@menu
-* Automatic notation::
* Interpretation contexts::
* The \override command::
@end menu
-@node Automatic notation
-@section Automatic notation
-
-This section describes how to change the way that accidentals and
-beams are automatically displayed.
-
-@menu
-* Automatic accidentals::
-* Setting automatic beam behavior::
-@end menu
-
-@node Automatic accidentals
-@subsection Automatic accidentals
-@cindex Automatic accidentals
-
-Common rules for typesetting accidentals have been placed in a
-function. This function is called as follows
-
-@funindex set-accidental-style
-@example
-#(set-accidental-style 'STYLE)
-@end example
-
-@c TODO: check the context stuff below
-@c -does it *really* work?
-@c -the default contexts as specified in
-@c scm/music-function.scm seem to be different -vv
-
-Optionally, the function can take two arguments: the name of the
-accidental style, and an optional argument that denotes the context that
-should be changed:
-
-@example
-#(set-accidental-style 'STYLE #('CONTEXT#))
-@end example
-
-If no context name is supplied, @code{Staff} is the default,
-but you may wish to apply the accidental style to a single @code{Voice}
-instead.
-
-The following accidental styles are supported:
-
-@table @code
-@item default
-This is the default typesetting behavior. It corresponds
-to 18th century common practice: Accidentals are
-remembered to the end of the measure in which they occur and
-only on their own octave.
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- %#(set-accidental-style 'default)
- \musicA }
- \context Staff = "down"{
- %#(set-accidental-style 'default)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'default" }}}
-}
-@end lilypond
-
-@item voice
-The normal behavior is to remember the accidentals on
-Staff-level. This variable, however, typesets accidentals
-individually for each voice. Apart from that, the rule is similar to
-@code{default}.
-
-@example
- \new Staff <<
- #(set-accidental-style 'voice)
- @{ @dots{} @}
- >>
-@end example
-
-As a result, accidentals from one voice do not get canceled in other
-voices, which is often an unwanted result: in the following example, it
-is hard to determine whether the second @samp{a} should be played
-natural or sharp.
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'voice)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'voice)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'voice" }}}
-}
-@end lilypond
-
-The @code{voice} option should be used if the voices
-are to be read solely by individual musicians. If the staff is to be
-used by one musician (e.g., a conductor) then
-@code{modern} or @code{modern-cautionary}
-should be used instead.
-
-@item modern
-@funindex modern style accidentals
-This rule corresponds to the common practice in the 20th century. This rule
-prints the same accidentals as @code{default}, but temporary
-accidentals also are canceled in other octaves. Furthermore,
-in the same octave, they also get canceled in the following
-measure: in the following example, notice the two natural signs which appear
-in the second bar of the upper staff.
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'modern)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'modern)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'modern" }}}
-}
-@end lilypond
-
-@item @code{modern-cautionary}
-@funindex modern-cautionary
-This rule is similar to @code{modern}, but the @q{extra} accidentals
-(the ones not typeset by @code{default}) are typeset as cautionary
-accidentals. They are printed in reduced size or (by default)
-with parentheses -- this can be set by definig the @code{cautionary-style}
-property of the @internalsref{AccidentalSuggestion} object.
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'modern-cautionary)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'modern-cautionary)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'modern-cautionary" }}}
-}
-@end lilypond
-
-@funindex modern-voice
-@item modern-voice
-This rule is used for multivoice accidentals to be read both by musicians
-playing one voice and musicians playing all voices. Accidentals are
-typeset for each voice, but they @emph{are} canceled across voices in
-the same @internalsref{Staff}.
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'modern-voice)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'modern-voice)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'modern-voice" }}}
-}
-@end lilypond
-
-@funindex modern-voice-cautionary
-@item modern-voice-cautionary
-This rule is the same as @code{modern-voice}, but with the extra
-accidentals (the ones not typeset by @code{voice}) typeset
-as cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset by this variable,
-some of them are typeset as cautionaries.
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'modern-voice-cautionary)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'modern-voice-cautionary)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'modern-voice-cautionary" }}}
-}
-@end lilypond
-
-@item piano
-@funindex piano accidentals
-This accidental style takes place in a GrandStaff context. However, you have to
-explicitly set it for @emph{each} individual Staff of the GrandStaff:
-
-@example
-\new GrandStaff @{ <<
- \new Staff = "up" @{ <<
- #(set-accidental-style 'piano)
- @{ @dots{} @}
- >> @}
- \new Staff = "down"@{ <<
- #(set-accidental-style 'piano)
- @{ @dots{} @}
- >> @}
->> @}
-@end example
-
-This rule reflects 20th century practice for piano notation. Its behavior is very
-similar to @code{modern} style, but here accidentals also get canceled
-across the staves in the same @internalsref{GrandStaff} or
-@internalsref{PianoStaff}.
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'piano)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'piano)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'piano" }}}
-}
-@end lilypond
-
-@item piano-cautionary
-@funindex #(set-accidental-style 'piano-cautionary)
-Same as @code{#(set-accidental-style 'piano)} but with the extra
-accidentals typeset as cautionaries.
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'piano-cautionary)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'piano-cautionary)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'piano-cautionary" }}}
-}
-@end lilypond
-
-@item no-reset
-@funindex no-reset accidental style
-This is the same as @code{default} but with accidentals lasting
-@q{forever} and not only until the next measure:
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'no-reset)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'no-reset)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'no-reset" }}}
-}
-@end lilypond
-
-@item forget
-This is sort of the opposite of @code{no-reset}: Accidentals
-are not remembered at all -- and hence all accidentals are
-typeset relative to the key signature, regardless of what was
-before in the music
-
-@lilypond[quote,ragged-right]
-musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
- \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
-
-musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
- \change Staff = up cis' \change Staff = down <fis, a>
- \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
- <f a d>2 | } }}
-
-\score {
- \new PianoStaff {
- << \context Staff = "up" {
- #(set-accidental-style 'forget)
- \musicA }
- \context Staff = "down"{
- #(set-accidental-style 'forget)
- \musicB } >> }
- \header { piece = \markup {\fill-line { \fontsize #3 "'forget" }}}
-}
-@end lilypond
-@end table
-
-
-@seealso
-
-Program reference: @internalsref{Accidental_engraver},
-@internalsref{Accidental}, @internalsref{AccidentalSuggestion} and @internalsref{AccidentalPlacement}.
-
-
-@refbugs
-
-Simultaneous notes are considered to be entered in sequential
-mode. This means that in a chord the accidentals are typeset as if the
-notes in the chord happen one at a time, in the order in which
-they appear in the input file. This is a problem when accidentals
-in a chord depend on each other,
-which does not happen for the default accidental style. The problem
-can be solved by manually inserting @code{!} and @code{?} for the
-problematic notes.
-
-
-@node Setting automatic beam behavior
-@subsection Setting automatic beam behavior
-
-@funindex autoBeamSettings
-@funindex (end * * * *)
-@funindex (begin * * * *)
-@cindex automatic beams, tuning
-@cindex tuning automatic beaming
-
-@c [TODO: use \applyContext]
-
-In normal time signatures, automatic beams can start on any note but can
-only end in a few positions within the measure: beams can end on a beat,
-or at durations specified by the properties in
-@code{autoBeamSettings}. The properties in @code{autoBeamSettings}
-consist of a list of rules for where beams can begin and end. The
-default @code{autoBeamSettings} rules are defined in
-@file{scm/@/auto@/-beam@/.scm}.
-
-In order to add a rule to the list, use
-@example
-#(override-auto-beam-setting '(be p q n m) a b [context])
-@end example
-
-@itemize
-
-@item @code{be} is either "begin" or "end".
-
-@item @code{p/q} is the duration of the note for which you want
-to add a rule. A beam is considered to have the duration of its
-shortest note. Set @code{p} and @code{q} to @code{'*'} to
-have this apply to any beam.
-
-@item @code{n/m} is the time signature to which
-this rule should apply. Set @code{n} and @code{m} to @code{'*'}
-to have this apply in any time signature.
-
-@item @code{a/b} is the position in the bar at which the beam should
-begin/end.
-
-@item @code{context} is optional, and it specifies the context at which
-the change should be made. The default is @code{'Voice}.
-@code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
-@code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
-
-@end itemize
-
-For example, if automatic beams should always end on the first quarter
-note, use
-
-@example
-#(override-auto-beam-setting '(end * * * *) 1 4)
-@end example
-
-You can force the beam settings to only take effect on beams whose shortest
-note is a certain duration
-
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\time 2/4
-#(override-auto-beam-setting '(end 1 16 * *) 1 16)
-a16 a a a a a a a |
-a32 a a a a16 a a a a a |
-#(override-auto-beam-setting '(end 1 32 * *) 1 16)
-a32 a a a a16 a a a a a |
-@end lilypond
-
-You can force the beam settings to only take effect in certain time
-signatures
-
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\time 5/8
-#(override-auto-beam-setting '(end * * 5 8) 2 8)
-c8 c d d d
-\time 4/4
-e8 e f f e e d d
-\time 5/8
-c8 c d d d
-@end lilypond
-
-You can also remove a previously set beam-ending rule by using
-
-@example
-#(revert-auto-beam-setting '(be p q n m) a b [context])
-@end example
-
-@noindent
-be, p, q, n, m, a, b and context are the same as above. Note that the
-default rules are specified in @file{scm/@/auto@/-beam@/.scm},
-so you can revert rules that you did not explicitly create.
-
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\time 4/4
-a16 a a a a a a a a a a a a a a a
-#(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
-a16 a a a a a a a a a a a a a a a
-@end lilypond
-
-The rule in a revert-auto-beam-setting statement must exactly match the
-original rule. That is, no wildcard expansion is taken into account.
-
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\time 1/4
-#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
-a16 a a a
-#(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
-a a a a
-#(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
-a a a a
-@end lilypond
-
-
-
-@c TODO: old material -- not covered by above stuff, I think.
-If automatic beams should end on every quarter in 5/4 time, specify
-all endings
-@example
-#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
-#(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
-#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
-#(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
-@dots{}
-@end example
-
-The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note
-@example
-#(override-auto-beam-setting '(end * * * *) 3 8)
-#(override-auto-beam-setting '(end * * * *) 1 2)
-#(override-auto-beam-setting '(end * * * *) 7 8)
-@end example
-In 4/4 time signature, this means that automatic beams could end only on
-3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8, has passed within the measure).
-
-If any unexpected beam behaviour occurs, check the default automatic beam
-settings in @file{scm/@/auto@/-beam@/.scm}
-for possible interference, because the beam
-endings defined there will still apply on top of your own overrides. Any
-unwanted endings in the default vales must be reverted for your time
-signature(s).
-
-For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
-with
-
-@example
-%%% revert default values in scm/auto-beam.scm regarding 12/8 time
-#(revert-auto-beam-setting '(end * * 12 8) 3 8)
-#(revert-auto-beam-setting '(end * * 12 8) 3 4)
-#(revert-auto-beam-setting '(end * * 12 8) 9 8)
-
-%%% your new values
-#(override-auto-beam-setting '(end 1 8 12 8) 3 8)
-#(override-auto-beam-setting '(end 1 8 12 8) 7 8)
-#(override-auto-beam-setting '(end 1 8 12 8) 10 8)
-@end example
-
-@cindex automatic beam generation
-@cindex autobeam
-@funindex autoBeaming
-@cindex lyrics
-
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off with @code{\autoBeamOff}.
-
-
-@refcommands
-
-@funindex \autoBeamOff
-@code{\autoBeamOff},
-@funindex \autoBeamOn
-@code{\autoBeamOn}.
-
-@commonprop
-
-Beaming patterns may be altered with the @code{beatGrouping} property,
-
-@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
-\time 5/16
-\set beatGrouping = #'(2 3)
-c8[^"(2+3)" c16 c8]
-\set beatGrouping = #'(3 2)
-c8[^"(3+2)" c16 c8]
-@end lilypond
-
-
-@refbugs
-
-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. The
-same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
->>}. If a polyphonic voice ends while an automatic beam is still
-accepting notes, it is not typeset.
-
-
@node Interpretation contexts
@section Interpretation contexts
* Key signature::
* Ottava brackets::
* Instrument transpositions::
+* Automatic accidentals::
@end menu
@node Clef
Snippets: @lsrdir{pitch}
+@node Automatic accidentals
+@unnumberedsubsubsec Automatic accidentals
+@cindex Automatic accidentals
+
+Common rules for typesetting accidentals have been placed in a
+function. This function is called as follows
+
+@funindex set-accidental-style
+@example
+#(set-accidental-style 'STYLE)
+@end example
+
+@c TODO: check the context stuff below
+@c -does it *really* work?
+@c -the default contexts as specified in
+@c scm/music-function.scm seem to be different -vv
+
+Optionally, the function can take two arguments: the name of the
+accidental style, and an optional argument that denotes the context that
+should be changed:
+
+@example
+#(set-accidental-style 'STYLE #('CONTEXT#))
+@end example
+
+If no context name is supplied, @code{Staff} is the default,
+but you may wish to apply the accidental style to a single @code{Voice}
+instead.
+
+The following accidental styles are supported:
+
+@table @code
+@item default
+This is the default typesetting behavior. It corresponds
+to 18th century common practice: Accidentals are
+remembered to the end of the measure in which they occur and
+only on their own octave.
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ %#(set-accidental-style 'default)
+ \musicA }
+ \context Staff = "down"{
+ %#(set-accidental-style 'default)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'default" }}}
+}
+@end lilypond
+
+@item voice
+The normal behavior is to remember the accidentals on
+Staff-level. This variable, however, typesets accidentals
+individually for each voice. Apart from that, the rule is similar to
+@code{default}.
+
+@example
+ \new Staff <<
+ #(set-accidental-style 'voice)
+ @{ @dots{} @}
+ >>
+@end example
+
+As a result, accidentals from one voice do not get canceled in other
+voices, which is often an unwanted result: in the following example, it
+is hard to determine whether the second @samp{a} should be played
+natural or sharp.
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'voice)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'voice)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'voice" }}}
+}
+@end lilypond
+
+The @code{voice} option should be used if the voices
+are to be read solely by individual musicians. If the staff is to be
+used by one musician (e.g., a conductor) then
+@code{modern} or @code{modern-cautionary}
+should be used instead.
+
+@item modern
+@funindex modern style accidentals
+This rule corresponds to the common practice in the 20th century. This rule
+prints the same accidentals as @code{default}, but temporary
+accidentals also are canceled in other octaves. Furthermore,
+in the same octave, they also get canceled in the following
+measure: in the following example, notice the two natural signs which appear
+in the second bar of the upper staff.
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'modern)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'modern)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'modern" }}}
+}
+@end lilypond
+
+@item @code{modern-cautionary}
+@funindex modern-cautionary
+This rule is similar to @code{modern}, but the @q{extra} accidentals
+(the ones not typeset by @code{default}) are typeset as cautionary
+accidentals. They are printed in reduced size or (by default)
+with parentheses -- this can be set by definig the @code{cautionary-style}
+property of the @internalsref{AccidentalSuggestion} object.
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'modern-cautionary)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'modern-cautionary)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'modern-cautionary" }}}
+}
+@end lilypond
+
+@funindex modern-voice
+@item modern-voice
+This rule is used for multivoice accidentals to be read both by musicians
+playing one voice and musicians playing all voices. Accidentals are
+typeset for each voice, but they @emph{are} canceled across voices in
+the same @internalsref{Staff}.
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'modern-voice)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'modern-voice)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'modern-voice" }}}
+}
+@end lilypond
+
+@funindex modern-voice-cautionary
+@item modern-voice-cautionary
+This rule is the same as @code{modern-voice}, but with the extra
+accidentals (the ones not typeset by @code{voice}) typeset
+as cautionaries. Even though all accidentals typeset by
+@code{default} @emph{are} typeset by this variable,
+some of them are typeset as cautionaries.
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'modern-voice-cautionary)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'modern-voice-cautionary)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'modern-voice-cautionary" }}}
+}
+@end lilypond
+
+@item piano
+@funindex piano accidentals
+This accidental style takes place in a GrandStaff context. However, you have to
+explicitly set it for @emph{each} individual Staff of the GrandStaff:
+
+@example
+\new GrandStaff @{ <<
+ \new Staff = "up" @{ <<
+ #(set-accidental-style 'piano)
+ @{ @dots{} @}
+ >> @}
+ \new Staff = "down"@{ <<
+ #(set-accidental-style 'piano)
+ @{ @dots{} @}
+ >> @}
+>> @}
+@end example
+
+This rule reflects 20th century practice for piano notation. Its behavior is very
+similar to @code{modern} style, but here accidentals also get canceled
+across the staves in the same @internalsref{GrandStaff} or
+@internalsref{PianoStaff}.
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'piano)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'piano)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'piano" }}}
+}
+@end lilypond
+
+@item piano-cautionary
+@funindex #(set-accidental-style 'piano-cautionary)
+Same as @code{#(set-accidental-style 'piano)} but with the extra
+accidentals typeset as cautionaries.
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'piano-cautionary)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'piano-cautionary)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'piano-cautionary" }}}
+}
+@end lilypond
+
+@item no-reset
+@funindex no-reset accidental style
+This is the same as @code{default} but with accidentals lasting
+@q{forever} and not only until the next measure:
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'no-reset)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'no-reset)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'no-reset" }}}
+}
+@end lilypond
+
+@item forget
+This is sort of the opposite of @code{no-reset}: Accidentals
+are not remembered at all -- and hence all accidentals are
+typeset relative to the key signature, regardless of what was
+before in the music
+
+@lilypond[quote,ragged-right]
+musicA = { << \relative { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | } >> }
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4
+ \change Staff = up cis' \change Staff = down <fis, a>
+ \change Staff = up dis' | \change Staff = down <fis, a cis>4 gis
+ <f a d>2 | } }}
+
+\score {
+ \new PianoStaff {
+ << \context Staff = "up" {
+ #(set-accidental-style 'forget)
+ \musicA }
+ \context Staff = "down"{
+ #(set-accidental-style 'forget)
+ \musicB } >> }
+ \header { piece = \markup {\fill-line { \fontsize #3 "'forget" }}}
+}
+@end lilypond
+@end table
+
+
+@seealso
+
+Program reference: @internalsref{Accidental_engraver},
+@internalsref{Accidental}, @internalsref{AccidentalSuggestion} and @internalsref{AccidentalPlacement}.
+
+
+@refbugs
+
+Simultaneous notes are considered to be entered in sequential
+mode. This means that in a chord the accidentals are typeset as if the
+notes in the chord happen one at a time, in the order in which
+they appear in the input file. This is a problem when accidentals
+in a chord depend on each other,
+which does not happen for the default accidental style. The problem
+can be solved by manually inserting @code{!} and @code{?} for the
+problematic notes.
+
+
+
@seealso
For ways of specifying durations for the syllables of lyrics
-and ways of aligning lyrics to notes see
-This manual: @ref{Vocal music}
+and ways of aligning lyrics to notes see @ref{Vocal music}
-For a description of how to enter rests see
-This manual: @ref{Writing rests}
+For a description of how to enter rests see @ref{Writing rests}
A note with the duration of a quadruple breve may be
entered with \maxima, but this is supported only within
-ancient music notation.
-See this manual: @ref{Ancient notation}
+ancient music notation. See @ref{Ancient notation}
Optionally, notes can be spaced proportionately to their duration.
For details of this and other settings which control
@code{TupletNumber} and denominator text for the
@code{TupletNumber} of the first of the three inner tuplets.
-@lilypond[quote,ragged-right,verbatim,relative=2]
-\new Staff {
- \tweak #'text #tuplet-number::calc-fraction-text
- \times 4/3 {
- \tweak #'text #tuplet-number::calc-denominator-text
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
- }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\tweak #'text #tuplet-number::calc-fraction-text
+\times 4/3 {
+ \tweak #'text #tuplet-number::calc-denominator-text
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
}
@end lilypond
in the usual way to position the @code{TupletBrackets} of the
second and third of the inner tuplets below the staff.
-@lilypond[quote,ragged-right,verbatim,relative=2]
-\new Staff {
- \tweak #'text #tuplet-number::calc-fraction-text
- \tweak #'direction #up
- \times 4/3 {
- \tweak #'direction #down
- \times 2/3 { c8[ c8 c8] }
- \override TupletBracket #'direction = #down
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
- }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\tweak #'text #tuplet-number::calc-fraction-text
+\tweak #'direction #up
+\times 4/3 {
+ \tweak #'direction #down
+ \times 2/3 { c8[ c8 c8] }
+ \override TupletBracket #'direction = #down
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
}
@end lilypond
@node Scaling durations
@unnumberedsubsubsec Scaling durations
-You can alter the length of duration by a fraction @var{N/M}
-appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).
+You can alter the length of a duration by a fraction @var{N/M}
+by appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).
This will not affect the appearance of the notes or rests
-produced. These may be combined such as @samp{*M*N}.
+produced, but the altered duration will be used in calculating the
+position within the bar and setting the duration in the MIDI
+output. Multiplying factors may be combined
+such as @samp{*M*N}.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
b16*4 c4
@end lilypond
+The duration of skip or spacing notes may also be modified by
+a multiplier. This is useful for skipping many bars, e.g.,
+@samp{s1*23}.
@seealso
-This manual: @ref{Tuplets}.
+This manual: @ref{Tuplets}, @ref{Skips}.
Multi-measure rests are principally used to indicate
that a part in a multi-part score should be silent:
-@c Ragged-right is omitted here as otherwise
-@c the annotation collides. When a better
-@c way of avoiding collisions is discovered this
-@c example should be changed
-@c TODO But leaving it out seems to have no effect!!
-@lilypond[quote,fragment,verbatim]
-{
- \set Score.skipBars = ##t
- R1*4^"Instrumental"
- R1*24^"Solo"
- R1*4^"Instrumental"
- b'2^"Tutti" b'4 a'4
-}
+@lilypond[quote,fragment,verbatim,relative=2]
+\set Score.skipBars = ##t
+R1*4
+R1*24
+R1*4
+b2^"Tutti" b4 a4
@end lilypond
A multi-measure rest can be expanded in the printed score
or breve rest, centered in the measure, regardless of the time
signature.
-@c TODO: add link to @rglos{church rests}
-
If there are 10 or fewer measures of rest, LilyPond prints
-@notation{church rests} (a series of longa and breve rests)
+@rglos{church rests} (a series of longa and breve rests)
in the staff and
prints a simple line otherwise. This default number of 10
may be changed by overriding
R2.^\fermataMarkup
@end lilypond
-Warning! This text is created by @code{MultiMeasureRestText}, not
-@code{TextScript}.
+@warning{Text attached to a multi-measure rest is created
+by @code{MultiMeasureRestText}, not
+@code{TextScript}. Overrides must be directed to the correct
+object, or they will be ignored. See the following example.}
@lilypond[quote,ragged-right,verbatim,fragment]
\override TextScript #'padding = #5
@end lilypond
Text attached to a multi-measure rest will be centered above
-(or below) it. Long text attached in this way will not cause
+(or below) it. Long text attached in this way does not cause
the bar to expand, and may collide with text in adjacent bars.
Long text is better attached to a zero-length skip note preceding
-the rest, preceded by @code{\fatText}, since this will
-cause the bar to expand to accommodate
-the length of the text:
+the rest, preceded by @code{\fatText}, since this will cause the
+bar to expand to accommodate the length of the text:
@lilypond[quote,ragged-right,verbatim,fragment]
\set Score.skipBars = ##t
* Unmetered music::
* Polymetric notation::
* Automatic note splitting::
+* Setting automatic beam behavior::
@end menu
@node Time signature
\time 2/2 c1
@end lilypond
+A time signature is normally printed whenever the time signature
+changes. If this takes place at the end of a line a warning time
+signature sign is printed at the end of the line and again at the
+start of a new line. This default behaviour can be modified by
+setting the value of the @code{break-visibility} property. This
+takes three values which may be set to @code{#t} or @code{#f} to
+specify whether the corresponding time signature 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}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+\time 4/4 c1
+\time 3/4 c2.
+% Do not print following time signatures
+\override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
+\time 9/8 c4. c c
+\time 2/2 c1
+% Do not print a time signature at start of the next line
+\once \override Staff.TimeSignature #'break-visibility = ##(#t #t #f)
+\break
+\time 9/8 c4. c c
+\time 12/8 c2. c2.
+@end lilypond
+
There are many more options for its layout. See @ref{Ancient time
signatures}, for more examples.
Program reference: @internalsref{Completion_heads_engraver}.
+@node Setting automatic beam behavior
+@unnumberedsubsubsec Setting automatic beam behavior
+
+@funindex autoBeamSettings
+@funindex (end * * * *)
+@funindex (begin * * * *)
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
+
+@c [TODO: use \applyContext]
+
+In normal time signatures, automatic beams can start on any note but can
+only end in a few positions within the measure: beams can end on a beat,
+or at durations specified by the properties in
+@code{autoBeamSettings}. The properties in @code{autoBeamSettings}
+consist of a list of rules for where beams can begin and end. The
+default @code{autoBeamSettings} rules are defined in
+@file{scm/@/auto@/-beam@/.scm}.
+
+In order to add a rule to the list, use
+@example
+#(override-auto-beam-setting '(be p q n m) a b [context])
+@end example
+
+@itemize
+
+@item @code{be} is either "begin" or "end".
+
+@item @code{p/q} is the duration of the note for which you want
+to add a rule. A beam is considered to have the duration of its
+shortest note. Set @code{p} and @code{q} to @code{'*'} to
+have this apply to any beam.
+
+@item @code{n/m} is the time signature to which
+this rule should apply. Set @code{n} and @code{m} to @code{'*'}
+to have this apply in any time signature.
+
+@item @code{a/b} is the position in the bar at which the beam should
+begin/end.
+
+@item @code{context} is optional, and it specifies the context at which
+the change should be made. The default is @code{'Voice}.
+@code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
+@code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
+
+@end itemize
+
+For example, if automatic beams should always end on the first quarter
+note, use
+
+@example
+#(override-auto-beam-setting '(end * * * *) 1 4)
+@end example
+
+You can force the beam settings to only take effect on beams whose shortest
+note is a certain duration
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 2/4
+#(override-auto-beam-setting '(end 1 16 * *) 1 16)
+a16 a a a a a a a |
+a32 a a a a16 a a a a a |
+#(override-auto-beam-setting '(end 1 32 * *) 1 16)
+a32 a a a a16 a a a a a |
+@end lilypond
+
+You can force the beam settings to only take effect in certain time
+signatures
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 5/8
+#(override-auto-beam-setting '(end * * 5 8) 2 8)
+c8 c d d d
+\time 4/4
+e8 e f f e e d d
+\time 5/8
+c8 c d d d
+@end lilypond
+
+You can also remove a previously set beam-ending rule by using
+
+@example
+#(revert-auto-beam-setting '(be p q n m) a b [context])
+@end example
+
+@noindent
+be, p, q, n, m, a, b and context are the same as above. Note that the
+default rules are specified in @file{scm/@/auto@/-beam@/.scm},
+so you can revert rules that you did not explicitly create.
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 4/4
+a16 a a a a a a a a a a a a a a a
+#(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
+a16 a a a a a a a a a a a a a a a
+@end lilypond
+
+The rule in a revert-auto-beam-setting statement must exactly match the
+original rule. That is, no wildcard expansion is taken into account.
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 1/4
+#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
+a16 a a a
+#(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
+a a a a
+#(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
+a a a a
+@end lilypond
+
+
+
+@c TODO: old material -- not covered by above stuff, I think.
+If automatic beams should end on every quarter in 5/4 time, specify
+all endings
+@example
+#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
+#(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
+#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
+#(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
+@dots{}
+@end example
+
+The same syntax can be used to specify beam starting points. In this
+example, automatic beams can only end on a dotted quarter note
+@example
+#(override-auto-beam-setting '(end * * * *) 3 8)
+#(override-auto-beam-setting '(end * * * *) 1 2)
+#(override-auto-beam-setting '(end * * * *) 7 8)
+@end example
+In 4/4 time signature, this means that automatic beams could end only on
+3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
+3/8, has passed within the measure).
+
+If any unexpected beam behaviour occurs, check the default automatic beam
+settings in @file{scm/@/auto@/-beam@/.scm}
+for possible interference, because the beam
+endings defined there will still apply on top of your own overrides. Any
+unwanted endings in the default vales must be reverted for your time
+signature(s).
+
+For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
+with
+
+@example
+%%% revert default values in scm/auto-beam.scm regarding 12/8 time
+#(revert-auto-beam-setting '(end * * 12 8) 3 8)
+#(revert-auto-beam-setting '(end * * 12 8) 3 4)
+#(revert-auto-beam-setting '(end * * 12 8) 9 8)
+
+%%% your new values
+#(override-auto-beam-setting '(end 1 8 12 8) 3 8)
+#(override-auto-beam-setting '(end 1 8 12 8) 7 8)
+#(override-auto-beam-setting '(end 1 8 12 8) 10 8)
+@end example
+
+@cindex automatic beam generation
+@cindex autobeam
+@funindex autoBeaming
+@cindex lyrics
+
+If beams are used to indicate melismata in songs, then automatic
+beaming should be switched off with @code{\autoBeamOff}.
+
+
+@refcommands
+
+@funindex \autoBeamOff
+@code{\autoBeamOff},
+@funindex \autoBeamOn
+@code{\autoBeamOn}.
+
+@commonprop
+
+Beaming patterns may be altered with the @code{beatGrouping} property,
+
+@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
+\time 5/16
+\set beatGrouping = #'(2 3)
+c8[^"(2+3)" c16 c8]
+\set beatGrouping = #'(3 2)
+c8[^"(3+2)" c16 c8]
+@end lilypond
+
+
+@refbugs
+
+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. The
+same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
+>>}. If a polyphonic voice ends while an automatic beam is still
+accepting notes, it is not typeset.
+
+
@node Beams
c c c c
@end lilypond
-Entered music is
+@warning{Entered music is
automatically broken into lines, but this happens only at
manually inserted barlines or at automatically inserted barlines
where these occur at the
end of complete bars, i.e. where the end of a note coincides
with the end of a bar. If this never happens, perhaps due to
an error in entering durations, the outputted music can appear
-very compressed as no place can be found to make a line break.
+very compressed as no place can be found to make a line break.}
To allow a line break without printing a barline, use
Bar numbers may only be printed at barlines; to print a bar
number at the beginning of a piece, an empty barline must be
-inserted there:
+inserted there, and a value other than @code{1} must be placed
+in @code{currentBarNumber}:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
\set Score.currentBarNumber = #50
\repeat unfold 4 {c4 c c c}
@end lilypond
-Bar numbers can be typeset at regular intervals instead of at the
-beginning of every line. This is illustrated in the following
-example, which also shows how to enclose bar numbers in boxes and
-circles.
+Bar numbers can be typeset at regular intervals instead of just
+at the beginning of every line. To do this the default
+behaviour 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 @samp{#t} or @samp{#f} to
+specify whether the a corresponding bar number is visible or not.
+The order of the three values is @samp{end of line visible, middle
+of line visible, beginning of line visible}. In the following
+example bar numbers are printed at all possible places:
+
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+\set Score.currentBarNumber = #11
+\bar "" % Permit first bar number to be printed
+c1 c c c c
+\break
+c c c c c
+@end lilypond
+
+@noindent
+and here the bar numbers are printed every two bars
+except at the end of the line:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
-% Avoid printing a bar number at the end of a line
-\override Score.BarNumber #'break-visibility = #end-of-line-invisible
+\override Score.BarNumber #'break-visibility = ##(#f #t #t)
+\set Score.currentBarNumber = #11
+\bar "" % Permit first bar number to be printed
+% Print a bar number every 2nd bar
+\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
+c1 c c c c
+\break
+c c c c c
+@end lilypond
+
+The size of the bar number may be changed. This is illustrated
+in the following example, which also shows how to enclose bar
+numbers in boxes and circles, and shows an alternative way
+of specifying @samp{#(#f #t #t)} for @code{break-visibility}.
-% Print a bar number every 3th bar
-\set Score.barNumberVisibility = #(every-nth-bar-number-visible 3)
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+% Prevent bar numbers at the end of a line and permit them elsewhere
+\override Score.BarNumber #'break-visibility
+ = #end-of-line-invisible
% Increase the size of the bar number by 2
\override Score.BarNumber #'font-size = #2
+\repeat unfold 3 { c1 } \bar "|"
% Draw a box round the following bar number(s)
\override Score.BarNumber #'stencil
- = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
-\repeat unfold 5 { c1 } \bar "|"
+ = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
+\repeat unfold 3 { c1 } \bar "|"
% Draw a circle round the following bar number(s)
\override Score.BarNumber #'stencil
\repeat unfold 4 { c1 } \bar "|."
@end lilypond
+Bar numbers by default are left-aligned to their parent object.
+This is usually the left edge of a line or, if numbers are printed
+within a line, the left barline of the bar. The numbers may also
+be positioned directly on the barline or right-aligned to the
+barline:
+
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\set Score.currentBarNumber = #111
+\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+% Increase the size of the bar number by 2
+\override Score.BarNumber #'font-size = #2
+% Print a bar number every 2nd bar
+\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
+c1 c1
+% Centre-align bar numbers
+\override Score.BarNumber #'self-alignment-X = #0
+c1 c1
+% Right-align bar numbers
+\override Score.BarNumber #'self-alignment-X = #-1
+c1 c1
+@end lilypond
+
Bar numbers can be removed entirely by removing the Bar number
engraver from the score context.
Program reference: @internalsref{BarNumber}.
-Examples: @lsrdir{staff}
+Examples: @lsrdir{bar number}
@refbugs
and @code{\appoggiatura}, as demonstrated in the following example
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+b4 \acciaccatura d8 c4
+\appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
@refbugs
+A multi-note beamed acciaccatura is printed without a slash,
+and looks exactly the same as a multi-note beamed appoggiatura.
+@c TODO Add link to LSR snippet to add slash when available
+
Grace note synchronization can also lead to surprises. Staff
notation, such as key signatures, barlines, etc., are also
synchronized. Take care when you mix staves with grace notes and
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