1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
14 @lilypondfile[quote]{rhythms-headword.ly}
16 This section discusses rhythms, rests, durations, beaming and bars.
21 * Displaying rhythms::
24 * Special rhythmic concerns::
29 @subsection Writing rhythms
39 @unnumberedsubsubsec Durations
41 @cindex durations, of notes
42 @cindex note durations
43 @cindex length of notes
53 Durations are designated by numbers and dots. Durations are entered
54 as their reciprocal values. For example, a quarter note is entered
55 using a @code{4} (since it is a 1/4 note), and a half note is entered
56 using a @code{2} (since it is a 1/2 note). For notes longer than a
57 whole you must use the @code{\longa} (a double breve) and
58 @code{\breve} commands. Durations as short as 128th notes may be
59 specified. Shorter values are possible, but only as beamed notes.
61 @c Two 64th notes are needed to obtain beams
62 @lilypond[quote,verbatim,relative=2]
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 If the duration is omitted, it is set to the previously
85 entered duration. The default for the first note is a quarter
88 @lilypond[quote,verbatim,relative=2]
94 @cindex notes, double-dotted
95 @cindex double-dotted notes
99 To obtain dotted note lengths, place a dot (@code{.}) after the
100 duration. Double-dotted notes are specified by appending two
103 @lilypond[quote,verbatim,relative=2]
104 a4 b c4. b8 a4. b4.. c8.
107 Some durations cannot be represented with just binary durations
108 and dots; they can be represented only by tying two or more
109 notes together. For details, see @ref{Ties}.
111 For ways of specifying durations for the syllables of lyrics and
112 ways of aligning lyrics to notes, see @ref{Vocal music}.
114 Optionally, notes can be spaced strictly proportionately to their
115 duration. For details of this and other settings which control
116 proportional notation, see @ref{Proportional notation}.
122 @funindex \dotsNeutral
123 @funindex dotsNeutral
125 Dots are normally moved up to avoid staff lines, except in
126 polyphonic situations. Predefined commands are available to
127 force a particular direction manually, for details
128 see @ref{Direction and placement}.
145 @rglos{Duration names notes and rests}.
148 @ref{Automatic beams},
150 @ref{Writing rhythms},
153 @ref{Ancient notation},
154 @ref{Proportional notation}.
161 @rinternals{DotColumn}.
166 @c Deliberately duplicated in Durations and Rests. -gp
167 There is no fundamental limit to rest durations (both in terms of
168 longest and shortest), but the number of glyphs is limited:
169 rests from 128th to maxima (8 x whole) may be printed.
173 @unnumberedsubsubsec Tuplets
181 Tuplets are made from a music expression by multiplying all the
182 durations with a fraction:
185 \times @var{fraction} @{ @var{music} @}
189 The duration of @var{music} will be multiplied by the
190 fraction. The fraction's denominator will be printed over or
191 under the notes, optionally with a bracket. The most common
192 tuplet is the triplet in which 3 notes have the duration of 2, so
193 the notes are 2/3 of their written length.
195 @lilypond[quote,verbatim,relative=2]
196 a2 \times 2/3 { b4 b b }
197 c4 c \times 2/3 { b4 a g }
202 @funindex \tupletDown
204 @funindex \tupletNeutral
205 @funindex tupletNeutral
207 The automatic placement of the tuplet bracket above or below the
208 notes may be overridden manually with predefined commands, for
209 details see @ref{Direction and placement}.
211 Tuplets may be nested:
213 @lilypond[quote,verbatim,relative=2]
215 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
218 Modifying nested tuplets which begin at the same musical moment
219 must be done with @code{\tweak}.
221 To modify the duration of notes without printing a tuplet bracket,
222 see @ref{Scaling durations}.
228 @code{\tupletNeutral}.
234 @cindex tuplet formatting
235 @cindex triplet formatting
237 @funindex tupletNumberFormatFunction
238 @funindex tupletSpannerDuration
240 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
241 {entering-several-tuplets-using-only-one--times-command.ly}
243 @funindex TupletNumber
245 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
246 {changing-the-tuplet-number.ly}
248 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
249 {permitting-line-breaks-within-beamed-tuplets.ly}
258 Learning Manual: @rlearning{Tweaking methods}.
261 @ref{Time administration},
262 @ref{Scaling durations},
263 @ref{The tweak command},
264 @ref{Polymetric notation}.
270 @rinternals{TupletBracket},
271 @rinternals{TupletNumber},
272 @rinternals{TimeScaledMusic}.
276 @cindex grace notes within tuplet brackets
277 When the first note on a staff is a grace note followed by a
278 tuplet the grace note must be placed before the @code{\times}
279 command to avoid errors. Anywhere else, grace notes may be
280 placed within tuplet brackets.
283 @node Scaling durations
284 @unnumberedsubsubsec Scaling durations
286 @cindex scaling durations
287 @cindex durations, scaling
289 You can alter the duration of single notes, rests or chords by a
290 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
291 is 1) to the duration. This will not affect the appearance of the
292 notes or rests produced, but the altered duration will be used in
293 calculating the position within the measure and setting the duration
294 in the MIDI output. Multiplying factors may be combined such as
297 In the following example, the first three notes take up exactly
298 two beats, but no triplet bracket is printed.
300 @lilypond[quote,relative=2,verbatim]
302 % Alter durations to triplets
303 a4*2/3 gis4*2/3 a4*2/3
306 % Double the duration of chord
308 % Duration of quarter, appears like sixteenth
312 The duration of skip or spacing notes may also be modified by
313 a multiplier. This is useful for skipping many measures, e.g.,
316 @cindex compressing music
318 @funindex \scaleDurations
319 @funindex scaleDurations
321 Longer stretches of music may be compressed by a fraction in the
322 same way, as if every note, chord or rest had the fraction as a
323 multiplier. This leaves the appearance of the music unchanged but
324 the internal duration of the notes will be multiplied by the
325 fraction @emph{num}/@emph{den}. The spaces around the dot are
326 required. Here is an example showing how music can be compressed
329 @lilypond[quote,relative=2,verbatim]
333 % Scale music by *2/3
334 \scaleDurations #'(2 . 3) {
338 \scaleDurations #'(2 . 1) {
344 One application of this command is in polymetric
345 notation, see @ref{Polymetric notation}.
351 @ref{Invisible rests},
352 @ref{Polymetric notation}.
359 @unnumberedsubsubsec Ties
365 A tie connects two adjacent note heads of the same pitch. The tie
366 in effect extends the duration of a note.
368 @warning{Ties should not be confused with @emph{slurs}, which
369 indicate articulation, or @emph{phrasing slurs}, which indicate
370 musical phrasing. A tie is just a way of extending a note
371 duration, similar to the augmentation dot.}
373 A tie is entered using the tilde symbol @code{~}
375 @lilypond[quote,verbatim,relative=2]
381 Ties are used either when the note crosses a bar line, or when
382 dots cannot be used to denote the rhythm. Ties should also be
383 used when note values cross larger subdivisions of the measure:
385 @lilypond[verbatim,quote]
392 If you need to tie many notes across bar lines, it may be
393 easier to use automatic note splitting, see @ref{Automatic note
394 splitting}. This mechanism automatically splits long notes, and
395 ties them across bar lines.
397 @cindex ties and chords
398 @cindex chords and ties
400 When a tie is applied to a chord, all note heads whose pitches
401 match are connected. When no note heads match, no ties will be
402 created. Chords may be partially tied by placing the tie inside
405 @lilypond[quote,verbatim,relative=1]
407 <c~ e g~ b> <c e g b>
410 @cindex repeating ties
411 @cindex ties, repeating
412 @cindex volta brackets and ties
413 @cindex ties and volta brackets
418 When a second alternative of a repeat starts with a tied note, you
419 have to specify the repeated tie as follows:
421 @lilypond[quote,relative=2,verbatim]
422 \repeat volta 2 { c g <c e>2 ~ }
424 % First alternative: following note is tied normally
426 % Second alternative: following note has a repeated tie
427 { <c e>2\repeatTie d4 c } }
430 @cindex laissez vibrer
431 @cindex ties, laissez vibrer
433 @funindex \laissezVibrer
434 @funindex laissezVibrer
436 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
437 notes must not be damped at the end. It is used in notation for
438 piano, harp and other string and percussion instruments. They can
439 be entered as follows:
441 @lilypond[quote,verbatim,relative=1]
442 <c f g>1\laissezVibrer
445 @cindex ties, placement
451 @funindex \tieNeutral
454 The vertical placement of ties may be controlled, see
455 Predefined commands, or for details, see
456 @ref{Direction and placement}.
458 @cindex ties, appearance
471 Solid, dotted or dashed ties may be specified, see Predefined
487 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
488 {using-ties-with-arpeggios.ly}
490 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
491 {engraving-ties-manually.ly}
497 @rglos{laissez vibrer}.
499 Notation Reference: @ref{Automatic note splitting}.
505 @rinternals{LaissezVibrerTie},
506 @rinternals{LaissezVibrerTieColumn},
507 @rinternals{TieColumn},
513 Switching staves when a tie is active will not produce a slanted
516 Changing clefs or octavations during a tie is not really
517 well-defined. In these cases, a slur may be preferable.
522 @subsection Writing rests
524 Rests are entered as part of the music in music expressions.
529 * Full measure rests::
533 @unnumberedsubsubsec Rests
535 @cindex rest, entering durations
550 Rests are entered like notes with the note name @code{r}.
551 Durations longer than a whole rest use the predefined
554 @c \time 16/1 is used to avoid spurious bar lines
555 @c and long tracts of empty measures
556 @lilypond[fragment,quote,verbatim]
558 % These two lines are just to prettify this example
560 \override Staff.TimeSignature #'stencil = ##f
561 % Print a maxima rest, equal to four breves
563 % Print a longa rest, equal to two breves
567 r1 r2 r4 r8 r16 r32 r64 r128
571 @cindex rest, multi-measure
572 @cindex rest, whole-measure
574 Whole measure rests, centered in the middle of the measure, must be
575 entered as multi-measure rests. They can be used for a single
576 measure as well as many measures and are discussed in @ref{Full
579 @cindex rest, specifying vertical position
581 To explicitly specify a rest's vertical position, write a note
582 followed by @code{\rest}. A rest of the duration of the note will
583 be placed at the staff position where the note would appear. This
584 allows for precise manual formatting of polyphonic music, since the
585 automatic rest collision formatter will not move these rests.
587 @lilypond[quote,verbatim,relative=2]
593 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
604 @ref{Full measure rests}.
615 @c Deliberately duplicated in Durations and Rests. -gp
616 There is no fundamental limit to rest durations (both in terms of
617 longest and shortest), but the number of glyphs is limited: there
618 are rests from 128th to maxima (8 x whole).
621 @node Invisible rests
622 @unnumberedsubsubsec Invisible rests
625 @cindex invisible rest
626 @cindex rest, invisible
634 An invisible rest (also called a @q{spacer rest}) can be entered
635 like a note with the note name@tie{}@code{s}:
637 @lilypond[verbatim,quote,relative=2]
644 Spacer rests are available only in note mode and chord mode. In
645 other situations, for example, when entering lyrics, @code{\skip}
646 is used to skip a musical moment. @code{\skip} requires an
649 @lilypond[quote,verbatim,relative=2]
662 A spacer rest implicitly causes @code{Staff} and @code{Voice}
663 contexts to be created if none exist, just like notes and rests
666 @lilypond[quote,verbatim,fragment]
670 @code{\skip} simply skips musical time; it creates no output of
673 @lilypond[quote,verbatim,fragment]
674 % This is valid input, but does nothing
675 \skip 1 \skip1 \skip 1
683 Internals Reference: @rinternals{SkipMusic}
686 @node Full measure rests
687 @unnumberedsubsubsec Full measure rests
689 @cindex multi-measure rests
690 @cindex full-measure rests
691 @cindex rest, multi-measure
692 @cindex rest, full-measure
693 @cindex whole rest for a full measure
694 @cindex rest, whole for a full measure
698 Rests for one or more full measures are entered like notes with
699 the note name uppercase @code{R}:
701 @lilypond[quote,verbatim,relative=2]
702 % Rest measures contracted to single measure
703 \compressFullBarRests
710 The duration of full-measure rests is identical to the duration
711 notation used for notes. The duration in a multi-measure rest must
712 always be an integral number of measure-lengths, so augmentation dots
713 or fractions must often be used:
715 @lilypond[quote,fragment,verbatim]
716 \compressFullBarRests
722 R1*13/8 | R1*13/8*12 |
727 A full-measure rest is printed as either a whole or breve rest,
728 centered in the measure, depending on the time signature.
730 @lilypond[quote,verbatim,fragment]
739 @cindex multi-measure rest, expanding
740 @cindex multi-measure rest, contracting
742 @funindex \expandFullBarRests
743 @funindex expandFullBarRests
744 @funindex \compressFullBarRests
745 @funindex compressFullBarRests
747 By default a multi-measure rest is expanded in the printed score to
748 show all the rest measures explicitly. Alternatively, a multi-measure
749 rest can be shown as a single measure containing a multi-measure rest
750 symbol, with the number of measures of rest printed above the measure:
752 @lilypond[quote,fragment,verbatim]
754 \time 3/4 r2. | R2.*2 |
757 % Rest measures contracted to single measure
758 \compressFullBarRests
760 % Rest measures expanded
767 @cindex text on multi-measure rest
768 @cindex multi-measure rest, attaching text
769 @cindex script on multi-measure rest
770 @cindex multi-measure rest, script
771 @cindex fermata on multi-measure rest
772 @cindex multi-measure rest, attaching fermata
774 @funindex \fermataMarkup
775 @funindex fermataMarkup
777 Markups can be added to multi-measure rests.
778 The predefined command @code{\fermataMarkup}
779 is provided for adding fermatas.
781 @lilypond[quote,verbatim,fragment]
782 \compressFullBarRests
784 R2.*10^\markup { \italic "ad lib." }
789 Markups attached to a multi-measure rest are
790 objects of type @code{MultiMeasureRestText}, not
791 @code{TextScript}. Overrides must be directed to the correct
792 object, or they will be ignored. See the following example.
795 @lilypond[quote,verbatim,fragment]
796 % This fails, as the wrong object name is specified
797 \override TextScript #'padding = #5
799 % This is correct and works
800 \override MultiMeasureRestText #'padding = #5
804 When a multi-measure rest immediately follows a @code{\partial}
805 setting, resulting bar-check warnings may not be displayed.
809 @code{\textLengthOn},
810 @code{\textLengthOff},
811 @code{\fermataMarkup},
812 @code{\compressFullBarRests},
813 @code{\expandFullBarRests}.
821 @cindex kirchenpausen
823 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
824 {changing-form-of-multi--measure-rests.ly}
826 @cindex multi-measure rests, positioning
827 @cindex positioning multi-measure rests
829 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
830 {positioning-multi--measure-rests.ly}
832 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
833 {multi--measure-rest-markup.ly}
838 @rglos{multi-measure rest}.
843 @ref{Formatting text},
850 @rinternals{MultiMeasureRest},
851 @rinternals{MultiMeasureRestNumber},
852 @rinternals{MultiMeasureRestText}.
855 @cindex fingerings and multi-measure rests
856 @cindex multi-measure rests and fingerings
860 If an attempt is made to use fingerings (e.g.,
861 @code{R1*10-4}) to put numbers over multi-measure rests, the
862 fingering numeral (4) may collide with the bar counter
865 @cindex condensing rests
866 @cindex rest, condensing ordinary
868 There is no way to automatically condense multiple ordinary rests
869 into a single multi-measure rest.
871 @cindex rest, collisions of
873 Multi-measure rests do not take part in rest collisions.
875 @node Displaying rhythms
876 @subsection Displaying rhythms
882 * Polymetric notation::
883 * Automatic note splitting::
884 * Showing melody rhythms::
888 @unnumberedsubsubsec Time signature
890 @cindex time signature
896 The time signature is set as follows:
898 @lilypond[quote,verbatim,relative=2]
903 @cindex time signature, visibility of
905 Time signatures are printed at the beginning of a piece
906 and whenever the time signature changes. If a change takes place
907 at the end of a line a warning time signature sign is printed
908 there. This default behavior may be changed, see
909 @ref{Visibility of objects}.
911 @lilypond[quote,verbatim,relative=2]
921 @cindex time signature style
924 @funindex \numericTimeSignature
925 @funindex numericTimeSignature
926 @funindex \defaultTimeSignature
927 @funindex defaultTimeSignature
929 The time signature symbol that is used in 2/2 and 4/4 time can be
930 changed to a numeric style:
932 @lilypond[quote,verbatim,relative=2]
936 % Change to numeric style
937 \numericTimeSignature
940 % Revert to default style
941 \defaultTimeSignature
947 Mensural time signatures are covered in
948 @ref{Mensural time signatures}.
952 @code{\numericTimeSignature},
953 @code{\defaultTimeSignature}.
959 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
960 {changing-the-time-signature-without-affecting-the-beaming.ly}
962 @cindex compound time signatures
963 @cindex time signature, compound
965 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
966 {compound-time-signatures.ly}
971 @rglos{time signature}
974 @ref{Mensural time signatures},
975 @ref{Time administration}.
981 @rinternals{TimeSignature},
982 @rinternals{Timing_translator}.
986 @unnumberedsubsubsec Upbeats
990 @cindex partial measure
991 @cindex measure, partial
992 @cindex pickup measure
993 @cindex measure, change length
994 @cindex measurePosition
999 Partial or pick-up measures, such as an anacrusis or upbeat, are
1000 entered using the @code{\partial} command, with the syntax
1003 \partial @var{duration}
1006 where @code{duration} is the rhythmic length of the interval
1007 before the start of the first complete measure:
1009 @lilypond[quote,verbatim,relative=2]
1014 The partial measure can be any duration less than a full measure:
1016 @lilypond[quote,verbatim,relative=2]
1017 \partial 8*3 c8 d e |
1021 Internally, this is translated into
1024 \set Timing.measurePosition = -@var{duration}
1027 The property @code{measurePosition} contains a rational number
1028 indicating how much of the measure has passed at this point. Note
1029 that this is set to a negative number by the @code{\partial}
1030 command: i.e., @code{\partial 4} is internally translated to
1031 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1045 @rinternals{Timing_translator}.
1050 The @code{\partial} command is intended to be used only at the
1051 beginning of a piece. If you use it after the beginning, some
1052 odd warnings may occur.
1054 @node Unmetered music
1055 @unnumberedsubsubsec Unmetered music
1057 @cindex bar lines, turning off
1058 @cindex bar numbering, turning off
1060 @cindex unmetered music
1062 @funindex \cadenzaOn
1064 @funindex \cadenzaOff
1065 @funindex cadenzaOff
1067 Bar lines and bar numbers are calculated automatically. For
1068 unmetered music (some cadenzas, for example), this is not desirable.
1069 To turn off automatic calculation of bar lines and bar numbers,
1070 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1071 to turn them on again.
1073 @lilypond[verbatim,relative=2,fragment]
1082 Bar numbering is resumed at the end of the cadenza as if the
1083 cadenza were not there:
1085 @lilypond[verbatim,relative=2,fragment]
1086 % Show all bar numbers
1087 \override Score.BarNumber #'break-visibility = #all-visible
1108 @c ref{Controlling visibility of objects}.
1116 LilyPond will insert line breaks and page breaks only at a
1117 bar line. Unless the unmetered music ends before the end of the
1118 staff line, you will need to insert invisible bar lines with
1125 to indicate where breaks can occur.
1128 @node Polymetric notation
1129 @unnumberedsubsubsec Polymetric notation
1131 @c This section necessarily uses \set
1132 @c This is acceptable -td
1134 @cindex double time signatures
1135 @cindex signatures, polymetric
1136 @cindex time signatures, polymetric
1137 @cindex time signatures, double
1138 @cindex polymetric signatures
1139 @cindex meter, polymetric
1141 @funindex timeSignatureFraction
1142 @funindex \scaleDurations
1143 @funindex scaleDurations
1147 Polymetric notation is supported, either explicitly or by modifying
1148 the visible time signature symbol and scaling the note durations.
1150 @strong{@i{Staves with different time signatures, equal measure lengths}}
1152 This notation can be created by setting a common time signature
1153 for each staff but replacing the symbol manually by setting
1154 @code{timeSignatureFraction} to the desired fraction and scaling
1155 the printed durations in each staff to the common time
1156 signature; see @ref{Time signature}. The scaling is done with
1157 @code{\scaleDurations}, which is used in a similar way to
1158 @code{\times}, but does not create a tuplet bracket; see
1159 @ref{Scaling durations}.
1161 @cindex beaming in polymetric music
1162 @cindex beaming in polymetric meter
1164 In this example, music with the time signatures of 3/4, 9/8, and
1165 10/8 are used in parallel. In the second staff, shown durations
1166 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1167 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1168 It will often be necessary to insert beams manually, as the
1169 duration scaling affects the autobeaming rules.
1171 @lilypond[quote,verbatim,fragment]
1180 \set Staff.timeSignatureFraction = #'(9 . 8)
1181 \scaleDurations #'(2 . 3)
1182 \repeat unfold 6 { c8[ c c] }
1186 \set Staff.timeSignatureFraction = #'(10 . 8)
1187 \scaleDurations #'(3 . 5) {
1188 \repeat unfold 2 { c8[ c c] }
1189 \repeat unfold 2 { c8[ c] } |
1190 c4. c4. \times 2/3 { c8[ c c] } c4
1196 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1198 Each staff can be given its own independent time signature by
1199 moving the @code{Timing_translator} and the
1200 @code{Default_bar_line_engraver} to the @code{Staff} context.
1202 @lilypond[quote,verbatim]
1206 \remove "Timing_translator"
1207 \remove "Default_bar_line_engraver"
1211 \consists "Timing_translator"
1212 \consists "Default_bar_line_engraver"
1216 % Now each staff has its own time signature.
1242 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1243 {compound-time-signatures.ly}
1249 @rglos{polymetric time signature},
1253 @ref{Time signature},
1254 @ref{Scaling durations}.
1259 Internals Reference:
1260 @rinternals{TimeSignature},
1261 @rinternals{Timing_translator},
1262 @rinternals{Default_bar_line_engraver},
1268 When using different time signatures in parallel, notes
1269 at the same moment will be be placed at the same horizontal
1270 location. However, the bar lines in the different staves
1271 will cause the note spacing to be less regular in each of the
1272 individual staves than would be normal without the different
1275 @node Automatic note splitting
1276 @unnumberedsubsubsec Automatic note splitting
1278 @cindex notes, splitting
1279 @cindex splitting notes
1281 @funindex Note_heads_engraver
1282 @funindex Completion_heads_engraver
1284 Long notes which overrun bar lines can be converted automatically
1285 to tied notes. This is done by replacing the
1286 @code{Note_heads_engraver} with the
1287 @code{Completion_heads_engraver}. In the following
1288 example, notes crossing the bar lines are split and tied.
1290 @lilypond[quote,verbatim,relative=1]
1292 \remove "Note_heads_engraver"
1293 \consists "Completion_heads_engraver"
1296 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1299 This engraver splits all running notes at the bar line, and
1300 inserts ties. One of its uses is to debug complex scores: if the
1301 measures are not entirely filled, then the ties show exactly how
1302 much each measure is off.
1306 Music Glossary: @rglos{tie}
1309 @rlearning{Engravers explained},
1310 @rlearning{Adding and removing engravers}.
1315 Internals Reference:
1316 @rinternals{Note_heads_engraver},
1317 @rinternals{Completion_heads_engraver},
1318 @rinternals{Forbid_line_break_engraver}.
1323 Not all durations (especially those containing tuplets) can be
1324 represented exactly with normal notes and dots, but the
1325 @code{Completion_heads_engraver} will not insert tuplets.
1327 The @code{Completion_heads_engraver} only affects notes; it does not
1331 @node Showing melody rhythms
1332 @unnumberedsubsubsec Showing melody rhythms
1334 @cindex melody rhythms, showing
1335 @cindex rhythms, showing melody
1337 Sometimes you might want to show only the rhythm of a melody. This
1338 can be done with the rhythmic staff. All pitches of notes on such a
1339 staff are squashed, and the staff itself has a single line
1341 @lilypond[quote,relative=1,verbatim]
1343 \new RhythmicStaff {
1344 \new Voice = "myRhythm" {
1352 \lyricsto "myRhythm" {
1360 @cindex guitar chord charts
1361 @cindex strumming rhythms, showing
1362 @cindex guitar strumming rhythms, showing
1364 @funindex Pitch_squash_engraver
1365 @funindex \improvisationOn
1366 @funindex improvisationOn
1367 @funindex \improvisationOff
1368 @funindex improvisationOff
1370 Guitar chord charts often show the strumming rhythms. This can
1371 be done with the @code{Pitch_squash_engraver} and
1372 @code{\improvisationOn}.
1375 @lilypond[quote,verbatim]
1384 \consists Pitch_squash_engraver
1397 @code{\improvisationOn},
1398 @code{\improvisationOff}.
1404 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1405 {guitar-strum-rhythms.ly}
1412 Internals Reference:
1413 @rinternals{RhythmicStaff},
1414 @rinternals{Pitch_squash_engraver}.
1422 * Setting automatic beam behavior::
1427 @node Automatic beams
1428 @unnumberedsubsubsec Automatic beams
1430 By default, beams are inserted automatically:
1432 @cindex beams, manual
1433 @cindex manual beams
1434 @cindex beams, setting rules for
1435 @cindex beams, custom rules for
1437 @funindex measureLength
1438 @funindex beatLength
1439 @funindex beatGrouping
1440 @funindex \autoBeamOn
1441 @funindex autoBeamOn
1442 @funindex \autoBeamOff
1443 @funindex autoBeamOff
1445 @lilypond[quote,verbatim,relative=2]
1447 \time 6/8 c c c c8. c16 c8
1450 If these automatic decisions are not satisfactory, beaming can be
1451 entered explicitly; see @ref{Manual beams}. Beams must also be
1452 entered manually in the same way if beams are to be extended over
1456 to define beaming patterns that differ from the defaults. The
1457 default beaming rules for most common time signatures are defined
1458 in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
1459 defined for a particular beam's duration in the time signature being
1460 used, its beaming is controlled by the values of three context
1461 properties, @code{measureLength}, @code{beatLength} and
1462 @code{beatGrouping}. Both the beaming rules and the context
1463 properties can be overridden, see @ref{Setting automatic beam behavior}.
1466 @warning{If beams are used to indicate melismata in songs, then automatic
1467 beaming should be switched off with @code{\autoBeamOff} and the beams
1468 indicated manually.}
1472 Automatic beaming may be turned off and on with
1473 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1475 @lilypond[quote,relative=1,verbatim]
1476 c4 c8 c8. c16 c8. c16 c8
1485 @code{\autoBeamOff},
1492 @cindex line breaks and beams
1493 @cindex beams and line breaks
1497 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1498 {beams-across-line-breaks.ly}
1500 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1501 {changing-beam-knee-gap.ly}
1507 @ref{Setting automatic beam behavior}.
1510 @file{scm/@/auto@/-beam@/.scm}.
1515 Internals Reference: @rinternals{Beam}.
1520 Automatically kneed cross-staff beams cannot be used together with
1521 hidden staves. See @ref{Hiding staves}.
1523 Beams can collide with note heads and accidentals in other voices
1526 @node Setting automatic beam behavior
1527 @unnumberedsubsubsec Setting automatic beam behavior
1530 @cindex automatic beams, tuning
1531 @cindex tuning automatic beaming
1532 @cindex automatic beam generation
1534 @cindex lyrics and beaming
1536 @funindex autoBeaming
1537 @funindex autoBeamSettings
1538 @funindex (end * * * *)
1539 @funindex (begin * * * *)
1540 @funindex measureLength
1541 @funindex beatLength
1542 @funindex beatGrouping
1548 The placement of automatic beams is determined by the rules
1549 described in @ref{Automatic beams}. There are two mutually
1550 exclusive ways in which these rules may be modified. The
1551 first, modifying the grouping of beats, applies to uncommon time
1552 signatures, i.e. those for which there are no predefined rules
1553 defining the beam end points. The second method, modifying the
1554 specification of the beam end points, can be used for any time
1555 signature. This second method @strong{must} be used for those time
1556 signatures and beam durations combinations for which beam ending
1557 rules are pre-defined, unless these have all been reverted. There
1558 are predefined rules for time signatures of 3/2, 3/4, 4/4, 2/4,
1559 4/8, 4/16, 6/8, 9/8 and 12/8.
1561 @i{@strong{Modifying the grouping of beats}}
1563 If there are no beam-ending rules defined for the beam duration of a
1564 particular beam in the time signature in use, its beaming is
1565 controlled by three context properties:
1566 @code{measureLength}, @code{beatLength} and @code{beatGrouping}.
1567 These properties may be set in the @code{Score}, @code{Staff} or
1568 @code{Voice} contexts to delimit their scope. The default values
1569 are set while processing @code{\time} commands, so the @code{\set}
1570 commands must be placed after all @code{\time} commands.
1572 These determine the beaming as follows:
1574 Beams may begin anywhere (unless a beam is already active). Beams
1575 end at a time determined by the values of @code{beatGrouping} and
1576 @code{beatLength}, as follows:
1580 @item If @code{beatGrouping} and @code{beatLength} are consistent
1581 with @code{measureLength}, @code{beatGrouping} is used to determine
1582 the end points of beams.
1584 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1585 with @code{measureLength}, @code{beatLength} is used to determine
1586 the end points of beams.
1590 @warning{These three properties become effective for a particular
1591 beam @strong{only} if there are no beam-ending rules predefined for
1592 that beam's duration in the time signature in use, or if these
1593 beam-ending rules have all been reverted.}
1595 By default the @code{measureLength} and @code{beatLength} are
1596 derived from the time signature set by the @code{\time} command.
1597 The @code{measureLength} is set to be exactly the same length as
1598 the measure length given by the time signature, and the
1599 @code{beatLength} is set to be the same as one over the denominator
1600 of the time signature.
1602 The default value of @code{beatGrouping} is taken from a table in
1603 @file{scm/@/music@/-functions@/.scm}. To find this, see
1604 @rlearning{Other sources of information}. It defines the beat
1605 grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
1607 Both @code{measureLength} and @code{beatLength} are @i{moments},
1608 units of musical duration. A quantity of type @i{moment} is
1609 created by the scheme function @code{ly:make-moment}. For more
1610 information about this function, see @ref{Time administration}.
1612 @code{beatGrouping} is a list of integers giving the number of
1613 beats in each group.
1617 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1620 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1621 {specifying-context-with-beatgrouping.ly}
1623 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1624 {using-beatlength-and-beatgrouping.ly}
1626 @funindex subdivideBeams
1628 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1629 {sub-dividing-beams.ly}
1631 @cindex measure groupings
1632 @cindex beats, grouping
1633 @cindex grouping beats
1634 @cindex measure sub-grouping
1636 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1637 {conducting-signs,-measure-grouping-signs.ly}
1640 @strong{@i{Modifying the beam end points}}
1642 In common time signatures, automatic beams can start on any note
1643 but can end at only a few positions within the measure, namely at
1644 durations specified by the properties in @code{autoBeamSettings}.
1645 These properties consist of a list of rules defining where beams can
1646 end. The default @code{autoBeamSettings} rules are defined in
1647 @file{scm/@/auto@/-beam@/.scm}. To find this, see
1648 @rlearning{Other sources of information}.
1650 This method @strong{must} be used for the time signatures for which
1651 beam-ending rules are defined by default, unless these have all
1652 been reverted. It is also particularly suitable for many other time
1653 signatures if the time signature of the measures changes frequently,
1654 or if the beaming should be different for different beam durations.
1656 In order to add a rule to the list, use
1659 #(override-auto-beam-setting
1661 beam-numerator beam-denominator
1662 time-signature-numerator time-signature-denominator)
1663 moment-numerator moment-denominator [context])
1671 @item @code{beam-limit} is the type of automatic beam limit
1672 defined. This can be either @code{begin} or @code{end} but
1673 only @code{end} is effective.
1675 @item @code{beam-numerator/beam-denominator} is the beam duration
1676 to which the rule is to apply. A beam is considered to have
1677 the duration of its shortest note. Set @code{beam-numerator}
1678 and @code{beam-denominator} to @code{'*'} to have this rule apply
1679 to beams of any duration.
1681 @item @code{time-signature-numerator/time-signature-denominator}
1682 specifies the time signature to which this rule should apply.
1683 If @code{time-signature-numerator} and
1684 @code{time-signature-denominator} are set to @code{'*'} this rule
1685 will apply in any time signature.
1687 @item @code{monent-numerator/moment-denominator} is the position
1688 in the bar at which the beam should end.
1690 @item @code{context} is optional, and it specifies the context at which
1691 the change should be made. The default is @code{'Voice}.
1693 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1694 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1698 For example, if automatic beams should always end on the first quarter
1699 note, whatever the time signature or beam duration, use
1701 @lilypond[quote,verbatim,relative=2]
1703 #(override-auto-beam-setting '(end * * * *) 1 4)
1707 You can force the beam settings to take effect only on beams whose shortest
1708 note is a certain duration
1710 @lilypond[quote,verbatim,relative=2]
1712 % end 1/16 beams for all time signatures at the 1/16 moment
1713 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1715 a32 a a a a16 a a a a a |
1716 % end 1/32 beams for all time signatures at the 1/16 moment
1717 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1718 a32 a a a a16 a a a a a |
1721 You can force the beam settings to take effect only in certain time
1724 @lilypond[quote,verbatim,relative=2]
1726 % end beams of all durations in 5/8 time signature at the 2/8 moment
1727 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1735 When multiple voices are used the @code{Staff} context must be
1736 specified if the beaming is to be applied to all voices in the
1739 @lilypond[quote,verbatim,relative=2]
1742 % Context not specified - does not work correctly
1743 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1744 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1745 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1746 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1748 % Works correctly with context specified
1749 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1750 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1751 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1752 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1755 @warning{If any unexpected beam behavior occurs, check the default
1756 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1757 possible interference, because the beam endings defined there will
1758 still apply in addition to your own.}
1760 Any unwanted or conflicting default endings must be reverted for
1761 your time signature(s). Existing auto-beam rules are removed by
1765 #(revert-auto-beam-setting
1767 beam-numerator beam-denominator
1768 time-signature-numerator time-signature-denominator)
1769 moment-numerator moment-denominator [context])
1773 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1774 @code{time-signature-numerator}, @code{time-signature-denominator},
1775 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1776 are the same as above.
1778 @lilypond[quote,verbatim,relative=2]
1780 a16 a a a a a a a a a a a a a a a
1781 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1782 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1783 a16 a a a a a a a a a a a a a a a
1786 The rule in a @code{revert-auto-beam-setting} statement must exactly
1787 match the original rule. That is, no wildcard expansion is taken into
1790 @lilypond[quote,verbatim,relative=2]
1792 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1794 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1796 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1802 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1803 {beam-grouping-in-7-8-time.ly}
1805 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1806 {reverting-default-beam-endings.ly}
1808 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1809 {beam-endings-in-score-context.ly}
1811 @funindex \autoBeamOff
1812 @funindex autoBeamOff
1813 @funindex \autoBeamOn
1814 @funindex autoBeamOn
1817 @code{\autoBeamOff},
1822 @cindex beam, last in score
1823 @cindex beam, last in polyphonic voice
1827 If a score ends while an automatic beam has not been ended and is
1828 still accepting notes, this last beam will not be typeset at all.
1829 The same holds for polyphonic voices, entered with @code{<<
1830 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1831 automatic beam is still accepting notes, it is not typeset.
1840 @unnumberedsubsubsec Manual beams
1842 @cindex beams, manual
1843 @cindex manual beams
1848 In some cases it may be necessary to override the automatic
1849 beaming algorithm. For example, the autobeamer will not put beams
1850 over rests or bar lines, and in choral scores the beaming is
1851 often set to follow the meter of the lyrics rather than the
1852 notes. Such beams can be specified manually by
1853 marking the begin and end point with @code{[} and @code{]}
1855 @lilypond[quote,relative=1,verbatim]
1857 r4 r8[ g' a r8] r8 g[ | a] r8
1865 Individual notes may be marked with @code{\noBeam} to prevent them
1868 @lilypond[quote,verbatim,relative=2]
1869 \time 2/4 c8 c\noBeam c c
1872 @funindex stemLeftBeamCount
1873 @funindex stemRightBeamCount
1875 Even more strict manual control with the beams can be achieved by
1876 setting the properties @code{stemLeftBeamCount} and
1877 @code{stemRightBeamCount}. They specify the number of beams to
1878 draw on the left and right side, respectively, of the next note.
1879 If either property is set, its value will be used only once, and
1880 then it is erased. In this example, the last @code{f} is printed
1881 with only one beam on the left side, i.e., the eighth-note beam of
1882 the group as a whole.
1884 @lilypond[quote,relative=2,verbatim]
1887 \set stemLeftBeamCount = #2
1888 \set stemRightBeamCount = #1
1890 \set stemLeftBeamCount = #1
1897 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1898 {flat-flags-and-beam-nibs.ly}
1900 @node Feathered beams
1901 @unnumberedsubsubsec Feathered beams
1903 @cindex beams, feathered
1905 @funindex \featherDurations
1906 @funindex featherDurations
1907 @funindex grow-direction
1909 Feathered beams are used to indicate that a small group of notes
1910 should be played at an increasing (or decreasing) tempo, without
1911 changing the overall tempo of the piece. The extent of the
1912 feathered beam must be indicated manually using @code{[} and
1913 @code{]}, and the beam feathering is turned on by specifying a
1914 direction to the @code{Beam} property @code{grow-direction}.
1916 If the placement of the notes and the sound in the MIDI output
1917 is to reflect the ritardando or accelerando indicated by the
1918 feathered beam the notes must be grouped as a
1919 music expression delimited by braces and preceded by a
1920 @code{featheredDurations} command which specifies the ratio
1921 between the durations of the first and last notes in the group.
1923 The square brackets show the extent of the beam and the braces show
1924 which notes are to have their durations modified. Normally these
1925 would delimit the same group of notes, but this is not required: the
1926 two commands are independent.
1928 In the following example the eight 16th notes occupy exactly the
1929 same time as a half note, but the first note is one half as long
1930 as the last one, with the intermediate notes gradually
1931 lengthening. The first four 32nd notes gradually speed up, while
1932 the last four 32nd notes are at a constant tempo.
1934 @lilypond[relative=1,verbatim,quote]
1935 \override Beam #'grow-direction = #LEFT
1936 \featherDurations #(ly:make-moment 2 1)
1937 { c16[ c c c c c c c] }
1938 \override Beam #'grow-direction = #RIGHT
1939 \featherDurations #(ly:make-moment 2 3)
1941 % revert to non-feathered beams
1942 \override Beam #'grow-direction = #'()
1947 The spacing in the printed output represents the
1948 note durations only approximately, but the MIDI output is exact.
1952 The @code{\featherDurations} command only works with very short
1953 music snippets, and when numbers in the fraction are small.
1968 * Bar and bar number checks::
1973 @unnumberedsubsubsec Bar lines
1976 @cindex measure lines
1982 Bar lines delimit measures, and are also used to indicate
1983 repeats. Normally, simple bar lines are automatically inserted
1984 into the printed output at places based on the current time
1987 The simple bar lines inserted automatically can be changed to
1988 other types with the @code{\bar} command. For example, a closing
1989 double bar line is usually placed at the end of a piece:
1991 @lilypond[quote,relative=1,verbatim]
1995 It is not invalid if the final note in a measure does not
1996 end on the automatically entered bar line: the note is assumed
1997 to carry over into the next measure. But if a long sequence
1998 of such carry-over measures appears the music can appear compressed
1999 or even flowing off the page. This is because automatic line
2000 breaks happen only at the end of complete measures, i.e., where
2001 all notes end before the end of a measure.
2003 @warning{An incorrect duration can cause line breaks to be
2004 inhibited, leading to a line of highly compressed music or
2005 music which flows off the page.}
2008 @cindex bar lines, invisible
2009 @cindex measure lines, invisible
2011 Line breaks are also permitted at manually inserted bar lines
2012 even within incomplete measures. To allow a line break without
2013 printing a bar line, use
2020 This will insert an invisible bar line and allow (but not
2021 force) a line break to occur at this point. The bar number
2022 counter is not increased. To force a line break see
2023 @ref{Line breaking}.
2025 @cindex manual bar lines
2026 @cindex manual measure lines
2027 @cindex bar lines, manual
2028 @cindex measure lines, manual
2030 This and other special bar lines may be inserted manually at any
2031 point. When they coincide with the end of a measure they replace the
2032 simple bar line which would have been inserted there automatically.
2033 When they do not coincide with the end of a measure the specified bar
2034 line is inserted at that point in the printed output. Such insertions
2035 do not affect the calculation and placement of subsequent automatic
2038 The simple bar line and five types of double bar line are available
2039 for manual insertion:
2041 @lilypond[quote,relative=1,verbatim]
2042 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
2046 together with dotted and dashed bar lines:
2048 @lilypond[quote,relative=1,verbatim]
2049 f1 \bar ":" g \bar "dashed" a
2053 and five types of repeat bar line:
2055 @lilypond[quote,relative=1,verbatim]
2056 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
2061 Although the bar line types signifying repeats may be inserted
2062 manually they do not in themselves cause LilyPond to recognize
2063 a repeated section. Such repeated sections are better entered
2064 using the various repeat commands (see @ref{Repeats}), which
2065 automatically print the appropriate bar lines.
2067 In addition, you can specify @code{"||:"}, which is equivalent to
2068 @code{"|:"} except at line breaks, where it gives a double bar
2069 line at the end of the line and a start repeat at the beginning of
2072 @lilypond[quote,relative=2,verbatim]
2073 \override Score.RehearsalMark #'padding = #3
2081 In scores with many staves, a @code{\bar} command in one staff is
2082 automatically applied to all staves. The resulting bar lines are
2083 connected between different staves of a @code{StaffGroup},
2084 @code{PianoStaff}, or @code{GrandStaff}.
2086 @lilypond[quote,fragment,verbatim]
2094 \new Staff { \clef bass c4 g e g }
2096 \new Staff { \clef bass c2 c2 }
2104 @funindex defaultBarType
2109 The command @code{\bar }@var{bartype} is a shortcut for
2110 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2111 created whenever the @code{whichBar} property is
2114 The default bar type used for automatically inserted bar lines is
2115 @code{"|"}. This may be changed at any time
2116 with @code{\set Timing.defaultBarType = }@var{bartype}.
2121 @ref{Line breaking},
2123 @ref{Grouping staves}.
2128 Internals Reference: @rinternals{BarLine} (created at
2129 @rinternals{Staff} level), @rinternals{SpanBar} (across
2130 staves), @rinternals{Timing_translator} (for Timing
2135 @unnumberedsubsubsec Bar numbers
2138 @cindex measure numbers
2139 @cindex numbers, bar
2140 @cindex numbers, measure
2142 @funindex currentBarNumber
2144 Bar numbers are typeset by default at the start of every line except
2145 the first line. The number itself is stored in the
2146 @code{currentBarNumber} property, which is normally updated
2147 automatically for every measure. It may also be set manually:
2149 @lilypond[verbatim,quote,fragment,relative=1]
2152 \set Score.currentBarNumber = #50
2159 @cindex bar numbers, regular spacing
2161 @funindex barNumberVisibility
2163 @c Uncomment this after next LSR update.
2164 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2165 @c {printing-the-bar-number-for-the-first-measure.ly}
2167 Bar numbers can be typeset at regular intervals instead of just at
2168 the beginning of every line. To do this the default behavior
2169 must be overridden to permit bar numbers to be printed at places
2170 other than the start of a line. This is controlled by the
2171 @code{break-visibility} property of @code{BarNumber}. This takes
2172 three values which may be set to @code{#t} or @code{#f} to specify
2173 whether the corresponding bar number is visible or not. The order
2174 of the three values is @code{end of line visible}, @code{middle of
2175 line visible}, @code{beginning of line visible}. In the following
2176 example bar numbers are printed at all possible places:
2178 @lilypond[verbatim,quote,relative=1]
2179 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2180 \set Score.currentBarNumber = #11
2181 \bar "" % Permit first bar number to be printed
2187 @c All the rest of these examples will be added to LSR
2188 @c and moved into the Snippets. -gp
2191 and here the bar numbers are printed every two measures
2192 except at the end of the line:
2194 @lilypond[verbatim,quote,relative=1]
2195 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2196 \set Score.currentBarNumber = #11
2197 \bar "" % Permit first bar number to be printed
2198 % Print a bar number every second measure
2199 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2205 @cindex measure number, format
2206 @cindex bar number, format
2208 The size of the bar number may be changed. This is illustrated
2209 in the following example, which also shows how to enclose bar
2210 numbers in boxes and circles, and shows an alternative way
2211 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2213 @lilypond[verbatim,quote,relative=1]
2214 % Prevent bar numbers at the end of a line and permit them elsewhere
2215 \override Score.BarNumber #'break-visibility
2216 = #end-of-line-invisible
2218 % Increase the size of the bar number by 2
2219 \override Score.BarNumber #'font-size = #2
2220 \repeat unfold 3 { c1 } \bar "|"
2222 % Draw a box round the following bar number(s)
2223 \override Score.BarNumber #'stencil
2224 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2225 \repeat unfold 3 { c1 } \bar "|"
2227 % Draw a circle round the following bar number(s)
2228 \override Score.BarNumber #'stencil
2229 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2230 \repeat unfold 4 { c1 } \bar "|."
2233 @cindex bar number alignment
2235 Bar numbers by default are left-aligned to their parent object.
2236 This is usually the left edge of a line or, if numbers are printed
2237 within a line, the left bar line of the measure. The numbers may also
2238 be positioned directly on the bar line or right-aligned to the
2241 @lilypond[verbatim,quote,relative=1]
2242 \set Score.currentBarNumber = #111
2243 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2244 % Increase the size of the bar number by 2
2245 \override Score.BarNumber #'font-size = #2
2246 % Print a bar number every second measure
2247 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2249 % Center-align bar numbers
2250 \override Score.BarNumber #'self-alignment-X = #0
2252 % Right-align bar numbers
2253 \override Score.BarNumber #'self-alignment-X = #-1
2257 Bar numbers can be removed entirely by removing the
2258 @code{Bar_number_engraver} from the @code{Score} context.
2260 @lilypond[verbatim,quote]
2264 \remove "Bar_number_engraver"
2278 Internals Reference: @rinternals{BarNumber}.
2281 @cindex bar number collision
2282 @cindex collision, bar number
2286 Bar numbers may collide with the top of the
2287 @rinternals{StaffGroup} bracket, if there is one. To solve
2288 this, the @code{padding} property of @rinternals{BarNumber} can
2289 be used to position the number correctly.
2293 @node Bar and bar number checks
2294 @unnumberedsubsubsec Bar and bar number checks
2297 @cindex bar number check
2298 @cindex measure check
2299 @cindex measure number check
2301 @funindex barCheckSynchronize
2304 Bar checks help detect errors in the entered durations. A bar check
2305 may be entered using the bar symbol, @code{|}, at any place where a
2306 bar line is expected to fall. If bar check lines are encountered at
2307 other places, a list of warnings is printed in the log file, showing
2308 the line numbers and lines in which the bar checks failed. In the
2309 next example, the second bar check will signal an error.
2312 \time 3/4 c2 e4 | g2 |
2315 Bar checks can also be used in lyrics, for example
2320 Twin -- kle | Twin -- kle |
2324 An incorrect duration can result in a completely garbled score,
2325 especially if the score is polyphonic, so a good place to start
2326 correcting input is by scanning for failed bar checks and
2327 incorrect durations.
2329 If successive bar checks are off by the same musical interval,
2330 only the first warning message is displayed. This allows the
2331 warning to focus on the source of the timing error.
2335 @funindex pipeSymbol
2337 It is also possible to redefine the action taken when a bar check
2338 or pipe symbol, @code{|}, is encountered in the input, so that
2339 it does something other than a bar check. This is done by
2340 assigning a music expression to @code{pipeSymbol}.
2341 In the following example @code{|} is set to insert a double bar
2342 line wherever it appears in the input, rather than checking
2345 @lilypond[quote,verbatim]
2346 pipeSymbol = \bar "||"
2355 @funindex \barNumberCheck
2356 @funindex barNumberCheck
2358 When copying large pieces of music, it can be helpful to check
2359 that the LilyPond bar number corresponds to the original that you
2360 are entering from. This can be checked with
2361 @code{\barNumberCheck}, for example,
2364 \barNumberCheck #123
2368 will print a warning if the @code{currentBarNumber} is not 123
2369 when it is processed.
2377 @node Rehearsal marks
2378 @unnumberedsubsubsec Rehearsal marks
2380 @cindex rehearsal marks
2381 @cindex mark, rehearsal
2386 To print a rehearsal mark, use the @code{\mark} command
2388 @lilypond[quote,verbatim,relative=2]
2397 The letter@tie{}@q{I} is skipped in accordance with engraving
2398 traditions. If you wish to include the letter @q{I}, then use
2401 \set Score.markFormatter = #format-mark-alphabet
2404 The mark is incremented automatically if you use @code{\mark
2405 \default}, but you can also use an integer argument to set the
2406 mark manually. The value to use is stored in the property
2407 @code{rehearsalMark}.
2409 @cindex rehearsal mark format
2410 @cindex rehearsal mark style
2411 @cindex style, rehearsal mark
2412 @cindex format, rehearsal mark
2413 @cindex mark, rehearsal, style
2414 @cindex mark, rehearsal, format
2415 @cindex rehearsal mark, manual
2416 @cindex mark, rehearsal, manual
2417 @cindex custom rehearsal mark
2419 The style is defined by the property @code{markFormatter}. It is
2420 a function taking the current mark (an integer) and the current
2421 context as argument. It should return a markup object. In the
2422 following example, @code{markFormatter} is set to a pre-defined
2423 procedure. After a few measures, it is set to a procedure that
2424 produces a boxed number.
2426 @lilypond[quote,verbatim,relative=2]
2427 \set Score.markFormatter = #format-mark-numbers
2430 \set Score.markFormatter = #format-mark-box-numbers
2432 \set Score.markFormatter = #format-mark-circle-numbers
2434 \set Score.markFormatter = #format-mark-circle-letters
2438 The file @file{scm/@/translation@/-functions@/.scm} contains the
2439 definitions of @code{format-mark-numbers} (the default format),
2440 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2441 @code{format-mark-box-letters}. These can be used as inspiration
2442 for other formatting functions.
2444 You may use @code{format-mark-barnumbers},
2445 @code{format-mark-box-barnumbers}, and
2446 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2447 incremented numbers or letters.
2449 Other styles of rehearsal mark can be specified manually
2456 @code{Score.markFormatter} does not affect marks specified in this
2457 manner. However, it is possible to apply a @code{\markup} to the
2461 \mark \markup@{ \box A1 @}
2468 @cindex music glyphs
2469 @cindex glyphs, music
2471 @funindex \musicglyph
2472 @funindex musicglyph
2474 Music glyphs (such as the segno sign) may be printed inside a
2477 @lilypond[quote,verbatim,relative=1]
2478 c1 \mark \markup { \musicglyph #"scripts.segno" }
2479 c1 \mark \markup { \musicglyph #"scripts.coda" }
2480 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2485 See @ref{The Feta font}, for a list of symbols which may be
2486 printed with @code{\musicglyph}.
2488 For common tweaks to the positioning of rehearsal marks, see
2489 @ref{Formatting text}.
2494 @ref{The Feta font},
2495 @ref{Formatting text}.
2498 @file{scm/@/translation@/-functions@/.scm} contains
2499 the definition of @code{format-mark-numbers} and
2500 @code{format-mark-letters}. They can be used as inspiration for
2501 other formatting functions.
2506 Internals Reference: @rinternals{RehearsalMark}.
2509 @node Special rhythmic concerns
2510 @subsection Special rhythmic concerns
2515 * Aligning to cadenzas::
2516 * Time administration::
2520 @unnumberedsubsubsec Grace notes
2524 @cindex appoggiatura
2525 @cindex acciaccatura
2530 Grace notes are ornaments that are written out. Grace notes
2531 are printed in a smaller font and take up no logical time
2534 @lilypond[quote,relative=2,verbatim]
2536 \grace { c16[ d16] } c2
2539 Lilypond also supports two special types of grace notes, the
2540 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2541 small note with a slashed stem--and the @emph{appoggiatura}, which
2542 takes a fixed fraction of the main note and appears in small print
2545 @lilypond[quote,relative=2,verbatim]
2549 \acciaccatura { g16[ f] } e4
2552 The placement of grace notes is synchronized between different
2553 staves. In the following example, there are two sixteenth grace
2554 notes for every eighth grace note
2556 @lilypond[quote,relative=2,verbatim]
2557 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2558 \new Staff { c2 \grace { g8[ b] } c2 } >>
2561 @cindex grace notes, following
2563 @funindex \afterGrace
2564 @funindex afterGrace
2566 If you want to end a note with a grace, use the @code{\afterGrace}
2567 command. It takes two arguments: the main note, and the grace
2568 notes following the main note.
2570 @lilypond[quote,verbatim,relative=2]
2571 c1 \afterGrace d1 { c16[ d] } c1
2574 This will put the grace notes after a space lasting 3/4 of the
2575 length of the main note. The default fraction 3/4 can be changed by
2576 setting @code{afterGraceFraction}. The following example shows
2577 the results from setting the space at the default, at 15/16, and
2578 finally at 1/2 of the main note.
2580 @lilypond[quote,verbatim,relative=2]
2583 c1 \afterGrace d1 { c16[ d] } c1
2586 #(define afterGraceFraction (cons 15 16))
2587 c1 \afterGrace d1 { c16[ d] } c1
2590 #(define afterGraceFraction (cons 1 2))
2591 c1 \afterGrace d1 { c16[ d] } c1
2596 The space between the main note and the grace note may also be
2597 specified using spacers. The following example places the grace
2598 note after a space lasting 7/8 of the main note.
2600 @lilypond[quote,verbatim,relative=2]
2603 { s2 s4. \grace { c16[ d] } } >>
2608 A @code{\grace} music expression will introduce special
2609 typesetting settings, for example, to produce smaller type, and
2610 set directions. Hence, when introducing layout tweaks to
2611 override the special settings, they should be placed inside
2612 the grace expression. The overrides should also be reverted
2613 inside the grace expression. Here, the grace note's default stem
2614 direction is overriden and then reverted.
2616 @lilypond[quote,verbatim,relative=2]
2628 @cindex stem, with slash
2633 The slash through the stem found in @emph{acciaccatura}s can be applied
2634 in other situations:
2636 @lilypond[quote,verbatim,relative=2]
2638 \override Stem #'stroke-style = #"grace"
2643 The layout of grace expressions can be changed throughout the
2644 music using the function @code{add-grace-property}. The following
2645 example undefines the @code{Stem} direction for this grace, so
2646 that stems do not always point up.
2648 @lilypond[quote,verbatim,relative=2]
2651 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2652 #(remove-grace-property 'Voice 'Stem 'direction)
2654 \acciaccatura { f16 } g4
2655 \grace { d16[ e] } f4
2656 \appoggiatura { a,32[ b c d] } e2
2662 Another option is to change the variables @code{startGraceMusic},
2663 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2664 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2665 @code{stopAppoggiaturaMusic}. The default values of these can be
2666 seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
2667 them other effects may be obtained.
2669 Grace notes may be forced to align with regular notes
2672 @lilypond[verbatim,quote]
2675 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2678 \afterGrace c4 { c16[ c8 c16] }
2682 c16 c c c c c c c c4 r
2691 @rglos{grace notes},
2692 @rglos{acciaccatura},
2693 @rglos{appoggiatura}.
2695 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2697 Snippets: @rlsr{Rhythms}.
2699 Internals Reference: @rinternals{GraceMusic}.
2704 A multi-note beamed @i{acciaccatura} is printed without a slash,
2705 and looks exactly the same as a multi-note beamed
2708 @c TODO Add link to LSR snippet to add slash when available
2710 Grace note synchronization can also lead to surprises. Staff
2711 notation, such as key signatures, bar lines, etc., are also
2712 synchronized. Take care when you mix staves with grace notes and
2713 staves without, for example,
2715 @lilypond[quote,relative=2,verbatim]
2716 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2717 \new Staff { c4 \bar "|:" d2. } >>
2721 This can be remedied by inserting grace skips of the corresponding
2722 durations in the other staves. For the above example
2724 @lilypond[quote,relative=2,verbatim]
2725 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2726 \new Staff { c4 \bar "|:" \grace s16 d2. } >>
2729 Grace sections should only be used within sequential music
2730 expressions. Nesting or juxtaposing grace sections is not
2731 supported, and might produce crashes or other errors.
2733 @node Aligning to cadenzas
2734 @unnumberedsubsubsec Aligning to cadenzas
2737 @cindex cadenza, aligning to
2738 @cindex aligning to cadenza
2740 In an orchestral context, cadenzas present a special problem: when
2741 constructing a score that includes a measured cadenza or other solo
2742 passage, all other instruments should skip just as many notes as the
2743 length of the cadenza, otherwise they will start too soon or too late.
2745 One solution to this problem is to use the functions
2746 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2747 functions take a defined piece of music as an argument and generate a
2748 multi-measure rest or @code{\skip} exactly as long as the piece.
2750 @lilypond[verbatim,quote]
2751 MyCadenza = \relative c' {
2762 #(ly:export (mmrest-of-length MyCadenza))
2764 #(ly:export (skip-of-length MyCadenza))
2779 @node Time administration
2780 @unnumberedsubsubsec Time administration
2782 @cindex time administration
2783 @cindex timing (within the score)
2784 @cindex music, unmetered
2785 @cindex unmetered music
2787 @funindex currentBarNumber
2788 @funindex measurePosition
2789 @funindex measureLength
2791 Time is administered by the @code{Timing_translator}, which by
2792 default is to be found in the @code{Score} context. An alias,
2793 @code{Timing}, is added to the context in which the
2794 @code{Timing_translator} is placed.
2796 The following properties of @code{Timing} are used
2797 to keep track of timing within the score.
2800 @cindex measure number
2803 @item currentBarNumber
2804 The current measure number. For an example showing the
2805 use of this property see @ref{Bar numbers}.
2808 The length of the measures in the current time signature. For a
2809 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2810 determines when bar lines are inserted and how automatic beams
2811 should be generated.
2813 @item measurePosition
2814 The point within the measure where we currently are. This
2815 quantity is reset by subtracting @code{measureLength} whenever
2816 @code{measureLength} is reached or exceeded. When that happens,
2817 @code{currentBarNumber} is incremented.
2820 If set to true, the above variables are updated for every time
2821 step. When set to false, the engraver stays in the current
2822 measure indefinitely.
2826 Timing can be changed by setting any of these variables
2827 explicitly. In the next example, the default 4/4 time
2828 signature is printed, but @code{measureLength} is set to 5/4.
2829 At 4/8 through the third measure, the @code{measurePosition} is
2830 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2831 The next bar line then falls at 9/8 rather than 5/4.
2833 @lilypond[quote,verbatim,relative=1]
2834 \set Score.measureLength = #(ly:make-moment 5 4)
2838 \set Score.measurePosition = #(ly:make-moment 5 8)
2844 As the example illustrates, @code{ly:make-moment n m} constructs a
2845 duration of n/m of a whole note. For example,
2846 @code{ly:make-moment 1 8} is an eighth note duration and
2847 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2852 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2857 Internals Reference: @rinternals{Timing_translator},