Quoting Gilles <[EMAIL PROTECTED]>:
Hello.
The attached pdf was produced from the following snippet:
%-----
\version "2.6.0"
\score {
\relative c'' {
\time 4/4
<< { b8 d b c16 d g,8 g'16 f g f g32( f e d) |
d8 c16 b d8 e32( d c b) c8 b16 a c8 d32( c b a) | }
{ b8[ d] b c16 d g,8 g'16 f g[ f g32( f e d)] |
d8 c16 b d8[ e32( d c b)] c8 b16 a c8[ d32( c b a)] | }
>>
}
}
%-----
First, is the output produced with the default auto-beam (first
staff) correct/standard?
If the first measure had started with 4 8th notes, then it's
certainly common (if not standard) to beam them together. However, with
the current rhythm, 8 8 8 16 16, it's less
obvious. I just grabbed a score at random from my book shelf
and found some examples where the rhythm 8 8 8. 16 was sometimes
beamed together and sometimes typeset with two beams, one for each
beat, in the same movement, for example.
One technical complication here is that LilyPond probably decides
on if a beam should be broken or continued after each note and when it
sees the 3rd 8th note, it doesn't know if the fourth is a single 8th
note or 2 16th notes.
The second staff seems more legible (and is like the copy I'm
transcribing from).
If I want to override the default setting, what would be the
invocation in "#(override-auto-beam-setting ...)"?
Basically, you want one beam per beat, which is easily obtained using:
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 3 4)
However there's one complication, namely that LilyPond by default
makes shorter beams when 32nd notes are involved, so you have to revert
these default rules:
#(revert-auto-beam-setting '(end 1 32 4 4) 1 8)
#(revert-auto-beam-setting '(end 1 32 4 4) 3 8)
#(revert-auto-beam-setting '(end 1 32 4 4) 5 8)
#(revert-auto-beam-setting '(end 1 32 4 4) 7 8)
/Mats
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