bb <bb-543...@telecolumbus.net> writes:
> There was such a lot of information in all the responses, thanks.
>
> http://lilypond.org/doc/v2.19/Documentation/learning/bar-lines-and-bar-checks.en.html
> Bar lines
> Bar checks
> I have read this and I think to understand.
>
> \cadenzaOn does not set or check barlines and opens freedom to the
> user, nice, I used that already.
\cadenzaOn stops in-measure time. That also affects automatic beaming.
> Let me come back to my original example:
> \version "2.19.80"
> mus = \relative { d4 cis8 c8 b8. ais8 a gis }
> <<
> \new Voice \mus
>>>
>
> The point in the example is, that there is one 16th to much in the
> bar, not one missing. If I count, I get 17/16 in the bar! And I wonder
> that lilypond is seting automatically a barline after that 17/16
> without complaining? In my understanding that is wrong!
Your understanding is wrong. See for example
> What I would do or awaiting lilypond to do is splitting up that last
> 8th note into 2 16th note and connect it with a tie! Than this is a
> correct notation.
The Completion_heads_engraver can do that. It's not the default because
it's not the default in music.
> The "math", 16/16 in one bar with 4/4 is right.
> http://lilypond.org/doc/v2.19/Documentation/learning/ties-and-slurs.en.html
>
> \version "2.19.80"
> mus = \relative c'' {
> d4 cis8 c8 b8. ais8 a gis16 (gis16)
> }
> <<
> \new Voice \mus
>>>
When you want a bar check, write a bar check.
--
David Kastrup
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