From b392daf36980760e67508a3c08b99160b625b994 Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Mon, 19 May 2008 21:45:49 -0700 Subject: [PATCH] Update from Carl. --- Documentation/user/rhythms.itely | 196 +++++++++++++++---------------- 1 file changed, 93 insertions(+), 103 deletions(-) diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely index b6a4dd4d9f..b6437f871c 100644 --- a/Documentation/user/rhythms.itely +++ b/Documentation/user/rhythms.itely @@ -43,12 +43,12 @@ days ago). Text left in Snippets: with TODO. This section discusses rhythms, rests, durations, beaming and bars. @menu -* Writing rhythms:: -* Writing rests:: -* Displaying rhythms:: -* Beams:: -* Bars:: -* Special rhythmic concerns:: +* Writing rhythms:: +* Writing rests:: +* Displaying rhythms:: +* Beams:: +* Bars:: +* Special rhythmic concerns:: @end menu @@ -56,10 +56,10 @@ This section discusses rhythms, rests, durations, beaming and bars. @subsection Writing rhythms @menu -* Durations:: -* Tuplets:: -* Scaling durations:: -* Ties:: +* Durations:: +* Tuplets:: +* Scaling durations:: +* Ties:: @end menu @node Durations @@ -141,7 +141,7 @@ proportional notation, see @ref{Proportional notation}. @funindex \dotsNeutral Dots are normally moved up to avoid staff lines, except in -polyphonic situations. Predefined commands are available to +polyphonic situations. Predefined commands are available to force a particular direction manually, for details see @ref{Controlling direction and placement}. @@ -210,7 +210,6 @@ the notes are 2/3 of their written length. @lilypond[quote,ragged-right,fragment,verbatim,relative=2] a2 \times 2/3 { b4 b b } c4 c \times 2/3 { b4 a g } - @end lilypond @funindex \tupletUp @@ -285,7 +284,7 @@ Internals Reference: @knownissues @cindex grace notes within tuplet brackets -When the very first note on a staff is a grace note followed by a +When the first note on a staff is a grace note followed by a tuplet the grace note must be placed before the @code{\times} command to avoid errors. Anywhere else, grace notes may be placed within tuplet brackets. @@ -329,21 +328,13 @@ a multiplier. This is useful for skipping many measures, e.g., @cindex compressing music @funindex \compressMusic -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 multiplier. The general syntax of the command to do this -is: - -@example -\compressMusic #'(@emph{num} . @emph{den}) @{ @emph{music} @} -@end example - -@noindent -This will leave the appearance of @emph{music} unchanged but +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 +multiplier. This leaves the appearance of the music unchanged but the internal duration of the notes will be multiplied by the -fraction @emph{num}/@emph{den}. The spaces around the dot -are required. Here is an example showing how music can be -compressed and expanded: +fraction @emph{num}/@emph{den}. The spaces around the dot are +required. Here is an example showing how music can be compressed +and expanded: @lilypond[quote,fragment,relative=2,ragged-right,verbatim] \time 2/4 @@ -392,7 +383,7 @@ duration, similar to the augmentation dot.} A tie is entered using the tilde symbol @code{~} @lilypond[quote,ragged-right,fragment,verbatim] -e' ~ e' +e'2 ~ e' @end lilypond @@ -454,7 +445,7 @@ piano, harp and other string and percussion instruments. They can be entered as follows: @lilypond[fragment,quote,ragged-right,verbatim,relative=1] -\laissezVibrer +1\laissezVibrer @end lilypond @cindex ties, placement @@ -528,9 +519,9 @@ well-defined. In these cases, a slur may be preferable. @subsection Writing rests @menu -* Rests:: -* Skips:: -* Full measure rests:: +* Rests:: +* Skips:: +* Full measure rests:: @end menu @node Rests @@ -652,8 +643,8 @@ short empty measures: @end lilypond However, the predefined skip command behaves differently: it is -merely an empty musical placeholder. It does not create any -contexts and does not cause anything to be printed, not even +merely an empty musical placeholder. It does not create any +contexts and does not cause anything to be printed, not even transparently. On its own it does not even print an empty page: @@ -877,12 +868,12 @@ R1*4 cis cis @subsection Displaying rhythms @menu -* Time signature:: -* Upbeats:: -* Unmetered music:: -* Polymetric notation:: -* Automatic note splitting:: -* Showing melody rhythms:: +* Time signature:: +* Upbeats:: +* Unmetered music:: +* Polymetric notation:: +* Automatic note splitting:: +* Showing melody rhythms:: @end menu @node Time signature @@ -903,8 +894,8 @@ The time signature is set as follows: Time signatures by default are printed at the start of every line and whenever the time signature changes. If a change takes place -at the end of a line a warning time signature sign is printed -there. This default behavior may be changed, see +at the end of a line a warning time signature sign is printed +there. This default behavior may be changed, see @ref{Controlling visibility of objects}. @funindex \numericTimeSignature @@ -1379,10 +1370,10 @@ staff are squashed, and the staff itself has a single line @subsection Beams @menu -* Automatic beams:: -* Setting automatic beam behavior:: -* Manual beams:: -* Feathered beams:: +* Automatic beams:: +* Setting automatic beam behavior:: +* Manual beams:: +* Feathered beams:: @end menu @node Automatic beams @@ -1435,8 +1426,8 @@ c8[^"(3+2)" c16 c8] The beams of consecutive 16th (or shorter) notes are, by default, not sub-divided. That is, the three (or more) beams stretch unbroken over entire groups of notes. This behavior can -be modified to sub-divide the beams into sub-groups by setting -the property @code{subdivideBeams}. When set, multiple beams +be modified to sub-divide the beams into sub-groups by setting +the property @code{subdivideBeams}. When set, multiple beams will be sub-divided at intervals defined by the current value of @code{beatLength} by reducing the multiple beams to just one beam between the sub-groups. Note that @code{beatLength} lives in the @@ -1466,7 +1457,7 @@ For more information about @code{make-moment}, see @cindex line breaks Line breaks are normally forbidden when beams cross bar lines. -This behavior can be changed by setting the @code{breakable} +This behavior can be changed by setting the @code{breakable} property: @code{\override Beam #'breakable = ##t}. @lilypond[ragged-right,relative=2,fragment,verbatim,quote] @@ -1482,7 +1473,7 @@ c8 \repeat unfold 15 { c[ c] } c Kneed beams are inserted automatically when a large gap is detected between the note heads. This behavior can be tuned through the @code{auto-knee-gap} property. A kneed beam is -drawn if the gap is larger than the value of +drawn if the gap is larger than the value of @code{auto-knee-gap} plus the width of the beam object (which depends on the duration of the notes and the slope of the beam). By default @code{auto-knee-gap} is set to 5.5 staff spaces. @@ -1759,13 +1750,13 @@ the group as a whole. @subsubsection Feathered beams @cindex beams, feathered -@funindex \featherDurations +@funindex \featherDurations Feathered beams are used to indicate that a small group of notes should be played at an increasing (or decreasing) tempo, without -changing the overall tempo of the piece. The extent of the +changing the overall tempo of the piece. The extent of the feathered beam must be indicated manually using @code{[} and -@code{]}, and the beam feathering is turned on by specifying a +@code{]}, and the beam feathering is turned on by specifying a direction to the @code{Beam} property @code{grow-direction}. If the placement of the notes and the sound in the MIDI output @@ -1777,9 +1768,9 @@ between the durations of the first and last notes in the group. The square brackets show the extent of the beam and the braces show -which notes are to have their durations modified. Normally +which notes are to have their durations modified. Normally these would delimit the same group of notes, but this is not -required: the two commands are independent. +required: the two commands are independent. In the following example the eight 16th notes occupy exactly the same time as a half note, but the first note is one half as long @@ -1800,7 +1791,7 @@ the last four 32nd notes are at a constant tempo. @end lilypond @noindent -The spacing in the printed output represents the +The spacing in the printed output represents the note durations only approximately, but the midi output is exact. @knownissues @@ -1820,10 +1811,10 @@ Snippets: @menu -* Bar lines:: -* Bar numbers:: -* Bar and bar number checks:: -* Rehearsal marks:: +* Bar lines:: +* Bar numbers:: +* Bar and bar number checks:: +* Rehearsal marks:: @end menu @node Bar lines @@ -1836,10 +1827,10 @@ Snippets: Bar lines delimit measures, and are also used to indicate repeats. Normally, simple bar lines are automatically inserted -into the printed output at places based on the current time -signature. +into the printed output at places based on the current time +signature. -The simple bar lines inserted automatically can be changed to +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: @@ -1849,13 +1840,13 @@ e4 d c2 \bar "|." @warning{An incorrect duration can lead to poorly formatted music.} - -It is not invalid if the final note in a measure does not -end on the automatically entered bar line: the note is assumed + +It is not invalid if the final note in a measure does not +end on the automatically entered bar line: the note is assumed to carry over into the next measure. But if a long sequence of such carry-over measures appears the music can appear compressed or even flowing off the page. This is because automatic line -breaks happen only at the end of complete measures, i.e., where +breaks happen only at the end of complete measures, i.e., where the end of a note coincides with the end of a measure. @cindex line breaks @@ -1863,7 +1854,7 @@ the end of a note coincides with the end of a measure. @cindex measure lines, invisible Line breaks are also permitted at manually inserted bar lines -even within incomplete measures. To allow a line break without +even within incomplete measures. To allow a line break without printing a bar line, use @example @@ -1872,17 +1863,17 @@ printing a bar line, use @noindent This will insert an invisible bar line and allow (but not -force) a line break to occur at this point. The bar number -counter is not increased. To force a line break see +force) a line break to occur at this point. The bar number +counter is not increased. To force a line break see @ref{Line breaking}. This and other special bar lines may be inserted manually at any point. When they coincide with the end of a measure they replace -the simple bar line which would have been inserted there +the simple bar line which would have been inserted there automatically. When they do not coincide with the end of a measure the specified bar line is inserted at that point in the printed output. Such insertions do not affect -the calculation and placement of subsequent automatic bar lines. +the calculation and placement of subsequent automatic bar lines. The simple bar line and four types of double bar line are available for manual insertion: @@ -1916,14 +1907,14 @@ automatically print the appropriate bar lines. In addition, you can specify @code{"||:"}, which is equivalent to @code{"|:"} except at line breaks, where it gives a double bar line at the end of the line and a start repeat at the beginning of -the next line. +the next line. @lilypond[quote,ragged-right,relative=2,fragment,verbatim] \override Score.RehearsalMark #'padding = #3 c c c c -\bar "||:" +\bar "||:" c c c c \break -\bar "||:" +\bar "||:" c c c c @end lilypond @@ -1953,13 +1944,13 @@ connected between different staves of a @code{StaffGroup}, @funindex defaultBarType The command @code{\bar }@var{bartype} is a shortcut for -@code{\set Timing.whichBar = }@var{bartype}. A bar line is +@code{\set Timing.whichBar = }@var{bartype}. A bar line is created whenever the @code{whichBar} property is -set. +set. The default bar type used for automatically inserted bar lines is @code{"|"}. This may be changed at any time -with @code{\set Timing.defaultBarType = }@var{bartype}. +with @code{\set Timing.defaultBarType = }@var{bartype}. @seealso @@ -2043,7 +2034,7 @@ c c c c c @cindex bar number, format The size of the bar number may be changed. This is illustrated -in the following example, which also shows how to enclose bar +in the following example, which also shows how to enclose bar numbers in boxes and circles, and shows an alternative way of specifying @code{#(#f #t #t)} for @code{break-visibility}. @@ -2052,7 +2043,7 @@ of specifying @code{#(#f #t #t)} for @code{break-visibility}. \override Score.BarNumber #'break-visibility = #end-of-line-invisible -% Increase the size of the bar number by 2 +% Increase the size of the bar number by 2 \override Score.BarNumber #'font-size = #2 \repeat unfold 3 { c1 } \bar "|" @@ -2072,7 +2063,7 @@ of specifying @code{#(#f #t #t)} for @code{break-visibility}. 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 bar line of the measure. The numbers may also -be positioned directly on the bar line or right-aligned to the +be positioned directly on the bar line or right-aligned to the bar line: @lilypond[verbatim,ragged-right,quote,fragment,relative] @@ -2146,11 +2137,11 @@ c1 c c c @funindex | Bar checks help detect errors in the entered durations. -A bar check may be entered using the bar symbol, @code{|}, -at any place where a bar line is expected to fall. -If bar check lines are encountered at other places, +A bar check may be entered using the bar symbol, @code{|}, +at any place where a bar line is expected to fall. +If bar check lines are encountered at other places, a list of warnings is printed in the log file, -showing the line numbers and lines +showing the line numbers and lines in which the bar checks failed. In the next example, the second bar check will signal an error. @@ -2175,17 +2166,17 @@ incorrect durations. @funindex | @funindex pipeSymbol -It is also possible to redefine the action taken when a bar check -or pipe symbol, @code{|}, is encountered in the input, so that -it does something other than a bar check. This is done by -assigning a music expression to @code{pipeSymbol}. -In the following example @code{|} is set to insert a double bar -line wherever it appears in the input, rather than checking +It is also possible to redefine the action taken when a bar check +or pipe symbol, @code{|}, is encountered in the input, so that +it does something other than a bar check. This is done by +assigning a music expression to @code{pipeSymbol}. +In the following example @code{|} is set to insert a double bar +line wherever it appears in the input, rather than checking for end of bar. @lilypond[quote,ragged-right,verbatim] pipeSymbol = \bar "||" -{ +{ c'2 c'2 | c'2 c'2 c'2 | c'2 @@ -2335,9 +2326,9 @@ Examples: @c @lsr{parts,rehearsal-mark-numbers.ly} @menu -* Grace notes:: -* Aligning to cadenzas:: -* Time administration:: +* Grace notes:: +* Aligning to cadenzas:: +* Time administration:: @end menu @node Grace notes @@ -2369,13 +2360,13 @@ and @code{\appoggiatura}, as demonstrated in the following example: @lilypond[quote,ragged-right,relative=2,verbatim,fragment] -b4 \acciaccatura d8 c4 +b4 \acciaccatura d8 c4 \appoggiatura e8 d4 \acciaccatura { g16[ f] } e4 @end lilypond @noindent -@code{\acciaccatura} and @code{\appoggiatura} start a slur, +@code{\acciaccatura} and @code{\appoggiatura} start a slur, @code{\grace} does not. The placement of grace notes is synchronized between different @@ -2487,7 +2478,7 @@ in other staves by setting @code{strict-grace-spacing} to c'4 { c'16[ c'8 c'16] } c'4 - } + } \new Staff { c'16[ c'16 c'16 c'16] c'16[ c'16 c'16 c'16] @@ -2512,7 +2503,7 @@ Internals Reference: @rinternals{GraceMusic}. @knownissues -A multi-note beamed @emph{acciaccatura} is printed without a slash, +A multi-note beamed @emph{acciaccatura} is printed without a slash, and looks exactly the same as a multi-note beamed @emph{appoggiatura}. @c TODO Add link to LSR snippet to add slash when available @@ -2598,7 +2589,7 @@ default is to be found in the @code{Score} context. An alias, The following properties of @code{Timing} are used to keep track of timing within the score. - + @cindex bar number @cindex measure number @@ -2616,7 +2607,7 @@ should be generated. @item measurePosition The point within the measure where we currently are. This quantity is reset by subtracting @code{measureLength} whenever -@code{measureLength} is reached or exceeded. When that happens, +@code{measureLength} is reached or exceeded. When that happens, @code{currentBarNumber} is incremented. @item timing @@ -2627,7 +2618,7 @@ measure indefinitely. @end table Timing can be changed by setting any of these variables -explicitly. In the next example, the default 4/4 time +explicitly. In the next example, the default 4/4 time signature is printed, but @code{measureLength} is set to 5/4. At 4/8 through the third measure, the @code{measurePosition} is advanced by 1/8 to 5/8, shortening that bar by 1/8. @@ -2660,4 +2651,3 @@ Snippets: Internals Reference: @rinternals{Timing_translator}, @rinternals{Score} - -- 2.39.5