X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Frhythms.itely;h=a393f1346c2a71c087bac8abfc951598b0644a08;hb=18d03fa6a724b0102ccc47d194209802cea02f2e;hp=27241d8fde0a836ec07292f6c747e5c5980d350a;hpb=3ecc98aa5db8a47adcf9defc4ec9fc018c5cc47d;p=lilypond.git

diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 27241d8fde..a393f1346c 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -45,11 +45,8 @@ This section discusses rhythms, rests, durations, beaming and bars.
 @cindex note lengths
 
 @funindex \longa
-@funindex longa
 @funindex \breve
-@funindex breve
 @funindex \maxima
-@funindex maxima
 
 Durations are designated by numbers and dots.  Durations are entered
 as their reciprocal values.  For example, a quarter note is entered
@@ -135,11 +132,8 @@ duration.  For details of this and other settings which control
 proportional notation, see @ref{Proportional notation}.
 
 @funindex \dotsUp
-@funindex dotsUp
 @funindex \dotsDown
-@funindex dotsDown
 @funindex \dotsNeutral
-@funindex dotsNeutral
 
 Dots are normally moved up to avoid staff lines, except in
 polyphonic situations.  Dots may be manually placed above or below
@@ -192,7 +186,7 @@ Internals Reference:
 @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:
-rests from 128th to maxima (8 x whole) may be printed.
+rests from 128th to maxima (8× whole) may be printed.
 
 
 @node Tuplets
@@ -202,7 +196,6 @@ rests from 128th to maxima (8 x whole) may be printed.
 @cindex triplets
 
 @funindex \tuplet
-@funindex tuplet
 
 Tuplets are made from a music expression with the @code{\tuplet}
 command, multiplying the speed of the music expression by a fraction:
@@ -239,11 +232,8 @@ in order to have the tuplets grouped automatically:
 @cindex tuplet bracket placement
 
 @funindex \tupletUp
-@funindex tupletUp
 @funindex \tupletDown
-@funindex tupletDown
 @funindex \tupletNeutral
-@funindex tupletNeutral
 
 Tuplet brackets may be manually placed above or below the staff:
 
@@ -371,7 +361,6 @@ a multiplier.  This is useful for skipping many measures, e.g.,
 @cindex expanding music
 
 @funindex \scaleDurations
-@funindex scaleDurations
 
 Longer stretches of music may be compressed by a fraction in the
 same way, as if every note, chord or rest had the fraction as a
@@ -454,7 +443,7 @@ used when note values cross larger subdivisions of the measure:
 
 @lilypond[verbatim,quote]
 \relative {
-  r8 c'~ 2 r4 |
+  r8 c'4.~ 4 r4 |
   r8^"not" c2~ 8 r4
 }
 @end lilypond
@@ -486,7 +475,6 @@ the chord.
 @cindex ties and volta brackets
 
 @funindex \repeatTie
-@funindex repeatTie
 
 When a second alternative of a repeat starts with a tied note, you
 have to specify the repeated tie as follows:
@@ -507,7 +495,6 @@ have to specify the repeated tie as follows:
 @cindex ties, laissez vibrer
 
 @funindex \laissezVibrer
-@funindex laissezVibrer
 
 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
 notes must not be damped at the end.  It is used in notation for
@@ -521,11 +508,8 @@ be entered as follows:
 @cindex ties, placement
 
 @funindex \tieUp
-@funindex tieUp
 @funindex \tieDown
-@funindex tieDown
 @funindex \tieNeutral
-@funindex tieNeutral
 
 Ties may be made to curve up or down manually; see
 @ref{Direction and placement}.
@@ -537,11 +521,8 @@ Ties may be made to curve up or down manually; see
 @cindex dotted ties
 
 @funindex \tieDotted
-@funindex tieDotted
 @funindex \tieDashed
-@funindex tieDashed
 @funindex \tieSolid
-@funindex tieSolid
 
 Ties may be made dashed, dotted, or a combination of solid and
 dashed.
@@ -662,14 +643,10 @@ Rests are entered as part of the music in music expressions.
 @cindex breve rest
 
 @funindex \rest
-@funindex rest
 @funindex r
 @funindex \maxima
-@funindex maxima
 @funindex \longa
-@funindex longa
 @funindex \breve
-@funindex breve
 
 Rests are entered like notes with the note name @code{r}.
 Durations longer than a whole rest use the following predefined
@@ -736,7 +713,7 @@ Internals Reference:
 @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
-are rests from 128th to maxima (8 x whole).
+are rests from 128th to maxima (8× whole).
 
 
 @node Invisible rests
@@ -750,7 +727,6 @@ are rests from 128th to maxima (8 x whole).
 
 @funindex s
 @funindex \skip
-@funindex skip
 
 An invisible rest (also called a @q{spacer rest}) can be entered
 like a note with the note name@tie{}@code{s}:
@@ -841,7 +817,6 @@ Internals Reference:
 @cindex whole rest for a full measure
 @cindex rest, whole for a full measure
 
-@funindex compressMMRests
 @funindex \compressMMRests
 @funindex R
 
@@ -921,7 +896,6 @@ R2.*2 |
 @cindex multi-measure rest with markup
 
 @funindex \fermataMarkup
-@funindex fermataMarkup
 @funindex MultiMeasureRestText
 
 Markups can be added to multi-measure rests.
@@ -955,13 +929,9 @@ setting, resulting bar-check warnings may not be displayed.
 
 
 @funindex \textLengthOn
-@funindex textLengthOn
 @funindex \textLengthOff
-@funindex textLengthOff
 @funindex \fermataMarkup
-@funindex fermataMarkup
 @funindex \compressMMRests
-@funindex compressMMRests
 
 @predefined
 @code{\textLengthOn},
@@ -1011,7 +981,7 @@ Internals Reference:
 @cindex multi-measure rests and fingerings
 
 @knownissues
-Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
+Fingerings over multi-measure rests (e.g., @code{R1*10-4}) may result
 in the fingering numeral colliding with the bar counter
 numeral.
 
@@ -1046,7 +1016,6 @@ Multi-measure rests do not take part in rest collisions.
 @cindex meter
 
 @funindex \time
-@funindex time
 
 The time signature is set as follows:
 
@@ -1081,9 +1050,7 @@ there.  This default behavior may be changed, see
 @cindex meter style
 
 @funindex \numericTimeSignature
-@funindex numericTimeSignature
 @funindex \defaultTimeSignature
-@funindex defaultTimeSignature
 
 The time signature symbol that is used in 2/2 and 4/4 time can be
 changed to a numeric style:
@@ -1292,7 +1259,6 @@ Internals Reference:
 @cindex metronome marking with text
 
 @funindex \tempo
-@funindex tempo
 
 A basic metronome mark is simple to write:
 
@@ -1355,9 +1321,7 @@ written by including an empty string in the input:
 @end lilypond
 
 @funindex \markLengthOn
-@funindex markLengthOn
 @funindex \markLengthOff
-@funindex markLengthOff
 
 In a part for an instrument with long periods of rests,
 tempo indications sometimes follow each other closely.
@@ -1425,7 +1389,6 @@ Internals Reference:
 
 @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:
@@ -1523,12 +1486,10 @@ Internal Reference:
 @cindex beams, unmetered music
 
 @funindex \cadenzaOn
-@funindex cadenzaOn
 @funindex \cadenzaOff
-@funindex cadenzaOff
 
 In metered music bar lines are inserted and bar numbers are calculated
-automatically. In unmetered music (i.e. cadenzas), this is not
+automatically. In unmetered music (i.e., cadenzas), this is not
 desirable and can be @q{switched off} using the command
 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
 using @code{\cadenzaOff}.
@@ -1653,9 +1614,7 @@ stretches of unmetered music to permit breaking:
 
 @funindex timeSignatureFraction
 @funindex \scaleDurations
-@funindex scaleDurations
 @funindex \tuplet
-@funindex tuplet
 
 Polymetric notation is supported explicitly or by manually modifying the
 visible time signature symbol and/or scaling note durations.
@@ -1756,7 +1715,7 @@ These are created using the @code{\compoundMeter} function.  The syntax
 for this is:
 
 @example
-\compoundMeter #'@code{(list of lists)}
+\compoundMeter #'(list of lists)
 @end example
 
 The simplest construction is a single list, where the @emph{last} number
@@ -1905,7 +1864,7 @@ 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
+@code{#f} cause split notes and rests to have the scale factor
 of the input durations.
 
 
@@ -1944,9 +1903,7 @@ staff are squashed, and the staff itself has a single line
 
 @funindex Pitch_squash_engraver
 @funindex \improvisationOn
-@funindex improvisationOn
 @funindex \improvisationOff
-@funindex improvisationOff
 
 Guitar chord charts often show the strumming rhythms.  This can
 be done with the @code{Pitch_squash_engraver} and
@@ -1972,6 +1929,22 @@ be done with the @code{Pitch_squash_engraver} and
 >>
 @end lilypond
 
+Music containing chords can also be used as input to @code{RhythmicStaff}
+and for use with the @code{Pitch_squash_engraver} if the chords are first
+reduced to single notes with the @code{\reduceChords} music function:
+
+@lilypond[quote,verbatim]
+\new RhythmicStaff {
+  \time 4/4
+  \reduceChords {
+    <c>2
+    <e>2
+    <c e g>2
+    <c e g>4
+    <c e g>4
+  }
+}
+@end lilypond
 
 @predefined
 @code{\improvisationOn},
@@ -2013,9 +1986,7 @@ By default, beams are inserted automatically:
 @cindex beams, customizing rules
 
 @funindex \autoBeamOn
-@funindex autoBeamOn
 @funindex \autoBeamOff
-@funindex autoBeamOff
 
 @lilypond[quote,verbatim]
 \relative c'' {
@@ -2112,14 +2083,11 @@ new beam starts.
 
 @funindex autoBeaming
 @funindex baseMoment
-@funindex beamExceptions
 @funindex \beamExceptions
 @funindex beatStructure
 @funindex measureLength
 @funindex \time
-@funindex time
 @funindex \set
-@funindex set
 
 When automatic beaming is enabled, the placement of automatic beams
 is determined by three context properties:
@@ -2528,7 +2496,6 @@ Beaming direction can be set manually using direction indicators:
 @end lilypond
 
 @funindex \noBeam
-@funindex noBeam
 
 Individual notes may be marked with @code{\noBeam} to prevent them
 from being beamed:
@@ -2611,7 +2578,6 @@ Internals Reference:
 @cindex feathered beams
 
 @funindex \featherDurations
-@funindex featherDurations
 @funindex grow-direction
 
 Feathered beams are used to indicate that a small group of notes
@@ -2692,7 +2658,6 @@ music snippets, and when numbers in the fraction are small.
 @cindex repeat bars
 
 @funindex \bar
-@funindex bar
 
 Bar lines delimit measures, and are also used to indicate
 repeats.  Normally, simple bar lines are automatically inserted
@@ -2717,7 +2682,7 @@ all notes end before the end of a measure.
 
 @warning{An incorrect duration can cause line breaks to be
 inhibited, leading to a line of highly compressed music or
-music which flows off the page.}
+music that flows off the page.}
 
 @cindex line breaks
 @cindex bar lines, invisible
@@ -2809,7 +2774,7 @@ However, as such ticks are typically used in Gregorian chant, it is
 preferable to use @code{\divisioMinima} there instead, described in
 the section @ref{Divisiones} in Gregorian chant.
 
-Lilypond supports kievan notation and provides a special kievan
+LilyPond supports kievan notation and provides a special kievan
 bar line:
 @lilypond[quote,fragment,verbatim]
 f'1 \bar "k"
@@ -2902,7 +2867,6 @@ when used with a @code{\repeat volta} command, see
 @ref{Normal repeats}.
 
 @funindex \defineBarLine
-@funindex defineBarLine
 @cindex bar lines, defining
 @cindex defining bar lines
 
@@ -2993,7 +2957,7 @@ for defining span bars correctly aligned to the main bar lines:
 @end lilypond
 
 If additional elements are needed, LilyPond provides a simple
-way to define them.  For more informations on modifying or adding
+way to define them.  For more information on modifying or adding
 bar lines, see file @file{scm/bar-line.scm}.
 
 In scores with many staves, a @code{\bar} command in one staff is
@@ -3022,7 +2986,6 @@ connected between different staves of a @code{StaffGroup},
 @funindex whichBar
 @funindex defaultBarType
 @funindex \bar
-@funindex bar
 @funindex bartype
 
 The command @samp{\bar @var{bartype}} is a shortcut for
@@ -3221,7 +3184,6 @@ for end of bar.
 @end lilypond
 
 @funindex \barNumberCheck
-@funindex barNumberCheck
 
 When copying large pieces of music, it can be helpful to check that
 the LilyPond bar number corresponds to the original that you are
@@ -3248,7 +3210,6 @@ Snippets:
 @cindex mark, rehearsal
 
 @funindex \mark
-@funindex mark
 
 To print a rehearsal mark, use the @code{\mark} command.
 
@@ -3334,9 +3295,9 @@ produces a boxed number.
 @end lilypond
 
 The file @file{scm/translation-functions.scm} contains the
-definitions of @code{format-mark-numbers} (the default format),
-@code{format-mark-box-numbers}, @code{format-mark-letters} and
-@code{format-mark-box-letters}.  These can be used as inspiration
+definitions of @code{format-mark-letters} (the default format),
+@code{format-mark-box-letters}, @code{format-mark-numbers} and
+@code{format-mark-box-numbers}.  These can be used as inspiration
 for other formatting functions.
 
 You may use @code{format-mark-barnumbers},
@@ -3367,7 +3328,6 @@ string.
 @cindex glyphs, music
 
 @funindex \musicglyph
-@funindex musicglyph
 
 Music glyphs (such as the segno sign) may be printed inside a
 @code{\mark}
@@ -3382,7 +3342,7 @@ Music glyphs (such as the segno sign) may be printed inside a
 @end lilypond
 
 @noindent
-See @ref{The Feta font}, for a list of symbols which may be
+See @ref{The Emmentaler font}, for a list of symbols which may be
 printed with @code{\musicglyph}.
 
 For common tweaks to the positioning of rehearsal marks, see
@@ -3396,7 +3356,7 @@ other formatting functions.
 
 @seealso
 Notation Reference:
-@ref{The Feta font},
+@ref{The Emmentaler font},
 @ref{Formatting text},
 @ref{Aligning objects}.
 
@@ -3479,7 +3439,6 @@ eighth grace note
 @cindex grace notes, following
 
 @funindex \afterGrace
-@funindex afterGrace
 
 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
@@ -3489,11 +3448,23 @@ notes following the main note.
 \relative { c''1 \afterGrace d1 { c16[ d] } c1 }
 @end lilypond
 
-This will put the grace notes after a space lasting 3/4 of the
-length of the main note.  The default fraction 3/4 can be changed by
-setting @code{afterGraceFraction}.  The following example shows
-the results from setting the space at the default,  at 15/16, and
-finally at 1/2 of the main note.
+This will place the grace notes @emph{after} the start of the main
+note.  The point of time where the grace notes are placed is a
+given fraction of the main note's duration.  The default setting
+of
+
+@example
+afterGraceFraction = 3/4
+@end example
+
+@noindent
+may be redefined at top level.  Individual @code{\afterGrace}
+commands may have the fraction specified right after the command
+itself instead.
+
+The following example shows the results from setting with the
+default space, setting it at @code{15/16}, and finally at
+@code{1/2} of the main note.
 
 @lilypond[quote,verbatim]
 <<
@@ -3501,19 +3472,17 @@ finally at 1/2 of the main note.
     c''1 \afterGrace d1 { c16[ d] } c1
   }
   \new Staff \relative {
-    #(define afterGraceFraction (cons 15 16))
-    c''1 \afterGrace d1 { c16[ d] } c1
+    c''1 \afterGrace 15/16 d1 { c16[ d] } c1
   }
   \new Staff \relative {
-    #(define afterGraceFraction (cons 1 2))
-    c''1 \afterGrace d1 { c16[ d] } c1
+    c''1 \afterGrace 1/2 d1 { c16[ d] } c1
   }
 >>
 @end lilypond
 
-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.
+The effect of @code{\afterGrace} can also be achieved using
+spacers.  The following example places the grace note after a
+space lasting 7/8 of the main note.
 
 @lilypond[quote,verbatim]
 \new Voice \relative {
@@ -3774,10 +3743,10 @@ The next bar line then falls at 9/8 rather than 5/4.
 @end lilypond
 
 @noindent
-As the example illustrates, @code{ly:make-moment n m} constructs a
+As the example illustrates, @code{ly:make-moment n/m} constructs a
 duration of n/m of a whole note.  For example,
-@code{ly:make-moment 1 8} is an eighth note duration and
-@code{ly:make-moment 7 16} is the duration of seven sixteenths
+@code{ly:make-moment 1/8} is an eighth note duration and
+@code{ly:make-moment 7/16} is the duration of seven sixteenths
 notes.
 
 @seealso