegno} command which creates
+a segno bar line in conjunction with an appropriate repeat bar line
+when used with a @code{\repeat volta} command, see
+@ref{Normal repeats}.
@funindex \defineBarLine
@funindex defineBarLine
@@ -2886,16 +2954,16 @@ but different behavior at line breaks and/or different span bars.
The part following the @code{"-"} sign is not used for building up
the bar line.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine "||-dashedSpan" #'("||" "" "!!")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar "||"
c1 \bar "||-dashedSpan"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
@@ -2906,17 +2974,17 @@ the bar line.
Furthermore, the space character @code{" "} serves as a placeholder
for defining span bars correctly aligned to the main bar lines:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine ":|.-wrong" #'(":|." "" "|.")
\defineBarLine ":|.-right" #'(":|." "" " |.")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar ":|.-wrong"
c1 \bar ":|.-right"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
@@ -2933,17 +3001,17 @@ automatically applied to all staves. The resulting bar lines are
connected between different staves of a @code{StaffGroup},
@code{PianoStaff}, or @code{GrandStaff}.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new StaffGroup <<
- \new Staff {
- e4 d
+ \new Staff \relative {
+ e'4 d
\bar "||"
f4 e
}
- \new Staff { \clef bass c4 g e g }
+ \new Staff \relative { \clef bass c'4 g e g }
>>
- \new Staff { \clef bass c2 c2 }
+ \new Staff \relative { \clef bass c'2 c2 }
>>
@end lilypond
@@ -2998,11 +3066,13 @@ the first line. The number itself is stored in the
@code{currentBarNumber} property, which is normally updated
automatically for every measure. It may also be set manually:
-@lilypond[verbatim,quote,relative=1]
-c1 c c c
-\break
-\set Score.currentBarNumber = #50
-c1 c c c
+@lilypond[verbatim,quote]
+\relative c' {
+ c1 c c c
+ \break
+ \set Score.currentBarNumber = #50
+ c1 c c c
+}
@end lilypond
@cindex bar numbers, regular spacing
@@ -3010,25 +3080,27 @@ c1 c c c
@funindex barNumberVisibility
@funindex BarNumber
-Bar numbers can be typeset at regular intervals instead of just at
-the beginning of every line. To do this the default behavior
-must be overridden to permit bar numbers to be printed at places
-other than the start of a line. This is controlled by the
-@code{break-visibility} property of @code{BarNumber}. This takes
-three values which may be set to @code{#t} or @code{#f} to specify
-whether the corresponding bar number is visible or not. The order
-of the three values is @code{end of line visible}, @code{middle of
-line visible}, @code{beginning of line visible}. In the following
-example bar numbers are printed at all possible places:
-
-@lilypond[verbatim,quote,relative=1]
-\override Score.BarNumber.break-visibility = ##(#t #t #t)
-\set Score.currentBarNumber = #11
-% Permit first bar number to be printed
-\bar ""
-c1 | c | c | c
-\break
-c1 | c | c | c
+Bar numbers can be typeset at regular intervals instead of just at the
+beginning of every line. To do this the default behavior must be
+overridden to permit bar numbers to be printed at places other than the
+start of a line. This is controlled by the @code{break-visibility}
+property of @code{BarNumber}. This takes three values which may be set
+to @code{#t} or @code{#f} to specify whether the corresponding bar
+number is visible or not. The order of the three values is
+@code{end of line visible}, @code{middle of line visible},
+@code{beginning of line visible}. In the following example bar numbers
+are printed at all possible places:
+
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Score.BarNumber.break-visibility = ##(#t #t #t)
+ \set Score.currentBarNumber = #11
+ % Permit first bar number to be printed
+ \bar ""
+ c1 | c | c | c |
+ \break
+ c1 | c | c | c |
+}
@end lilypond
@snippets
@@ -3038,6 +3110,9 @@ c1 | c | c | c
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-bar-numbers-at-regular-intervals.ly}
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{printing-bar-numbers-with-changing-regular-intervals.ly}
+
@cindex measure number, format
@cindex bar number, format
@@ -3098,15 +3173,6 @@ next example, the second bar check will signal an error.
\time 3/4 c2 e4 | g2 |
@end example
-Bar checks can also be used in lyrics:
-
-@example
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle |
-@}
-@end example
-
An incorrect duration can result in a completely garbled score,
especially if the score is polyphonic, so a good place to start
correcting input is by scanning for failed bar checks and
@@ -3116,6 +3182,22 @@ 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.
+Bar checks can also be inserted in lyrics:
+
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle |
+@}
+@end example
+
+Note that bar check marks in lyrics are evaluated at the musical
+moment when the syllable @emph{following} the check mark is processed.
+If the lyrics are associated with the notes of a voice which has a
+rest at the beginning of a bar, then no syllable can be located at the
+start of that bar and a warning will be issued if a bar check mark is
+placed in the lyrics at that position.
+
@funindex |
@funindex "|"
@@ -3170,11 +3252,13 @@ Snippets:
To print a rehearsal mark, use the @code{\mark} command.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
@@ -3183,12 +3267,14 @@ The mark is incremented automatically if you use @code{\mark
mark manually. The value to use is stored in the property
@code{rehearsalMark}.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
@@ -3204,13 +3290,15 @@ hollow circle).
\set Score.markFormatter = #format-mark-circle-alphabet
@end example
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-box-alphabet
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-box-alphabet
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@cindex rehearsal mark format
@@ -3231,16 +3319,18 @@ following example, @code{markFormatter} is set to a pre-defined
procedure. After a few measures, it is set to a procedure that
produces a boxed number.
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-numbers
-c1 \mark \default
-c1 \mark \default
-\set Score.markFormatter = #format-mark-box-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-letters
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-box-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-letters
+ c1
+}
@end lilypond
The file @file{scm/translation-functions.scm} contains the
@@ -3282,11 +3372,13 @@ string.
Music glyphs (such as the segno sign) may be printed inside a
@code{\mark}
-@lilypond[quote,verbatim,relative=1]
-c1 \mark \markup { \musicglyph #"scripts.segno" }
-c1 \mark \markup { \musicglyph #"scripts.coda" }
-c1 \mark \markup { \musicglyph #"scripts.ufermata" }
-c1
+@lilypond[quote,verbatim]
+\relative c' {
+ c1 \mark \markup { \musicglyph #"scripts.segno" }
+ c1 \mark \markup { \musicglyph #"scripts.coda" }
+ c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+ c1
+}
@end lilypond
@noindent
@@ -3346,9 +3438,11 @@ Internals Reference:
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 b16 a4(
-\grace { b16 c16 } a2)
+@lilypond[quote,verbatim]
+\relative {
+ c''4 \grace b16 a4(
+ \grace { b16 c16 } a2)
+}
@end lilypond
There are three other types of grace notes possible; the
@@ -3360,23 +3454,25 @@ 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]
-\acciaccatura d8 c4
-\appoggiatura e8 d4
-\acciaccatura { g16 f } e2
-\slashedGrace a,8 g4
-\slashedGrace b16 a4(
-\slashedGrace b8 a2)
+@lilypond[quote,verbatim]
+\relative {
+ \acciaccatura d''8 c4
+ \appoggiatura e8 d4
+ \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
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e2 \grace { c16 d e f } e2 }
- \new Staff { c2 \grace { g8 b } c2 }
+ \new Staff \relative { e''2 \grace { c16 d e f } e2 }
+ \new Staff \relative { c''2 \grace { g8 b } c2 }
>>
@end lilypond
@@ -3389,8 +3485,8 @@ If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace
notes following the main note.
-@lilypond[quote,verbatim,relative=2]
-c1 \afterGrace d1 { c16[ d] } c1
+@lilypond[quote,verbatim]
+\relative { c''1 \afterGrace d1 { c16[ d] } c1 }
@end lilypond
This will put the grace notes after a space lasting 3/4 of the
@@ -3399,18 +3495,18 @@ 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.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 15 16))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 1 2))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
>>
@end lilypond
@@ -3419,10 +3515,10 @@ 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,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
<<
- { d1^\trill_( }
+ { d''1^\trill_( }
{ s2 s4. \grace { c16 d } }
>>
c1)
@@ -3441,11 +3537,11 @@ the grace expression. The overrides should also be reverted
inside the grace expression. Here, the grace note's default stem
direction is overridden and then reverted.
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
\acciaccatura {
\stemDown
- f16->
+ f''16->
\stemNeutral
}
g4 e c2
@@ -3510,10 +3606,10 @@ notation, such as key signatures, bar lines, etc., are also
synchronized. Take care when you mix staves with grace notes and
staves without, for example,
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" d2. }
>>
@end lilypond
@@ -3521,39 +3617,18 @@ staves without, for example,
This can be remedied by inserting grace skips of the corresponding
durations in the other staves. For the above example
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar ".|:" \grace c16 d2. }
- \new Staff { c4 \bar ".|:" \grace s16 d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" \grace s16 d2. }
>>
@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.
-
-@lilypond[quote,verbatim]
-accMusic = {
- \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
-}
-
-\new Staff {
- <<
- \new Voice {
- \relative c'' {
- r8 r8 \voiceOne \accMusic \oneVoice r8 |
- r8 \voiceOne r8 \accMusic \oneVoice r8 |
- }
- }
- \new Voice {
- \relative c' {
- s8 s8 \voiceTwo \accMusic \oneVoice s8 |
- s8 \voiceTwo r8 \accMusic \oneVoice s8 |
- }
- }
- >>
-}
-@end lilypond
+Please make sure that you use the @code{\grace} command for the
+spacer part, even if the visual part uses @code{\acciaccatura} or
+@code{\appoggiatura} because otherwise an ugly slur fragment will
+be printed, connecting the invisible grace note with the following
+note.
Grace sections should only be used within sequential music expressions.
Nesting or juxtaposing grace sections is not supported, and might
@@ -3602,8 +3677,8 @@ 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,quote]
-MyCadenza = \relative c' {
- c4 d8 e f g g4
+MyCadenza = \relative {
+ c'4 d8 e f g g4
f2 g4 g
}
@@ -3687,9 +3762,9 @@ advanced by 1/8 to 5/8, shortening that bar by 1/8.
The next bar line then falls at 9/8 rather than 5/4.
@lilypond[quote,verbatim]
-\new Voice \relative c' {
+\new Voice \relative {
\set Timing.measureLength = #(ly:make-moment 5/4)
- c1 c4 |
+ c'1 c4 |
c1 c4 |
c4 c
\set Timing.measurePosition = #(ly:make-moment 5/8)