From: Carl Sorensen <c_sorensen@byu.edu>
Date: Fri, 15 Aug 2008 19:16:00 +0000 (-0600)
Subject: Merge branch 'master' of carldsorensen@git.sv.gnu.org:/srv/git/lilypond
X-Git-Tag: release/2.11.57-1~44^2~14
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=b021329ee1e72a5f7cf92a9228e03877238883a7;hp=-c;p=lilypond.git

Merge branch 'master' of carldsorensen@git.sv.gnu.org:/srv/git/lilypond
---

b021329ee1e72a5f7cf92a9228e03877238883a7
diff --combined Documentation/user/rhythms.itely
index fb752a0063,c92b4d54a0..1b0d580bf5
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@@ -267,7 -267,7 +267,7 @@@ Learning Manual: @rlearning{Tweaking me
  Notation Reference:
  @ref{Time administration},
  @ref{Scaling durations},
- @ref{Objects connected to the input},
+ @ref{The tweak command},
  @ref{Polymetric notation}.
  
  Snippets:
@@@ -799,12 -799,15 +799,12 @@@ setting, resulting bar-check warnings m
  @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
  {positioning-multi--measure-rests.ly}
  
 -@c TODO -- convert to snippet
 +@c TODO -- convert to snippet -- submitted to Neil
  Markups attached to a multi-measure rest will be centered above or
  below it.  Long markups attached to multi-measure rests do not cause
  the measure to expand. To expand a multi-measure rest to fit the markup,
  use a spacer rest with an attached markup before the multi-measure rest:
  
 -@c -- music is somewhat compressed vertically.  I thought it
 -@c    was good because the emphasis is not on the content
 -@c    of the markup, but on the place the markup was attached -cs
  @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
  \compressFullBarRests
  \textLengthOn
@@@ -1079,6 -1082,17 +1079,6 @@@ Internal Reference
  
  @cindex grace notes, in anacruses
  
 -This command does not take into account grace notes at the start
 -of the music.  If the pick-up starts with one or more grace
 -notes, then the @code{\partial} should follow the grace note(s):
 -
 -@lilypond[verbatim,quote,ragged-right,relative,fragment]
 -\grace f16
 -\partial 4
 -g4
 -a2 g2
 -@end lilypond
 -
  The @code{\partial} command is intended to be used only at the
  beginning of a piece.  If you use it after the beginning, some
  odd warnings may occur.
@@@ -1163,6 -1177,38 +1163,6 @@@ to indicate where breaks can occur
  Polymetric notation is supported, either explicitly or through
  clever use of markup features.
  
 -@c Each of these examples uses \set or \override, and therefore
 -@c by policy should be converted to a snippet.
 -@c Do we want to have a section with a very brief (two-line 
 -@c introduction, and have most of the content be in snippets?
 -
 -@strong{Alternating time signatures}
 -
 -Regularly alternating double time signatures are not supported
 -explicitly, but they can be faked.  In the next example, the
 -double time signature is created with markup text, while the
 -real time signature is set in the usual way with @code{\time}.
 -
 -@lilypond[verbatim,ragged-right]
 -% Create 9/8 split into 2/4 + 5/8
 -tsMarkup = \markup {
 -  \override #'(baseline-skip . 2) \number {
 -    \column { "2" "4" }
 -    \vcenter "+"
 -    \bracket \column { "5" "8" }
 -  }
 -}
 -
 -{
 -  \override Staff.TimeSignature #'stencil =
 -    #ly:text-interface::print
 -  \override Staff.TimeSignature #'text = #tsMarkup
 -  \time 9/8
 -  c'2 \bar ":" c'4 c'4.
 -  c'2 \bar ":" c'4 c'4.
 -}
 -@end lilypond
 -
  @strong{Staves with different time signatures, equal measure lengths}
  
  This notation can be created by setting a common time signature
@@@ -1203,6 -1249,9 +1203,6 @@@ staff, shown durations are multiplied b
  >> }
  @end lilypond
  
 -@c I guess this example doesn't use \set or \override, and so
 -@c could stay in the manual.
 -
  @strong{Staves with different time signatures, unequal bar lengths}
  
  Each staff can be given its own independent time signature by
@@@ -1246,37 -1295,6 +1246,37 @@@ moving the @code{Timing_translator} to 
  >>
  @end lilypond
  
 +@snippets
 +
 +@c TODO -- Convert to snippet. -- Sent to Neil 8/14/08
 +
 +@strong{Alternating time signatures}
 +
 +Regularly alternating double time signatures are not supported
 +explicitly, but they can be faked.  In the next example, the
 +double time signature is created with markup text, while the
 +real time signature is set in the usual way with @code{\time}.
 +
 +@lilypond[verbatim,ragged-right]
 +% Create 9/8 split into 2/4 + 5/8
 +tsMarkup = \markup {
 +  \override #'(baseline-skip . 2) \number {
 +    \column { "2" "4" }
 +    \vcenter "+"
 +    \bracket \column { "5" "8" }
 +  }
 +}
 +
 +{
 +  \override Staff.TimeSignature #'stencil =
 +    #ly:text-interface::print
 +  \override Staff.TimeSignature #'text = #tsMarkup
 +  \time 9/8
 +  c'2 \bar ":" c'4 c'4.
 +  c'2 \bar ":" c'4 c'4.
 +}
 +@end lilypond
 +
  
  @seealso
  
@@@ -1294,7 -1312,7 +1294,7 @@@ Snippets
  
  Internals Reference:
  @rinternals{TimeSignature},
- @rinternals{Timing-translator},
+ @rinternals{Timing_translator},
  @rinternals{Staff}.
  
  @knownissues
@@@ -1332,6 -1350,13 +1332,6 @@@ inserts ties.  One of its uses is to de
  measures are not entirely filled, then the ties show exactly how
  much each measure is off.
  
 -To allow line breaking on the bar lines where the
 -@code{Completion_heads_engraver} has inserted a split note, remove
 -the @code{Forbid_line_break_engraver} too.
 -
 -TODO -- find example that shows the above paragraph.  I can't make
 -the Forbid_line_break_engraver have any effect in my examples (cs).
 -Does the Forbid_line_break_engraver still have the claimed effect?
  @seealso
  
  Music Glossary: @rglos{tie}
@@@ -1366,116 -1391,16 +1366,116 @@@ Sometimes you might want to show only t
  can be done with the rhythmic staff.  All pitches of notes on such a
  staff are squashed, and the staff itself has a single line
  
 -@c TODO Devise a more realistic example, perhaps with lyrics -td
  @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
 -\new RhythmicStaff {
 -  \time 4/4
 -  c4 e8 f g2 | r4 g r2 | g1 | r1 |
 -}
 +<<
 +  \new RhythmicStaff {
 +    \new Voice = "myRhythm" {
 +      \time 4/4
 +      c4 e8 f g2
 +      r4 g g f
 +      g1
 +    }
 +  }
 +  \new Lyrics {
 +    \lyricsto "myRhythm" {
 +      This is my song
 +      I like to sing
 +    }
 +  }
 +>>
 +@end lilypond
 +
 +Guitar chord charts often show the strumming rhythms.  This can
 +be done with the @code{Pitch_squash_engraver} and
 +@code{\improvisationOn}.
 +
 + 
 +@lilypond[quote,verbatim]
 +<<
 +  \new ChordNames {
 +    \chordmode {
 +      c1 f g c
 +    }
 +  }
 +
 +  \new Voice \with {
 +    \consists Pitch_squash_engraver
 +  } \relative c'' {
 +    \improvisationOn
 +    c4 c8 c c4 c8 c
 +    f4 f8 f f4 f8 f
 +    g4 g8 g g4 g8 g
 +    c4 c8 c c4 c8 c
 +  }
 +>>
  @end lilypond
  
 -TODO -- put example in with multiple lines as well (used for strumming
 -rhythms in guitar)
 +@predefined
 +@code{\improvisationOn},
 +@code{\improvisationOff}.
 +
 +@snippets
 +@c TODO -- Convert to snippet;
 +@c     tag for both Rhythms and Guitar? Move to @seealso?
 +
 +For guitar music, it is possible to show strum rhythms, along
 +with melody notes, chord names, and fret diagrams.
 +
 +
 +@lilypond[quote,verbatim]
 +\include "predefined-guitar-fretboards.ly"
 +<<
 +  \new ChordNames {
 +    \chordmode {
 +      c1 f g c
 +    }
 +  }
 +
 +  \new FretBoards {
 +    \chordmode {
 +      c1 f g c
 +    }
 +  }
 +
 +  
 +  \new Voice \with {
 +    \consists Pitch_squash_engraver
 +  } \relative c'' {
 +    \improvisationOn
 +    c4 c8 c c4 c8 c
 +    f4 f8 f f4 f8 f
 +    g4 g8 g g4 g8 g
 +    c4 c8 c c4 c8 c
 +  }
 +
 +
 +  \new Voice = "melody" {
 +    \relative c'' {
 +      \improvisationOff
 +      c2 e4 e4 
 +      f2. r4
 +      g2. a4
 +      e4 c2.
 +    }
 +  }
 + 
 +  \new Lyrics {
 +    \lyricsto "melody" {
 +      This is my song.
 +      I like to sing.
 +    }
 +  }
 +>>
 +@end lilypond
 +
 +@seealso
 +
 +Snippets:
 +@rlsr{Rhythms}.
 +
 +Internals Reference:
 +@rinternals{RhythmicStaff},
 +@rinternals{Pitch_squash_engraver}.
  
  @node Beams
  @subsection Beams
@@@ -1521,9 -1446,6 +1521,9 @@@ c4 c8 c8. c16 c8
  c16 c8
  @end lilypond
  
 +@predefined
 +@code{\autoBeamOff},
 +@code{\autoBeamOn}.
  
  @snippets
  
@@@ -1605,12 -1527,7 +1605,12 @@@ f8 f''8 f8 f''
  
  @seealso
  
 -Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
 +Notation Reference: 
 +@ref{Manual beams}, 
 +@ref{Setting automatic beam behavior}.
 +
 +Installed Files:
 +@file{scm/auto-beam.scm}.
  
  Snippets:
  @rlsr{Rhythms}.
@@@ -2466,21 -2383,18 +2466,21 @@@ For common tweaks to the positioning o
  
  @seealso
  
 -Snippets:
 -@rlsr{Rhythms}.
 -
 -This manual: @ref{The Feta font}, @ref{Formatting text}.
 -
 -Internals Reference: @rinternals{RehearsalMark}.
 +This manual: 
 +@ref{The Feta font}, 
 +@ref{Formatting text}.
  
 -Init files: @file{scm/@/translation@/-functions@/.scm} contains
 +Installed Files: 
 +@file{scm/@/translation@/-functions@/.scm} contains
  the definition of @code{format-mark-numbers} and
  @code{format-mark-letters}.  They can be used as inspiration for
  other formatting functions.
  
 +Snippets:
 +@rlsr{Rhythms}.
 +
 +Internals Reference: @rinternals{RehearsalMark}.
 +
  Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
  
  @node Special rhythmic concerns
@@@ -2502,35 -2416,42 +2502,35 @@@
  @cindex appoggiatura
  @cindex acciaccatura
  
 -Grace notes are ornaments that are written out. They are made with
 -the @code{\grace} command.  By prefixing this keyword to a music
 -expression, a new one is formed, which will be printed in a
 -smaller font and takes up no logical time in a measure.
 +Grace notes are ornaments that are written out. Grace notes
 +are printed in a smaller font and take up no logical time 
 +in a measure.
  
  @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
  c4 \grace c16 c4
 -\grace { c16[ d16] } c2 c4
 +\grace { c16[ d16] } c2
  @end lilypond
  
 -Two special forms of the @code{\grace} command exist.
 -An @emph{acciaccatura}, which should be played as very short,
 -is denoted by a slurred small note with a slashed stem.  The
 -@emph{appoggiatura}, a grace note that takes a fixed fraction of the
 -main note, is denoted as a slurred note in small print without
 -a slash.  They are entered with the commands @code{\acciaccatura}
 -and @code{\appoggiatura}, as demonstrated in the following
 -example:
 +Lilypond also supports two special types of grace notes, the 
 +@emph{acciaccatura}--an unmeasured grace note indicated by a slurred 
 +small note with a slashed stem--and the @emph{appoggiatura}, which 
 +takes a fixed fraction of the main note and appears in small print 
 +without a slash. 
  
  @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 -b4 \acciaccatura d8 c4
 +\grace c8 b4 
 +\acciaccatura d8 c4
  \appoggiatura e8 d4
  \acciaccatura { g16[ f] } e4
  @end lilypond
  
 -@noindent
 -@code{\acciaccatura} and @code{\appoggiatura} start a slur,
 -@code{\grace} does not.
 -
  The placement of grace notes is synchronized between different
  staves.  In the following example, there are two sixteenth grace
  notes for every eighth grace note
  
  @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 -<< \new Staff { e4 \grace { c16[ d e f] } e4 }
 -   \new Staff { c4 \grace { g8[ b] } c4 } >>
 +<< \new Staff { e2 \grace { c16[ d e f] } e2 }
 +   \new Staff { c2 \grace { g8[ b] } c2 } >>
  @end lilypond
  
  @funindex \afterGrace
@@@ -2542,40 -2463,28 +2542,40 @@@ command.  It takes two arguments: the m
  notes following the main note.
  
  @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 -c1 \afterGrace d1 { c16[ d] } c4
 +c1 \afterGrace d1 { c16[ d] } c1
  @end lilypond
  
 -This will put the grace notes after a @q{space} lasting 3/4 of the
 -length of the main note.  The fraction 3/4 can be changed by
 -setting @code{afterGraceFraction}.  The following example will put
 -the grace note at 7/8 of the main note.
 +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.
  
  @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 -#(define afterGraceFraction (cons 15 16))
 -c1 \afterGrace d1 { c16[ d] } c4
 +<<
 +  \new Staff {
 +    c1 \afterGrace d1 { c16[ d] } c1
 +  }
 +  \new Staff {
 +    #(define afterGraceFraction (cons 15 16))
 +    c1 \afterGrace d1 { c16[ d] } c1
 +  }
 +  \new Staff {
 +    #(define afterGraceFraction (cons 1 2))
 +    c1 \afterGrace d1 { c16[ d] } c1
 +  }
 +>>
  @end lilypond
  
  The space between the main note and the grace note may also be
  specified using spacers. The following example places the grace
 -note at 7/8 of the main note.
 +note after a space lasting 7/8 of the main note.
  
  @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
  \new Voice {
    << { d1^\trill_( }
       { s2 s4. \grace { c16[ d] } } >>
 -  c4)
 +  c1)
  }
  @end lilypond
  
@@@ -2594,7 -2503,7 +2594,7 @@@ direction is overriden and then reverte
      f16->
      \stemNeutral
    }
 -  g4
 +  g4 e c2
  }
  @end lilypond
  
@@@ -2604,8 -2513,8 +2604,8 @@@
  
  @snippets
  
 -The slash through the stem in @emph{acciaccatura}s can be obtained in
 -other situations:
 +The slash through the stem found in @emph{acciaccatura}s can be applied 
 +in other situations:
  
  @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
  \relative c'' {
@@@ -2625,9 -2534,10 +2625,9 @@@ that stems do not always point up
      #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
      #(remove-grace-property 'Voice 'Stem 'direction)
      \new Voice {
 -       \acciaccatura {
 -       f16
 -       }
 -     g4
 +       \acciaccatura { f16 } g4 
 +       \grace { d16[ e] } f4
 +       \appoggiatura { a,32[ b c d] } e2
      }
    }
  }
@@@ -2637,7 -2547,7 +2637,7 @@@ Another option is to change the variabl
  @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
  @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
  @code{stopAppoggiaturaMusic}.  The default values of these can be
 -seen in the file @file{ly/@/grace@/-init@/.ly}.  By redefining
 +seen in the file @code{ly/@/grace@/-init@/.ly}.  By redefining
  them other effects may be obtained.
  
  Grace notes may be forced to align with regular notes
@@@ -2665,11 -2575,10 +2665,11 @@@ in other staves
  Music Glossary:
  @rglos{grace notes},
  @rglos{acciaccatura},
 -@rglos{appoggiatura}
 +@rglos{appoggiatura}.
  
 -Snippets:
 -@rlsr{Rhythms}.
 +Installed Files: @file{ly/@/grace@/-init@/.ly}.
 +
 +Snippets: @rlsr{Rhythms}.
  
  Internals Reference: @rinternals{GraceMusic}.
  
@@@ -2687,8 -2596,8 +2687,8 @@@ synchronized.  Take care when you mix s
  staves without, for example,
  
  @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 -<< \new Staff { e4 \bar "|:" \grace c16 d4 }
 -   \new Staff { c4 \bar "|:" d4 } >>
 +<< \new Staff { e4 \bar "|:" \grace c16 d2. }
 +   \new Staff { c4 \bar "|:" d2. } >>
  @end lilypond
  
  @noindent
@@@ -2696,8 -2605,8 +2696,8 @@@ This can be remedied by inserting grac
  durations in the other staves.  For the above example
  
  @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
 -<< \new Staff { e4 \bar "|:" \grace c16 d4 }
 -   \new Staff { c4 \bar "|:" \grace s16 d4 } >>
 +<< \new Staff { e4 \bar "|:" \grace c16 d2. }
 +   \new Staff { c4 \bar "|:" \grace s16 d2. } >>
  @end lilypond
  
  Grace sections should only be used within sequential music
@@@ -2719,19 -2628,20 +2719,19 @@@ cadenza, otherwise they will start too 
  A solution to this problem is to use the functions
  @code{mmrest-of-length} and @code{skip-of-length}.  These Scheme
  functions take a piece of music as argument, and generate a multi-measure
 -rest or @code{\skip}, exactly as long as the piece.  The use of
 -@code{mmrest-of-length} is demonstrated in the following example.
 +rest or @code{\skip}, exactly as long as the piece.  
  
  @lilypond[verbatim,ragged-right,quote]
  cadenza = \relative c' {
 -  c4 d8 << { e f g } \\ { d4. } >>
 -  g4 f2 g4 g
 +  c4 d8 e f g g4 
 +  f2 g4 g
  }
  
  \new GrandStaff <<
 -  \new Staff { \cadenza c'4 }
 +  \new Staff { \cadenza c'1 }
    \new Staff {
      #(ly:export (mmrest-of-length cadenza))
 -    c'4
 +    c'1
    }
  >>
  @end lilypond