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4.1.4 On the un-nestedness of brackets and ties
You have already met a number of different types of bracket and bracket-like constructs in writing the input file to LilyPond. These obey different rules which can be confusing at first. Let’s first review the different types of brackets and bracket-like constructs.
Bracket Type | Function |
---|---|
{ .. } | Encloses a sequential segment of music |
< .. > | Encloses the notes of a chord |
<< .. >> | Encloses simultaneous music expressions |
( .. ) | Marks the start and end of a slur |
\( .. \) | Marks the start and end of a phrasing slur |
[ .. ] | Marks the start and end of a manual beam |
To these we should add other constructs which generate lines
between or across notes: ties (marked by a tilde, ~
),
tuplets written as \times x/y {..}
, and grace notes
written as \grace{..}
.
Outside LilyPond, the conventional use of brackets requires the
different types to be properly nested, like this, << [ { ( .. )
} ] >>
, with the closing brackets being encountered in exactly the
opposite order to the opening brackets. This is a
requirement for the three types of bracket described by the word
‘Encloses’ in the table above – they must nest properly. However,
the remaining bracket-like constructs, described with the word
‘Marks’ in the table above together with ties and tuplets, do
not have to nest properly with any of the brackets or
bracket-like constructs. In fact, these are not brackets in
the sense that they enclose something – they are simply markers to
indicate where something starts and ends.
So, for example, a phrasing slur can start before a manually inserted beam and end before the end of the beam – not very musical, perhaps, but possible:
\relative { g'8\( a b[ c b\) a] g4 }
In general, different kinds of brackets, bracket-like constructs, and those implied by tuplets, ties and grace notes, may be mixed freely. This example shows a beam extending into a tuplet (line 1), a slur extending into a tuplet (line 2), a beam and a slur extending into a tuplet, a tie crossing two tuplets, and a phrasing slur extending out of a tuplet (lines 3 and 4).
\relative { r16[ g' \tuplet 3/2 { r16 e'8] } g,16( a \tuplet 3/2 { b16 d) e } g,8[( a \tuplet 3/2 { b8 d) e~] } | \tuplet 5/4 { e32\( a, b d e } a4.\) }
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