--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. For details, see the Contributors'
+ Guide, node Updating translation committishes..
+@end ignore
+
+@c \version "2.14.0"
+
+@node Rhythms
+@section Rhythms
+
+@lilypondfile[quote]{rhythms-headword.ly}
+
+This section discusses rhythms, rests, durations, beaming and bars.
+
+@menu
+* Writing rhythms::
+* Writing rests::
+* Displaying rhythms::
+* Beams::
+* Bars::
+* Special rhythmic concerns::
+@end menu
+
+
+@node Writing rhythms
+@subsection Writing rhythms
+
+@menu
+* Durations::
+* Tuplets::
+* Scaling durations::
+* Ties::
+@end menu
+
+@node Durations
+@unnumberedsubsubsec Durations
+
+@cindex durations, of notes
+@cindex note durations
+@cindex length of notes
+@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
+using a @code{4} (since it is a 1/4 note), and a half note is entered
+using a @code{2} (since it is a 1/2 note). For notes longer than a
+whole you must use the @code{\longa} (a double breve) and
+@code{\breve} commands. Durations as short as 128th notes may be
+specified. Shorter values are possible, but only as beamed notes.
+
+@c Two 64th notes are needed to obtain beams
+@lilypond[quote,verbatim,relative=2]
+\time 8/1
+c\longa c\breve c1 c2
+c4 c8 c16 c32 c64 c128 c128
+@end lilypond
+
+Here are the same durations with automatic beaming turned off.
+
+@c not strictly "writing rhythms"; more of a "displaying" thing,
+@c but it's ok here. -gp
+@lilypond[quote,verbatim,relative=2]
+\time 8/1
+\autoBeamOff
+c\longa c\breve c1 c2
+c4 c8 c16 c32 c64 c128 c128
+@end lilypond
+
+A note with the duration of a quadruple breve may be entered with
+@code{\maxima}, but this is supported only within ancient music
+notation. For details, see @ref{Ancient notation}.
+
+@cindex duration, default
+@cindex default note duration
+@cindex note duration, default
+
+If the duration is omitted, it is set to the previously
+entered duration. The default for the first note is a quarter
+note.
+
+@lilypond[quote,verbatim,relative=2]
+a a a2 a a4 a a1 a
+@end lilypond
+
+@cindex notes, dotted
+@cindex dotted notes
+@cindex notes, double-dotted
+@cindex double-dotted notes
+
+@funindex .
+
+To obtain dotted note lengths, place a dot (@code{.}) after the
+duration. Double-dotted notes are specified by appending two
+dots, and so on.
+
+@lilypond[quote,verbatim,relative=2]
+a4 b c4. b8 a4. b4.. c8.
+@end lilypond
+
+Some durations cannot be represented with just binary durations
+and dots; they can be represented only by tying two or more
+notes together. For details, see @ref{Ties}.
+
+For ways of specifying durations for the syllables of lyrics and
+ways of aligning lyrics to notes, see @ref{Vocal music}.
+
+Optionally, notes can be spaced strictly proportionately to their
+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
+the staff; see @ref{Direction and placement}.
+
+
+@predefined
+@code{\autoBeamOn},
+@code{\autoBeamOff},
+@code{\dotsUp},
+@code{\dotsDown},
+@code{\dotsNeutral}.
+@endpredefined
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{alternative-breve-note.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-number-of-augmentation-dots-per-note.ly}
+
+
+@seealso
+Music Glossary:
+@rglos{breve},
+@rglos{longa},
+@rglos{maxima},
+@rglos{note value},
+@rglos{Duration names notes and rests}.
+
+Notation Reference:
+@ref{Automatic beams},
+@ref{Ties},
+@ref{Stems},
+@ref{Writing rhythms},
+@ref{Writing rests},
+@ref{Vocal music},
+@ref{Ancient notation},
+@ref{Proportional notation}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Dots},
+@rinternals{DotColumn}.
+
+
+@knownissues
+
+@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.
+
+
+@node Tuplets
+@unnumberedsubsubsec Tuplets
+
+@cindex tuplets
+@cindex triplets
+
+@funindex \times
+@funindex times
+
+Tuplets are made from a music expression by multiplying all the
+durations with a fraction:
+
+@example
+\times @var{fraction} @{ @var{music} @}
+@end example
+
+@noindent
+The duration of @code{@var{music}} will be multiplied by the
+fraction. The fraction's denominator will be printed over or
+under the notes, optionally with a bracket. The most common
+tuplet is the triplet in which 3 notes have the duration of 2, so
+the notes are 2/3 of their written length.
+
+@lilypond[quote,verbatim,relative=2]
+a2 \times 2/3 { b4 b b }
+c4 c \times 2/3 { b4 a g }
+@end lilypond
+
+@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;
+see @ref{Direction and placement}.
+
+Tuplets may be nested:
+
+@lilypond[quote,verbatim,relative=2]
+\autoBeamOff
+c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
+@end lilypond
+
+Modifying nested tuplets which begin at the same musical moment
+must be done with @code{\tweak}.
+
+To modify the duration of notes without printing a tuplet bracket,
+see @ref{Scaling durations}.
+
+
+@predefined
+@code{\tupletUp},
+@code{\tupletDown},
+@code{\tupletNeutral}.
+@endpredefined
+
+
+@snippets
+
+@cindex tuplet formatting
+@cindex triplet formatting
+
+@funindex tupletNumberFormatFunction
+@funindex tupletSpannerDuration
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{entering-several-tuplets-using-only-one--times-command.ly}
+
+@cindex Tuplet number changes
+
+@funindex TupletNumber
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-tuplet-number.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{non-default-tuplet-numbers.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{controlling-tuplet-bracket-visibility.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{permitting-line-breaks-within-beamed-tuplets.ly}
+
+
+@seealso
+Music Glossary:
+@rglos{triplet},
+@rglos{tuplet},
+@rglos{polymetric}.
+
+Learning Manual:
+@rlearning{Tweaking methods}.
+
+Notation Reference:
+@ref{Time administration},
+@ref{Scaling durations},
+@ref{The tweak command},
+@ref{Polymetric notation}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{TupletBracket},
+@rinternals{TupletNumber},
+@rinternals{TimeScaledMusic}.
+
+
+@cindex grace notes within tuplet brackets
+
+@knownissues
+Grace notes may be placed within tuplet brackets, @emph{except}
+when a staff begins with a grace note followed by a tuplet. In this
+particular case, the grace note must be placed before the @code{\times}
+command to avoid errors.
+
+@cindex tempo marks within tuplet brackets
+
+When using a tuplet at the beginning of a piece with a @code{\tempo}
+mark, the music must be explicitly entered in a @code{\new Voice}
+block, as discussed in @rlearning{Voices contain music}.
+
+
+@node Scaling durations
+@unnumberedsubsubsec Scaling durations
+
+@cindex scaling durations
+@cindex durations, scaling
+
+You can alter the duration of single notes, rests or chords by a
+fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
+is 1) to the duration. This will not affect the appearance of the
+notes or rests produced, but the altered duration will be used in
+calculating the position within the measure and setting the duration
+in the MIDI output. Multiplying factors may be combined such as
+@code{*L*M/N}.
+
+In the following example, the first three notes take up exactly
+two beats, but no triplet bracket is printed.
+
+@lilypond[quote,relative=2,verbatim]
+\time 2/4
+% Alter durations to triplets
+a4*2/3 gis4*2/3 a4*2/3
+% Normal durations
+a4 a4
+% Double the duration of chord
+<a d>4*2
+% Duration of quarter, appears like sixteenth
+b16*4 c4
+@end lilypond
+
+The duration of spacing notes may also be modified by
+a multiplier. This is useful for skipping many measures, e.g.,
+@code{s1*23}.
+
+@cindex compressing music
+@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
+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:
+
+@lilypond[quote,relative=2,verbatim]
+\time 2/4
+% Normal durations
+<c a>4 c8 a
+% Scale music by *2/3
+\scaleDurations #'(2 . 3) {
+ <c a f>4. c8 a f
+}
+% Scale music by *2
+\scaleDurations #'(2 . 1) {
+ <c' a>4 c8 b
+}
+@end lilypond
+
+One application of this command is in polymetric
+notation, see @ref{Polymetric notation}.
+
+
+@seealso
+Notation Reference:
+@ref{Tuplets},
+@ref{Invisible rests},
+@ref{Polymetric notation}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+
+@node Ties
+@unnumberedsubsubsec Ties
+
+@cindex tie
+
+@funindex ~
+
+A tie connects two adjacent note heads of the same pitch. The tie
+in effect extends the duration of a note.
+
+@warning{Ties should not be confused with @emph{slurs}, which
+indicate articulation, or @emph{phrasing slurs}, which indicate
+musical phrasing. A tie is just a way of extending a note
+duration, similar to the augmentation dot.}
+
+A tie is entered using the tilde symbol (@code{~}).
+
+@lilypond[quote,verbatim,relative=2]
+a2 ~ a
+@end lilypond
+
+Ties are used either when the note crosses a bar line, or when
+dots cannot be used to denote the rhythm. Ties should also be
+used when note values cross larger subdivisions of the measure:
+
+@lilypond[verbatim,quote]
+\relative c' {
+ r8 c8 ~ c2 r4 |
+ r8^"not" c2 ~ c8 r4
+}
+@end lilypond
+
+If you need to tie many notes across bar lines, it may be
+easier to use automatic note splitting, see @ref{Automatic note
+splitting}. This mechanism automatically splits long notes, and
+ties them across bar lines.
+
+@cindex ties and chords
+@cindex chords and ties
+
+When a tie is applied to a chord, all note heads whose pitches
+match are connected. When no note heads match, no ties will be
+created. Chords may be partially tied by placing the tie inside
+the chord.
+
+@lilypond[quote,verbatim,relative=1]
+<c e g> ~ <c e g>
+<c~ e g~ b> <c e g b>
+@end lilypond
+
+@cindex repeating ties
+@cindex ties, repeating
+@cindex volta brackets and ties
+@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:
+
+@lilypond[quote,relative=2,verbatim]
+\repeat volta 2 { c g <c e>2 ~ }
+\alternative {
+ % First alternative: following note is tied normally
+ { <c e>2. r4 }
+ % Second alternative: following note has a repeated tie
+ { <c e>2\repeatTie d4 c } }
+@end lilypond
+
+@cindex laissez vibrer
+@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
+piano, harp and other string and percussion instruments. They can
+be entered as follows:
+
+@lilypond[quote,verbatim,relative=1]
+<c f g>1\laissezVibrer
+@end lilypond
+
+@cindex ties, placement
+
+@funindex \tieUp
+@funindex tieUp
+@funindex \tieDown
+@funindex tieDown
+@funindex \tieNeutral
+@funindex tieNeutral
+
+Ties may be manually placed above or below the staff; see
+@ref{Direction and placement}.
+
+@cindex ties, appearance
+@cindex ties, dotted
+@cindex ties, dashed
+@cindex dashed ties
+@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.
+
+@lilypond[quote, verbatim, relative=1]
+\tieDotted
+c2 ~ c
+\tieDashed
+c2 ~ c
+\tieHalfDashed
+c2 ~ c
+\tieHalfSolid
+c2 ~ c
+\tieSolid
+c2 ~ c
+@end lilypond
+
+Custom dash patterns can be specified:
+
+@lilypond[quote, verbatim, relative=1]
+\tieDashPattern #0.3 #0.75
+c2 ~ c
+\tieDashPattern #0.7 #1.5
+c2 ~ c
+\tieSolid
+c2 ~ c
+@end lilypond
+
+Dash pattern definitions for ties have the same structure as
+dash pattern definitions for slurs.
+For more information about complex dash patterns,
+see the snippets under @ref{Slurs}.
+
+@predefined
+@code{\tieUp},
+@code{\tieDown},
+@code{\tieNeutral},
+@code{\tieDotted},
+@code{\tieDashed},
+@code{\tieDashPattern},
+@code{\tieHalfDashed},
+@code{\tieHalfSolid},
+@code{\tieSolid}.
+@endpredefined
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-ties-with-arpeggios.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{engraving-ties-manually.ly}
+
+
+@seealso
+Music Glossary:
+@rglos{tie},
+@rglos{laissez vibrer}.
+
+Notation Reference:
+@ref{Slurs},
+@ref{Automatic note splitting}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{LaissezVibrerTie},
+@rinternals{LaissezVibrerTieColumn},
+@rinternals{TieColumn},
+@rinternals{Tie}.
+
+
+@knownissues
+Switching staves when a tie is active will not produce a slanted
+tie.
+
+Changing clefs or ottavations during a tie is not really
+well-defined. In these cases, a slur may be preferable.
+
+
+
+@node Writing rests
+@subsection Writing rests
+
+Rests are entered as part of the music in music expressions.
+
+@menu
+* Rests::
+* Invisible rests::
+* Full measure rests::
+@end menu
+
+@node Rests
+@unnumberedsubsubsec Rests
+
+@cindex rest
+@cindex rest, entering durations
+@cindex maxima rest
+@cindex longa rest
+@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
+commands:
+
+@c \time 16/1 is used to avoid spurious bar lines
+@c and long tracts of empty measures
+@lilypond[quote,verbatim,relative=2]
+\new Staff {
+ % These two lines are just to prettify this example
+ \time 16/1
+ \override Staff.TimeSignature #'stencil = ##f
+ % Print a maxima rest, equal to four breves
+ r\maxima
+ % Print a longa rest, equal to two breves
+ r\longa
+ % Print a breve rest
+ r\breve
+ r1 r2 r4 r8 r16 r32 r64 r128
+}
+@end lilypond
+
+@cindex rest, multi-measure
+@cindex rest, whole-measure
+
+Whole measure rests, centered in the middle of the measure, must be
+entered as multi-measure rests. They can be used for a single
+measure as well as many measures and are discussed in
+@ref{Full measure rests}.
+
+@cindex rest, specifying vertical position
+
+To explicitly specify a rest's vertical position, write a note
+followed by @code{\rest}. A rest of the duration of the note will
+be placed at the staff position where the note would appear. This
+allows for precise manual formatting of polyphonic music, since the
+automatic rest collision formatter will not move these rests.
+
+@lilypond[quote,verbatim,relative=2]
+a4\rest d4\rest
+@end lilypond
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{rest-styles.ly}
+
+
+@seealso
+Music Glossary:
+@rglos{breve},
+@rglos{longa},
+@rglos{maxima}.
+
+Notation Reference:
+@ref{Full measure rests}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Rest}.
+
+
+@knownissues
+
+@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).
+
+
+@node Invisible rests
+@unnumberedsubsubsec Invisible rests
+
+@cindex skip
+@cindex invisible rest
+@cindex rest, invisible
+@cindex spacer note
+@cindex spacer rest
+
+@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}:
+
+@lilypond[verbatim,quote,relative=2]
+c4 c s c
+s2 c
+@end lilypond
+
+@cindex lyrics, skip
+
+Spacer rests are available only in note mode and chord mode. In
+other situations, for example, when entering lyrics, the
+command @code{\skip} is used to skip a musical moment.
+@code{\skip} requires an explicit duration, but this is ignored if
+the lyrics derive their durations from the notes in an associated
+melody through @code{\addlyrics} or @code{\lyricsto}.
+
+@lilypond[quote,verbatim,relative=2]
+<<
+ {
+ a2 \skip2 a2 a2
+ }
+ \new Lyrics {
+ \lyricmode {
+ foo2 \skip 1 bla2
+ }
+ }
+>>
+@end lilypond
+
+Because @code{\skip} is a command, it does not affect the default
+durations of following notes, unlike@tie{}@code{s}.
+
+@lilypond[quote,verbatim,relative=2]
+<<
+ {
+ \repeat unfold 8 { a4 }
+ }
+ {
+ a4 \skip 2 a |
+ s2 a
+ }
+>>
+@end lilypond
+
+
+A spacer rest implicitly causes @code{Staff} and @code{Voice}
+contexts to be created if none exist, just like notes and rests
+do:
+
+@lilypond[quote,verbatim,relative=2]
+s1 s s
+@end lilypond
+
+@code{\skip} simply skips musical time; it creates no output of
+any kind.
+
+@lilypond[quote,verbatim,relative=2]
+% This is valid input, but does nothing
+\skip 1 \skip1 \skip 1
+@end lilypond
+
+
+@seealso
+Learning Manual:
+@rlearning{Visibility and color of objects}.
+
+Notation Reference:
+@ref{Hidden notes},
+@ref{Visibility of objects}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{SkipMusic}.
+
+
+@node Full measure rests
+@unnumberedsubsubsec Full measure rests
+
+@cindex multi-measure rests
+@cindex full-measure rests
+@cindex rest, multi-measure
+@cindex rest, full-measure
+@cindex whole rest for a full measure
+@cindex rest, whole for a full measure
+
+@funindex R
+
+Rests for one or more full measures are entered like notes with
+the note name uppercase @code{R}:
+
+@lilypond[quote,verbatim,relative=2]
+% Rest measures contracted to single measure
+\compressFullBarRests
+R1*4
+R1*24
+R1*4
+b2^"Tutti" b4 a4
+@end lilypond
+
+The duration of full-measure rests is identical to the duration
+notation used for notes. The duration in a multi-measure rest must
+always be an integral number of measure-lengths, so augmentation dots
+or fractions must often be used:
+
+@lilypond[quote,verbatim,relative=2]
+\compressFullBarRests
+\time 2/4
+R1 | R2 |
+\time 3/4
+R2. | R2.*2 |
+\time 13/8
+R1*13/8 | R1*13/8*12 |
+\time 10/8
+R4*5*4 |
+@end lilypond
+
+A full-measure rest is printed as either a whole or breve rest,
+centered in the measure, depending on the time signature.
+
+@lilypond[quote,verbatim,relative=2]
+\time 4/4
+R1 |
+\time 6/4
+R1*3/2 |
+\time 8/4
+R1*2 |
+@end lilypond
+
+@cindex multi-measure rest, expanding
+@cindex multi-measure rest, contracting
+
+@funindex \expandFullBarRests
+@funindex expandFullBarRests
+@funindex \compressFullBarRests
+@funindex compressFullBarRests
+
+By default a multi-measure rest is expanded in the printed score to
+show all the rest measures explicitly. Alternatively, a multi-measure
+rest can be shown as a single measure containing a multi-measure rest
+symbol, with the number of measures of rest printed above the measure:
+
+@lilypond[quote,verbatim,relative=2]
+% Default behavior
+\time 3/4 r2. | R2.*2 |
+\time 2/4 R2 |
+\time 4/4
+% Rest measures contracted to single measure
+\compressFullBarRests
+r1 | R1*17 | R1*4 |
+% Rest measures expanded
+\expandFullBarRests
+\time 3/4
+R2.*2 |
+@end lilypond
+
+
+@cindex text on multi-measure rest
+@cindex multi-measure rest, attaching text
+@cindex script on multi-measure rest
+@cindex multi-measure rest, script
+@cindex fermata on multi-measure rest
+@cindex multi-measure rest, attaching fermata
+@cindex markup on multi-measure rest
+@cindex multi-measure rest with markup
+
+@funindex \fermataMarkup
+@funindex fermataMarkup
+@funindex MultiMeasureRestText
+
+Markups can be added to multi-measure rests.
+The predefined command @code{\fermataMarkup}
+is provided for adding fermatas.
+
+@lilypond[quote,verbatim,relative=2]
+\compressFullBarRests
+\time 3/4
+R2.*10^\markup { \italic "ad lib." }
+R2.^\fermataMarkup
+@end lilypond
+
+@warning{Markups attached to a multi-measure rest are objects of type
+@code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
+be directed to the correct object, or they will be ignored. See the
+following example:}
+
+@lilypond[quote,verbatim,relative=2]
+% This fails, as the wrong object name is specified
+\override TextScript #'padding = #5
+R1^"wrong"
+% This is the correct object name to be specified
+\override MultiMeasureRestText #'padding = #5
+R1^"right"
+@end lilypond
+
+When a multi-measure rest immediately follows a @code{\partial}
+setting, resulting bar-check warnings may not be displayed.
+
+
+@funindex \textLengthOn
+@funindex textLengthOn
+@funindex \textLengthOff
+@funindex textLengthOff
+@funindex \fermataMarkup
+@funindex fermataMarkup
+@funindex \compressFullBarRests
+@funindex compressFullBarRests
+@funindex \expandFullBarRests
+@funindex expandFullBarRests
+
+@predefined
+@code{\textLengthOn},
+@code{\textLengthOff},
+@code{\fermataMarkup},
+@code{\compressFullBarRests},
+@code{\expandFullBarRests}.
+@endpredefined
+
+
+@snippets
+
+@cindex church rest
+@cindex rest, church
+@cindex kirchenpausen
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-form-of-multi-measure-rests.ly}
+
+@cindex multi-measure rests, positioning
+@cindex positioning multi-measure rests
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{positioning-multi-measure-rests.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{multi-measure-rest-markup.ly}
+
+
+@seealso
+Music Glossary:
+@rglos{multi-measure rest}.
+
+Notation Reference:
+@ref{Durations},
+@ref{Text},
+@ref{Formatting text},
+@ref{Text scripts}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{MultiMeasureRest},
+@rinternals{MultiMeasureRestNumber},
+@rinternals{MultiMeasureRestText}.
+
+
+@cindex fingerings and multi-measure rests
+@cindex multi-measure rests and fingerings
+
+@knownissues
+Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
+in the fingering numeral colliding with the bar counter
+numeral.
+
+@cindex condensing rests
+@cindex rest, condensing ordinary
+
+There is no way to automatically condense multiple ordinary rests
+into a single multi-measure rest.
+
+@cindex rest, collisions of
+
+Multi-measure rests do not take part in rest collisions.
+
+@node Displaying rhythms
+@subsection Displaying rhythms
+
+@menu
+* Time signature::
+* Metronome marks::
+* Upbeats::
+* Unmetered music::
+* Polymetric notation::
+* Automatic note splitting::
+* Showing melody rhythms::
+@end menu
+
+@node Time signature
+@unnumberedsubsubsec Time signature
+
+@cindex time signature
+@cindex meter
+
+@funindex \time
+@funindex time
+
+The time signature is set as follows:
+
+@lilypond[quote,verbatim,relative=2]
+\time 2/4 c2
+\time 3/4 c2.
+@end lilypond
+
+@cindex time signature, visibility of
+
+Time signatures are printed at the beginning of a piece
+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
+@ref{Visibility of objects}.
+
+@lilypond[quote,verbatim,relative=2]
+\time 2/4
+c2 c
+\break
+c c
+\break
+\time 4/4
+c c c c
+@end lilypond
+
+@cindex time signature style
+@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:
+
+@lilypond[quote,verbatim,relative=2]
+% Default style
+\time 4/4 c1
+\time 2/2 c1
+% Change to numeric style
+\numericTimeSignature
+\time 4/4 c1
+\time 2/2 c1
+% Revert to default style
+\defaultTimeSignature
+\time 4/4 c1
+\time 2/2 c1
+@end lilypond
+
+
+Mensural time signatures are covered in
+@ref{Mensural time signatures}.
+
+@cindex time signature default settings
+@cindex autobeaming properties for time signatures
+@cindex beaming, time signature default properties
+@funindex \overrideTimeSignatureSettings
+
+In addition to setting the printed time signature, the @code{\time}
+command also sets time-signature-based default values for the properties
+@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
+predefined default values for these properties can be found in
+@file{scm/time-signature-settings.scm}. The existing default values can
+be changed, or new default values can be added:
+
+@lilypond[quote,verbatim]
+\score {
+ \new Staff {
+ \relative c' {
+ \overrideTimeSignatureSettings
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ \repeat unfold 8 { c8 } |
+ }
+ }
+}
+@end lilypond
+
+@code{\overrideTimeSignatureSettings} takes four arguments:
+
+@enumerate
+
+@item
+@code{@var{timeSignatureFraction}}, a Scheme pair describing the
+time signature.
+
+@item
+@code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
+and denominator of the basic timing unit for the time signature.
+
+@item
+@code{@var{beatStructure}}, a Scheme list indicating the structure
+of the beats in the measure, in units of the base moment.
+
+@item
+@code{@var{beamExceptions}}, an alist containing any beaming rules
+for the time signature that go beyond ending at every beat, as
+described in @ref{Setting automatic beam behavior}.
+@end enumerate
+
+The context containing @code{\overrideTimeSignatureSettings} must
+be instantiated before the @code{\overrideTimeSignatureSettings}
+call is executed. That means it must either be explicitly
+instantiated or there must be music in the context before the
+@code{\overrideTimeSignatureSettings} call:
+
+@lilypond[quote,verbatim]
+\score {
+ \relative c' {
+ % This call will fail because the context isn't yet instantiated
+ \overrideTimeSignatureSettings
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ c8^\markup {"Beamed (2 2)"}
+ \repeat unfold 7 { c8 } |
+ % This call will succeed
+ \overrideTimeSignatureSettings
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ c8^\markup {"Beamed (3 1)"}
+ \repeat unfold 7 { c8 } |
+ }
+}
+@end lilypond
+
+
+@cindex time signature properties, restoring default values
+@cindex restoring default properties for time signatures
+@funindex \revertTimeSignatureSettings
+
+Changed values of default time signature properties can be restored
+to the original values:
+
+@lilypond[quote,verbatim]
+\score{
+ \relative c' {
+ \repeat unfold 8 { c8 } |
+ \overrideTimeSignatureSettings
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ \repeat unfold 8 { c8 } |
+ \revertTimeSignatureSettings #'(4 . 4)
+ \time 4/4
+ \repeat unfold 8 { c8 } |
+ }
+}
+@end lilypond
+
+Different values of default time signature properties can be established
+for different staves by moving the @code{Timing_translator} and the
+@code{Default_bar_line_engraver} from the @code{Score} context to the
+@code{Staff} context.
+
+@lilypond[quote, verbatim]
+\score {
+ \new StaffGroup <<
+ \new Staff {
+ \overrideTimeSignatureSettings
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ \repeat unfold 8 {c''8}
+ }
+ \new Staff {
+ \overrideTimeSignatureSettings
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(1 3) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ \repeat unfold 8 {c''8}
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
+ }
+ \context {
+ \Staff
+ \consists "Timing_translator"
+ \consists "Default_bar_line_engraver"
+ }
+ }
+}
+@end lilypond
+
+@predefined
+@code{\numericTimeSignature},
+@code{\defaultTimeSignature}.
+@endpredefined
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-time-signature-without-affecting-the-beaming.ly}
+
+@cindex compound time signatures
+@cindex time signature, compound
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{compound-time-signatures.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
+
+
+@seealso
+Music Glossary:
+@rglos{time signature}
+
+Notation Reference:
+@ref{Mensural time signatures},
+@ref{Time administration}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{TimeSignature},
+@rinternals{Timing_translator}.
+
+@node Metronome marks
+@unnumberedsubsubsec Metronome marks
+
+@cindex tempo
+@cindex beats per minute
+@cindex metronome mark
+@cindex metronome marking with text
+
+@funindex \tempo
+@funindex tempo
+
+A basic metronome mark is simple to write:
+
+@lilypond[verbatim,quote,relative=1]
+\tempo 4 = 120
+c2 d
+e4. d8 c2
+@end lilypond
+
+Metronome marks may also be printed as a range of two numbers:
+
+@lilypond[verbatim,quote,relative=1]
+\tempo 4 = 40 ~ 46
+c4. e8 a4 g
+b,2 d4 r
+@end lilypond
+
+Tempo indications with text can be used instead:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "Allegretto"
+c4 e d c
+b4. a16 b c4 r4
+@end lilypond
+
+Combining a metronome mark and text will automatically place the
+metronome mark within parentheses:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "Allegro" 4 = 160
+g4 c d e
+d4 b g2
+@end lilypond
+
+In general, the text can be any markup object:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo \markup { \italic Faster } 4 = 132
+a8-. r8 b-. r gis-. r a-. r
+@end lilypond
+
+A parenthesized metronome mark with no textual indication may be
+written by including an empty string in the input:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "" 8 = 96
+d4 g e c
+@end lilypond
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
+
+@c perhaps also an example of how to move it horizontally?
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-tempo-without-a-metronome-mark.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{creating-metronome-marks-in-markup-mode.ly}
+
+For more details, see @ref{Formatting text}.
+
+
+@seealso
+Music Glossary:
+@rglos{metronome},
+@rglos{metronomic indication},
+@rglos{tempo indication},
+@rglos{metronome mark}.
+
+Notation Reference:
+@ref{Formatting text},
+@ref{MIDI output}.
+
+Snippets:
+@rlsr{Staff notation}.
+
+Internals Reference:
+@rinternals{MetronomeMark}.
+
+
+@node Upbeats
+@unnumberedsubsubsec Upbeats
+
+@cindex anacrusis
+@cindex upbeat
+@cindex partial measure
+@cindex measure, partial
+@cindex pickup measure
+@cindex measure, change length
+
+@funindex measurePosition
+@funindex \partial
+@funindex partial
+
+Partial or pick-up measures, such as an anacrusis or upbeat, are
+entered using the @code{\partial} command, with the syntax
+
+@example
+\partial @var{duration}
+@end example
+
+@noindent
+where @code{@var{duration}} is the rhythmic length of the
+remaining interval of the current measure before the start of the
+next.
+
+@lilypond[quote,verbatim,relative=2]
+\partial 4 e4 |
+a2. c,4 |
+@end lilypond
+
+The partial measure can be any duration less than the full measure:
+
+@lilypond[quote,verbatim,relative=2]
+\partial 8*3 c8 d e |
+a2. c,4 |
+@end lilypond
+
+Internally, @code{\partial @var{duration}} is translated into:
+
+@example
+\set Timing.measurePosition -@var{duration}
+@end example
+
+For example, @code{\partial 8*3} becomes:
+
+@example
+\set Timing.measurePosition = #(ly:make-moment -3 8)
+@end example
+
+The property @code{measurePosition} contains a rational number
+indicating how much of the measure has passed at this point. Note
+that this is set to a negative number by the @code{\partial} command:
+i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
+@qq{there is a quarter note left in the measure.}
+
+@seealso
+Music Glossary:
+@rglos{anacrusis}.
+
+Notation Reference:
+@ref{Grace notes}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internal Reference:
+@rinternals{Timing_translator}.
+
+@knownissues
+
+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 or effects may occur, in this case use
+@code{\set Timing.measurePosition} instead.
+
+@node Unmetered music
+@unnumberedsubsubsec Unmetered music
+
+@cindex bar lines, turning off
+@cindex bar numbering, turning off
+@cindex cadenza
+@cindex unmetered music
+
+@funindex \cadenzaOn
+@funindex cadenzaOn
+@funindex \cadenzaOff
+@funindex cadenzaOff
+
+Bar lines and bar numbers are calculated automatically. For
+unmetered music (some cadenzas, for example), this is not desirable.
+To turn off automatic calculation of bar lines and bar numbers,
+use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
+to turn them on again.
+
+@lilypond[verbatim,relative=2,quote]
+c4 d e d
+\cadenzaOn
+c4 c d8[ d d] f4 g4.
+\cadenzaOff
+\bar "|"
+d4 e d c
+@end lilypond
+
+Bar numbering is resumed at the end of the cadenza as if the
+cadenza were not there:
+
+@lilypond[verbatim,relative=2,quote]
+% Show all bar numbers
+\override Score.BarNumber #'break-visibility = #all-visible
+c4 d e d
+\cadenzaOn
+c4 c d8[ d d] f4 g4.
+\cadenzaOff
+\bar "|"
+d4 e d c
+@end lilypond
+
+@cindex beams, in cadenzas
+@cindex beams, in unmetered music
+@cindex cadenza, with beams
+@cindex unmetered music, with beams
+
+Automatic beaming is disabled by @code{\cadenzaOn} and enabled
+by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
+must be entered manually (@ref{Manual beams}).
+
+@lilypond[verbatim,relative=2,quote]
+\repeat unfold 8 { c8 }
+\cadenzaOn
+\repeat unfold 5 { c8 }
+\bar"|"
+\cadenzaOff
+\repeat unfold 8 { c8 }
+@end lilypond
+
+Note that these predefined commands affect all staves in the
+score, even when they are placed in just one @code{Voice}
+context. To change this, move the @code{Timing_translator}
+from the @code{Score} context to the @code{Staff} context, as
+shown in @ref{Polymetric notation}.
+
+@predefined
+@code{\cadenzaOn},
+@code{\cadenzaOff}.
+@endpredefined
+
+
+@seealso
+Music Glossary:
+@rglos{cadenza}.
+
+Notation Reference:
+@ref{Visibility of objects},
+@ref{Polymetric notation},
+@ref{Manual beams}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+
+@cindex cadenza line breaks
+@cindex cadenza page breaks
+@cindex unmetered music, line breaks
+@cindex unmetered music, page breaks
+@cindex breaks in unmetered music
+@cindex line breaks in cadenzas
+@cindex page breaks in cadenzas
+@cindex line breaks in unmetered music
+@cindex page breaks in unmetered music
+
+@knownissues
+
+LilyPond will insert line breaks and page breaks only at a
+bar line. Unless the unmetered music ends before the end of the
+staff line, you will need to insert invisible bar lines with
+
+@example
+\bar ""
+@end example
+
+@noindent
+to indicate where breaks can occur.
+
+You should explicitly create a @code{Voice} context when starting a
+piece with @code{\cadenzaOn}, otherwise strange errors may occur.
+
+@example
+\new Voice @{
+ \relative c' @{
+ \cadenzaOn
+ c16[^"Solo Free Time" d e f] g2.
+ \bar "||"
+ \cadenzaOff
+ @}
+@}
+@end example
+
+
+@node Polymetric notation
+@unnumberedsubsubsec Polymetric notation
+
+@c This section necessarily uses \set
+@c This is acceptable -td
+
+@cindex double time signatures
+@cindex signatures, polymetric
+@cindex time signatures, polymetric
+@cindex time signatures, double
+@cindex polymetric signatures
+@cindex meter, polymetric
+
+@funindex timeSignatureFraction
+@funindex \scaleDurations
+@funindex scaleDurations
+@funindex \times
+@funindex times
+
+Polymetric notation is supported, either explicitly or by modifying
+the visible time signature symbol and scaling the note durations.
+
+@strong{@i{Staves with different time signatures, equal measure lengths}}
+
+This notation can be created by setting a common time signature
+for each staff but replacing the symbol manually by setting
+@code{timeSignatureFraction} to the desired fraction and scaling
+the printed durations in each staff to the common time
+signature; see @ref{Time signature}. The scaling is done with
+@code{\scaleDurations}, which is used in a similar way to
+@code{\times}, but does not create a tuplet bracket; see
+@ref{Scaling durations}.
+
+@cindex beams, with polymetric meters
+@cindex polymetric meters, with beams
+
+In this example, music with the time signatures of 3/4, 9/8, and
+10/8 are used in parallel. In the second staff, shown durations
+are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
+staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
+It will often be necessary to insert beams manually, as the
+duration scaling affects the autobeaming rules.
+
+@lilypond[quote,verbatim]
+\relative c' <<
+ \new Staff {
+ \time 3/4
+ c4 c c |
+ c c c |
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(9 . 8)
+ \scaleDurations #'(2 . 3)
+ \repeat unfold 6 { c8[ c c] }
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(10 . 8)
+ \scaleDurations #'(3 . 5) {
+ \repeat unfold 2 { c8[ c c] }
+ \repeat unfold 2 { c8[ c] } |
+ c4. c4. \times 2/3 { c8[ c c] } c4
+ }
+ }
+>>
+@end lilypond
+
+@strong{@i{Staves with different time signatures, unequal bar lengths}}
+
+Each staff can be given its own independent time signature by
+moving the @code{Timing_translator} and the
+@code{Default_bar_line_engraver} to the @code{Staff} context.
+
+@lilypond[quote,verbatim]
+\layout {
+ \context {
+ \Score
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
+ }
+ \context {
+ \Staff
+ \consists "Timing_translator"
+ \consists "Default_bar_line_engraver"
+ }
+}
+
+% Now each staff has its own time signature.
+
+\relative c' <<
+ \new Staff {
+ \time 3/4
+ c4 c c |
+ c4 c c |
+ }
+ \new Staff {
+ \time 2/4
+ c4 c |
+ c4 c |
+ c4 c |
+ }
+ \new Staff {
+ \time 3/8
+ c4. |
+ c8 c c |
+ c4. |
+ c8 c c |
+ }
+>>
+@end lilypond
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{compound-time-signatures.ly}
+
+
+@seealso
+Music Glossary:
+@rglos{polymetric},
+@rglos{polymetric time signature},
+@rglos{meter}.
+
+Notation Reference:
+@ref{Time signature},
+@ref{Scaling durations}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{TimeSignature},
+@rinternals{Timing_translator},
+@rinternals{Default_bar_line_engraver},
+@rinternals{Staff}.
+
+
+@knownissues
+
+When using different time signatures in parallel, notes
+at the same moment will be placed at the same horizontal
+location. However, the bar lines in the different staves
+will cause the note spacing to be less regular in each of the
+individual staves than would be normal without the different
+time signatures.
+
+@node Automatic note splitting
+@unnumberedsubsubsec Automatic note splitting
+
+@cindex notes, splitting
+@cindex splitting notes
+@cindex rests, splitting
+@cindex splitting rests
+
+@funindex Note_heads_engraver
+@funindex Completion_heads_engraver
+@funindex Completion_rest_engraver
+
+Long notes which overrun bar lines can be converted automatically to
+tied notes. This is done by replacing the @code{Note_heads_engraver}
+with the @code{Completion_heads_engraver}. Similarly, long rests which
+overrun bar lines are split automatically by replacing the
+@code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
+following example, notes and rests crossing the bar lines are split,
+notes are also tied.
+
+@lilypond[quote,verbatim,relative=1]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ \remove "Rest_engraver"
+ \consists "Completion_rest_engraver"
+}
+
+{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
+@end lilypond
+
+These engravers split all running notes and rests at the bar line, and
+inserts ties for notes. One of its uses is to debug complex scores: if
+the measures are not entirely filled, then the ties show exactly how
+much each measure is off.
+
+
+@seealso
+Music Glossary:
+@rglos{tie}
+
+Learning Manual:
+@rlearning{Engravers explained},
+@rlearning{Adding and removing engravers}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Note_heads_engraver},
+@rinternals{Completion_heads_engraver},
+@rinternals{Rest_engraver},
+@rinternals{Completion_rest_engraver},
+@rinternals{Forbid_line_break_engraver}.
+
+
+@knownissues
+
+Not all durations (especially those containing tuplets) can be
+represented exactly with normal notes and dots, but the
+@code{Completion_heads_engraver} will not insert tuplets.
+
+The @code{Completion_heads_engraver} only affects notes; it does not
+split rests.
+
+
+@node Showing melody rhythms
+@unnumberedsubsubsec Showing melody rhythms
+
+@cindex melody rhythms, showing
+@cindex rhythms, showing melody
+
+Sometimes you might want to show only the rhythm of a melody. This
+can be done with the rhythmic staff. All pitches of notes on such a
+staff are squashed, and the staff itself has a single line
+
+@lilypond[quote,relative=1,verbatim]
+<<
+ \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
+
+@cindex guitar chord charts
+@cindex strumming rhythms, showing
+@cindex guitar strumming rhythms, showing
+
+@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
+@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
+
+
+@predefined
+@code{\improvisationOn},
+@code{\improvisationOff}.
+@endpredefined
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{guitar-strum-rhythms.ly}
+
+
+@seealso
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{RhythmicStaff},
+@rinternals{Pitch_squash_engraver}.
+
+
+@node Beams
+@subsection Beams
+
+@menu
+* Automatic beams::
+* Setting automatic beam behavior::
+* Manual beams::
+* Feathered beams::
+@end menu
+
+@node Automatic beams
+@unnumberedsubsubsec Automatic beams
+
+By default, beams are inserted automatically:
+
+@cindex beams, manual
+@cindex manual beams
+@cindex beams, customizing rules
+
+@funindex \autoBeamOn
+@funindex autoBeamOn
+@funindex \autoBeamOff
+@funindex autoBeamOff
+
+@lilypond[quote,verbatim,relative=2]
+\time 2/4 c8 c c c
+\time 6/8 c8 c c c8. c16 c8
+@end lilypond
+
+If these automatic decisions are not satisfactory, beaming can be
+entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
+entered manually if beams are to be extended over rests.
+
+If automatic beaming is not required, it may be turned off with
+@code{\autoBeamOff} and on with @code{\autoBeamOn}:
+
+@lilypond[quote,relative=1,verbatim]
+c4 c8 c8. c16 c8. c16 c8
+\autoBeamOff
+c4 c8 c8. c16 c8.
+\autoBeamOn
+c16 c8
+@end lilypond
+
+@cindex melismata, with beams
+@cindex beams, with melismata
+
+@warning{If beams are used to indicate melismata in songs, then
+automatic beaming should be switched off with @code{\autoBeamOff}
+and the beams indicated manually.}
+
+@warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
+produce unintended results. See the snippet below for more information.}
+
+Beaming patterns that differ from the automatic defaults can be
+created; see @ref{Setting automatic beam behavior}.
+
+@predefined
+@code{\autoBeamOff},
+@code{\autoBeamOn}.
+@endpredefined
+
+@cindex beams, line breaks
+@cindex line breaks, beams
+@cindex beams, with knee gap
+@cindex knee gap, with beams
+@funindex breakable
+
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beams-across-line-breaks.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-beam-knee-gap.ly}
+
+@cindex beams, \partcombine with \autoBeamOff
+@cindex voices, \partcombine with \autoBeamOff
+
+@lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
+{partcombine-and-autobeamoff.ly}
+
+@seealso
+Notation Reference:
+@ref{Manual beams},
+@ref{Setting automatic beam behavior}.
+
+Installed Files:
+@file{scm/auto-beam.scm}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Auto_beam_engraver},
+@rinternals{Beam_engraver},
+@rinternals{Beam},
+@rinternals{BeamEvent},
+@rinternals{BeamForbidEvent},
+@rinternals{beam-interface},
+@rinternals{unbreakable-spanner-interface}.
+
+@node Setting automatic beam behavior
+@unnumberedsubsubsec Setting automatic beam behavior
+
+@cindex beams, with lyrics
+@cindex lyrics, with beams
+
+@funindex autoBeaming
+@funindex baseMoment
+@funindex beamExceptions
+@funindex beatStructure
+@funindex measureLength
+@funindex \time
+@funindex time
+@funindex \set
+@funindex set
+
+In most instances, automatic beams will end at the end of a beat.
+The ending points for beats are determined by the context properties
+@code{baseMoment} and @code{beatStructure}. @code{beatStructure}
+is a scheme list that defines the length of each beat in the measure
+in units of @code{baseMoment}. By default, @code{baseMoment} is
+the one over numerator of the time signature. By default,
+each unit of length @code{baseMoment} is a single beat.
+
+@lilypond[quote,relative=2,verbatim]
+\time 5/16
+c16^"default" c c c c |
+\set Timing.beatStructure = #'(2 3)
+c16^"(2+3)" c c c c |
+\set Timing.beatStructure = #'(3 2)
+c16^"(3+2)" c c c c |
+@end lilypond
+
+Beam setting changes can be limited to specific contexts. If no
+setting is included in a lower-level context, the setting of the
+enclosing context will apply.
+
+@lilypond[quote, verbatim,relative=1]
+\new Staff {
+ \time 7/8
+ \set Staff.beatStructure = #'(2 3 2)
+ <<
+ \new Voice = one {
+ \relative c'' {
+ a8 a a a a a a
+ }
+ }
+ \new Voice = two {
+ \relative c' {
+ \voiceTwo
+ \set Voice.beatStructure = #'(1 3 3)
+ f8 f f f f f f
+ }
+ }
+ >>
+}
+@end lilypond
+
+When multiple voices are used the @code{Staff} context must be
+specified if the beaming is to be applied to all voices in the
+staff:
+
+@lilypond[quote,verbatim,relative=2]
+\time 7/8
+% rhythm 3-1-1-2
+% Change applied to Voice by default -- does not work correctly
+% Because of autogenerated voices, all beating will
+% be at baseMoment (1 . 8)
+\set beatStructure = #'(3 1 1 2)
+<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+
+% Works correctly with context Staff specified
+\set Staff.beatStructure = #'(3 1 1 2)
+<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+@end lilypond
+
+The value of @code{baseMoment} can be adjusted to change
+the beaming behavior, if desired. When this is done,
+the value of @code{beatStructure} must be set to be
+compatible with the new value of @code{baseMoment}.
+
+@lilypond[quote,verbatim,relative=2]
+\time 5/8
+\set Timing.baseMoment = #(ly:make-moment 1 16)
+\set Timing.beatStructure = #'(7 3)
+\repeat unfold 10 { a16 }
+@end lilypond
+
+@code{baseMoment} is a @i{moment}; a unit of musical duration. A
+quantity of type @i{moment} is created by the scheme function
+@code{ly:make-moment}. For more information about this function,
+see @ref{Time administration}.
+
+By default @code{baseMoment} is set to one over the denominator of
+the time signature. Any exceptions to this default can be found in
+@file{scm/time-signature-settings.scm}.
+
+Special autobeaming rules (other than ending a beam on a beat)
+are defined in the @code{beamExceptions} property.
+
+@lilypond[quote,relative=2,verbatim]
+\time 3/16
+\set Timing.beatStructure = #'(2 1)
+\set Timing.beamExceptions =
+ #'( ;start of alist
+ (end . ;entry for end of beams
+ ( ;start of alist of end points
+ ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
+ ))) %close all entries
+c16 c c |
+\repeat unfold 6 { c32 } |
+@end lilypond
+
+@code{beamExceptions} is an alist with a key of rule-type and a value
+of beaming-rules.
+
+At this time the only available value of rule-type is
+@code{#'end} for beam ending.
+
+Beaming-rules is a scheme alist (or list of pairs) that indicates the
+beam type and the grouping to be applied to beams containing notes with
+a shortest duration of that beam type.
+
+@example
+#'((beam-type1 . grouping-1)
+ (beam-type2 . grouping-2)
+ (beam-type3 . grouping-3))
+@end example
+
+Beam type is a scheme pair indicating the duration of the beam,
+e.g., @code{(1 . 16)}.
+
+Grouping is a scheme list indicating the grouping to be applied to
+the beam. The grouping is in units of the beam type.
+
+@warning{ A @code{beamExceptions} value must be @emph{complete}
+exceptions list. That is, every exception that should be applied
+must be included in the setting. It is not possible to add, remove,
+or change only one of the exceptions. While this may seem cumbersome,
+it means that the current beaming settings need not be known in order
+to specify a new beaming pattern.}
+
+When the time signature is changed, default values of
+@code{Timing.baseMoment}, @code{Timing.beatStructure},
+and @code{Timing.beamExceptions} are set. Setting the time signature
+will reset the automatic beaming settings for the @code{Timing}
+context to the default behavior.
+
+@lilypond[quote,verbatim,relative=2]
+\time 6/8
+\repeat unfold 6 { a8 }
+% group (4 + 2)
+\set Timing.beatStructure = #'(4 2)
+\repeat unfold 6 { a8 }
+% go back to default behavior
+\time 6/8
+\repeat unfold 6 { a8 }
+@end lilypond
+
+The default automatic beaming settings for a time signature
+are determined in @file{scm/time-signature-settings.scm}.
+Changing the default automatic beaming settings
+for a time signature is described in @ref{Time signature}.
+
+Many automatic beaming settings for a time signature contain an
+entry for @code{beamExceptions}. For example, 4/4 time tries to
+beam the measure in two if there are only eighth notes. The
+@code{beamExceptions} rule can override the @code{beatStructure} setting
+if @code{beamExceptions} is not reset.
+
+@lilypond[quote,verbatim,relative=2]
+\time 4/4
+\set Timing.baseMoment = #(ly:make-moment 1 8)
+\set Timing.beatStructure = #'(3 3 2)
+% This won't beam (3 3 2) because of beamExceptions
+\repeat unfold 8 {c8} |
+% This will beam (3 3 2) because we clear beamExceptions
+\set Timing.beamExceptions = #'()
+\repeat unfold 8 {c8}
+@end lilypond
+
+In a similar fashion, eighth notes in 3/4 time are beamed as a full
+measure by default. To beam eighth notes in 3/4 time on the beat,
+reset @code{beamExceptions}.
+
+@lilypond[quote,verbatim,relative=2]
+\time 3/4
+% by default we beam in (3) due to beamExceptions
+\repeat unfold 6 {a8} |
+% This will beam (1 1 1) due to beatLength
+\set Timing.beamExceptions = #'()
+\repeat unfold 6 {a8}
+@end lilypond
+
+@i{@strong{How automatic beaming works}}
+
+When automatic beaming is enabled, the placement of automatic beams
+is determined by the context properties
+@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
+
+The following rules, in order of priority, apply when determining
+the appearance of beams:
+
+@itemize
+@item
+If a manual beam is specified with @code{[..]} set the beam
+as specified, otherwise
+
+@item
+if a beam-ending rule is defined in @code{beamExceptions}
+for the beam-type, use it to determine the valid places where
+beams may end, otherwise
+
+@item
+if a beam-ending rule is defined in @code{beamExceptions}
+for a longer beam-type, use it to determined the valid places
+where beams may end, otherwise
+
+@item
+use the values of @code{baseMoment} and @code{beatStructure} to
+determine the ends of the beats in the measure, and
+end beams at the end of beats.
+
+@end itemize
+
+In the rules above, the @emph{beam-type} is the duration of the
+shortest note in the beamed group.
+
+The default beaming rules can be found in
+@file{scm/time-signature-settings.scm}.
+
+@snippets
+
+@cindex beams, subdividing
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{subdividing-beams.ly}
+
+@cindex measure groupings
+@cindex beats, grouping
+@cindex grouping beats
+@cindex measure sub-grouping
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{conducting-signs,-measure-grouping-signs.ly}
+
+@cindex beam, endings in a score
+@cindex beam, endings with multiple voices
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beam-endings-in-score-context.ly}
+
+
+@seealso
+Installed Files:
+@file{scm/beam-settings.scm}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Auto_beam_engraver},
+@rinternals{Beam},
+@rinternals{BeamForbidEvent},
+@rinternals{beam-interface}.
+
+
+@knownissues
+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 for polyphonic voices, entered with
+@code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
+automatic beam is still accepting notes, it is not typeset.
+The workaround for these problems is to manually beam the last
+beam in the voice or score.
+
+By default, the @code{Timing} translator is aliased to the
+@code{Score} context. This means that setting the time signature
+in one staff will affect the beaming of the other staves as well.
+Thus, a time signature setting in a later staff will reset custom
+beaming that was set in an earlier staff.
+One way to avoid this problem is to set the time signature
+in only one staff.
+
+@lilypond[quote,verbatim,relative=2]
+<<
+ \new Staff {
+ \time 3/4
+ \set Timing.baseMoment = #(ly:make-moment 1 8)
+ \set Timing.beatStructure = #'(1 5)
+ \repeat unfold 6 { a8 }
+ }
+ \new Staff {
+ \repeat unfold 6 { a8 }
+ }
+>>
+@end lilypond
+
+The default beam settings for the time signature can also be changed, so
+that the desired beaming will always be used. Changes in automatic
+beaming settings for a time signature are described in
+@ref{Time signature}.
+
+@lilypond[quote,verbatim,relative=2]
+<<
+ \new Staff {
+ \overrideTimeSignatureSettings
+ #'(3 . 4) % timeSignatureFraction
+ #'(1 . 8) % baseMomentFraction
+ #'(1 5) % beatStructure
+ #'() % beamExceptions
+ \time 3/4
+ \repeat unfold 6 { a8 }
+ }
+ \new Staff {
+ \time 3/4
+ \repeat unfold 6 { a8 }
+ }
+>>
+@end lilypond
+
+@node Manual beams
+@unnumberedsubsubsec Manual beams
+
+@cindex beams, manual
+@cindex manual beams
+
+@funindex ]
+@funindex [
+
+In some cases it may be necessary to override the automatic
+beaming algorithm. For example, the autobeamer will not put beams
+over rests or bar lines, and in choral scores the beaming is
+often set to follow the meter of the lyrics rather than the
+notes. Such beams can be specified manually by
+marking the begin and end point with @code{[} and @code{]}.
+
+@lilypond[quote,relative=1,verbatim]
+r4 r8[ g' a r] r g[ | a] r
+@end lilypond
+
+@cindex manual beams, direction shorthand for
+@cindex manual beams, grace notes
+
+Beaming direction can be set manually using direction indicators:
+
+@lilypond[quote,relative=2,verbatim]
+c8^[ d e] c,_[ d e f g]
+@end lilypond
+
+@funindex \noBeam
+@funindex noBeam
+
+Individual notes may be marked with @code{\noBeam} to prevent them
+from being beamed:
+
+@lilypond[quote,verbatim,relative=2]
+\time 2/4
+c8 c\noBeam c c
+@end lilypond
+
+Grace note beams and normal note beams can occur simultaneously.
+Unbeamed grace notes are not put into normal note beams.
+
+@lilypond[quote,verbatim,relative=2]
+c4 d8[
+\grace { e32[ d c d] }
+e8] e[ e
+\grace { f16 }
+e8 e]
+@end lilypond
+
+@funindex stemLeftBeamCount
+@funindex stemRightBeamCount
+
+Even more strict manual control with the beams can be achieved by
+setting the properties @code{stemLeftBeamCount} and
+@code{stemRightBeamCount}. They specify the number of beams to
+draw on the left and right side, respectively, of the next note.
+If either property is set, its value will be used only once, and
+then it is erased. In this example, the last @code{f} is printed
+with only one beam on the left side, i.e., the eighth-note beam of
+the group as a whole.
+
+@lilypond[quote,relative=2,verbatim]
+a8[ r16 f g a]
+a8[ r16
+\set stemLeftBeamCount = #2
+\set stemRightBeamCount = #1
+f16
+\set stemLeftBeamCount = #1
+g16 a]
+@end lilypond
+
+
+@predefined
+@code{\noBeam}.
+@endpredefined
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{flat-flags-and-beam-nibs.ly}
+
+
+@seealso
+Notation Reference:
+@ref{Direction and placement},
+@ref{Grace notes}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Beam},
+@rinternals{BeamEvent},
+@rinternals{Beam_engraver},
+@rinternals{beam-interface},
+@rinternals{Stem_engraver}.
+
+
+@node Feathered beams
+@unnumberedsubsubsec Feathered beams
+
+@cindex beams, feathered
+@cindex feathered beams
+
+@funindex \featherDurations
+@funindex featherDurations
+@funindex grow-direction
+
+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
+feathered beam must be indicated manually using @code{[} and
+@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 is to
+reflect the @emph{ritardando} or @emph{accelerando} indicated by the
+feathered beam the notes must be grouped as a music expression delimited
+by braces and preceded by a @code{featherDurations} command which specifies
+the ratio 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 these
+would delimit the same group of notes, but this is not 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
+as the last one, with the intermediate notes gradually
+lengthening. The first four 32nd notes gradually speed up, while
+the last four 32nd notes are at a constant tempo.
+
+@lilypond[relative=1,verbatim,quote]
+\override Beam #'grow-direction = #LEFT
+\featherDurations #(ly:make-moment 2 1)
+{ c16[ c c c c c c c] }
+\override Beam #'grow-direction = #RIGHT
+\featherDurations #(ly:make-moment 2 3)
+{ c32[ d e f] }
+% revert to non-feathered beams
+\override Beam #'grow-direction = #'()
+{ g32[ a b c] }
+@end lilypond
+
+@noindent
+The spacing in the printed output represents the
+note durations only approximately, but the MIDI output is exact.
+
+
+@predefined
+@code{\featherDurations}.
+@endpredefined
+
+@seealso
+Snippets:
+@rlsr{Rhythms}.
+
+
+@knownissues
+
+The @code{\featherDurations} command only works with very short
+music snippets, and when numbers in the fraction are small.
+
+
+@node Bars
+@subsection Bars
+
+
+@menu
+* Bar lines::
+* Bar numbers::
+* Bar and bar number checks::
+* Rehearsal marks::
+@end menu
+
+@node Bar lines
+@unnumberedsubsubsec Bar lines
+
+@cindex bar lines
+@cindex measure lines
+@cindex closing bar lines
+@cindex bar lines, closing
+@cindex double bar lines
+@cindex bar lines, double
+@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
+into the printed output at places based on the current time
+signature.
+
+The simple bar lines inserted automatically can be changed to
+other types with the @code{\bar} command. For example, a closing
+double bar line is usually placed at the end of a piece:
+
+@lilypond[quote,relative=1,verbatim]
+e4 d c2 \bar "|."
+@end lilypond
+
+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
+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.}
+
+@cindex line breaks
+@cindex bar lines, invisible
+@cindex measure lines, invisible
+
+Line breaks are also permitted at manually inserted bar lines
+even within incomplete measures. To allow a line break without
+printing a bar line, use the following:
+
+@example
+\bar ""
+@end example
+
+@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
+@ref{Line breaking}.
+
+@cindex manual bar lines
+@cindex manual measure lines
+@cindex bar lines, manual
+@cindex measure lines, manual
+
+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
+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.
+
+Note that manual bar lines are purely visual. They do not affect
+any of the properties that a normal bar line would affect, such as
+measure numbers, accidentals, line breaks, etc. They do not affect
+the calculation and placement of subsequent automatic bar lines.
+When a manual bar line is placed where a normal bar line already
+exists, the effects of the original bar line are not altered.
+
+Two types of simple bar lines and five types of double bar lines are
+available for manual insertion:
+
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "|"
+f1 \bar "."
+g1 \bar "||"
+a1 \bar ".|"
+b1 \bar ".|."
+c1 \bar "|.|"
+d1 \bar "|."
+e1
+@end lilypond
+
+@noindent
+together with dotted and dashed bar lines:
+
+@lilypond[quote,relative=1,verbatim]
+f1 \bar ":"
+g1 \bar "dashed"
+a1
+@end lilypond
+
+@noindent
+and five types of repeat bar line:
+
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "|:"
+g1 \bar ":|:"
+a1 \bar ":|.|:"
+b1 \bar ":|.:"
+c1 \bar ":|"
+e1
+@end lilypond
+
+Additionally, a bar line can be printed as a simple tick:
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "'"
+@end lilypond
+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.
+
+@cindex segno
+
+For in-line segno signs, there are three types of bar lines which
+differ in their behavior at line breaks:
+
+@lilypond[quote,relative=2,verbatim]
+c4 c c c
+\bar "S"
+c4 c c c \break
+\bar "S"
+c4 c c c
+\bar "|S"
+c4 c c c \break
+\bar "|S"
+c4 c c c
+\bar "S|"
+c4 c c c \break
+\bar "S|"
+c1
+@end lilypond
+
+@cindex repeats
+
+Although the bar line types signifying repeats may be inserted
+manually they do not in themselves cause LilyPond to recognize
+a repeated section. Such repeated sections are better entered
+using the various repeat commands (see @ref{Repeats}), which
+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.
+
+@lilypond[quote,relative=2,verbatim]
+c4 c c c
+\bar "||:"
+c4 c c c \break
+\bar "||:"
+c4 c c c
+@end lilypond
+
+For combinations of repeats with the segno sign, there are six different
+variations:
+
+@lilypond[quote,relative=2,verbatim]
+c4 c c c
+\bar ":|S"
+c4 c c c \break
+\bar ":|S"
+c4 c c c
+\bar ":|S."
+c4 c c c \break
+\bar ":|S."
+c4 c c c
+\bar "S|:"
+c4 c c c \break
+\bar "S|:"
+c4 c c c
+\bar ".S|:"
+c4 c c c \break
+\bar ".S|:"
+c4 c c c
+\bar ":|S|:"
+c4 c c c \break
+\bar ":|S|:"
+c4 c c c
+\bar ":|S.|:"
+c4 c c c \break
+\bar ":|S.|:"
+c1
+@end lilypond
+
+
+In scores with many staves, a @code{\bar} command in one staff is
+automatically applied to all staves. The resulting bar lines are
+connected between different staves of a @code{StaffGroup},
+@code{PianoStaff}, or @code{GrandStaff}.
+
+@lilypond[quote,relative=1,verbatim]
+<<
+ \new StaffGroup <<
+ \new Staff {
+ e4 d
+ \bar "||"
+ f4 e
+ }
+ \new Staff { \clef bass c4 g e g }
+ >>
+ \new Staff { \clef bass c2 c2 }
+>>
+@end lilypond
+
+
+@cindex default bar lines, changing
+@cindex bar lines, default, changing
+
+@snippets
+
+@funindex whichBar
+@funindex defaultBarType
+@funindex \bar
+@funindex bar
+@funindex bartype
+
+The command @samp{\bar @var{bartype}} is a shortcut for
+@samp{\set Timing.whichBar = @var{bartype}}. A bar line is
+created whenever the @code{whichBar} property is set.
+
+The default bar type used for automatically inserted bar lines is
+@code{"|"}. This may be changed at any time with
+@samp{\set Timing.defaultBarType = @var{bartype}}.
+
+
+@seealso
+Notation Reference:
+@ref{Line breaking},
+@ref{Repeats},
+@ref{Grouping staves}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{BarLine} (created at @code{Staff} level),
+@rinternals{SpanBar} (across staves),
+@rinternals{Timing_translator} (for Timing properties).
+
+
+@node Bar numbers
+@unnumberedsubsubsec Bar numbers
+
+@cindex bar numbers
+@cindex measure numbers
+@cindex numbers, bar
+@cindex numbers, measure
+
+@funindex currentBarNumber
+
+Bar numbers are typeset by default at the start of every line except
+the first line. The number itself is stored in the
+@code{currentBarNumber} property, which is normally updated
+automatically for every measure. It may also be set manually:
+
+@lilypond[verbatim,quote,relative=1]
+c1 c c c
+\break
+\set Score.currentBarNumber = #50
+c1 c c c
+@end lilypond
+
+@cindex bar numbers, regular spacing
+
+@funindex barNumberVisibility
+@funindex BarNumber
+
+Bar numbers can be typeset at regular intervals instead of just at
+the beginning of every line. To do this the default behavior
+must be overridden to permit bar numbers to be printed at places
+other than the start of a line. This is controlled by the
+@code{break-visibility} property of @code{BarNumber}. This takes
+three values which may be set to @code{#t} or @code{#f} to specify
+whether the corresponding bar number is visible or not. The order
+of the three values is @code{end of line visible}, @code{middle of
+line visible}, @code{beginning of line visible}. In the following
+example bar numbers are printed at all possible places:
+
+@lilypond[verbatim,quote,relative=1]
+\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
+\set Score.currentBarNumber = #11
+% Permit first bar number to be printed
+\bar ""
+c1 | c | c | c
+\break
+c1 | c | c | c
+@end lilypond
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{printing-the-bar-number-for-the-first-measure.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{printing-bar-numbers-at-regular-intervals.ly}
+
+@cindex measure number, format
+@cindex bar number, format
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{printing-bar-numbers-inside-boxes-or-circles.ly}
+
+@cindex bar number alignment
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{aligning-bar-numbers.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{removing-bar-numbers-from-a-score.ly}
+
+
+@seealso
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{BarNumber},
+@rinternals{Bar_number_engraver}.
+
+
+@cindex bar number collision
+@cindex collision, bar number
+
+@knownissues
+Bar numbers may collide with the top of the @code{StaffGroup} bracket,
+if there is one. To solve this, the @code{padding} property of
+@code{BarNumber} can be used to position the number correctly. See
+@rinternals{StaffGroup} and @rinternals{BarNumber} for more.
+
+
+@node Bar and bar number checks
+@unnumberedsubsubsec Bar and bar number checks
+
+@cindex bar check
+@cindex bar number check
+@cindex measure check
+@cindex measure number check
+
+@funindex barCheckSynchronize
+@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 list of warnings is printed in the log file, showing
+the line numbers and lines in which the bar checks failed. In the
+next example, the second bar check will signal an error.
+
+@example
+\time 3/4 c2 e4 | g2 |
+@end example
+
+Bar checks can also be used in lyrics:
+
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle |
+@}
+@end example
+
+An incorrect duration can result in a completely garbled score,
+especially if the score is polyphonic, so a good place to start
+correcting input is by scanning for failed bar checks and
+incorrect durations.
+
+If successive bar checks are off by the same musical interval,
+only the first warning message is displayed. This allows the
+warning to focus on the source of the timing error.
+
+
+@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
+for end of bar.
+
+@lilypond[quote,verbatim]
+pipeSymbol = \bar "||"
+{
+ c'2 c' |
+ c'2 c'
+ c'2 | c'
+ c'2 c'
+}
+@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
+entering from. This can be checked with @code{\barNumberCheck}, for
+example,
+
+@verbatim
+\barNumberCheck #123
+@end verbatim
+
+@noindent
+will print a warning if the @code{currentBarNumber} is not 123
+when it is processed.
+
+
+@seealso
+Snippets:
+@rlsr{Rhythms}.
+
+
+@node Rehearsal marks
+@unnumberedsubsubsec Rehearsal marks
+
+@cindex rehearsal marks
+@cindex mark, rehearsal
+
+@funindex \mark
+@funindex mark
+
+To print a rehearsal mark, use the @code{\mark} command.
+
+@lilypond[quote,verbatim,relative=2]
+c1 \mark \default
+c1 \mark \default
+c1 \mark \default
+c1 \mark \default
+@end lilypond
+
+@noindent
+The mark is incremented automatically if you use @code{\mark
+\default}, but you can also use an integer argument to set the
+mark manually. The value to use is stored in the property
+@code{rehearsalMark}.
+
+@lilypond[quote,verbatim,relative=2]
+c1 \mark \default
+c1 \mark \default
+c1 \mark #8
+c1 \mark \default
+c1 \mark \default
+@end lilypond
+
+@noindent
+The letter@tie{}@q{I} is skipped in accordance with engraving
+traditions. If you wish to include the letter @q{I}, then use one
+of the following commands, depending on which style of rehearsal mark
+you want (letters only, letters in a hollow box, or letters in a
+hollow circle).
+
+@example
+\set Score.markFormatter = #format-mark-alphabet
+\set Score.markFormatter = #format-mark-box-alphabet
+\set Score.markFormatter = #format-mark-circle-alphabet
+@end example
+
+@lilypond[quote,verbatim,relative=2]
+\set Score.markFormatter = #format-mark-box-alphabet
+c1 \mark \default
+c1 \mark \default
+c1 \mark #8
+c1 \mark \default
+c1 \mark \default
+@end lilypond
+
+@cindex rehearsal mark format
+@cindex rehearsal mark style
+@cindex style, rehearsal mark
+@cindex format, rehearsal mark
+@cindex mark, rehearsal, style
+@cindex mark, rehearsal, format
+@cindex rehearsal mark, manual
+@cindex mark, rehearsal, manual
+@cindex custom rehearsal mark
+@cindex manual rehearsal mark
+
+The style is defined by the property @code{markFormatter}. It is
+a function taking the current mark (an integer) and the current
+context as argument. It should return a markup object. In the
+following example, @code{markFormatter} is set to a pre-defined
+procedure. After a few measures, it is set to a procedure that
+produces a boxed number.
+
+@lilypond[quote,verbatim,relative=2]
+\set Score.markFormatter = #format-mark-numbers
+c1 \mark \default
+c1 \mark \default
+\set Score.markFormatter = #format-mark-box-numbers
+c1 \mark \default
+\set Score.markFormatter = #format-mark-circle-numbers
+c1 \mark \default
+\set Score.markFormatter = #format-mark-circle-letters
+c1
+@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
+for other formatting functions.
+
+You may use @code{format-mark-barnumbers},
+@code{format-mark-box-barnumbers}, and
+@code{format-mark-circle-barnumbers} to get bar numbers instead of
+incremented numbers or letters.
+
+Other styles of rehearsal mark can be specified manually:
+
+@example
+\mark "A1"
+@end example
+
+@noindent
+Note that @code{Score.markFormatter} does not affect marks specified
+in this manner. However, it is possible to apply a @code{\markup} to the
+string.
+
+@example
+\mark \markup@{ \box A1 @}
+@end example
+
+@cindex segno
+@cindex coda
+@cindex D.S. al Fine
+@cindex fermata
+@cindex music glyphs
+@cindex glyphs, music
+
+@funindex \musicglyph
+@funindex musicglyph
+
+Music glyphs (such as the segno sign) may be printed inside a
+@code{\mark}
+
+@lilypond[quote,verbatim,relative=1]
+c1 \mark \markup { \musicglyph #"scripts.segno" }
+c1 \mark \markup { \musicglyph #"scripts.coda" }
+c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+c1
+@end lilypond
+
+@noindent
+See @ref{The Feta font}, for a list of symbols which may be
+printed with @code{\musicglyph}.
+
+For common tweaks to the positioning of rehearsal marks, see
+@ref{Formatting text}. For more precise control, see
+@code{break-alignable-interface} in @ref{Aligning objects}.
+
+
+@seealso
+Notation Reference:
+@ref{The Feta font},
+@ref{Formatting text},
+@ref{Aligning objects}.
+
+Installed Files:
+@file{scm/translation-functions.scm} contains
+the definitions 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{MarkEvent},
+@rinternals{Mark_engraver},
+@rinternals{RehearsalMark}.
+
+
+@node Special rhythmic concerns
+@subsection Special rhythmic concerns
+
+
+@menu
+* Grace notes::
+* Aligning to cadenzas::
+* Time administration::
+@end menu
+
+@node Grace notes
+@unnumberedsubsubsec Grace notes
+
+@cindex ornaments
+@cindex grace notes
+@cindex appoggiatura
+@cindex acciaccatura
+
+@funindex \grace
+@funindex grace
+
+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,relative=2,verbatim]
+c4 \grace c16 c4
+\grace { c16[ d16] } c2
+@end lilypond
+
+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,relative=2,verbatim]
+\grace c8 b4
+\acciaccatura d8 c4
+\appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
+@end lilypond
+
+The placement of grace notes is synchronized between different
+staves. In the following example, there are two sixteenth grace
+notes for every eighth grace note
+
+@lilypond[quote,relative=2,verbatim]
+<<
+ \new Staff { e2 \grace { c16[ d e f] } e2 }
+ \new Staff { c2 \grace { g8[ b] } c2 }
+>>
+@end lilypond
+
+@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
+notes following the main note.
+
+@lilypond[quote,verbatim,relative=2]
+c1 \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.
+
+@lilypond[quote,verbatim,relative=2]
+<<
+ \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 after a space lasting 7/8 of the main note.
+
+@lilypond[quote,verbatim,relative=2]
+\new Voice {
+ <<
+ { d1^\trill_( }
+ { s2 s4. \grace { c16[ d] } }
+ >>
+ c1)
+}
+@end lilypond
+
+@cindex tweaking grace notes
+@cindex grace notes, tweaking
+@cindex grace notes, changing layout settings
+
+A @code{\grace} music expression will introduce special
+typesetting settings, for example, to produce smaller type, and
+set directions. Hence, when introducing layout tweaks to
+override the special settings, they should be placed inside
+the grace expression. The overrides should also be reverted
+inside the grace expression. Here, the grace note's default stem
+direction is overridden and then reverted.
+
+@lilypond[quote,verbatim,relative=2]
+\new Voice {
+ \acciaccatura {
+ \stemDown
+ f16->
+ \stemNeutral
+ }
+ g4 e c2
+}
+@end lilypond
+
+
+@cindex stem, with slash
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{using-grace-note-slashes-with-normal-heads.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{tweaking-grace-layout-within-music.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{redefining-grace-note-global-defaults.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{positioning-grace-notes-with-floating-space.ly}
+
+
+@seealso
+Music Glossary:
+@rglos{grace notes},
+@rglos{acciaccatura},
+@rglos{appoggiatura}.
+
+Notation Reference:
+@ref{Manual beams}.
+
+Installed Files:
+@file{ly/grace-init.ly}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{GraceMusic},
+@rinternals{Grace_beam_engraver},
+@rinternals{Grace_engraver},
+@rinternals{Grace_spacing_engraver}.
+
+
+@knownissues
+
+@cindex acciaccatura, multi-note
+@cindex multi-note acciaccatura
+@cindex grace-note synchronization
+
+A multi-note beamed @i{acciaccatura} is printed without a slash,
+and looks exactly the same as a multi-note beamed
+@i{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, bar lines, etc., are also
+synchronized. Take care when you mix staves with grace notes and
+staves without, for example,
+
+@lilypond[quote,relative=2,verbatim]
+<<
+ \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" d2. }
+>>
+@end lilypond
+
+@noindent
+This can be remedied by inserting grace skips of the corresponding
+durations in the other staves. For the above example
+
+@lilypond[quote,relative=2,verbatim]
+<<
+ \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" \grace s16 d2. }
+>>
+@end lilypond
+
+The use of grace notes within voice contexts confuses the way the voice
+is typeset. This can be overcome by inserting a rest or note between the
+voice command and the grace note.
+
+@lilypond[quote,verbatim]
+accMusic = {
+ \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
+}
+
+\new Staff {
+ <<
+ \new Voice {
+ \relative c'' {
+ r8 r8 \voiceOne \accMusic \oneVoice r8 |
+ r8 \voiceOne r8 \accMusic \oneVoice r8 |
+ }
+ }
+ \new Voice {
+ \relative c' {
+ s8 s8 \voiceTwo \accMusic \oneVoice s8 |
+ s8 \voiceTwo r8 \accMusic \oneVoice s8 |
+ }
+ }
+ >>
+}
+@end lilypond
+
+Grace sections should only be used within sequential music expressions.
+Nesting or juxtaposing grace sections is not supported, and might
+produce crashes or other errors.
+
+Each grace note in MIDI output has a length of 1/4 of its actual
+duration. If the combined length of the grace notes is greater than the
+length of the preceding note a @qq{@code{Going back in MIDI time}}
+error will be generated. Either make the grace notes shorter in
+duration, for example:
+
+@example
+\acciaccatura @{ c'8[ d' e' f' g'] @}
+@end example
+
+becomes:
+
+@example
+\acciaccatura @{ c'16[ d' e' f' g'] @}
+@end example
+
+Or explicitly change the musical duration:
+
+@example
+\acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
+@end example
+
+See @ref{Scaling durations}.
+
+
+@node Aligning to cadenzas
+@unnumberedsubsubsec Aligning to cadenzas
+
+@cindex cadenza
+@cindex cadenza, aligning to
+@cindex aligning to cadenza
+
+In an orchestral context, cadenzas present a special problem: when
+constructing a score that includes a measured cadenza or other solo
+passage, all other instruments should skip just as many notes as the
+length of the cadenza, otherwise they will start too soon or too late.
+
+One solution to this problem is to use the functions
+@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
+functions take a defined piece of music as an argument and generate a
+multi-measure rest or @code{\skip} exactly as long as the piece.
+
+@lilypond[verbatim,quote]
+MyCadenza = \relative c' {
+ c4 d8 e f g g4
+ f2 g4 g
+}
+
+\new GrandStaff <<
+ \new Staff {
+ \MyCadenza c'1
+ \MyCadenza c'1
+ }
+ \new Staff {
+ #(ly:export (mmrest-of-length MyCadenza))
+ c'1
+ #(ly:export (skip-of-length MyCadenza))
+ c'1
+ }
+>>
+@end lilypond
+
+
+@seealso
+Music Glossary:
+@rglos{cadenza}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+
+@node Time administration
+@unnumberedsubsubsec Time administration
+
+@cindex time administration
+@cindex timing (within the score)
+@cindex music, unmetered
+@cindex unmetered music
+
+@funindex currentBarNumber
+@funindex measurePosition
+@funindex measureLength
+
+Time is administered by the @code{Timing_translator}, which by
+default is to be found in the @code{Score} context. An alias,
+@code{Timing}, is added to the context in which the
+@code{Timing_translator} is placed. To ensure that the
+@code{Timing} alias is available, you may need to explicitly
+instantiate the containing context (such as @code{Voice} or
+@code{Staff}).
+
+The following properties of @code{Timing} are used
+to keep track of timing within the score.
+
+@cindex bar number
+@cindex measure number
+
+@table @code
+@item currentBarNumber
+The current measure number. For an example showing the
+use of this property see @ref{Bar numbers}.
+
+@item measureLength
+The length of the measures in the current time signature. For a
+4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
+determines when bar lines are inserted and how automatic beams
+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{currentBarNumber} is incremented.
+
+@item timing
+If set to true, the above variables are updated for every time
+step. When set to false, the engraver stays in the current
+measure indefinitely.
+
+@end table
+
+Timing can be changed by setting any of these variables
+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.
+The next bar line then falls at 9/8 rather than 5/4.
+
+@lilypond[quote,verbatim]
+\new Voice \relative c' {
+ \set Timing.measureLength = #(ly:make-moment 5 4)
+ c1 c4 |
+ c1 c4 |
+ c4 c
+ \set Timing.measurePosition = #(ly:make-moment 5 8)
+ b4 b b8 |
+ c4 c1 |
+}
+@end lilypond
+
+@noindent
+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
+notes.
+
+
+@seealso
+Notation Reference:
+@ref{Bar numbers},
+@ref{Unmetered music}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Timing_translator},
+@rinternals{Score}.
+
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