1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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15 @lilypondfile[quote]{repeats-headword.ly}
17 Repetition is a central concept in music, and multiple notations
18 exist for repetitions. LilyPond supports the following kinds of
24 The repeated music is not written out but enclosed between repeat bar
25 lines. If the repeat is at the beginning of a piece, a repeat bar
26 line is only printed at the end of the repeat. Alternative endings
27 (volte) are printed left to right with brackets. This is the standard
28 notation for repeats with alternatives.
31 The repeated music is fully written out, as many times as
32 specified by @code{@var{repeatcount}}. This is useful when
33 entering repetitious music.
36 These are beat or measure repeats. They look like single slashes or
40 This is used to write tremolo beams.
51 @subsection Long repeats
53 This section discusses how to input long (usually multi-measure)
54 repeats. The repeats can take two forms: repeats enclosed between
55 repeat signs; or written-out repeats, used to input repetitious music.
56 Repeat signs can also be controlled manually.
60 * Manual repeat marks::
61 * Written-out repeats::
68 @cindex volta, seconda
69 @cindex repeat, normal
71 @cindex repeat with alternate endings
72 @cindex alternate endings
74 @funindex \alternative
78 @unnumberedsubsubsec Normal repeats
80 The syntax for a normal repeat is
83 \repeat volta @var{repeatcount} @var{musicexpr}
87 where @code{@var{musicexpr}} is a music expression.
89 A single repeat without an alternate ending:
91 @lilypond[verbatim,quote,relative=2]
92 \repeat volta 2 { c4 d e f }
94 \repeat volta 2 { d4 e f g }
97 Alternative endings can be produced using @code{\alternative}. Each
98 group of alternatives must be themselves, enclosed in a set of braces.
101 \repeat volta @var{repeatcount} @var{musicexpr}
103 @{ @var{musicexpr} @}
108 where @code{@var{musicexpr}} is a music expression.
110 If there are more repeats than there are alternate endings, the earliest
111 repeats are given the first alternative.
113 A single repeat with one alternate ending:
115 @lilypond[verbatim,quote,relative=2]
116 \repeat volta 2 { c4 d e f | }
124 A single repeat with more than one alternate ending:
126 @lilypond[verbatim,quote,relative=2]
127 \repeat volta 4 { c4 d e f | }
135 Multiple repeats with more than one alternate ending:
137 @lilypond[verbatim,quote,relative=2]
138 \repeat volta 3 { c4 d e f | }
147 @warning{If there are two or more alternatives, nothing should appear
148 between the closing brace of one and the opening brace of the next
149 in an @code{@bs{}alternative} block, otherwise you will not get the
150 expected number of endings.}
152 @warning{If you include @code{@bs{}relative} inside a
153 @code{@bs{}repeat} without explicitly instantiating the
154 @code{Voice} context, extra (unwanted) staves will appear. See
155 @rprogram{An extra staff appears}.}
157 @cindex repeat with upbeat
158 @cindex upbeat in a repeat
159 @cindex anacrucis in a repeat
160 @cindex repeat with anacrucis
161 @cindex repeat with pickup
162 @cindex pickup in a repeat
165 If a repeat starts in the middle of a measure and has no alternate
166 endings, normally the end of the repeat will also fall in the
167 middle of a measure, so that the two ends add up to one complete
168 measure. In such cases, the repeat signs do not constitute true
169 bar lines. Do not use @code{\partial} commands or bar checks
170 where these repeat signs are printed:
172 @lilypond[verbatim,quote,relative=1]
174 c4 e g % no bar check here
180 g4 g g % no bar check here
188 Similarly, if a repeat begins with the initial partial measure of
189 a score and has no alternate endings, the same conditions apply as
190 in the above example, except that in this case the @code{\partial}
191 command is required at the beginning of the score:
193 @lilypond[verbatim,quote,relative=1]
194 \partial 4 % required
199 g4 g g % no bar check here
207 When alternate endings are added to a repeat that begins with an
208 incomplete measure, it becomes necessary to set the
209 @code{Timing.measureLength} context property manually, in the
210 following specific places:
214 at the start of any incomplete measures in the @code{\alternative}
215 block, which normally occur at the end of each alternative, except
216 (in most cases) the last.
219 at the start of each alternative, except the first.
222 @lilypond[verbatim,quote,relative=1]
224 \repeat volta 2 { e4 | c2 e | }
228 \set Timing.measureLength = #(ly:make-moment 3 4)
229 g4 g g % optional bar check is allowed here
232 \set Timing.measureLength = #(ly:make-moment 4 4)
239 The @code{measureLength} property is described in @ref{Time
242 @funindex \inStaffSegno
244 The @code{\inStaffSegno} command can be used to place the segno
245 symbol in cooperation with the @code{\repeat volta} command.
246 Alternative bar line symbols can be set in a Score context by
247 overriding the properties @code{segnoType},
248 @code{startRepeatSegnoType}, @code{endRepeatSegnoType} or
249 @code{doubleRepeatSegnoType} as required.
251 @lilypond[verbatim,quote,relative=1]
260 @cindex repeats, with ties
261 @cindex alternative endings, with ties
262 @cindex ties, in repeats
263 @cindex ties, alternative endings
266 Ties may be added to a second ending:
268 @lilypond[verbatim,quote,relative=2]
270 \repeat volta 2 { c4 d e f~ }
278 @lilypondfile[verbatim,quote,texidoc,doctitle]
279 {shortening-volta-brackets.ly}
281 @lilypondfile[verbatim,quote,texidoc,doctitle]
282 {adding-volta-brackets-to-additional-staves.ly}
284 @lilypondfile[verbatim,quote,texidoc,doctitle]
285 {setting-the-double-repeat-default-for-volte.ly}
287 @cindex repeats, bar numbers letters
288 @cindex repeats, alternative bar numbers
290 @lilypondfile[verbatim,quote,texidoc,doctitle]
291 {alternative-bar-numbering.ly}
300 @ref{Modifying context plug-ins},
301 @ref{Modifying ties and slurs},
302 @ref{Time administration}.
308 @rinternals{VoltaBracket},
309 @rinternals{RepeatedMusic},
310 @rinternals{VoltaRepeatedMusic},
311 @rinternals{UnfoldedRepeatedMusic}.
314 @cindex repeat, ambiguous
315 @cindex nested repeat
316 @cindex repeat, nested
317 @cindex repeat timing information
318 @cindex repeat and measure number
319 @cindex timing information and repeats
320 @cindex measure number and repeats
321 @cindex repeat and slur
322 @cindex slur and repeat
324 Slurs that span from a @code{\repeat} block into an
325 @code{\alternative} block will only work for the first alternative
326 ending. The visual appearance of a continuing slur in other
327 alternative blocks may be simulated with @code{\repeatTie} if the
328 slur extends into only one note in the alternative block, although
329 this method does not work in @code{TabStaff}. Other methods which
330 may be tailored to indicate continuing slurs over several notes in
331 alternative blocks, and which also work in @code{TabStaff} contexts,
332 are shown in @ref{Modifying ties and slurs}.
334 Also, slurs cannot wrap around from the end of one
335 alternative back to the beginning of the repeat.
337 If a repeat that begins with an incomplete measure has an
338 @code{\alternative} block that contains modifications to the
339 @code{measureLength} property, using @code{\unfoldRepeats} will
340 result in wrongly-placed bar lines and bar check warnings.
351 is ambiguous, since it is not clear to which @code{\repeat} the
352 @code{\alternative} belongs. This ambiguity is resolved by always
353 having the @code{\alternative} belong to the inner @code{\repeat}.
354 For clarity, it is advisable to use braces in such situations.
357 @node Manual repeat marks
358 @unnumberedsubsubsec Manual repeat marks
360 @cindex manual repeat mark
361 @cindex repeat, manual
363 @cindex repeat, start
366 @cindex repeat number, changing
367 @cindex repeat volta, changing
368 @cindex volta bracket
369 @cindex bracket, volta
370 @funindex repeatCommands
371 @funindex start-repeat
373 @warning{These methods are only used for displaying unusual repeat
374 constructs, and may produce unexpected behavior. In most cases,
375 repeats should be created using the standard @code{@bs{}repeat} command
376 or by printing the relevant bar lines. For more information, see
379 The property @code{repeatCommands} can be used to control the
380 layout of repeats. Its value is a Scheme list of repeat commands.
384 Print a @code{|:} bar line.
386 @lilypond[verbatim,quote,relative=2]
388 \set Score.repeatCommands = #'(start-repeat)
393 As per standard engraving practice, repeat signs are not printed
394 at the beginning of a piece.
397 Print a @code{:|} bar line:
399 @lilypond[verbatim,quote,relative=2]
402 \set Score.repeatCommands = #'(end-repeat)
406 @item (volta @var{number}) ... (volta #f)
407 Create a new volta with the specified number. The volta bracket must
408 be explicitly terminated, or it will not be printed.
410 @lilypond[verbatim,quote,relative=2]
412 \set Score.repeatCommands = #'((volta "2"))
414 \set Score.repeatCommands = #'((volta #f))
420 Multiple repeat commands may occur at the same point:
422 @lilypond[verbatim,quote,relative=2]
424 \set Score.repeatCommands = #'((volta "2, 5") end-repeat)
427 \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
429 \set Score.repeatCommands = #'((volta #f))
432 @cindex volta bracket with text
433 @cindex text in volta bracket
435 Text can be included with the volta bracket. The text can be a
436 number or numbers or markup text, see @ref{Formatting text}. The
437 simplest way to use markup text is to define the markup first,
438 then include the markup in a Scheme list.
440 @lilypond[verbatim,quote]
441 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
444 \set Score.repeatCommands =
445 #(list(list 'volta voltaAdLib) 'start-repeat)
447 \set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat)
449 \set Score.repeatCommands = #'((volta #f))
456 @lilypondfile[verbatim,quote,texidoc,doctitle]
457 {printing-a-repeat-sign-at-the-beginning-of-a-piece.ly}
462 @ref{Formatting text}.
468 @rinternals{VoltaBracket},
469 @rinternals{RepeatedMusic},
470 @rinternals{VoltaRepeatedMusic}.
473 @node Written-out repeats
474 @unnumberedsubsubsec Written-out repeats
476 @cindex written-out repeats
477 @cindex repeats, written-out
478 @cindex repeats, unfold
479 @cindex repeats, alternative
480 @cindex unfold repeat
481 @cindex unfold repeat, alternate endings
482 @cindex alternate repeats
483 @cindex alternate endings, repeats
486 By using the @code{unfold} command, repeats can be used to simplify the
487 writing out of repetitious music. The syntax is
490 \repeat unfold @var{repeatcount} @var{musicexpr}
494 where @code{@var{musicexpr}} is a music expression and
495 @code{@var{repeatcount}} is the number of times
496 @code{@var{musicexpr}} is repeated.
498 @lilypond[verbatim,quote,relative=2]
499 \repeat unfold 2 { c4 d e f }
503 In some cases, especially in a @code{\relative} context, the
504 @code{\repeat unfold} function is not the same as writing out the
505 music expression multiple times. E.g,
508 \repeat unfold 2 @{ a'4 b c @}
517 Unfold repeats can be made with alternate endings.
519 @lilypond[verbatim,quote,relative=2]
520 \repeat unfold 2 { c4 d e f }
528 If there are more repeats than there are alternate endings, the first
529 alternative is applied multiple times until the remaining alternatives
530 make up the total number of repeats.
532 @lilypond[verbatim,quote,relative=2]
533 \repeat unfold 4 { c4 d e f }
542 If there are more alternate endings than repeats then only the first
543 alternatives are applied. The remaining alternatives will be ignored
546 @lilypond[verbatim,quote,relative=2]
547 \repeat unfold 2 { c4 d e f }
556 It is also possible to nest multiple @code{unfold} functions (with or
557 without alternate endings).
559 @lilypond[verbatim,quote,relative=2]
561 \repeat unfold 2 { c4 d e f }
570 Chord constructs can be repeated by the chord repetition symbol
571 @code{q}. See @ref{Chord repetition}.
573 @warning{If you include @code{@bs{}relative} inside a @code{@bs{}repeat}
574 without explicitly instantiating the @code{Voice} context, extra
575 (unwanted) staves will appear. See @rprogram{An extra staff appears}.}
579 @ref{Chord repetition}.
585 @rinternals{RepeatedMusic},
586 @rinternals{UnfoldedRepeatedMusic}.
590 @subsection Short repeats
592 This section discusses how to input short repeats. Short repeats can
593 take two forms: slashes or percent signs to represent repeats of a
594 single note, a single measure or two measures, and tremolos otherwise.
601 @node Percent repeats
602 @unnumberedsubsubsec Percent repeats
604 @cindex percent repeats
605 @cindex measure repeats
606 @cindex repeat, percent
607 @cindex repeat, measure
608 @cindex repeat, short
609 @funindex \repeat percent
612 Repeated short patterns are printed once, and the repeated pattern
613 is replaced with a special sign.
618 \repeat percent @var{number} @var{musicexpr}
622 where @code{@var{musicexpr}} is a music expression.
624 Patterns that are shorter than one measure are replaced by slashes.
626 @lilypond[verbatim,quote,relative=2]
627 \repeat percent 4 { c128 d e f }
628 \repeat percent 4 { c64 d e f }
629 \repeat percent 5 { c32 d e f }
630 \repeat percent 4 { c16 d e f }
631 \repeat percent 4 { c8 d }
632 \repeat percent 4 { c4 }
633 \repeat percent 2 { c2 }
636 Patterns of one or two measures are replaced by percent-like symbols.
638 @lilypond[verbatim,quote,relative=2]
639 \repeat percent 2 { c4 d e f }
640 \repeat percent 2 { c2 d }
641 \repeat percent 2 { c1 }
644 @lilypond[verbatim,quote,relative=2]
645 \repeat percent 3 { c4 d e f | c2 g' }
648 Patterns that are shorter than one measure but contain mixed durations
649 use a double-percent symbol.
651 @lilypond[verbatim,quote,relative=2]
652 \repeat percent 4 { c8. <d f>16 }
653 \repeat percent 2 { \times 2/3 { r8 c d } e4 }
658 @lilypondfile[verbatim,quote,texidoc,doctitle]
659 {percent-repeat-counter.ly}
661 @lilypondfile[verbatim,quote,texidoc,doctitle]
662 {percent-repeat-count-visibility.ly}
664 @lilypondfile[verbatim,quote,texidoc,doctitle]
665 {isolated-percent-repeats.ly}
669 @rglos{percent repeat},
676 @rinternals{RepeatSlash},
677 @rinternals{RepeatSlashEvent},
678 @rinternals{DoubleRepeatSlash},
679 @rinternals{PercentRepeat},
680 @rinternals{PercentRepeatCounter},
681 @rinternals{PercentRepeatedMusic},
682 @rinternals{Percent_repeat_engraver},
683 @rinternals{DoublePercentEvent},
684 @rinternals{DoublePercentRepeat},
685 @rinternals{DoublePercentRepeatCounter},
686 @rinternals{Double_percent_repeat_engraver},
687 @rinternals{Slash_repeat_engraver}.
690 @node Tremolo repeats
691 @unnumberedsubsubsec Tremolo repeats
693 @cindex tremolo beams
695 @cindex repeat, tremolo
696 @funindex \repeat tremolo
699 Tremolos can take two forms: alternation between two chords or two
700 notes, and rapid repetition of a single note or chord. Tremolos
701 consisting of an alternation are indicated by adding beams between the
702 notes or chords being alternated, while tremolos consisting of the
703 rapid repetition of a single note are indicated by adding beams or
704 slashes to a single note.
706 To place tremolo marks between notes, use @code{\repeat} with
709 @lilypond[quote,verbatim,relative=2]
710 \repeat tremolo 8 { c16 d }
711 \repeat tremolo 6 { c16 d }
712 \repeat tremolo 2 { c16 d }
715 The @code{\repeat tremolo} syntax expects exactly two notes within
716 the braces, and the number of repetitions must correspond to a
717 note value that can be expressed with plain or dotted notes. Thus,
718 @code{\repeat tremolo 7} is valid and produces a double dotted
719 note, but @code{\repeat tremolo 9} is not.
721 The duration of the tremolo equals the duration of the
722 braced expression multiplied by the number of repeats:
723 @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo,
724 notated as two whole notes joined by tremolo beams.
726 There are two ways to put tremolo marks on a single note. The
727 @code{\repeat tremolo} syntax is also used here, in which case
728 the note should not be surrounded by braces:
730 @lilypond[quote,verbatim,ragged-right]
731 \repeat tremolo 4 c'16
734 @cindex tremolo marks
735 @funindex tremoloFlags
738 The same output can be obtained by adding @code{:@var{N}} after
739 the note, where @code{@var{N}} indicates the duration of the
740 subdivision (it must be at least 8). If @code{@var{N}} is 8, one
741 beam is added to the note's stem. If @code{@var{N}} is omitted,
742 the last value (stored in @code{tremoloFlags}) is used:
744 @lilypond[quote,verbatim,relative=2]
751 @lilypondfile[verbatim,quote,texidoc,doctitle]
752 {cross-staff-tremolos.ly}
758 @cindex tremolo, cross-staff
759 @cindex cross-staff tremolo