+++ /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. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.12.0"
-
-@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
-
-@noindent
-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}.
-
-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. Predefined commands are available to
-force a particular direction manually, for details
-see @ref{Direction and placement}.
-
-
-@predefined
-@code{\autoBeamOff},
-@code{\dotsUp},
-@code{\dotsDown},
-@code{\dotsNeutral}.
-@endpredefined
-
-
-@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 @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
-
-@funindex \tupletUp
-@funindex tupletUp
-@funindex \tupletDown
-@funindex tupletDown
-@funindex \tupletNeutral
-@funindex tupletNeutral
-
-The automatic placement of the tuplet bracket above or below the
-notes may be overridden manually with predefined commands, for
-details 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}
-
-@funindex TupletNumber
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-the-tuplet-number.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}.
-
-
-@knownissues
-@cindex grace notes within tuplet brackets
-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.
-
-
-@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 skip or spacing notes may also be modified by
-a multiplier. This is useful for skipping many measures, e.g.,
-@code{s1*23}.
-
-@cindex compressing 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
-
-@noindent
-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
-
-
-@noindent
-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
-
-The vertical placement of ties may be controlled, see
-Predefined commands, or for details, 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
-
-Solid, dotted or dashed ties may be specified, see Predefined
-commands.
-
-
-@predefined
-@code{\tieUp},
-@code{\tieDown},
-@code{\tieNeutral},
-@code{\tieDotted},
-@code{\tieDashed},
-@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{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 octavations 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 predefined
-commands shown:
-
-@c \time 16/1 is used to avoid spurious bar lines
-@c and long tracts of empty measures
-@lilypond[fragment,quote,verbatim]
-\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, @code{\skip}
-is used to skip a musical moment. @code{\skip} requires an
-explicit duration.
-
-@lilypond[quote,verbatim,relative=2]
-<<
- {
- a2 \skip2 a2 a2
- }
- \new Lyrics {
- \lyricmode {
- foo2 \skip 1 bla2
- }
- }
->>
-@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,fragment]
-s1 s s
-@end lilypond
-
-@code{\skip} simply skips musical time; it creates no output of
-any kind.
-
-@lilypond[quote,verbatim,fragment]
-% This is valid input, but does nothing
-\skip 1 \skip1 \skip 1
-@end lilypond
-
-
-@seealso
-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,fragment,verbatim]
-\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,fragment]
-\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,fragment,verbatim]
-% 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
-
-@funindex \fermataMarkup
-@funindex fermataMarkup
-
-Markups can be added to multi-measure rests.
-The predefined command @code{\fermataMarkup}
-is provided for adding fermatas.
-
-@lilypond[quote,verbatim,fragment]
-\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,fragment]
-% This fails, as the wrong object name is specified
-\override TextScript #'padding = #5
-R1^"wrong"
-% This is correct and works
-\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.
-
-
-@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
-
-If an attempt is made to use fingerings (e.g.,
-@code{R1*10-4}) to put numbers over multi-measure rests, the
-fingering numeral (4) may collide with the bar counter
-numeral (10).
-
-@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::
-* 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}.
-
-
-@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,ragged-right,texidoc,doctitle]
-{compound-time-signatures.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 Upbeats
-@unnumberedsubsubsec Upbeats
-
-@cindex anacrusis
-@cindex upbeat
-@cindex partial measure
-@cindex measure, partial
-@cindex pickup measure
-@cindex measure, change length
-@cindex 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
-
-where @code{duration} is the rhythmic length of the interval
-before the start of the first complete measure:
-
-@lilypond[quote,verbatim,relative=2]
-\partial 4 e4 |
-a2. c,4 |
-@end lilypond
-
-The partial measure can be any duration less than a full measure:
-
-@lilypond[quote,verbatim,relative=2]
-\partial 8*3 c8 d e |
-a2. c,4 |
-@end lilypond
-
-Internally, this is translated into
-
-@example
-\set Timing.measurePosition = -@var{duration}
-@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 may occur.
-
-@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,fragment]
-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,fragment]
-% 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
-
-
-@predefined
-@code{\cadenzaOn},
-@code{\cadenzaOff}.
-@endpredefined
-
-
-@seealso
-Music Glossary:
-@rglos{cadenza}.
-
-Notation Reference:
-@ref{Visibility of objects}.
-
-Snippets:
-@rlsr{Rhythms}.
-
-
-@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.
-
-
-@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 beaming in polymetric music
-@cindex beaming in polymetric meter
-
-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,fragment]
-\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 |
- c c c |
- }
- \new Staff {
- \time 2/4
- c4 c |
- c c |
- c 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 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
-
-@funindex Note_heads_engraver
-@funindex Completion_heads_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}. In the following
-example, notes crossing the bar lines are split and tied.
-
-@lilypond[quote,verbatim,relative=1]
-\new Voice \with {
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
-}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
-@end lilypond
-
-This engraver splits all running notes at the bar line, and
-inserts ties. 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{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, setting rules for
-@cindex beams, custom rules for
-
-@funindex measureLength
-@funindex beatLength
-@funindex beatGrouping
-@funindex \autoBeamOn
-@funindex autoBeamOn
-@funindex \autoBeamOff
-@funindex autoBeamOff
-
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c c c c8. c16 c8
-@end lilypond
-
-If these automatic decisions are not satisfactory, beaming can be
-entered explicitly; see @ref{Manual beams}. Beams must also be
-entered manually in the same way if beams are to be extended over
-rests.
-
-It is possible
-to define beaming patterns that differ from the defaults. The
-default beaming rules for most common time signatures are defined
-in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
-defined for a particular beam's duration in the time signature being
-used, its beaming is controlled by the values of three context
-properties, @code{measureLength}, @code{beatLength} and
-@code{beatGrouping}. Both the beaming rules and the context
-properties can be overridden, see @ref{Setting automatic beam behavior}.
-
-
-@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.}
-
-
-@noindent
-Automatic beaming may be turned off and on with
-@code{\autoBeamOff} and @code{\autoBeamOn} commands:
-
-@lilypond[quote,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
-@end lilypond
-
-
-@predefined
-@code{\autoBeamOff},
-@code{\autoBeamOn}.
-@endpredefined
-
-
-@snippets
-
-@cindex line breaks and beams
-@cindex beams and line breaks
-
-@funindex breakable
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{beams-across-line-breaks.ly}
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-beam-knee-gap.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{Beam}.
-
-
-@knownissues
-
-Automatically kneed cross-staff beams cannot be used together with
-hidden staves. See @ref{Hiding staves}.
-
-Beams can collide with note heads and accidentals in other voices
-
-
-@node Setting automatic beam behavior
-@unnumberedsubsubsec Setting automatic beam behavior
-
-
-@cindex automatic beams, tuning
-@cindex tuning automatic beaming
-@cindex automatic beam generation
-@cindex autobeam
-@cindex lyrics and beaming
-
-@funindex autoBeaming
-@funindex autoBeamSettings
-@funindex (end * * * *)
-@funindex (begin * * * *)
-@funindex measureLength
-@funindex beatLength
-@funindex beatGrouping
-@funindex \time
-@funindex time
-@funindex \set
-@funindex set
-
-The placement of automatic beams is determined by the rules
-described in @ref{Automatic beams}. There are two mutually
-exclusive ways in which these rules may be modified. The
-first, modifying the grouping of beats, applies to uncommon time
-signatures, i.e. those for which there are no predefined rules
-defining the beam end points. The second method, modifying the
-specification of the beam end points, can be used for any time
-signature. This second method @strong{must} be used for those time
-signatures and beam durations combinations for which beam ending
-rules are pre-defined, unless these have all been reverted. There
-are predefined rules for time signatures of 3/2, 3/4, 4/4, 2/4,
-4/8, 4/16, 6/8, 9/8 and 12/8.
-
-@i{@strong{Modifying the grouping of beats}}
-
-If there are no beam-ending rules defined for the beam duration of a
-particular beam in the time signature in use, its beaming is
-controlled by three context properties:
-@code{measureLength}, @code{beatLength} and @code{beatGrouping}.
-These properties may be set in the @code{Score}, @code{Staff} or
-@code{Voice} contexts to delimit their scope. The default values
-are set while processing @code{\time} commands, so the @code{\set}
-commands must be placed after all @code{\time} commands.
-
-These determine the beaming as follows:
-
-Beams may begin anywhere (unless a beam is already active). Beams
-end at a time determined by the values of @code{beatGrouping} and
-@code{beatLength}, as follows:
-
-@itemize
-
-@item If @code{beatGrouping} and @code{beatLength} are consistent
-with @code{measureLength}, @code{beatGrouping} is used to determine
-the end points of beams.
-
-@item If @code{beatGrouping} and @code{beatLength} are inconsistent
-with @code{measureLength}, @code{beatLength} is used to determine
-the end points of beams.
-
-@end itemize
-
-@warning{These three properties become effective for a particular
-beam @strong{only} if there are no beam-ending rules predefined for
-that beam's duration in the time signature in use, or if these
-beam-ending rules have all been reverted.}
-
-By default the @code{measureLength} and @code{beatLength} are
-derived from the time signature set by the @code{\time} command.
-The @code{measureLength} is set to be exactly the same length as
-the measure length given by the time signature, and the
-@code{beatLength} is set to be the same as one over the denominator
-of the time signature.
-
-The default value of @code{beatGrouping} is taken from a table in
-@file{scm/@/music@/-functions@/.scm}. To find this, see
-@rlearning{Other sources of information}. It defines the beat
-grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
-
-Both @code{measureLength} and @code{beatLength} are @i{moments},
-units 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}.
-
-@code{beatGrouping} is a list of integers giving the number of
-beats in each group.
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{grouping-beats.ly}
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{specifying-context-with-beatgrouping.ly}
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{using-beatlength-and-beatgrouping.ly}
-
-@funindex subdivideBeams
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{sub-dividing-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}
-
-
-@strong{@i{Modifying the beam end points}}
-
-In common time signatures, automatic beams can start on any note
-but can end at only a few positions within the measure, namely at
-durations specified by the properties in @code{autoBeamSettings}.
-These properties consist of a list of rules defining where beams can
-end. The default @code{autoBeamSettings} rules are defined in
-@file{scm/@/auto@/-beam@/.scm}. To find this, see
-@rlearning{Other sources of information}.
-
-This method @strong{must} be used for the time signatures for which
-beam-ending rules are defined by default, unless these have all
-been reverted. It is also particularly suitable for many other time
-signatures if the time signature of the measures changes frequently,
-or if the beaming should be different for different beam durations.
-
-In order to add a rule to the list, use
-
-@example
-#(override-auto-beam-setting
- '(beam-limit
- beam-numerator beam-denominator
- time-signature-numerator time-signature-denominator)
- moment-numerator moment-denominator [context])
-@end example
-
-@noindent
-where
-
-@itemize
-
-@item @code{beam-limit} is the type of automatic beam limit
-defined. This can be either @code{begin} or @code{end} but
-only @code{end} is effective.
-
-@item @code{beam-numerator/beam-denominator} is the beam duration
-to which the rule is to apply. A beam is considered to have
-the duration of its shortest note. Set @code{beam-numerator}
-and @code{beam-denominator} to @code{'*'} to have this rule apply
-to beams of any duration.
-
-@item @code{time-signature-numerator/time-signature-denominator}
-specifies the time signature to which this rule should apply.
-If @code{time-signature-numerator} and
-@code{time-signature-denominator} are set to @code{'*'} this rule
-will apply in any time signature.
-
-@item @code{monent-numerator/moment-denominator} is the position
-in the bar at which the beam should end.
-
-@item @code{context} is optional, and it specifies the context at which
-the change should be made. The default is @code{'Voice}.
-
-@code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
-@code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
-
-@end itemize
-
-For example, if automatic beams should always end on the first quarter
-note, whatever the time signature or beam duration, use
-
-@lilypond[quote,verbatim,relative=2]
-a8 a a a a a a a
-#(override-auto-beam-setting '(end * * * *) 1 4)
-a8 a a a a a a a
-@end lilypond
-
-You can force the beam settings to take effect only on beams whose shortest
-note is a certain duration
-
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-% end 1/16 beams for all time signatures at the 1/16 moment
-#(override-auto-beam-setting '(end 1 16 * *) 1 16)
-a16 a a a a a a a |
-a32 a a a a16 a a a a a |
-% end 1/32 beams for all time signatures at the 1/16 moment
-#(override-auto-beam-setting '(end 1 32 * *) 1 16)
-a32 a a a a16 a a a a a |
-@end lilypond
-
-You can force the beam settings to take effect only in certain time
-signatures
-
-@lilypond[quote,verbatim,relative=2]
-\time 5/8
-% end beams of all durations in 5/8 time signature at the 2/8 moment
-#(override-auto-beam-setting '(end * * 5 8) 2 8)
-c8 c d d d
-\time 4/4
-e8 e f f e e d d
-\time 5/8
-c8 c d d d
-@end lilypond
-
-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
-% Context not specified - does not work correctly
-#(override-auto-beam-setting '(end * * 7 8) 3 8)
-#(override-auto-beam-setting '(end * * 7 8) 4 8)
-#(override-auto-beam-setting '(end * * 7 8) 5 8)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
-
-% Works correctly with context specified
-#(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
-#(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
-#(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
-@end lilypond
-
-@warning{If any unexpected beam behavior occurs, check the default
-automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
-possible interference, because the beam endings defined there will
-still apply in addition to your own.}
-
-Any unwanted or conflicting default endings must be reverted for
-your time signature(s). Existing auto-beam rules are removed by
-using
-
-@example
-#(revert-auto-beam-setting
- '(beam-limit
- beam-numerator beam-denominator
- time-signature-numerator time-signature-denominator)
- moment-numerator moment-denominator [context])
-@end example
-
-@noindent
-@code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
-@code{time-signature-numerator}, @code{time-signature-denominator},
-@code{moment-numerator}, @code{moment-denominator} and @code{context}
-are the same as above.
-
-@lilypond[quote,verbatim,relative=2]
-\time 4/4
-a16 a a a a a a a a a a a a a a a
-% undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
-#(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
-a16 a a a a a a a a a a a a a a a
-@end lilypond
-
-The rule in a @code{revert-auto-beam-setting} statement must exactly
-match the original rule. That is, no wildcard expansion is taken into
-account.
-
-@lilypond[quote,verbatim,relative=2]
-\time 1/4
-#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
-a16 a a a
-#(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
-a a a a
-#(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
-a a a a
-@end lilypond
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{beam-grouping-in-7-8-time.ly}
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{reverting-default-beam-endings.ly}
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{beam-endings-in-score-context.ly}
-
-@funindex \autoBeamOff
-@funindex autoBeamOff
-@funindex \autoBeamOn
-@funindex autoBeamOn
-
-@predefined
-@code{\autoBeamOff},
-@code{\autoBeamOn}.
-@endpredefined
-
-
-@cindex beam, last in score
-@cindex beam, last in polyphonic voice
-
-@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.
-
-
-@seealso
-Snippets:
-@rlsr{Rhythms}.
-
-
-@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 r8] r8 g[ | a] r8
-}
-@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
-
-@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
-f
-\set stemLeftBeamCount = #1
-g a]
-@end lilypond
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{flat-flags-and-beam-nibs.ly}
-
-@node Feathered beams
-@unnumberedsubsubsec Feathered beams
-
-@cindex beams, feathered
-
-@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 ritardando or accelerando indicated by the
-feathered beam the notes must be grouped as a
-music expression delimited by braces and preceded by a
-@code{featheredDurations} 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.
-
-@knownissues
-
-The @code{\featherDurations} command only works with very short
-music snippets, and when numbers in the fraction are small.
-
-
-@seealso
-Snippets:
-@rlsr{Rhythms}.
-
-
-@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 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
-
-@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. Such insertions
-do not affect the calculation and placement of subsequent automatic
-bar lines.
-
-The simple bar line and five types of double bar line are available
-for manual insertion:
-
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
-@end lilypond
-
-@noindent
-together with dotted and dashed bar lines:
-
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ":" g \bar "dashed" a
-@end lilypond
-
-@noindent
-and five types of repeat bar line:
-
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
-@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]
-\override Score.RehearsalMark #'padding = #3
-c c c c
-\bar "||:"
-c c c c \break
-\bar "||:"
-c c c c
-@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,fragment,verbatim]
-<<
- \new StaffGroup <<
- \new Staff {
- e'4 d'
- \bar "||"
- f' e'
- }
- \new Staff { \clef bass c4 g e g }
- >>
- \new Staff { \clef bass c2 c2 }
->>
-@end lilypond
-
-
-@snippets
-
-@funindex whichBar
-@funindex defaultBarType
-@funindex \bar
-@funindex bar
-@funindex bartype
-
-The command @code{\bar }@var{bartype} is a shortcut for
-@code{\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 @code{\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
-@rinternals{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,fragment,relative=1]
-c1 c c c
-\break
-\set Score.currentBarNumber = #50
-c1 c c c
-@end lilypond
-
-
-@snippets
-
-@cindex bar numbers, regular spacing
-
-@funindex barNumberVisibility
-
-@c Uncomment this after next LSR update.
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-@c {printing-the-bar-number-for-the-first-measure.ly}
-
-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
-\bar "" % Permit first bar number to be printed
-c1 c c c
-\break
-c c c c
-@end lilypond
-
-@c All the rest of these examples will be added to LSR
-@c and moved into the Snippets. -gp
-
-@noindent
-and here the bar numbers are printed every two measures
-except at the end of the line:
-
-@lilypond[verbatim,quote,relative=1]
-\override Score.BarNumber #'break-visibility = #'#(#f #t #t)
-\set Score.currentBarNumber = #11
-\bar "" % Permit first bar number to be printed
-% Print a bar number every second measure
-\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
-c1 c c c c
-\break
-c c c c c
-@end lilypond
-
-@cindex measure number, format
-@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
-numbers in boxes and circles, and shows an alternative way
-of specifying @code{#(#f #t #t)} for @code{break-visibility}.
-
-@lilypond[verbatim,quote,relative=1]
-% Prevent bar numbers at the end of a line and permit them elsewhere
-\override Score.BarNumber #'break-visibility
- = #end-of-line-invisible
-
-% Increase the size of the bar number by 2
-\override Score.BarNumber #'font-size = #2
-\repeat unfold 3 { c1 } \bar "|"
-
-% Draw a box round the following bar number(s)
-\override Score.BarNumber #'stencil
- = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
-\repeat unfold 3 { c1 } \bar "|"
-
-% Draw a circle round the following bar number(s)
-\override Score.BarNumber #'stencil
- = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
-\repeat unfold 4 { c1 } \bar "|."
-@end lilypond
-
-@cindex bar number alignment
-
-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
-bar line:
-
-@lilypond[verbatim,quote,relative=1]
-\set Score.currentBarNumber = #111
-\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
-% Increase the size of the bar number by 2
-\override Score.BarNumber #'font-size = #2
-% Print a bar number every second measure
-\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
-c1 c1
-% Center-align bar numbers
-\override Score.BarNumber #'self-alignment-X = #0
-c1 c1
-% Right-align bar numbers
-\override Score.BarNumber #'self-alignment-X = #-1
-c1 c1
-@end lilypond
-
-Bar numbers can be removed entirely by removing the
-@code{Bar_number_engraver} from the @code{Score} context.
-
-@lilypond[verbatim,quote]
-\layout {
- \context {
- \Score
- \remove "Bar_number_engraver"
- }
-}
-\relative c''{
- c4 c c c \break
- c4 c c c
-}
-@end lilypond
-
-
-@seealso
-Snippets:
-@rlsr{Rhythms}.
-
-Internals Reference: @rinternals{BarNumber}.
-
-
-@cindex bar number collision
-@cindex collision, bar number
-
-@knownissues
-
-Bar numbers may collide with the top of the
-@rinternals{StaffGroup} bracket, if there is one. To solve
-this, the @code{padding} property of @rinternals{BarNumber} can
-be used to position the number correctly.
-
-
-
-@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, for example
-
-@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'2 |
- c'2 c'2
- c'2 | c'2
- c'2 c'2
-}
-@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 #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
-
-@example
-\set Score.markFormatter = #format-mark-alphabet
-@end example
-
-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}.
-
-@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
-
-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
-@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}.
-
-
-@seealso
-Notation Reference:
-@ref{The Feta font},
-@ref{Formatting text}.
-
-Installed Files:
-@file{scm/@/translation@/-functions@/.scm} contains
-the definition of @code{format-mark-numbers} and
-@code{format-mark-letters}. They can be used as inspiration for
-other formatting functions.
-
-Snippets:
-@rlsr{Rhythms}.
-
-Internals Reference: @rinternals{RehearsalMark}.
-
-
-@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
-
-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 overriden and then reverted.
-
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
- \acciaccatura {
- \stemDown
- f16->
- \stemNeutral
- }
- g4 e c2
-}
-@end lilypond
-
-
-@cindex stem, with slash
-
-
-@snippets
-
-The slash through the stem found in @emph{acciaccatura}s can be applied
-in other situations:
-
-@lilypond[quote,verbatim,relative=2]
-\relative c'' {
- \override Stem #'stroke-style = #"grace"
- c8( d2) e8( f4)
-}
-@end lilypond
-
-The layout of grace expressions can be changed throughout the
-music using the function @code{add-grace-property}. The following
-example undefines the @code{Stem} direction for this grace, so
-that stems do not always point up.
-
-@lilypond[quote,verbatim,relative=2]
-\relative c'' {
- \new Staff {
- #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
- #(remove-grace-property 'Voice 'Stem 'direction)
- \new Voice {
- \acciaccatura { f16 } g4
- \grace { d16[ e] } f4
- \appoggiatura { a,32[ b c d] } e2
- }
- }
-}
-@end lilypond
-
-Another option is to change the variables @code{startGraceMusic},
-@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
-@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
-@code{stopAppoggiaturaMusic}. The default values of these can be
-seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
-them other effects may be obtained.
-
-Grace notes may be forced to align with regular notes
-in other staves:
-
-@lilypond[verbatim,quote]
-\relative c'' {
- <<
- \override Score.SpacingSpanner #'strict-grace-spacing = ##t
- \new Staff {
- c4
- \afterGrace c4 { c16[ c8 c16] }
- c4 r
- }
- \new Staff {
- c16 c c c c c c c c4 r
- }
- >>
-}
-@end lilypond
-
-
-@seealso
-Music Glossary:
-@rglos{grace notes},
-@rglos{acciaccatura},
-@rglos{appoggiatura}.
-
-Installed Files: @file{ly/@/grace@/-init@/.ly}.
-
-Snippets: @rlsr{Rhythms}.
-
-Internals Reference: @rinternals{GraceMusic}.
-
-
-@knownissues
-
-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
-
-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.
-
-@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.
-
-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,relative=1]
-\set Score.measureLength = #(ly:make-moment 5 4)
-c1 c4
-c1 c4
-c4 c4
-\set Score.measurePosition = #(ly:make-moment 5 8)
-b4 b4 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
-This manual: @ref{Bar numbers}, @ref{Unmetered music}
-
-Snippets:
-@rlsr{Rhythms}.
-
-Internals Reference: @rinternals{Timing_translator},
-@rinternals{Score}
-
projects / lilypond.git / blobdiff