Many thanks to all responses patiently describing how lilypond is
doing. I have to accept that lilypond way and I think to
understand it now and will internalize it.
bb <address@hidden> 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.