1 @c -*- coding: utf-8; mode: texinfo; -*-
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
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]
77 c4 c8 c16 c32 c64 c128 c128
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 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
149 @rglos{Duration names notes and rests}.
152 @ref{Automatic beams},
155 @ref{Writing rhythms},
158 @ref{Ancient notation},
159 @ref{Proportional notation}.
166 @rinternals{DotColumn}.
171 @c Deliberately duplicated in Durations and Rests. -gp
172 There is no fundamental limit to rest durations (both in terms of
173 longest and shortest), but the number of glyphs is limited:
174 rests from 128th to maxima (8 x whole) may be printed.
178 @unnumberedsubsubsec Tuplets
186 Tuplets are made from a music expression by multiplying all the
187 durations with a fraction:
190 \times @var{fraction} @{ @var{music} @}
194 The duration of @var{music} will be multiplied by the
195 fraction. The fraction's denominator will be printed over or
196 under the notes, optionally with a bracket. The most common
197 tuplet is the triplet in which 3 notes have the duration of 2, so
198 the notes are 2/3 of their written length.
200 @lilypond[quote,verbatim,relative=2]
201 a2 \times 2/3 { b4 b b }
202 c4 c \times 2/3 { b4 a g }
205 @cindex tuplet bracket placement
209 @funindex \tupletDown
211 @funindex \tupletNeutral
212 @funindex tupletNeutral
214 Tuplet brackets may be manually placed above or below the staff;
215 see @ref{Direction and placement}.
217 Tuplets may be nested:
219 @lilypond[quote,verbatim,relative=2]
221 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
224 Modifying nested tuplets which begin at the same musical moment
225 must be done with @code{\tweak}.
227 To modify the duration of notes without printing a tuplet bracket,
228 see @ref{Scaling durations}.
234 @code{\tupletNeutral}.
240 @cindex tuplet formatting
241 @cindex triplet formatting
243 @funindex tupletNumberFormatFunction
244 @funindex tupletSpannerDuration
246 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
247 {entering-several-tuplets-using-only-one--times-command.ly}
249 @cindex Tuplet number changes
251 @funindex TupletNumber
253 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
254 {changing-the-tuplet-number.ly}
256 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
257 {non-default-tuplet-numbers.ly}
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {controlling-tuplet-bracket-visibility.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {permitting-line-breaks-within-beamed-tuplets.ly}
273 @rlearning{Tweaking methods}.
276 @ref{Time administration},
277 @ref{Scaling durations},
278 @ref{The tweak command},
279 @ref{Polymetric notation}.
285 @rinternals{TupletBracket},
286 @rinternals{TupletNumber},
287 @rinternals{TimeScaledMusic}.
290 @cindex grace notes within tuplet brackets
293 When the first note on a staff is a grace note followed by a
294 tuplet the grace note must be placed before the @code{\times}
295 command to avoid errors. Anywhere else, grace notes may be
296 placed within tuplet brackets.
299 @node Scaling durations
300 @unnumberedsubsubsec Scaling durations
302 @cindex scaling durations
303 @cindex durations, scaling
305 You can alter the duration of single notes, rests or chords by a
306 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
307 is 1) to the duration. This will not affect the appearance of the
308 notes or rests produced, but the altered duration will be used in
309 calculating the position within the measure and setting the duration
310 in the MIDI output. Multiplying factors may be combined such as
313 In the following example, the first three notes take up exactly
314 two beats, but no triplet bracket is printed.
316 @lilypond[quote,relative=2,verbatim]
318 % Alter durations to triplets
319 a4*2/3 gis4*2/3 a4*2/3
322 % Double the duration of chord
324 % Duration of quarter, appears like sixteenth
328 The duration of spacing notes may also be modified by
329 a multiplier. This is useful for skipping many measures, e.g.,
332 @cindex compressing music
333 @cindex expanding music
335 @funindex \scaleDurations
336 @funindex scaleDurations
338 Longer stretches of music may be compressed by a fraction in the
339 same way, as if every note, chord or rest had the fraction as a
340 multiplier. This leaves the appearance of the music unchanged but
341 the internal duration of the notes will be multiplied by the
342 fraction @emph{num}/@emph{den}. The spaces around the dot are
343 required. Here is an example showing how music can be compressed
346 @lilypond[quote,relative=2,verbatim]
350 % Scale music by *2/3
351 \scaleDurations #'(2 . 3) {
355 \scaleDurations #'(2 . 1) {
360 One application of this command is in polymetric
361 notation, see @ref{Polymetric notation}.
367 @ref{Invisible rests},
368 @ref{Polymetric notation}.
375 @unnumberedsubsubsec Ties
381 A tie connects two adjacent note heads of the same pitch. The tie
382 in effect extends the duration of a note.
384 @warning{Ties should not be confused with @emph{slurs}, which
385 indicate articulation, or @emph{phrasing slurs}, which indicate
386 musical phrasing. A tie is just a way of extending a note
387 duration, similar to the augmentation dot.}
389 A tie is entered using the tilde symbol (@code{~}).
391 @lilypond[quote,verbatim,relative=2]
395 Ties are used either when the note crosses a bar line, or when
396 dots cannot be used to denote the rhythm. Ties should also be
397 used when note values cross larger subdivisions of the measure:
399 @lilypond[verbatim,quote]
406 If you need to tie many notes across bar lines, it may be
407 easier to use automatic note splitting, see @ref{Automatic note
408 splitting}. This mechanism automatically splits long notes, and
409 ties them across bar lines.
411 @cindex ties and chords
412 @cindex chords and ties
414 When a tie is applied to a chord, all note heads whose pitches
415 match are connected. When no note heads match, no ties will be
416 created. Chords may be partially tied by placing the tie inside
419 @lilypond[quote,verbatim,relative=1]
421 <c~ e g~ b> <c e g b>
424 @cindex repeating ties
425 @cindex ties, repeating
426 @cindex volta brackets and ties
427 @cindex ties and volta brackets
432 When a second alternative of a repeat starts with a tied note, you
433 have to specify the repeated tie as follows:
435 @lilypond[quote,relative=2,verbatim]
436 \repeat volta 2 { c g <c e>2 ~ }
438 % First alternative: following note is tied normally
440 % Second alternative: following note has a repeated tie
441 { <c e>2\repeatTie d4 c } }
444 @cindex laissez vibrer
445 @cindex ties, laissez vibrer
447 @funindex \laissezVibrer
448 @funindex laissezVibrer
450 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
451 notes must not be damped at the end. It is used in notation for
452 piano, harp and other string and percussion instruments. They can
453 be entered as follows:
455 @lilypond[quote,verbatim,relative=1]
456 <c f g>1\laissezVibrer
459 @cindex ties, placement
465 @funindex \tieNeutral
468 Ties may be manually placed above or below the staff; see
469 @ref{Direction and placement}.
471 @cindex ties, appearance
484 Ties may be made dashed, dotted, or a combination of solid and
487 @lilypond[quote, verbatim, relative=1]
500 Custom dash patterns can be specified:
502 @lilypond[quote, verbatim, relative=1]
503 \tieDashPattern #0.3 #0.75
505 \tieDashPattern #0.7 #1.5
511 Dash pattern definitions for ties have the same structure as
512 dash pattern definitions for slurs.
513 For more information about complex dash patterns,
514 see the snippets under @ref{Slurs}.
522 @code{\tieDashPattern},
523 @code{\tieHalfDashed},
524 @code{\tieHalfSolid},
531 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
532 {using-ties-with-arpeggios.ly}
534 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
535 {engraving-ties-manually.ly}
541 @rglos{laissez vibrer}.
545 @ref{Automatic note splitting}.
551 @rinternals{LaissezVibrerTie},
552 @rinternals{LaissezVibrerTieColumn},
553 @rinternals{TieColumn},
559 Switching staves when a tie is active will not produce a slanted
562 Changing clefs or octavations during a tie is not really
563 well-defined. In these cases, a slur may be preferable.
568 @subsection Writing rests
570 Rests are entered as part of the music in music expressions.
575 * Full measure rests::
579 @unnumberedsubsubsec Rests
582 @cindex rest, entering durations
597 Rests are entered like notes with the note name @code{r}.
598 Durations longer than a whole rest use the predefined
601 @c \time 16/1 is used to avoid spurious bar lines
602 @c and long tracts of empty measures
603 @lilypond[fragment,quote,verbatim]
605 % These two lines are just to prettify this example
607 \override Staff.TimeSignature #'stencil = ##f
608 % Print a maxima rest, equal to four breves
610 % Print a longa rest, equal to two breves
614 r1 r2 r4 r8 r16 r32 r64 r128
618 @cindex rest, multi-measure
619 @cindex rest, whole-measure
621 Whole measure rests, centered in the middle of the measure, must be
622 entered as multi-measure rests. They can be used for a single
623 measure as well as many measures and are discussed in @ref{Full
626 @cindex rest, specifying vertical position
628 To explicitly specify a rest's vertical position, write a note
629 followed by @code{\rest}. A rest of the duration of the note will
630 be placed at the staff position where the note would appear. This
631 allows for precise manual formatting of polyphonic music, since the
632 automatic rest collision formatter will not move these rests.
634 @lilypond[quote,verbatim,relative=2]
640 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
651 @ref{Full measure rests}.
662 @c Deliberately duplicated in Durations and Rests. -gp
663 There is no fundamental limit to rest durations (both in terms of
664 longest and shortest), but the number of glyphs is limited: there
665 are rests from 128th to maxima (8 x whole).
668 @node Invisible rests
669 @unnumberedsubsubsec Invisible rests
672 @cindex invisible rest
673 @cindex rest, invisible
681 An invisible rest (also called a @q{spacer rest}) can be entered
682 like a note with the note name@tie{}@code{s}:
684 @lilypond[verbatim,quote,relative=2]
691 Spacer rests are available only in note mode and chord mode. In
692 other situations, for example, when entering lyrics, the
693 command @code{\skip} is used to skip a musical moment.
694 @code{\skip} requires an explicit duration.
696 @lilypond[quote,verbatim,relative=2]
709 Because @code{\skip} is a command, it does not affect the default
710 durations of following notes, unlike@tie{}@code{s}.
712 @lilypond[quote,verbatim,relative=2]
715 \repeat unfold 8 {a4}
725 A spacer rest implicitly causes @code{Staff} and @code{Voice}
726 contexts to be created if none exist, just like notes and rests
729 @lilypond[quote,verbatim,fragment]
733 @code{\skip} simply skips musical time; it creates no output of
736 @lilypond[quote,verbatim,fragment]
737 % This is valid input, but does nothing
738 \skip 1 \skip1 \skip 1
744 @rlearning{Visibility and color of objects}.
748 @ref{Visibility of objects}.
754 @rinternals{SkipMusic}.
757 @node Full measure rests
758 @unnumberedsubsubsec Full measure rests
760 @cindex multi-measure rests
761 @cindex full-measure rests
762 @cindex rest, multi-measure
763 @cindex rest, full-measure
764 @cindex whole rest for a full measure
765 @cindex rest, whole for a full measure
769 Rests for one or more full measures are entered like notes with
770 the note name uppercase @code{R}:
772 @lilypond[quote,verbatim,relative=2]
773 % Rest measures contracted to single measure
774 \compressFullBarRests
781 The duration of full-measure rests is identical to the duration
782 notation used for notes. The duration in a multi-measure rest must
783 always be an integral number of measure-lengths, so augmentation dots
784 or fractions must often be used:
786 @lilypond[quote,fragment,verbatim]
787 \compressFullBarRests
793 R1*13/8 | R1*13/8*12 |
798 A full-measure rest is printed as either a whole or breve rest,
799 centered in the measure, depending on the time signature.
801 @lilypond[quote,verbatim,fragment]
810 @cindex multi-measure rest, expanding
811 @cindex multi-measure rest, contracting
813 @funindex \expandFullBarRests
814 @funindex expandFullBarRests
815 @funindex \compressFullBarRests
816 @funindex compressFullBarRests
818 By default a multi-measure rest is expanded in the printed score to
819 show all the rest measures explicitly. Alternatively, a multi-measure
820 rest can be shown as a single measure containing a multi-measure rest
821 symbol, with the number of measures of rest printed above the measure:
823 @lilypond[quote,fragment,verbatim]
825 \time 3/4 r2. | R2.*2 |
828 % Rest measures contracted to single measure
829 \compressFullBarRests
831 % Rest measures expanded
838 @cindex text on multi-measure rest
839 @cindex multi-measure rest, attaching text
840 @cindex script on multi-measure rest
841 @cindex multi-measure rest, script
842 @cindex fermata on multi-measure rest
843 @cindex multi-measure rest, attaching fermata
844 @cindex markup on multi-measure rest
845 @cindex multi-measure rest with markup
847 @funindex \fermataMarkup
848 @funindex fermataMarkup
849 @funindex MultiMeasureRestText
851 Markups can be added to multi-measure rests.
852 The predefined command @code{\fermataMarkup}
853 is provided for adding fermatas.
855 @lilypond[quote,verbatim,fragment]
856 \compressFullBarRests
858 R2.*10^\markup { \italic "ad lib." }
863 Markups attached to a multi-measure rest are
864 objects of type @code{MultiMeasureRestText}, not
865 @code{TextScript}. Overrides must be directed to the correct
866 object, or they will be ignored. See the following example.
869 @lilypond[quote,verbatim,fragment]
870 % This fails, as the wrong object name is specified
871 \override TextScript #'padding = #5
873 % This is correct and works
874 \override MultiMeasureRestText #'padding = #5
878 When a multi-measure rest immediately follows a @code{\partial}
879 setting, resulting bar-check warnings may not be displayed.
882 @funindex \textLengthOn
883 @funindex textLengthOn
884 @funindex \textLengthOff
885 @funindex textLenthOff
886 @funindex \fermataMarkup
887 @funindex fermataMarkup
888 @funindex \compressFullBarRests
889 @funindex compressFullBarRests
890 @funindex \expandFullBarRests
891 @funindex expandFullBarRests
894 @code{\textLengthOn},
895 @code{\textLengthOff},
896 @code{\fermataMarkup},
897 @code{\compressFullBarRests},
898 @code{\expandFullBarRests}.
906 @cindex kirchenpausen
908 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
909 {changing-form-of-multi-measure-rests.ly}
911 @cindex multi-measure rests, positioning
912 @cindex positioning multi-measure rests
914 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
915 {positioning-multi-measure-rests.ly}
917 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
918 {multi-measure-rest-markup.ly}
923 @rglos{multi-measure rest}.
928 @ref{Formatting text},
935 @rinternals{MultiMeasureRest},
936 @rinternals{MultiMeasureRestNumber},
937 @rinternals{MultiMeasureRestText}.
940 @cindex fingerings and multi-measure rests
941 @cindex multi-measure rests and fingerings
945 If an attempt is made to use fingerings (e.g.,
946 @code{R1*10-4}) to put numbers over multi-measure rests, the
947 fingering numeral (4) may collide with the bar counter
950 @cindex condensing rests
951 @cindex rest, condensing ordinary
953 There is no way to automatically condense multiple ordinary rests
954 into a single multi-measure rest.
956 @cindex rest, collisions of
958 Multi-measure rests do not take part in rest collisions.
960 @node Displaying rhythms
961 @subsection Displaying rhythms
967 * Polymetric notation::
968 * Automatic note splitting::
969 * Showing melody rhythms::
973 @unnumberedsubsubsec Time signature
975 @cindex time signature
981 The time signature is set as follows:
983 @lilypond[quote,verbatim,relative=2]
988 @cindex time signature, visibility of
990 Time signatures are printed at the beginning of a piece
991 and whenever the time signature changes. If a change takes place
992 at the end of a line a warning time signature sign is printed
993 there. This default behavior may be changed, see
994 @ref{Visibility of objects}.
996 @lilypond[quote,verbatim,relative=2]
1006 @cindex time signature style
1009 @funindex \numericTimeSignature
1010 @funindex numericTimeSignature
1011 @funindex \defaultTimeSignature
1012 @funindex defaultTimeSignature
1014 The time signature symbol that is used in 2/2 and 4/4 time can be
1015 changed to a numeric style:
1017 @lilypond[quote,verbatim,relative=2]
1021 % Change to numeric style
1022 \numericTimeSignature
1025 % Revert to default style
1026 \defaultTimeSignature
1032 Mensural time signatures are covered in
1033 @ref{Mensural time signatures}.
1037 @code{\numericTimeSignature},
1038 @code{\defaultTimeSignature}.
1044 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1045 {changing-the-time-signature-without-affecting-the-beaming.ly}
1047 @cindex compound time signatures
1048 @cindex time signature, compound
1050 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1051 {compound-time-signatures.ly}
1053 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1054 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1059 @rglos{time signature}
1062 @ref{Mensural time signatures},
1063 @ref{Time administration}.
1068 Internals Reference:
1069 @rinternals{TimeSignature},
1070 @rinternals{Timing_translator}.
1074 @unnumberedsubsubsec Upbeats
1078 @cindex partial measure
1079 @cindex measure, partial
1080 @cindex pickup measure
1081 @cindex measure, change length
1083 @funindex measurePosition
1087 Partial or pick-up measures, such as an anacrusis or upbeat, are
1088 entered using the @code{\partial} command, with the syntax
1091 \partial @var{duration}
1095 where @code{duration} is the rhythmic length of the remaining
1096 interval of the current measure before the start of the next.
1098 @lilypond[quote,verbatim,relative=2]
1103 The partial measure can be any duration less than the full measure:
1105 @lilypond[quote,verbatim,relative=2]
1106 \partial 8*3 c8 d e |
1110 Internally, @code{\partial @var{duration}} is translated into:
1113 \set Timing.measurePosition -@var{duration}
1116 For example, @code{\partial 8*3} becomes:
1119 \set Timing.measurePosition = #(ly:make-moment -3 8)
1122 The property @code{measurePosition} contains a rational number
1123 indicating how much of the measure has passed at this point. Note
1124 that this is set to a negative number by the @code{\partial} command:
1125 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1126 @qq{there is a quarter note left in the measure.}
1139 @rinternals{Timing_translator}.
1143 The @code{\partial} command is intended to be used only at the
1144 beginning of a piece. If you use it after the beginning, some
1145 odd warnings or effects may occur, in this case use
1146 @code{\set Timing.measurePosition} instead.
1148 @node Unmetered music
1149 @unnumberedsubsubsec Unmetered music
1151 @cindex bar lines, turning off
1152 @cindex bar numbering, turning off
1154 @cindex unmetered music
1156 @funindex \cadenzaOn
1158 @funindex \cadenzaOff
1159 @funindex cadenzaOff
1161 Bar lines and bar numbers are calculated automatically. For
1162 unmetered music (some cadenzas, for example), this is not desirable.
1163 To turn off automatic calculation of bar lines and bar numbers,
1164 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1165 to turn them on again.
1167 @lilypond[verbatim,relative=2,fragment]
1176 Bar numbering is resumed at the end of the cadenza as if the
1177 cadenza were not there:
1179 @lilypond[verbatim,relative=2,fragment]
1180 % Show all bar numbers
1181 \override Score.BarNumber #'break-visibility = #all-visible
1190 Note that these predefined commands affect all staves in the
1191 score, even when they are placed in just one @code{Voice}
1192 context. To change this, move the @code{Timing_translator}
1193 from the @code{Score} context to the @code{Staff} context, as
1194 shown in @ref{Polymetric notation}.
1207 @ref{Visibility of objects},
1208 @ref{Polymetric notation}.
1214 @cindex cadenza line breaks
1215 @cindex cadenza page breaks
1216 @cindex unmetered music, line breaks
1217 @cindex unmetered music, page breaks
1218 @cindex breaks in unmetered music
1219 @cindex line breaks in cadenzas
1220 @cindex page breaks in cadenzas
1221 @cindex line breaks in unmetered music
1222 @cindex page breaks in unmetered music
1226 LilyPond will insert line breaks and page breaks only at a
1227 bar line. Unless the unmetered music ends before the end of the
1228 staff line, you will need to insert invisible bar lines with
1235 to indicate where breaks can occur.
1237 You must explicitly create a @code{Voice} context when starting a
1238 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1240 @lilypond[verbatim,relative=2,fragment]
1241 \new Voice \relative c'{
1243 c16^"Solo Free Time" d e f g2. \bar "||"
1249 @node Polymetric notation
1250 @unnumberedsubsubsec Polymetric notation
1252 @c This section necessarily uses \set
1253 @c This is acceptable -td
1255 @cindex double time signatures
1256 @cindex signatures, polymetric
1257 @cindex time signatures, polymetric
1258 @cindex time signatures, double
1259 @cindex polymetric signatures
1260 @cindex meter, polymetric
1262 @funindex timeSignatureFraction
1263 @funindex \scaleDurations
1264 @funindex scaleDurations
1268 Polymetric notation is supported, either explicitly or by modifying
1269 the visible time signature symbol and scaling the note durations.
1271 @strong{@i{Staves with different time signatures, equal measure lengths}}
1273 This notation can be created by setting a common time signature
1274 for each staff but replacing the symbol manually by setting
1275 @code{timeSignatureFraction} to the desired fraction and scaling
1276 the printed durations in each staff to the common time
1277 signature; see @ref{Time signature}. The scaling is done with
1278 @code{\scaleDurations}, which is used in a similar way to
1279 @code{\times}, but does not create a tuplet bracket; see
1280 @ref{Scaling durations}.
1282 @cindex beaming in polymetric music
1283 @cindex beaming in polymetric meter
1285 In this example, music with the time signatures of 3/4, 9/8, and
1286 10/8 are used in parallel. In the second staff, shown durations
1287 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1288 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1289 It will often be necessary to insert beams manually, as the
1290 duration scaling affects the autobeaming rules.
1292 @lilypond[quote,verbatim,fragment]
1301 \set Staff.timeSignatureFraction = #'(9 . 8)
1302 \scaleDurations #'(2 . 3)
1303 \repeat unfold 6 { c8[ c c] }
1307 \set Staff.timeSignatureFraction = #'(10 . 8)
1308 \scaleDurations #'(3 . 5) {
1309 \repeat unfold 2 { c8[ c c] }
1310 \repeat unfold 2 { c8[ c] } |
1311 c4. c4. \times 2/3 { c8[ c c] } c4
1317 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1319 Each staff can be given its own independent time signature by
1320 moving the @code{Timing_translator} and the
1321 @code{Default_bar_line_engraver} to the @code{Staff} context.
1323 @lilypond[quote,verbatim]
1327 \remove "Timing_translator"
1328 \remove "Default_bar_line_engraver"
1332 \consists "Timing_translator"
1333 \consists "Default_bar_line_engraver"
1337 % Now each staff has its own time signature.
1363 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1364 {compound-time-signatures.ly}
1370 @rglos{polymetric time signature},
1374 @ref{Time signature},
1375 @ref{Scaling durations}.
1380 Internals Reference:
1381 @rinternals{TimeSignature},
1382 @rinternals{Timing_translator},
1383 @rinternals{Default_bar_line_engraver},
1389 When using different time signatures in parallel, notes
1390 at the same moment will be placed at the same horizontal
1391 location. However, the bar lines in the different staves
1392 will cause the note spacing to be less regular in each of the
1393 individual staves than would be normal without the different
1396 @node Automatic note splitting
1397 @unnumberedsubsubsec Automatic note splitting
1399 @cindex notes, splitting
1400 @cindex splitting notes
1402 @funindex Note_heads_engraver
1403 @funindex Completion_heads_engraver
1405 Long notes which overrun bar lines can be converted automatically
1406 to tied notes. This is done by replacing the
1407 @code{Note_heads_engraver} with the
1408 @code{Completion_heads_engraver}. In the following
1409 example, notes crossing the bar lines are split and tied.
1411 @lilypond[quote,verbatim,relative=1]
1413 \remove "Note_heads_engraver"
1414 \consists "Completion_heads_engraver"
1417 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1420 This engraver splits all running notes at the bar line, and
1421 inserts ties. One of its uses is to debug complex scores: if the
1422 measures are not entirely filled, then the ties show exactly how
1423 much each measure is off.
1431 @rlearning{Engravers explained},
1432 @rlearning{Adding and removing engravers}.
1437 Internals Reference:
1438 @rinternals{Note_heads_engraver},
1439 @rinternals{Completion_heads_engraver},
1440 @rinternals{Forbid_line_break_engraver}.
1445 Not all durations (especially those containing tuplets) can be
1446 represented exactly with normal notes and dots, but the
1447 @code{Completion_heads_engraver} will not insert tuplets.
1449 The @code{Completion_heads_engraver} only affects notes; it does not
1453 @node Showing melody rhythms
1454 @unnumberedsubsubsec Showing melody rhythms
1456 @cindex melody rhythms, showing
1457 @cindex rhythms, showing melody
1459 Sometimes you might want to show only the rhythm of a melody. This
1460 can be done with the rhythmic staff. All pitches of notes on such a
1461 staff are squashed, and the staff itself has a single line
1463 @lilypond[quote,relative=1,verbatim]
1465 \new RhythmicStaff {
1466 \new Voice = "myRhythm" {
1474 \lyricsto "myRhythm" {
1482 @cindex guitar chord charts
1483 @cindex strumming rhythms, showing
1484 @cindex guitar strumming rhythms, showing
1486 @funindex Pitch_squash_engraver
1487 @funindex \improvisationOn
1488 @funindex improvisationOn
1489 @funindex \improvisationOff
1490 @funindex improvisationOff
1492 Guitar chord charts often show the strumming rhythms. This can
1493 be done with the @code{Pitch_squash_engraver} and
1494 @code{\improvisationOn}.
1497 @lilypond[quote,verbatim]
1506 \consists Pitch_squash_engraver
1519 @code{\improvisationOn},
1520 @code{\improvisationOff}.
1526 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1527 {guitar-strum-rhythms.ly}
1534 Internals Reference:
1535 @rinternals{RhythmicStaff},
1536 @rinternals{Pitch_squash_engraver}.
1544 * Setting automatic beam behavior::
1549 @node Automatic beams
1550 @unnumberedsubsubsec Automatic beams
1552 By default, beams are inserted automatically:
1554 @cindex beams, manual
1555 @cindex manual beams
1556 @cindex beams, setting rules for
1557 @cindex beams, custom rules for
1559 @funindex \autoBeamOn
1560 @funindex autoBeamOn
1561 @funindex \autoBeamOff
1562 @funindex autoBeamOff
1564 @lilypond[quote,verbatim,relative=2]
1566 \time 6/8 c c c c8. c16 c8
1569 If these automatic decisions are not satisfactory, beaming can be
1570 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1571 entered manually if beams are to be extended over rests.
1573 If automatic beaming is not required, it may be turned off with
1574 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1576 @lilypond[quote,relative=1,verbatim]
1577 c4 c8 c8. c16 c8. c16 c8
1584 @cindex melismata, beams
1585 @cindex beams and melismata
1587 @warning{If beams are used to indicate melismata in songs, then
1588 automatic beaming should be switched off with @code{\autoBeamOff}
1589 and the beams indicated manually.}
1591 Beaming patterns that differ from the automatic defaults can be
1592 created; see @ref{Setting automatic beam behavior}.
1596 @code{\autoBeamOff},
1603 @cindex line breaks and beams
1604 @cindex beams and line breaks
1608 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1609 {beams-across-line-breaks.ly}
1611 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1612 {changing-beam-knee-gap.ly}
1618 @ref{Setting automatic beam behavior}.
1621 @file{scm/@/auto@/-beam@/.scm}.
1626 Internals Reference:
1627 @rinternals{Auto_beam_engraver},
1628 @rinternals{Beam_engraver},
1630 @rinternals{BeamEvent},
1631 @rinternals{BeamForbidEvent},
1632 @rinternals{beam-interface},
1633 @rinternals{unbreakable-spanner-interface}.
1638 Beams can collide with note heads and accidentals in other voices.
1641 @node Setting automatic beam behavior
1642 @unnumberedsubsubsec Setting automatic beam behavior
1645 @cindex automatic beams, tuning
1646 @cindex tuning automatic beaming
1647 @cindex automatic beam generation
1649 @cindex lyrics and beaming
1651 @funindex autoBeaming
1652 @funindex beamSettings
1653 @funindex measureLength
1654 @funindex beatLength
1660 The placement of automatic beams is determined by the time signature.
1661 Three types of rules are used for determining the end of automatic
1662 beams: @emph{default} rules
1663 for the time signature, @emph{explicit} rules for the beam in the time
1664 signature, and the @emph{beatLength} for the time signature.
1666 The following rules, in order of priority, apply when determining
1667 the appearance of beams:
1671 If a manual beam is specified with @code{[..]} set the beam
1672 as specified, otherwise
1675 if @code{\autoBeamOff} is in force do not beam, otherwise
1678 if an explicit beam-ending rule is defined for the beam type
1679 in the time signature, use it to determine the valid
1680 places where beams may end, otherwise
1683 if a default beam-ending rule is defined in the time signature,
1684 use it to group notes with beams, otherwise
1687 use the value of @code{beatLength} to group notes with beams
1691 @i{@strong{Modifying the grouping of beats}}
1693 By default @code{beatLength} is
1694 derived from the time signature set by the @code{\time} command.
1695 The @code{beatLength} is set to be one over the denominator
1696 of the time signature.
1698 @code{beatLength} is a @i{moment},
1699 a unit of musical duration. A quantity of type @i{moment} is
1700 created by the scheme function @code{ly:make-moment}. For more
1701 information about this function, see @ref{Time administration}.
1703 Autobeam settings are stored in the
1704 @code{beamSettings} property. Default values of @code{beamSettings}
1705 are determined in @file{scm/@/beam@/-settings@/.scm}. Entries in
1706 @code{beamSettings} are indexed by time signature and
1709 Time signature should be a scheme pair , e.g. @code{#'(4 . 4)}.
1711 Rule type should be @code{#'end} for beam ending.
1713 The ending rules consist of a scheme alist
1714 (or list of pairs) that
1715 indicates the beam type and the grouping to be applied to
1716 beams containing notes with a shortest duration of that
1720 #'((beam-type1 . grouping-1)
1721 (beam-type2 . grouping-2)
1722 (beam-type3 . grouping-3))
1725 Beam type is either a scheme pair indicating the duration
1726 of the beam, e.g. @code{(1 . 16)}, or @code{*} to indicate a
1727 default rule, which applies to all beams if no explicit rule is
1730 Grouping is a scheme list indicating the grouping to be applied to
1731 the beam. For default rules (where beam type is
1732 @code{*}, the grouping is in units of @code{beatLength}.
1733 For explicit rules, the grouping is in units of the beam type.
1735 For reference, the default beaming rules are found in
1736 @file{scm/beam-settings.scm}.
1738 Beam settings are changed with
1739 @code{\overrideBeamSettings} and @code{\revertBeamSettings}.
1742 The ending settings must be
1743 @emph{complete} rules. That is, every rule that should apply to
1744 the current time signature must be included in the setting.
1745 It is not possible to change the grouping of only one beam type
1746 for a given time signature. While this may seem cumbersome,
1747 it means that the current beaming settings need not be known
1748 in order to specify a new beaming pattern.}
1750 @lilypond[quote,relative=2,verbatim]
1753 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (2 3)))
1755 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (3 2)))
1759 Beam setting changes can be limited to specific contexts. If no
1760 setting is included in a lower-level context, the setting of the
1761 enclosing context will apply.
1763 @lilypond[quote, verbatim,relative=1]
1768 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (2 3 2)))
1775 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (1 3 3)))
1782 When multiple voices are used the @code{Staff} context must be
1783 specified if the beaming is to be applied to all voices in the
1786 @lilypond[quote,verbatim,relative=2]
1789 % Context Voice specified -- does not work correctly
1790 % Because of autogenerated voices, all beating will
1791 % be at beatLength (1 . 8)
1792 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (3 1 1 2)))
1793 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1795 % Works correctly with context Staff specified
1796 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (3 1 1 2)))
1797 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1800 @funindex revertBeamSettings
1802 Beam settings can be reverted to get back to default behavior. This
1803 is accomplished by using @code{\revertBeamSettings}. The arguments
1804 are the same as for @code{\overrideBeamSettings}, except no value
1805 for @var{grouping} is given:
1808 \revertBeamSettings context time-signature rule-type
1812 @lilypond[quote,verbatim,relative=2]
1814 \repeat unfold 8 {a8}
1815 % set default rule for (1 1 1 1) grouping
1816 \overrideBeamSettings #'Score #'(4 . 4) #'end #'((* . (1 1 1 1)))
1817 \repeat unfold 8 {a8}
1818 % revert the new rule
1819 \revertBeamSettings #'Score #'(4 . 4) #'end
1820 \repeat unfold 8 {a8}
1825 @code{\overrideBeamSettings},
1826 @code{\revertBeamSettings}.
1832 @cindex beams, subdividing
1834 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1835 {sub-dividing-beams.ly}
1837 @cindex measure groupings
1838 @cindex beats, grouping
1839 @cindex grouping beats
1840 @cindex measure sub-grouping
1842 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1843 {conducting-signs,-measure-grouping-signs.ly}
1845 @cindex beam, last in score
1846 @cindex beam, last in polyphonic voice
1848 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1849 {beam-endings-in-score-context.ly}
1854 @file{scm/beam-settings.scm}.
1859 Internals Reference:
1860 @rinternals{Auto_beam_engraver},
1862 @rinternals{BeamForbidEvent},
1863 @rinternals{beam-interface}.
1868 If a score ends while an automatic beam has not been ended and is
1869 still accepting notes, this last beam will not be typeset at all.
1870 The same holds for polyphonic voices, entered with @code{<<
1871 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1872 automatic beam is still accepting notes, it is not typeset.
1873 The workaround for these problems is to manually beam the last
1874 beam in the voice or score.
1877 @unnumberedsubsubsec Manual beams
1879 @cindex beams, manual
1880 @cindex manual beams
1885 In some cases it may be necessary to override the automatic
1886 beaming algorithm. For example, the autobeamer will not put beams
1887 over rests or bar lines, and in choral scores the beaming is
1888 often set to follow the meter of the lyrics rather than the
1889 notes. Such beams can be specified manually by
1890 marking the begin and end point with @code{[} and @code{]}.
1892 @lilypond[quote,relative=1,verbatim]
1893 r4 r8[ g' a r8] r8 g[ | a] r8
1896 @cindex manual beams, direction shorthand for
1898 Beaming direction can be set manually using direction indicators:
1900 @lilypond[quote,relative=2,verbatim]
1901 c8^[ d e] c,_[ d e f g]
1907 Individual notes may be marked with @code{\noBeam} to prevent them
1910 @lilypond[quote,verbatim,relative=2]
1915 @funindex stemLeftBeamCount
1916 @funindex stemRightBeamCount
1918 Even more strict manual control with the beams can be achieved by
1919 setting the properties @code{stemLeftBeamCount} and
1920 @code{stemRightBeamCount}. They specify the number of beams to
1921 draw on the left and right side, respectively, of the next note.
1922 If either property is set, its value will be used only once, and
1923 then it is erased. In this example, the last @code{f} is printed
1924 with only one beam on the left side, i.e., the eighth-note beam of
1925 the group as a whole.
1927 @lilypond[quote,relative=2,verbatim]
1930 \set stemLeftBeamCount = #2
1931 \set stemRightBeamCount = #1
1933 \set stemLeftBeamCount = #1
1945 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1946 {flat-flags-and-beam-nibs.ly}
1951 @ref{Direction and placement}.
1956 Internals Reference:
1958 @rinternals{BeamEvent},
1959 @rinternals{Beam_engraver},
1960 @rinternals{beam-interface},
1961 @rinternals{Stem_engraver}.
1964 @node Feathered beams
1965 @unnumberedsubsubsec Feathered beams
1967 @cindex beams, feathered
1968 @cindex feathered beams
1970 @funindex \featherDurations
1971 @funindex featherDurations
1972 @funindex grow-direction
1974 Feathered beams are used to indicate that a small group of notes
1975 should be played at an increasing (or decreasing) tempo, without
1976 changing the overall tempo of the piece. The extent of the
1977 feathered beam must be indicated manually using @code{[} and
1978 @code{]}, and the beam feathering is turned on by specifying a
1979 direction to the @code{Beam} property @code{grow-direction}.
1981 If the placement of the notes and the sound in the MIDI output is to
1982 reflect the ritardando or accelerando indicated by the feathered beam
1983 the notes must be grouped as a music expression delimited by braces
1984 and preceded by a @code{featherDurations} command which specifies
1985 the ratio between the durations of the first and last notes in the
1988 The square brackets show the extent of the beam and the braces show
1989 which notes are to have their durations modified. Normally these
1990 would delimit the same group of notes, but this is not required: the
1991 two commands are independent.
1993 In the following example the eight 16th notes occupy exactly the
1994 same time as a half note, but the first note is one half as long
1995 as the last one, with the intermediate notes gradually
1996 lengthening. The first four 32nd notes gradually speed up, while
1997 the last four 32nd notes are at a constant tempo.
1999 @lilypond[relative=1,verbatim,quote]
2000 \override Beam #'grow-direction = #LEFT
2001 \featherDurations #(ly:make-moment 2 1)
2002 { c16[ c c c c c c c] }
2003 \override Beam #'grow-direction = #RIGHT
2004 \featherDurations #(ly:make-moment 2 3)
2006 % revert to non-feathered beams
2007 \override Beam #'grow-direction = #'()
2012 The spacing in the printed output represents the
2013 note durations only approximately, but the MIDI output is exact.
2017 @code{\featherDurations}.
2027 The @code{\featherDurations} command only works with very short
2028 music snippets, and when numbers in the fraction are small.
2038 * Bar and bar number checks::
2043 @unnumberedsubsubsec Bar lines
2046 @cindex measure lines
2047 @cindex closing bar lines
2048 @cindex bar lines, closing
2049 @cindex double bar lines
2050 @cindex bar lines, double
2056 Bar lines delimit measures, and are also used to indicate
2057 repeats. Normally, simple bar lines are automatically inserted
2058 into the printed output at places based on the current time
2061 The simple bar lines inserted automatically can be changed to
2062 other types with the @code{\bar} command. For example, a closing
2063 double bar line is usually placed at the end of a piece:
2065 @lilypond[quote,relative=1,verbatim]
2069 It is not invalid if the final note in a measure does not
2070 end on the automatically entered bar line: the note is assumed
2071 to carry over into the next measure. But if a long sequence
2072 of such carry-over measures appears the music can appear compressed
2073 or even flowing off the page. This is because automatic line
2074 breaks happen only at the end of complete measures, i.e., where
2075 all notes end before the end of a measure.
2077 @warning{An incorrect duration can cause line breaks to be
2078 inhibited, leading to a line of highly compressed music or
2079 music which flows off the page.}
2082 @cindex bar lines, invisible
2083 @cindex measure lines, invisible
2085 Line breaks are also permitted at manually inserted bar lines
2086 even within incomplete measures. To allow a line break without
2087 printing a bar line, use the following:
2094 This will insert an invisible bar line and allow (but not
2095 force) a line break to occur at this point. The bar number
2096 counter is not increased. To force a line break see
2097 @ref{Line breaking}.
2099 @cindex manual bar lines
2100 @cindex manual measure lines
2101 @cindex bar lines, manual
2102 @cindex measure lines, manual
2104 This and other special bar lines may be inserted manually at any
2105 point. When they coincide with the end of a measure they replace
2106 the simple bar line which would have been inserted there
2107 automatically. When they do not coincide with the end of a measure
2108 the specified bar line is inserted at that point in the printed
2111 Note that manual bar lines are purely visual. They do not affect
2112 any of the properties that a normal bar line would affect, such as
2113 measure numbers, accidentals, line breaks, etc. They do not affect
2114 the calculation and placement of subsequent automatic bar lines.
2115 When a manual bar line is placed where a normal bar line already
2116 exists, the effects of the original bar line are not altered.
2118 Two types of simple bar lines and five types of double bar lines are
2119 available for manual insertion:
2121 @lilypond[quote,relative=1,verbatim]
2133 together with dotted and dashed bar lines:
2135 @lilypond[quote,relative=1,verbatim]
2142 and five types of repeat bar line:
2144 @lilypond[quote,relative=1,verbatim]
2153 Additionally, a bar line can be printed as a simple tick:
2154 @lilypond[quote,relative=1,verbatim]
2157 However, as such ticks are typically used in Gregorian chant, it is
2158 preferable to use @code{\divisioMinima} there instead, described in
2159 the section @ref{Divisiones} in Gregorian chant.
2163 For in-line segno signs, there are three types of bar lines which
2164 differ in their behavior at line breaks:
2166 @lilypond[quote,relative=2,verbatim]
2184 Although the bar line types signifying repeats may be inserted
2185 manually they do not in themselves cause LilyPond to recognize
2186 a repeated section. Such repeated sections are better entered
2187 using the various repeat commands (see @ref{Repeats}), which
2188 automatically print the appropriate bar lines.
2190 In addition, you can specify @code{"||:"}, which is equivalent to
2191 @code{"|:"} except at line breaks, where it gives a double bar
2192 line at the end of the line and a start repeat at the beginning of
2195 @lilypond[quote,relative=2,verbatim]
2203 For combinations of repeats with the segno sign, there are six different
2206 @lilypond[quote,relative=2,verbatim]
2235 In scores with many staves, a @code{\bar} command in one staff is
2236 automatically applied to all staves. The resulting bar lines are
2237 connected between different staves of a @code{StaffGroup},
2238 @code{PianoStaff}, or @code{GrandStaff}.
2240 @lilypond[quote,relative=1,verbatim]
2248 \new Staff { \clef bass c4 g e g }
2250 \new Staff { \clef bass c2 c2 }
2255 @cindex default bar lines, changing
2256 @cindex bar lines, default, changing
2261 @funindex defaultBarType
2266 The command @code{\bar }@var{bartype} is a shortcut for
2267 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2268 created whenever the @code{whichBar} property is set.
2270 The default bar type used for automatically inserted bar lines is
2271 @code{"|"}. This may be changed at any time
2272 with @code{\set Timing.defaultBarType = }@var{bartype}.
2277 @ref{Line breaking},
2279 @ref{Grouping staves}.
2284 Internals Reference:
2285 @rinternals{BarLine} (created at @code{Staff} level),
2286 @rinternals{SpanBar} (across staves),
2287 @rinternals{Timing_translator} (for Timing properties).
2291 @unnumberedsubsubsec Bar numbers
2294 @cindex measure numbers
2295 @cindex numbers, bar
2296 @cindex numbers, measure
2298 @funindex currentBarNumber
2300 Bar numbers are typeset by default at the start of every line except
2301 the first line. The number itself is stored in the
2302 @code{currentBarNumber} property, which is normally updated
2303 automatically for every measure. It may also be set manually:
2305 @lilypond[verbatim,quote,relative=1]
2308 \set Score.currentBarNumber = #50
2312 @cindex bar numbers, regular spacing
2314 @funindex barNumberVisibility
2317 Bar numbers can be typeset at regular intervals instead of just at
2318 the beginning of every line. To do this the default behavior
2319 must be overridden to permit bar numbers to be printed at places
2320 other than the start of a line. This is controlled by the
2321 @code{break-visibility} property of @code{BarNumber}. This takes
2322 three values which may be set to @code{#t} or @code{#f} to specify
2323 whether the corresponding bar number is visible or not. The order
2324 of the three values is @code{end of line visible}, @code{middle of
2325 line visible}, @code{beginning of line visible}. In the following
2326 example bar numbers are printed at all possible places:
2328 @lilypond[verbatim,quote,relative=1]
2329 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2330 \set Score.currentBarNumber = #11
2331 % Permit first bar number to be printed
2341 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2342 {printing-the-bar-number-for-the-first-measure.ly}
2344 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2345 {printing-bar-numbers-at-regular-intervals.ly}
2347 @cindex measure number, format
2348 @cindex bar number, format
2350 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2351 {printing-bar-numbers-inside-boxes-or-circles.ly}
2353 @cindex bar number alignment
2355 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2356 {aligning-bar-numbers.ly}
2358 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2359 {removing-bar-numbers-from-a-score.ly}
2366 Internals Reference:
2367 @rinternals{BarNumber},
2368 @rinternals{Bar_number_engraver}.
2371 @cindex bar number collision
2372 @cindex collision, bar number
2376 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2377 if there is one. To solve this, the @code{padding} property of
2378 @code{BarNumber} can be used to position the number correctly. See
2379 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2382 @node Bar and bar number checks
2383 @unnumberedsubsubsec Bar and bar number checks
2386 @cindex bar number check
2387 @cindex measure check
2388 @cindex measure number check
2390 @funindex barCheckSynchronize
2393 Bar checks help detect errors in the entered durations. A bar check
2394 may be entered using the bar symbol, @code{|}, at any place where a
2395 bar line is expected to fall. If bar check lines are encountered at
2396 other places, a list of warnings is printed in the log file, showing
2397 the line numbers and lines in which the bar checks failed. In the
2398 next example, the second bar check will signal an error.
2401 \time 3/4 c2 e4 | g2 |
2404 Bar checks can also be used in lyrics:
2409 Twin -- kle | Twin -- kle |
2413 An incorrect duration can result in a completely garbled score,
2414 especially if the score is polyphonic, so a good place to start
2415 correcting input is by scanning for failed bar checks and
2416 incorrect durations.
2418 If successive bar checks are off by the same musical interval,
2419 only the first warning message is displayed. This allows the
2420 warning to focus on the source of the timing error.
2424 @funindex pipeSymbol
2426 It is also possible to redefine the action taken when a bar check
2427 or pipe symbol, @code{|}, is encountered in the input, so that
2428 it does something other than a bar check. This is done by
2429 assigning a music expression to @code{pipeSymbol}.
2430 In the following example @code{|} is set to insert a double bar
2431 line wherever it appears in the input, rather than checking
2434 @lilypond[quote,verbatim]
2435 pipeSymbol = \bar "||"
2444 @funindex \barNumberCheck
2445 @funindex barNumberCheck
2447 When copying large pieces of music, it can be helpful to check that
2448 the LilyPond bar number corresponds to the original that you are
2449 entering from. This can be checked with @code{\barNumberCheck}, for
2453 \barNumberCheck #123
2457 will print a warning if the @code{currentBarNumber} is not 123
2458 when it is processed.
2466 @node Rehearsal marks
2467 @unnumberedsubsubsec Rehearsal marks
2469 @cindex rehearsal marks
2470 @cindex mark, rehearsal
2475 To print a rehearsal mark, use the @code{\mark} command.
2477 @lilypond[quote,verbatim,relative=2]
2485 The mark is incremented automatically if you use @code{\mark
2486 \default}, but you can also use an integer argument to set the
2487 mark manually. The value to use is stored in the property
2488 @code{rehearsalMark}.
2490 @lilypond[quote,verbatim,relative=2]
2499 The letter@tie{}@q{I} is skipped in accordance with engraving
2500 traditions. If you wish to include the letter @q{I}, then use one
2501 of the following commands, depending on which style of rehearsal mark
2502 you want (letters only, letters in a hollow box, or letters in a
2506 \set Score.markFormatter = #format-mark-alphabet
2507 \set Score.markFormatter = #format-mark-box-alphabet
2508 \set Score.markFormatter = #format-mark-circle-alphabet
2511 @lilypond[quote,verbatim,relative=2]
2512 \set Score.markFormatter = #format-mark-box-alphabet
2520 @cindex rehearsal mark format
2521 @cindex rehearsal mark style
2522 @cindex style, rehearsal mark
2523 @cindex format, rehearsal mark
2524 @cindex mark, rehearsal, style
2525 @cindex mark, rehearsal, format
2526 @cindex rehearsal mark, manual
2527 @cindex mark, rehearsal, manual
2528 @cindex custom rehearsal mark
2529 @cindex manual rehearsal mark
2531 The style is defined by the property @code{markFormatter}. It is
2532 a function taking the current mark (an integer) and the current
2533 context as argument. It should return a markup object. In the
2534 following example, @code{markFormatter} is set to a pre-defined
2535 procedure. After a few measures, it is set to a procedure that
2536 produces a boxed number.
2538 @lilypond[quote,verbatim,relative=2]
2539 \set Score.markFormatter = #format-mark-numbers
2542 \set Score.markFormatter = #format-mark-box-numbers
2544 \set Score.markFormatter = #format-mark-circle-numbers
2546 \set Score.markFormatter = #format-mark-circle-letters
2550 The file @file{scm/@/translation@/-functions@/.scm} contains the
2551 definitions of @code{format-mark-numbers} (the default format),
2552 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2553 @code{format-mark-box-letters}. These can be used as inspiration
2554 for other formatting functions.
2556 You may use @code{format-mark-barnumbers},
2557 @code{format-mark-box-barnumbers}, and
2558 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2559 incremented numbers or letters.
2561 Other styles of rehearsal mark can be specified manually:
2568 Note that @code{Score.markFormatter} does not affect marks specified
2569 in this manner. However, it is possible to apply a @code{\markup} to the
2573 \mark \markup@{ \box A1 @}
2578 @cindex D.S. al Fine
2580 @cindex music glyphs
2581 @cindex glyphs, music
2583 @funindex \musicglyph
2584 @funindex musicglyph
2586 Music glyphs (such as the segno sign) may be printed inside a
2589 @lilypond[quote,verbatim,relative=1]
2590 c1 \mark \markup { \musicglyph #"scripts.segno" }
2591 c1 \mark \markup { \musicglyph #"scripts.coda" }
2592 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2597 See @ref{The Feta font}, for a list of symbols which may be
2598 printed with @code{\musicglyph}.
2600 For common tweaks to the positioning of rehearsal marks, see
2601 @ref{Formatting text}. For more precise control, see
2602 @code{break-alignable-interface} in @ref{Aligning objects}.
2607 @ref{The Feta font},
2608 @ref{Formatting text},
2609 @ref{Aligning objects}.
2612 @file{scm/@/translation@/-functions@/.scm} contains
2613 the definitions of @code{format-mark-numbers} and
2614 @code{format-mark-letters}. They can be used as inspiration for
2615 other formatting functions.
2620 Internals Reference:
2621 @rinternals{MarkEvent},
2622 @rinternals{Mark_engraver},
2623 @rinternals{RehearsalMark}.
2626 @node Special rhythmic concerns
2627 @subsection Special rhythmic concerns
2632 * Aligning to cadenzas::
2633 * Time administration::
2637 @unnumberedsubsubsec Grace notes
2641 @cindex appoggiatura
2642 @cindex acciaccatura
2647 Grace notes are ornaments that are written out. Grace notes
2648 are printed in a smaller font and take up no logical time
2651 @lilypond[quote,relative=2,verbatim]
2653 \grace { c16[ d16] } c2
2656 LilyPond also supports two special types of grace notes, the
2657 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2658 small note with a slashed stem -- and the @emph{appoggiatura}, which
2659 takes a fixed fraction of the main note and appears in small print
2662 @lilypond[quote,relative=2,verbatim]
2666 \acciaccatura { g16[ f] } e4
2669 The placement of grace notes is synchronized between different
2670 staves. In the following example, there are two sixteenth grace
2671 notes for every eighth grace note
2673 @lilypond[quote,relative=2,verbatim]
2675 \new Staff { e2 \grace { c16[ d e f] } e2 }
2676 \new Staff { c2 \grace { g8[ b] } c2 }
2680 @cindex grace notes, following
2682 @funindex \afterGrace
2683 @funindex afterGrace
2685 If you want to end a note with a grace, use the @code{\afterGrace}
2686 command. It takes two arguments: the main note, and the grace
2687 notes following the main note.
2689 @lilypond[quote,verbatim,relative=2]
2690 c1 \afterGrace d1 { c16[ d] } c1
2693 This will put the grace notes after a space lasting 3/4 of the
2694 length of the main note. The default fraction 3/4 can be changed by
2695 setting @code{afterGraceFraction}. The following example shows
2696 the results from setting the space at the default, at 15/16, and
2697 finally at 1/2 of the main note.
2699 @lilypond[quote,verbatim,relative=2]
2702 c1 \afterGrace d1 { c16[ d] } c1
2705 #(define afterGraceFraction (cons 15 16))
2706 c1 \afterGrace d1 { c16[ d] } c1
2709 #(define afterGraceFraction (cons 1 2))
2710 c1 \afterGrace d1 { c16[ d] } c1
2715 The space between the main note and the grace note may also be
2716 specified using spacers. The following example places the grace
2717 note after a space lasting 7/8 of the main note.
2719 @lilypond[quote,verbatim,relative=2]
2723 { s2 s4. \grace { c16[ d] } }
2729 @cindex tweaking grace notes
2730 @cindex grace notes, tweaking
2731 @cindex grace notes, changing layout settings
2733 A @code{\grace} music expression will introduce special
2734 typesetting settings, for example, to produce smaller type, and
2735 set directions. Hence, when introducing layout tweaks to
2736 override the special settings, they should be placed inside
2737 the grace expression. The overrides should also be reverted
2738 inside the grace expression. Here, the grace note's default stem
2739 direction is overridden and then reverted.
2741 @lilypond[quote,verbatim,relative=2]
2753 @cindex stem, with slash
2758 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2759 {using-grace-note-slashes-with-normal-heads.ly}
2761 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2762 {tweaking-grace-layout-within-music.ly}
2764 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2765 {redefining-grace-note-global-defaults.ly}
2767 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2768 {positioning-grace-notes-with-floating-space.ly}
2773 @rglos{grace notes},
2774 @rglos{acciaccatura},
2775 @rglos{appoggiatura}.
2778 @file{ly/@/grace@/-init@/.ly}.
2783 Internals Reference:
2784 @rinternals{GraceMusic},
2785 @rinternals{Grace_beam_engraver},
2786 @rinternals{Grace_engraver},
2787 @rinternals{Grace_spacing_engraver}.
2792 @cindex acciaccatura, multi-note
2793 @cindex multi-note acciaccatura
2794 @cindex grace-note synchronization
2796 A multi-note beamed @i{acciaccatura} is printed without a slash,
2797 and looks exactly the same as a multi-note beamed
2800 @c TODO Add link to LSR snippet to add slash when available
2802 Grace note synchronization can also lead to surprises. Staff
2803 notation, such as key signatures, bar lines, etc., are also
2804 synchronized. Take care when you mix staves with grace notes and
2805 staves without, for example,
2807 @lilypond[quote,relative=2,verbatim]
2809 \new Staff { e4 \bar "|:" \grace c16 d2. }
2810 \new Staff { c4 \bar "|:" d2. }
2815 This can be remedied by inserting grace skips of the corresponding
2816 durations in the other staves. For the above example
2818 @lilypond[quote,relative=2,verbatim]
2820 \new Staff { e4 \bar "|:" \grace c16 d2. }
2821 \new Staff { c4 \bar "|:" \grace s16 d2. }
2825 Grace sections should only be used within sequential music
2826 expressions. Nesting or juxtaposing grace sections is not
2827 supported, and might produce crashes or other errors.
2829 @node Aligning to cadenzas
2830 @unnumberedsubsubsec Aligning to cadenzas
2833 @cindex cadenza, aligning to
2834 @cindex aligning to cadenza
2836 In an orchestral context, cadenzas present a special problem: when
2837 constructing a score that includes a measured cadenza or other solo
2838 passage, all other instruments should skip just as many notes as the
2839 length of the cadenza, otherwise they will start too soon or too late.
2841 One solution to this problem is to use the functions
2842 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2843 functions take a defined piece of music as an argument and generate a
2844 multi-measure rest or @code{\skip} exactly as long as the piece.
2846 @lilypond[verbatim,quote]
2847 MyCadenza = \relative c' {
2858 #(ly:export (mmrest-of-length MyCadenza))
2860 #(ly:export (skip-of-length MyCadenza))
2875 @node Time administration
2876 @unnumberedsubsubsec Time administration
2878 @cindex time administration
2879 @cindex timing (within the score)
2880 @cindex music, unmetered
2881 @cindex unmetered music
2883 @funindex currentBarNumber
2884 @funindex measurePosition
2885 @funindex measureLength
2887 Time is administered by the @code{Timing_translator}, which by
2888 default is to be found in the @code{Score} context. An alias,
2889 @code{Timing}, is added to the context in which the
2890 @code{Timing_translator} is placed.
2892 The following properties of @code{Timing} are used
2893 to keep track of timing within the score.
2896 @cindex measure number
2899 @item currentBarNumber
2900 The current measure number. For an example showing the
2901 use of this property see @ref{Bar numbers}.
2904 The length of the measures in the current time signature. For a
2905 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2906 determines when bar lines are inserted and how automatic beams
2907 should be generated.
2909 @item measurePosition
2910 The point within the measure where we currently are. This
2911 quantity is reset by subtracting @code{measureLength} whenever
2912 @code{measureLength} is reached or exceeded. When that happens,
2913 @code{currentBarNumber} is incremented.
2916 If set to true, the above variables are updated for every time
2917 step. When set to false, the engraver stays in the current
2918 measure indefinitely.
2922 Timing can be changed by setting any of these variables
2923 explicitly. In the next example, the default 4/4 time
2924 signature is printed, but @code{measureLength} is set to 5/4.
2925 At 4/8 through the third measure, the @code{measurePosition} is
2926 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2927 The next bar line then falls at 9/8 rather than 5/4.
2929 @lilypond[quote,verbatim,relative=1]
2930 \set Score.measureLength = #(ly:make-moment 5 4)
2934 \set Score.measurePosition = #(ly:make-moment 5 8)
2940 As the example illustrates, @code{ly:make-moment n m} constructs a
2941 duration of n/m of a whole note. For example,
2942 @code{ly:make-moment 1 8} is an eighth note duration and
2943 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2950 @ref{Unmetered music}.
2955 Internals Reference:
2956 @rinternals{Timing_translator},