1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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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}.
145 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
146 {changing-the-number-of-augmentation-dots-per-note.ly}
155 @rglos{Duration names notes and rests}.
158 @ref{Automatic beams},
161 @ref{Writing rhythms},
164 @ref{Ancient notation},
165 @ref{Proportional notation}.
172 @rinternals{DotColumn}.
177 @c Deliberately duplicated in Durations and Rests. -gp
178 There is no fundamental limit to rest durations (both in terms of
179 longest and shortest), but the number of glyphs is limited:
180 rests from 128th to maxima (8 x whole) may be printed.
184 @unnumberedsubsubsec Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @var{music} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
211 @cindex tuplet bracket placement
215 @funindex \tupletDown
217 @funindex \tupletNeutral
218 @funindex tupletNeutral
220 Tuplet brackets may be manually placed above or below the staff;
221 see @ref{Direction and placement}.
223 Tuplets may be nested:
225 @lilypond[quote,verbatim,relative=2]
227 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
230 Modifying nested tuplets which begin at the same musical moment
231 must be done with @code{\tweak}.
233 To modify the duration of notes without printing a tuplet bracket,
234 see @ref{Scaling durations}.
240 @code{\tupletNeutral}.
246 @cindex tuplet formatting
247 @cindex triplet formatting
249 @funindex tupletNumberFormatFunction
250 @funindex tupletSpannerDuration
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {entering-several-tuplets-using-only-one--times-command.ly}
255 @cindex Tuplet number changes
257 @funindex TupletNumber
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
279 @rlearning{Tweaking methods}.
282 @ref{Time administration},
283 @ref{Scaling durations},
284 @ref{The tweak command},
285 @ref{Polymetric notation}.
291 @rinternals{TupletBracket},
292 @rinternals{TupletNumber},
293 @rinternals{TimeScaledMusic}.
296 @cindex grace notes within tuplet brackets
299 Grace notes may be placed within tuplet brackets, @emph{except}
300 when a staff begins with a grace note followed by a tuplet. In this
301 particular case, the grace note must be placed before the @code{\times}
302 command to avoid errors.
304 @cindex tempo marks within tuplet brackets
306 When using a tuplet at the beginning of a piece with a @code{\tempo}
307 mark, the music must be explicitly entered in a @code{\new Voice}
308 block, as discussed in @rlearning{Voices contain music}.
311 @node Scaling durations
312 @unnumberedsubsubsec Scaling durations
314 @cindex scaling durations
315 @cindex durations, scaling
317 You can alter the duration of single notes, rests or chords by a
318 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
319 is 1) to the duration. This will not affect the appearance of the
320 notes or rests produced, but the altered duration will be used in
321 calculating the position within the measure and setting the duration
322 in the MIDI output. Multiplying factors may be combined such as
325 In the following example, the first three notes take up exactly
326 two beats, but no triplet bracket is printed.
328 @lilypond[quote,relative=2,verbatim]
330 % Alter durations to triplets
331 a4*2/3 gis4*2/3 a4*2/3
334 % Double the duration of chord
336 % Duration of quarter, appears like sixteenth
340 The duration of spacing notes may also be modified by
341 a multiplier. This is useful for skipping many measures, e.g.,
344 @cindex compressing music
345 @cindex expanding music
347 @funindex \scaleDurations
348 @funindex scaleDurations
350 Longer stretches of music may be compressed by a fraction in the
351 same way, as if every note, chord or rest had the fraction as a
352 multiplier. This leaves the appearance of the music unchanged but
353 the internal duration of the notes will be multiplied by the
354 fraction @emph{num}/@emph{den}. The spaces around the dot are
355 required. Here is an example showing how music can be compressed
358 @lilypond[quote,relative=2,verbatim]
362 % Scale music by *2/3
363 \scaleDurations #'(2 . 3) {
367 \scaleDurations #'(2 . 1) {
372 One application of this command is in polymetric
373 notation, see @ref{Polymetric notation}.
379 @ref{Invisible rests},
380 @ref{Polymetric notation}.
387 @unnumberedsubsubsec Ties
393 A tie connects two adjacent note heads of the same pitch. The tie
394 in effect extends the duration of a note.
396 @warning{Ties should not be confused with @emph{slurs}, which
397 indicate articulation, or @emph{phrasing slurs}, which indicate
398 musical phrasing. A tie is just a way of extending a note
399 duration, similar to the augmentation dot.}
401 A tie is entered using the tilde symbol (@code{~}).
403 @lilypond[quote,verbatim,relative=2]
407 Ties are used either when the note crosses a bar line, or when
408 dots cannot be used to denote the rhythm. Ties should also be
409 used when note values cross larger subdivisions of the measure:
411 @lilypond[verbatim,quote]
418 If you need to tie many notes across bar lines, it may be
419 easier to use automatic note splitting, see @ref{Automatic note
420 splitting}. This mechanism automatically splits long notes, and
421 ties them across bar lines.
423 @cindex ties and chords
424 @cindex chords and ties
426 When a tie is applied to a chord, all note heads whose pitches
427 match are connected. When no note heads match, no ties will be
428 created. Chords may be partially tied by placing the tie inside
431 @lilypond[quote,verbatim,relative=1]
433 <c~ e g~ b> <c e g b>
436 @cindex repeating ties
437 @cindex ties, repeating
438 @cindex volta brackets and ties
439 @cindex ties and volta brackets
444 When a second alternative of a repeat starts with a tied note, you
445 have to specify the repeated tie as follows:
447 @lilypond[quote,relative=2,verbatim]
448 \repeat volta 2 { c g <c e>2 ~ }
450 % First alternative: following note is tied normally
452 % Second alternative: following note has a repeated tie
453 { <c e>2\repeatTie d4 c } }
456 @cindex laissez vibrer
457 @cindex ties, laissez vibrer
459 @funindex \laissezVibrer
460 @funindex laissezVibrer
462 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
463 notes must not be damped at the end. It is used in notation for
464 piano, harp and other string and percussion instruments. They can
465 be entered as follows:
467 @lilypond[quote,verbatim,relative=1]
468 <c f g>1\laissezVibrer
471 @cindex ties, placement
477 @funindex \tieNeutral
480 Ties may be manually placed above or below the staff; see
481 @ref{Direction and placement}.
483 @cindex ties, appearance
496 Ties may be made dashed, dotted, or a combination of solid and
499 @lilypond[quote, verbatim, relative=1]
512 Custom dash patterns can be specified:
514 @lilypond[quote, verbatim, relative=1]
515 \tieDashPattern #0.3 #0.75
517 \tieDashPattern #0.7 #1.5
523 Dash pattern definitions for ties have the same structure as
524 dash pattern definitions for slurs.
525 For more information about complex dash patterns,
526 see the snippets under @ref{Slurs}.
534 @code{\tieDashPattern},
535 @code{\tieHalfDashed},
536 @code{\tieHalfSolid},
543 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
544 {using-ties-with-arpeggios.ly}
546 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
547 {engraving-ties-manually.ly}
553 @rglos{laissez vibrer}.
557 @ref{Automatic note splitting}.
563 @rinternals{LaissezVibrerTie},
564 @rinternals{LaissezVibrerTieColumn},
565 @rinternals{TieColumn},
571 Switching staves when a tie is active will not produce a slanted
574 Changing clefs or octavations during a tie is not really
575 well-defined. In these cases, a slur may be preferable.
580 @subsection Writing rests
582 Rests are entered as part of the music in music expressions.
587 * Full measure rests::
591 @unnumberedsubsubsec Rests
594 @cindex rest, entering durations
609 Rests are entered like notes with the note name @code{r}.
610 Durations longer than a whole rest use the predefined
613 @c \time 16/1 is used to avoid spurious bar lines
614 @c and long tracts of empty measures
615 @lilypond[fragment,quote,verbatim]
617 % These two lines are just to prettify this example
619 \override Staff.TimeSignature #'stencil = ##f
620 % Print a maxima rest, equal to four breves
622 % Print a longa rest, equal to two breves
626 r1 r2 r4 r8 r16 r32 r64 r128
630 @cindex rest, multi-measure
631 @cindex rest, whole-measure
633 Whole measure rests, centered in the middle of the measure, must be
634 entered as multi-measure rests. They can be used for a single
635 measure as well as many measures and are discussed in @ref{Full
638 @cindex rest, specifying vertical position
640 To explicitly specify a rest's vertical position, write a note
641 followed by @code{\rest}. A rest of the duration of the note will
642 be placed at the staff position where the note would appear. This
643 allows for precise manual formatting of polyphonic music, since the
644 automatic rest collision formatter will not move these rests.
646 @lilypond[quote,verbatim,relative=2]
652 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
663 @ref{Full measure rests}.
674 @c Deliberately duplicated in Durations and Rests. -gp
675 There is no fundamental limit to rest durations (both in terms of
676 longest and shortest), but the number of glyphs is limited: there
677 are rests from 128th to maxima (8 x whole).
680 @node Invisible rests
681 @unnumberedsubsubsec Invisible rests
684 @cindex invisible rest
685 @cindex rest, invisible
693 An invisible rest (also called a @q{spacer rest}) can be entered
694 like a note with the note name@tie{}@code{s}:
696 @lilypond[verbatim,quote,relative=2]
703 Spacer rests are available only in note mode and chord mode. In
704 other situations, for example, when entering lyrics, the
705 command @code{\skip} is used to skip a musical moment.
706 @code{\skip} requires an explicit duration.
708 @lilypond[quote,verbatim,relative=2]
721 Because @code{\skip} is a command, it does not affect the default
722 durations of following notes, unlike@tie{}@code{s}.
724 @lilypond[quote,verbatim,relative=2]
727 \repeat unfold 8 {a4}
737 A spacer rest implicitly causes @code{Staff} and @code{Voice}
738 contexts to be created if none exist, just like notes and rests
741 @lilypond[quote,verbatim,fragment]
745 @code{\skip} simply skips musical time; it creates no output of
748 @lilypond[quote,verbatim,fragment]
749 % This is valid input, but does nothing
750 \skip 1 \skip1 \skip 1
756 @rlearning{Visibility and color of objects}.
760 @ref{Visibility of objects}.
766 @rinternals{SkipMusic}.
769 @node Full measure rests
770 @unnumberedsubsubsec Full measure rests
772 @cindex multi-measure rests
773 @cindex full-measure rests
774 @cindex rest, multi-measure
775 @cindex rest, full-measure
776 @cindex whole rest for a full measure
777 @cindex rest, whole for a full measure
781 Rests for one or more full measures are entered like notes with
782 the note name uppercase @code{R}:
784 @lilypond[quote,verbatim,relative=2]
785 % Rest measures contracted to single measure
786 \compressFullBarRests
793 The duration of full-measure rests is identical to the duration
794 notation used for notes. The duration in a multi-measure rest must
795 always be an integral number of measure-lengths, so augmentation dots
796 or fractions must often be used:
798 @lilypond[quote,fragment,verbatim]
799 \compressFullBarRests
805 R1*13/8 | R1*13/8*12 |
810 A full-measure rest is printed as either a whole or breve rest,
811 centered in the measure, depending on the time signature.
813 @lilypond[quote,verbatim,fragment]
822 @cindex multi-measure rest, expanding
823 @cindex multi-measure rest, contracting
825 @funindex \expandFullBarRests
826 @funindex expandFullBarRests
827 @funindex \compressFullBarRests
828 @funindex compressFullBarRests
830 By default a multi-measure rest is expanded in the printed score to
831 show all the rest measures explicitly. Alternatively, a multi-measure
832 rest can be shown as a single measure containing a multi-measure rest
833 symbol, with the number of measures of rest printed above the measure:
835 @lilypond[quote,fragment,verbatim]
837 \time 3/4 r2. | R2.*2 |
840 % Rest measures contracted to single measure
841 \compressFullBarRests
843 % Rest measures expanded
850 @cindex text on multi-measure rest
851 @cindex multi-measure rest, attaching text
852 @cindex script on multi-measure rest
853 @cindex multi-measure rest, script
854 @cindex fermata on multi-measure rest
855 @cindex multi-measure rest, attaching fermata
856 @cindex markup on multi-measure rest
857 @cindex multi-measure rest with markup
859 @funindex \fermataMarkup
860 @funindex fermataMarkup
861 @funindex MultiMeasureRestText
863 Markups can be added to multi-measure rests.
864 The predefined command @code{\fermataMarkup}
865 is provided for adding fermatas.
867 @lilypond[quote,verbatim,fragment]
868 \compressFullBarRests
870 R2.*10^\markup { \italic "ad lib." }
875 Markups attached to a multi-measure rest are
876 objects of type @code{MultiMeasureRestText}, not
877 @code{TextScript}. Overrides must be directed to the correct
878 object, or they will be ignored. See the following example.
881 @lilypond[quote,verbatim,fragment]
882 % This fails, as the wrong object name is specified
883 \override TextScript #'padding = #5
885 % This is correct and works
886 \override MultiMeasureRestText #'padding = #5
890 When a multi-measure rest immediately follows a @code{\partial}
891 setting, resulting bar-check warnings may not be displayed.
894 @funindex \textLengthOn
895 @funindex textLengthOn
896 @funindex \textLengthOff
897 @funindex textLengthOff
898 @funindex \fermataMarkup
899 @funindex fermataMarkup
900 @funindex \compressFullBarRests
901 @funindex compressFullBarRests
902 @funindex \expandFullBarRests
903 @funindex expandFullBarRests
906 @code{\textLengthOn},
907 @code{\textLengthOff},
908 @code{\fermataMarkup},
909 @code{\compressFullBarRests},
910 @code{\expandFullBarRests}.
918 @cindex kirchenpausen
920 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
921 {changing-form-of-multi-measure-rests.ly}
923 @cindex multi-measure rests, positioning
924 @cindex positioning multi-measure rests
926 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
927 {positioning-multi-measure-rests.ly}
929 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
930 {multi-measure-rest-markup.ly}
935 @rglos{multi-measure rest}.
940 @ref{Formatting text},
947 @rinternals{MultiMeasureRest},
948 @rinternals{MultiMeasureRestNumber},
949 @rinternals{MultiMeasureRestText}.
952 @cindex fingerings and multi-measure rests
953 @cindex multi-measure rests and fingerings
957 If an attempt is made to use fingerings (e.g.,
958 @code{R1*10-4}) to put numbers over multi-measure rests, the
959 fingering numeral (4) may collide with the bar counter
962 @cindex condensing rests
963 @cindex rest, condensing ordinary
965 There is no way to automatically condense multiple ordinary rests
966 into a single multi-measure rest.
968 @cindex rest, collisions of
970 Multi-measure rests do not take part in rest collisions.
972 @node Displaying rhythms
973 @subsection Displaying rhythms
980 * Polymetric notation::
981 * Automatic note splitting::
982 * Showing melody rhythms::
986 @unnumberedsubsubsec Time signature
988 @cindex time signature
994 The time signature is set as follows:
996 @lilypond[quote,verbatim,relative=2]
1001 @cindex time signature, visibility of
1003 Time signatures are printed at the beginning of a piece
1004 and whenever the time signature changes. If a change takes place
1005 at the end of a line a warning time signature sign is printed
1006 there. This default behavior may be changed, see
1007 @ref{Visibility of objects}.
1009 @lilypond[quote,verbatim,relative=2]
1019 @cindex time signature style
1022 @funindex \numericTimeSignature
1023 @funindex numericTimeSignature
1024 @funindex \defaultTimeSignature
1025 @funindex defaultTimeSignature
1027 The time signature symbol that is used in 2/2 and 4/4 time can be
1028 changed to a numeric style:
1030 @lilypond[quote,verbatim,relative=2]
1034 % Change to numeric style
1035 \numericTimeSignature
1038 % Revert to default style
1039 \defaultTimeSignature
1045 Mensural time signatures are covered in
1046 @ref{Mensural time signatures}.
1048 @cindex time signature default settings
1049 @cindex autobeaming properties for time signatures
1050 @cindex beaming, time signature default properties
1051 @funindex \overrideTimeSignatureSettings
1053 In addition to setting the printed time signature, the @code{\time}
1054 command also sets time-signature-based default values for the properties
1055 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1056 predefined default values for these properties can be found in
1057 @file{scm/time-signature-settings.scm}. The existing default values can
1058 be changed, or new default values can be added:
1060 @lilypond[quote,verbatim]
1063 \overrideTimeSignatureSettings
1065 #'(4 . 4) % time signature fraction
1066 #'(1 . 4) % base moment fraction
1067 #'(3 1) % beatStructure
1068 #'() % beamExceptions
1070 \repeat unfold 8 c8 |
1075 @code{\overrideTimeSignatureSettings} takes five arguments:
1076 context, time signature fraction, base moment, beat structure, and
1077 beaming exception. The context is a Scheme symbol that describes
1078 the context to which the default setting will apply. The
1079 time signature fraction is a Scheme pair describing the time signature.
1080 The base moment is a Scheme pair containing the
1081 numerator and denominator of the basic timing unit for the
1082 time signature. The beat structure is a Scheme list indicating
1083 the structure of the beats in the measure, in units of the base moment.
1084 The beaming exception is an alist containing any beaming rules for the
1085 time signature that go beyond ending at every beat,
1086 as described in @ref{Setting automatic beam behavior}.
1088 @cindex time signature properties, restoring default values
1089 @cindex restoring default properties for time signatures
1090 @funindex \revertTimeSignatureSettings
1092 Changed values of default time signature properties can be restored
1093 to the original values:
1095 @lilypond[quote,verbatim]
1099 \repeat unfold 8 c8 |
1100 \overrideTimeSignatureSettings
1105 #'((end . (((1 . 8) . (3 1)))))
1107 \repeat unfold 8 c8 |
1108 \revertTimeSignatureSettings #'Score #'(4 . 4)
1110 \repeat unfold 8 c8 |
1116 @code{\numericTimeSignature},
1117 @code{\defaultTimeSignature}.
1123 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1124 {changing-the-time-signature-without-affecting-the-beaming.ly}
1126 @cindex compound time signatures
1127 @cindex time signature, compound
1129 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1130 {compound-time-signatures.ly}
1132 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1133 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1138 @rglos{time signature}
1141 @ref{Mensural time signatures},
1142 @ref{Time administration}.
1147 Internals Reference:
1148 @rinternals{TimeSignature},
1149 @rinternals{Timing_translator}.
1151 @node Metronome marks
1152 @unnumberedsubsubsec Metronome marks
1155 @cindex beats per minute
1156 @cindex metronome mark
1157 @cindex metronome marking with text
1162 A basic metronome mark is simple to write:
1164 @lilypond[verbatim,quote,relative=1]
1170 Tempo indications with text can be used instead:
1172 @lilypond[verbatim,quote,relative=2]
1178 Combining a metronome mark and text will automatically place the
1179 metronome mark within parentheses:
1181 @lilypond[verbatim,quote,relative=2]
1182 \tempo "Allegro" 4 = 160
1187 In general, the text can be any markup object:
1189 @lilypond[verbatim,quote,relative=2]
1190 \tempo \markup { \italic Faster } 4 = 132
1191 a8-. r8 b-. r gis-. r a-. r
1194 A parenthesized metronome mark with no textual indication may be
1195 written by including an empty string in the input:
1197 @lilypond[verbatim,quote,relative=2]
1205 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1206 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1208 @c perhaps also an example of how to move it horizontally?
1210 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1211 {changing-the-tempo-without-a-metronome-mark.ly}
1213 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1214 {creating-metronome-marks-in-markup-mode.ly}
1216 For more details, see @ref{Formatting text}.
1222 @rglos{metronomic indication},
1223 @rglos{tempo indication},
1224 @rglos{metronome mark}.
1227 @ref{Formatting text},
1231 @rlsr{Staff notation}.
1233 Internals Reference:
1234 @rinternals{MetronomeMark}.
1238 @unnumberedsubsubsec Upbeats
1242 @cindex partial measure
1243 @cindex measure, partial
1244 @cindex pickup measure
1245 @cindex measure, change length
1247 @funindex measurePosition
1251 Partial or pick-up measures, such as an anacrusis or upbeat, are
1252 entered using the @code{\partial} command, with the syntax
1255 \partial @var{duration}
1259 where @code{duration} is the rhythmic length of the remaining
1260 interval of the current measure before the start of the next.
1262 @lilypond[quote,verbatim,relative=2]
1267 The partial measure can be any duration less than the full measure:
1269 @lilypond[quote,verbatim,relative=2]
1270 \partial 8*3 c8 d e |
1274 Internally, @code{\partial @var{duration}} is translated into:
1277 \set Timing.measurePosition -@var{duration}
1280 For example, @code{\partial 8*3} becomes:
1283 \set Timing.measurePosition = #(ly:make-moment -3 8)
1286 The property @code{measurePosition} contains a rational number
1287 indicating how much of the measure has passed at this point. Note
1288 that this is set to a negative number by the @code{\partial} command:
1289 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1290 @qq{there is a quarter note left in the measure.}
1303 @rinternals{Timing_translator}.
1307 The @code{\partial} command is intended to be used only at the
1308 beginning of a piece. If you use it after the beginning, some
1309 odd warnings or effects may occur, in this case use
1310 @code{\set Timing.measurePosition} instead.
1312 @node Unmetered music
1313 @unnumberedsubsubsec Unmetered music
1315 @cindex bar lines, turning off
1316 @cindex bar numbering, turning off
1318 @cindex unmetered music
1320 @funindex \cadenzaOn
1322 @funindex \cadenzaOff
1323 @funindex cadenzaOff
1325 Bar lines and bar numbers are calculated automatically. For
1326 unmetered music (some cadenzas, for example), this is not desirable.
1327 To turn off automatic calculation of bar lines and bar numbers,
1328 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1329 to turn them on again.
1331 @lilypond[verbatim,relative=2,fragment]
1340 Bar numbering is resumed at the end of the cadenza as if the
1341 cadenza were not there:
1343 @lilypond[verbatim,relative=2,fragment]
1344 % Show all bar numbers
1345 \override Score.BarNumber #'break-visibility = #all-visible
1354 Note that these predefined commands affect all staves in the
1355 score, even when they are placed in just one @code{Voice}
1356 context. To change this, move the @code{Timing_translator}
1357 from the @code{Score} context to the @code{Staff} context, as
1358 shown in @ref{Polymetric notation}.
1371 @ref{Visibility of objects},
1372 @ref{Polymetric notation}.
1378 @cindex cadenza line breaks
1379 @cindex cadenza page breaks
1380 @cindex unmetered music, line breaks
1381 @cindex unmetered music, page breaks
1382 @cindex breaks in unmetered music
1383 @cindex line breaks in cadenzas
1384 @cindex page breaks in cadenzas
1385 @cindex line breaks in unmetered music
1386 @cindex page breaks in unmetered music
1390 LilyPond will insert line breaks and page breaks only at a
1391 bar line. Unless the unmetered music ends before the end of the
1392 staff line, you will need to insert invisible bar lines with
1399 to indicate where breaks can occur.
1401 You must explicitly create a @code{Voice} context when starting a
1402 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1404 @lilypond[verbatim,relative=2,fragment]
1405 \new Voice \relative c'{
1407 c16^"Solo Free Time" d e f g2. \bar "||"
1413 @node Polymetric notation
1414 @unnumberedsubsubsec Polymetric notation
1416 @c This section necessarily uses \set
1417 @c This is acceptable -td
1419 @cindex double time signatures
1420 @cindex signatures, polymetric
1421 @cindex time signatures, polymetric
1422 @cindex time signatures, double
1423 @cindex polymetric signatures
1424 @cindex meter, polymetric
1426 @funindex timeSignatureFraction
1427 @funindex \scaleDurations
1428 @funindex scaleDurations
1432 Polymetric notation is supported, either explicitly or by modifying
1433 the visible time signature symbol and scaling the note durations.
1435 @strong{@i{Staves with different time signatures, equal measure lengths}}
1437 This notation can be created by setting a common time signature
1438 for each staff but replacing the symbol manually by setting
1439 @code{timeSignatureFraction} to the desired fraction and scaling
1440 the printed durations in each staff to the common time
1441 signature; see @ref{Time signature}. The scaling is done with
1442 @code{\scaleDurations}, which is used in a similar way to
1443 @code{\times}, but does not create a tuplet bracket; see
1444 @ref{Scaling durations}.
1446 @cindex beaming in polymetric music
1447 @cindex beaming in polymetric meter
1449 In this example, music with the time signatures of 3/4, 9/8, and
1450 10/8 are used in parallel. In the second staff, shown durations
1451 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1452 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1453 It will often be necessary to insert beams manually, as the
1454 duration scaling affects the autobeaming rules.
1456 @lilypond[quote,verbatim,fragment]
1465 \set Staff.timeSignatureFraction = #'(9 . 8)
1466 \scaleDurations #'(2 . 3)
1467 \repeat unfold 6 { c8[ c c] }
1471 \set Staff.timeSignatureFraction = #'(10 . 8)
1472 \scaleDurations #'(3 . 5) {
1473 \repeat unfold 2 { c8[ c c] }
1474 \repeat unfold 2 { c8[ c] } |
1475 c4. c4. \times 2/3 { c8[ c c] } c4
1481 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1483 Each staff can be given its own independent time signature by
1484 moving the @code{Timing_translator} and the
1485 @code{Default_bar_line_engraver} to the @code{Staff} context.
1487 @lilypond[quote,verbatim]
1491 \remove "Timing_translator"
1492 \remove "Default_bar_line_engraver"
1496 \consists "Timing_translator"
1497 \consists "Default_bar_line_engraver"
1501 % Now each staff has its own time signature.
1527 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1528 {compound-time-signatures.ly}
1534 @rglos{polymetric time signature},
1538 @ref{Time signature},
1539 @ref{Scaling durations}.
1544 Internals Reference:
1545 @rinternals{TimeSignature},
1546 @rinternals{Timing_translator},
1547 @rinternals{Default_bar_line_engraver},
1553 When using different time signatures in parallel, notes
1554 at the same moment will be placed at the same horizontal
1555 location. However, the bar lines in the different staves
1556 will cause the note spacing to be less regular in each of the
1557 individual staves than would be normal without the different
1560 @node Automatic note splitting
1561 @unnumberedsubsubsec Automatic note splitting
1563 @cindex notes, splitting
1564 @cindex splitting notes
1566 @funindex Note_heads_engraver
1567 @funindex Completion_heads_engraver
1569 Long notes which overrun bar lines can be converted automatically
1570 to tied notes. This is done by replacing the
1571 @code{Note_heads_engraver} with the
1572 @code{Completion_heads_engraver}. In the following
1573 example, notes crossing the bar lines are split and tied.
1575 @lilypond[quote,verbatim,relative=1]
1577 \remove "Note_heads_engraver"
1578 \consists "Completion_heads_engraver"
1581 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1584 This engraver splits all running notes at the bar line, and
1585 inserts ties. One of its uses is to debug complex scores: if the
1586 measures are not entirely filled, then the ties show exactly how
1587 much each measure is off.
1595 @rlearning{Engravers explained},
1596 @rlearning{Adding and removing engravers}.
1601 Internals Reference:
1602 @rinternals{Note_heads_engraver},
1603 @rinternals{Completion_heads_engraver},
1604 @rinternals{Forbid_line_break_engraver}.
1609 Not all durations (especially those containing tuplets) can be
1610 represented exactly with normal notes and dots, but the
1611 @code{Completion_heads_engraver} will not insert tuplets.
1613 The @code{Completion_heads_engraver} only affects notes; it does not
1617 @node Showing melody rhythms
1618 @unnumberedsubsubsec Showing melody rhythms
1620 @cindex melody rhythms, showing
1621 @cindex rhythms, showing melody
1623 Sometimes you might want to show only the rhythm of a melody. This
1624 can be done with the rhythmic staff. All pitches of notes on such a
1625 staff are squashed, and the staff itself has a single line
1627 @lilypond[quote,relative=1,verbatim]
1629 \new RhythmicStaff {
1630 \new Voice = "myRhythm" {
1638 \lyricsto "myRhythm" {
1646 @cindex guitar chord charts
1647 @cindex strumming rhythms, showing
1648 @cindex guitar strumming rhythms, showing
1650 @funindex Pitch_squash_engraver
1651 @funindex \improvisationOn
1652 @funindex improvisationOn
1653 @funindex \improvisationOff
1654 @funindex improvisationOff
1656 Guitar chord charts often show the strumming rhythms. This can
1657 be done with the @code{Pitch_squash_engraver} and
1658 @code{\improvisationOn}.
1661 @lilypond[quote,verbatim]
1670 \consists Pitch_squash_engraver
1683 @code{\improvisationOn},
1684 @code{\improvisationOff}.
1690 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1691 {guitar-strum-rhythms.ly}
1698 Internals Reference:
1699 @rinternals{RhythmicStaff},
1700 @rinternals{Pitch_squash_engraver}.
1708 * Setting automatic beam behavior::
1713 @node Automatic beams
1714 @unnumberedsubsubsec Automatic beams
1716 By default, beams are inserted automatically:
1718 @cindex beams, manual
1719 @cindex manual beams
1720 @cindex beams, setting rules for
1721 @cindex beams, custom rules for
1723 @funindex \autoBeamOn
1724 @funindex autoBeamOn
1725 @funindex \autoBeamOff
1726 @funindex autoBeamOff
1728 @lilypond[quote,verbatim,relative=2]
1730 \time 6/8 c c c c8. c16 c8
1733 If these automatic decisions are not satisfactory, beaming can be
1734 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1735 entered manually if beams are to be extended over rests.
1737 If automatic beaming is not required, it may be turned off with
1738 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1740 @lilypond[quote,relative=1,verbatim]
1741 c4 c8 c8. c16 c8. c16 c8
1748 @cindex melismata, beams
1749 @cindex beams and melismata
1751 @warning{If beams are used to indicate melismata in songs, then
1752 automatic beaming should be switched off with @code{\autoBeamOff}
1753 and the beams indicated manually.}
1755 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1756 produce unintended results. See the snippet below for more information.}
1758 Beaming patterns that differ from the automatic defaults can be
1759 created; see @ref{Setting automatic beam behavior}.
1763 @code{\autoBeamOff},
1771 @cindex line breaks and beams
1772 @cindex beams and line breaks
1776 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1777 {beams-across-line-breaks.ly}
1779 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1780 {changing-beam-knee-gap.ly}
1782 @cindex \partcombine and \autoBeamOff
1783 @cindex \autoBeamOff and \partcombine
1786 @lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
1787 {partcombine-and-autobeamoff.ly}
1793 @ref{Setting automatic beam behavior}.
1796 @file{scm/@/auto@/-beam@/.scm}.
1801 Internals Reference:
1802 @rinternals{Auto_beam_engraver},
1803 @rinternals{Beam_engraver},
1805 @rinternals{BeamEvent},
1806 @rinternals{BeamForbidEvent},
1807 @rinternals{beam-interface},
1808 @rinternals{unbreakable-spanner-interface}.
1813 Beams can collide with note heads and accidentals in other voices.
1816 @node Setting automatic beam behavior
1817 @unnumberedsubsubsec Setting automatic beam behavior
1820 @cindex automatic beams, tuning
1821 @cindex tuning automatic beaming
1822 @cindex automatic beam generation
1824 @cindex lyrics and beaming
1826 @funindex autoBeaming
1827 @funindex baseMoment
1828 @funindex beamExceptions
1829 @funindex beatStructure
1830 @funindex measureLength
1836 The placement of automatic beams is determined by the context properties
1837 @code{baseMoment}, @code{beatStructure}, @code{beamExceptions},
1838 and @code{autoBeaming}.
1840 The following rules, in order of priority, apply when determining
1841 the appearance of beams:
1845 If a manual beam is specified with @code{[..]} set the beam
1846 as specified, otherwise
1849 if @code{\autoBeamOff} is in force do not beam, otherwise
1852 if a beam-ending rule is defined in @code{beamExceptions}
1853 for the beam type, use it to determine the valid places where
1854 beams may end, otherwise
1857 if a beam-ending rule is defined in @code{beamExceptions}
1858 for a larger beam-type, use it to determined the valid places
1859 where beams may end, otherwise
1862 use the values of @code{baseMoment} and @code{beatStructure} to
1863 determine the ends of the beats in the measure, and
1864 end beams at the end of beats.
1868 The beam type is the duration of the shortest note in the beamed group.
1869 If no beam-ending rule is defined for a beam type, the rule for the
1870 smallest beam-type larger than the current beam is used.
1872 @i{@strong{Modifying the grouping of beats}}
1874 By default @code{baseMoment} is set by the @code{\time} command,
1875 normally to one over the denominator of the time signature.
1876 Any exceptions to this default
1877 can be found in @file{scm/@/time@/-signature@/-settings@/.scm}.
1878 Changing the default value of @code{baseMoment} for a given
1879 time signature is described in @ref{Time signature}.
1881 @code{baseMoment} is a @i{moment},
1882 a unit of musical duration. A quantity of type @i{moment} is
1883 created by the scheme function @code{ly:make-moment}. For more
1884 information about this function, see @ref{Time administration}.
1886 Special (i.e., other than at the end of the beat) autobeam settings
1888 @code{beamExceptions} property. Default values of @code{beamExceptions}
1889 are established by the @code{\time} command. Default values of
1890 @code{beamExceptions} for a time signature
1891 are determined in @file{scm/@/time@/-signature@/-settings@/.scm}.
1892 Entries in @code{beamExceptions} are indexed by rule type and beam type.
1894 Rule type should be @code{#'end} for beam ending.
1896 The ending rules consist of a scheme alist
1897 (or list of pairs) that
1898 indicates the beam type and the grouping to be applied to
1899 beams containing notes with a shortest duration of that
1903 #'((beam-type1 . grouping-1)
1904 (beam-type2 . grouping-2)
1905 (beam-type3 . grouping-3))
1908 Beam type is a scheme pair indicating the duration
1909 of the beam, e.g., @code{(1 . 16)}.
1911 Grouping is a scheme list indicating the grouping to be applied to
1912 the beam. The grouping is in units of the beam type.
1914 For reference, the default beaming rules are found in
1915 @file{scm/time-signature-settings.scm}.
1917 Alternate values for @code{beamExceptions}
1918 can be defined using the @code{\set} command.
1921 A @code{beamExceptions} value must be
1922 @emph{complete} exceptions list. That is, every exception that should
1923 be applied must be included in the setting.
1924 It is not possible to add, remove, or change only one of the exceptions.
1925 While this may seem cumbersome,
1926 it means that the current beaming settings need not be known
1927 in order to specify a new beaming pattern.}
1929 @lilypond[quote,relative=2,verbatim]
1932 \set beatStructure = #'(2 3)
1934 \set beatStructure = #'(3 2)
1938 Beam setting changes can be limited to specific contexts. If no
1939 setting is included in a lower-level context, the setting of the
1940 enclosing context will apply.
1942 @lilypond[quote, verbatim,relative=1]
1945 \set Staff.beatStructure = #'(2 3 2)
1955 \set Voice.beatStructure = #'(1 3 3)
1963 When multiple voices are used the @code{Staff} context must be
1964 specified if the beaming is to be applied to all voices in the
1967 @lilypond[quote,verbatim,relative=2]
1970 % Context Voice specified -- does not work correctly
1971 % Because of autogenerated voices, all beating will
1972 % be at baseMoment (1 . 8)
1973 \set beatStructure = #'(3 1 1 2)
1974 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1976 % Works correctly with context Staff specified
1977 \set Staff.beatStructure = #'(3 1 1 2)
1978 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1981 Beam settings can be set back to default behavior. This
1982 is accomplished by setting the time signature.
1984 @lilypond[quote,verbatim,relative=2]
1986 \repeat unfold 8 {a8}
1987 % eliminate beam exception that groups beats 1, 2 and 3, 4
1988 \set Timing.beamExceptions = #'()
1989 \repeat unfold 8 {a8}
1990 % go back to default behavior
1992 \repeat unfold 8 {a8}
1998 @cindex beams, subdividing
2000 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2001 {subdividing-beams.ly}
2003 @cindex measure groupings
2004 @cindex beats, grouping
2005 @cindex grouping beats
2006 @cindex measure sub-grouping
2008 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2009 {conducting-signs,-measure-grouping-signs.ly}
2011 @cindex beam, last in score
2012 @cindex beam, last in polyphonic voice
2014 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2015 {beam-endings-in-score-context.ly}
2020 @file{scm/beam-settings.scm}.
2025 Internals Reference:
2026 @rinternals{Auto_beam_engraver},
2028 @rinternals{BeamForbidEvent},
2029 @rinternals{beam-interface}.
2034 If a score ends while an automatic beam has not been ended and is
2035 still accepting notes, this last beam will not be typeset at all.
2036 The same holds for polyphonic voices, entered with @code{<<
2037 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2038 automatic beam is still accepting notes, it is not typeset.
2039 The workaround for these problems is to manually beam the last
2040 beam in the voice or score.
2043 @unnumberedsubsubsec Manual beams
2045 @cindex beams, manual
2046 @cindex manual beams
2051 In some cases it may be necessary to override the automatic
2052 beaming algorithm. For example, the autobeamer will not put beams
2053 over rests or bar lines, and in choral scores the beaming is
2054 often set to follow the meter of the lyrics rather than the
2055 notes. Such beams can be specified manually by
2056 marking the begin and end point with @code{[} and @code{]}.
2058 @lilypond[quote,relative=1,verbatim]
2059 r4 r8[ g' a r8] r8 g[ | a] r8
2062 @cindex manual beams, direction shorthand for
2063 @cindex manual beams, grace notes
2065 Beaming direction can be set manually using direction indicators:
2067 @lilypond[quote,relative=2,verbatim]
2068 c8^[ d e] c,_[ d e f g]
2074 Individual notes may be marked with @code{\noBeam} to prevent them
2077 @lilypond[quote,verbatim,relative=2]
2082 Grace note beams and normal note beams can occur simultaneously.
2083 Unbeamed grace notes are not put into normal note beams.
2085 @lilypond[quote,verbatim,relative=2]
2087 \grace { e32[ d c d] }
2093 @funindex stemLeftBeamCount
2094 @funindex stemRightBeamCount
2096 Even more strict manual control with the beams can be achieved by
2097 setting the properties @code{stemLeftBeamCount} and
2098 @code{stemRightBeamCount}. They specify the number of beams to
2099 draw on the left and right side, respectively, of the next note.
2100 If either property is set, its value will be used only once, and
2101 then it is erased. In this example, the last @code{f} is printed
2102 with only one beam on the left side, i.e., the eighth-note beam of
2103 the group as a whole.
2105 @lilypond[quote,relative=2,verbatim]
2108 \set stemLeftBeamCount = #2
2109 \set stemRightBeamCount = #1
2111 \set stemLeftBeamCount = #1
2123 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2124 {flat-flags-and-beam-nibs.ly}
2129 @ref{Direction and placement},
2135 Internals Reference:
2137 @rinternals{BeamEvent},
2138 @rinternals{Beam_engraver},
2139 @rinternals{beam-interface},
2140 @rinternals{Stem_engraver}.
2143 @node Feathered beams
2144 @unnumberedsubsubsec Feathered beams
2146 @cindex beams, feathered
2147 @cindex feathered beams
2149 @funindex \featherDurations
2150 @funindex featherDurations
2151 @funindex grow-direction
2153 Feathered beams are used to indicate that a small group of notes
2154 should be played at an increasing (or decreasing) tempo, without
2155 changing the overall tempo of the piece. The extent of the
2156 feathered beam must be indicated manually using @code{[} and
2157 @code{]}, and the beam feathering is turned on by specifying a
2158 direction to the @code{Beam} property @code{grow-direction}.
2160 If the placement of the notes and the sound in the MIDI output is to
2161 reflect the ritardando or accelerando indicated by the feathered beam
2162 the notes must be grouped as a music expression delimited by braces
2163 and preceded by a @code{featherDurations} command which specifies
2164 the ratio between the durations of the first and last notes in the
2167 The square brackets show the extent of the beam and the braces show
2168 which notes are to have their durations modified. Normally these
2169 would delimit the same group of notes, but this is not required: the
2170 two commands are independent.
2172 In the following example the eight 16th notes occupy exactly the
2173 same time as a half note, but the first note is one half as long
2174 as the last one, with the intermediate notes gradually
2175 lengthening. The first four 32nd notes gradually speed up, while
2176 the last four 32nd notes are at a constant tempo.
2178 @lilypond[relative=1,verbatim,quote]
2179 \override Beam #'grow-direction = #LEFT
2180 \featherDurations #(ly:make-moment 2 1)
2181 { c16[ c c c c c c c] }
2182 \override Beam #'grow-direction = #RIGHT
2183 \featherDurations #(ly:make-moment 2 3)
2185 % revert to non-feathered beams
2186 \override Beam #'grow-direction = #'()
2191 The spacing in the printed output represents the
2192 note durations only approximately, but the MIDI output is exact.
2196 @code{\featherDurations}.
2206 The @code{\featherDurations} command only works with very short
2207 music snippets, and when numbers in the fraction are small.
2217 * Bar and bar number checks::
2222 @unnumberedsubsubsec Bar lines
2225 @cindex measure lines
2226 @cindex closing bar lines
2227 @cindex bar lines, closing
2228 @cindex double bar lines
2229 @cindex bar lines, double
2235 Bar lines delimit measures, and are also used to indicate
2236 repeats. Normally, simple bar lines are automatically inserted
2237 into the printed output at places based on the current time
2240 The simple bar lines inserted automatically can be changed to
2241 other types with the @code{\bar} command. For example, a closing
2242 double bar line is usually placed at the end of a piece:
2244 @lilypond[quote,relative=1,verbatim]
2248 It is not invalid if the final note in a measure does not
2249 end on the automatically entered bar line: the note is assumed
2250 to carry over into the next measure. But if a long sequence
2251 of such carry-over measures appears the music can appear compressed
2252 or even flowing off the page. This is because automatic line
2253 breaks happen only at the end of complete measures, i.e., where
2254 all notes end before the end of a measure.
2256 @warning{An incorrect duration can cause line breaks to be
2257 inhibited, leading to a line of highly compressed music or
2258 music which flows off the page.}
2261 @cindex bar lines, invisible
2262 @cindex measure lines, invisible
2264 Line breaks are also permitted at manually inserted bar lines
2265 even within incomplete measures. To allow a line break without
2266 printing a bar line, use the following:
2273 This will insert an invisible bar line and allow (but not
2274 force) a line break to occur at this point. The bar number
2275 counter is not increased. To force a line break see
2276 @ref{Line breaking}.
2278 @cindex manual bar lines
2279 @cindex manual measure lines
2280 @cindex bar lines, manual
2281 @cindex measure lines, manual
2283 This and other special bar lines may be inserted manually at any
2284 point. When they coincide with the end of a measure they replace
2285 the simple bar line which would have been inserted there
2286 automatically. When they do not coincide with the end of a measure
2287 the specified bar line is inserted at that point in the printed
2290 Note that manual bar lines are purely visual. They do not affect
2291 any of the properties that a normal bar line would affect, such as
2292 measure numbers, accidentals, line breaks, etc. They do not affect
2293 the calculation and placement of subsequent automatic bar lines.
2294 When a manual bar line is placed where a normal bar line already
2295 exists, the effects of the original bar line are not altered.
2297 Two types of simple bar lines and five types of double bar lines are
2298 available for manual insertion:
2300 @lilypond[quote,relative=1,verbatim]
2312 together with dotted and dashed bar lines:
2314 @lilypond[quote,relative=1,verbatim]
2321 and five types of repeat bar line:
2323 @lilypond[quote,relative=1,verbatim]
2332 Additionally, a bar line can be printed as a simple tick:
2333 @lilypond[quote,relative=1,verbatim]
2336 However, as such ticks are typically used in Gregorian chant, it is
2337 preferable to use @code{\divisioMinima} there instead, described in
2338 the section @ref{Divisiones} in Gregorian chant.
2342 For in-line segno signs, there are three types of bar lines which
2343 differ in their behavior at line breaks:
2345 @lilypond[quote,relative=2,verbatim]
2363 Although the bar line types signifying repeats may be inserted
2364 manually they do not in themselves cause LilyPond to recognize
2365 a repeated section. Such repeated sections are better entered
2366 using the various repeat commands (see @ref{Repeats}), which
2367 automatically print the appropriate bar lines.
2369 In addition, you can specify @code{"||:"}, which is equivalent to
2370 @code{"|:"} except at line breaks, where it gives a double bar
2371 line at the end of the line and a start repeat at the beginning of
2374 @lilypond[quote,relative=2,verbatim]
2382 For combinations of repeats with the segno sign, there are six different
2385 @lilypond[quote,relative=2,verbatim]
2414 In scores with many staves, a @code{\bar} command in one staff is
2415 automatically applied to all staves. The resulting bar lines are
2416 connected between different staves of a @code{StaffGroup},
2417 @code{PianoStaff}, or @code{GrandStaff}.
2419 @lilypond[quote,relative=1,verbatim]
2427 \new Staff { \clef bass c4 g e g }
2429 \new Staff { \clef bass c2 c2 }
2434 @cindex default bar lines, changing
2435 @cindex bar lines, default, changing
2440 @funindex defaultBarType
2445 The command @code{\bar }@var{bartype} is a shortcut for
2446 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2447 created whenever the @code{whichBar} property is set.
2449 The default bar type used for automatically inserted bar lines is
2450 @code{"|"}. This may be changed at any time
2451 with @code{\set Timing.defaultBarType = }@var{bartype}.
2456 @ref{Line breaking},
2458 @ref{Grouping staves}.
2463 Internals Reference:
2464 @rinternals{BarLine} (created at @code{Staff} level),
2465 @rinternals{SpanBar} (across staves),
2466 @rinternals{Timing_translator} (for Timing properties).
2470 @unnumberedsubsubsec Bar numbers
2473 @cindex measure numbers
2474 @cindex numbers, bar
2475 @cindex numbers, measure
2477 @funindex currentBarNumber
2479 Bar numbers are typeset by default at the start of every line except
2480 the first line. The number itself is stored in the
2481 @code{currentBarNumber} property, which is normally updated
2482 automatically for every measure. It may also be set manually:
2484 @lilypond[verbatim,quote,relative=1]
2487 \set Score.currentBarNumber = #50
2491 @cindex bar numbers, regular spacing
2493 @funindex barNumberVisibility
2496 Bar numbers can be typeset at regular intervals instead of just at
2497 the beginning of every line. To do this the default behavior
2498 must be overridden to permit bar numbers to be printed at places
2499 other than the start of a line. This is controlled by the
2500 @code{break-visibility} property of @code{BarNumber}. This takes
2501 three values which may be set to @code{#t} or @code{#f} to specify
2502 whether the corresponding bar number is visible or not. The order
2503 of the three values is @code{end of line visible}, @code{middle of
2504 line visible}, @code{beginning of line visible}. In the following
2505 example bar numbers are printed at all possible places:
2507 @lilypond[verbatim,quote,relative=1]
2508 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2509 \set Score.currentBarNumber = #11
2510 % Permit first bar number to be printed
2520 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2521 {printing-the-bar-number-for-the-first-measure.ly}
2523 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2524 {printing-bar-numbers-at-regular-intervals.ly}
2526 @cindex measure number, format
2527 @cindex bar number, format
2529 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2530 {printing-bar-numbers-inside-boxes-or-circles.ly}
2532 @cindex bar number alignment
2534 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2535 {aligning-bar-numbers.ly}
2537 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2538 {removing-bar-numbers-from-a-score.ly}
2545 Internals Reference:
2546 @rinternals{BarNumber},
2547 @rinternals{Bar_number_engraver}.
2550 @cindex bar number collision
2551 @cindex collision, bar number
2555 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2556 if there is one. To solve this, the @code{padding} property of
2557 @code{BarNumber} can be used to position the number correctly. See
2558 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2561 @node Bar and bar number checks
2562 @unnumberedsubsubsec Bar and bar number checks
2565 @cindex bar number check
2566 @cindex measure check
2567 @cindex measure number check
2569 @funindex barCheckSynchronize
2572 Bar checks help detect errors in the entered durations. A bar check
2573 may be entered using the bar symbol, @code{|}, at any place where a
2574 bar line is expected to fall. If bar check lines are encountered at
2575 other places, a list of warnings is printed in the log file, showing
2576 the line numbers and lines in which the bar checks failed. In the
2577 next example, the second bar check will signal an error.
2580 \time 3/4 c2 e4 | g2 |
2583 Bar checks can also be used in lyrics:
2588 Twin -- kle | Twin -- kle |
2592 An incorrect duration can result in a completely garbled score,
2593 especially if the score is polyphonic, so a good place to start
2594 correcting input is by scanning for failed bar checks and
2595 incorrect durations.
2597 If successive bar checks are off by the same musical interval,
2598 only the first warning message is displayed. This allows the
2599 warning to focus on the source of the timing error.
2603 @funindex pipeSymbol
2605 It is also possible to redefine the action taken when a bar check
2606 or pipe symbol, @code{|}, is encountered in the input, so that
2607 it does something other than a bar check. This is done by
2608 assigning a music expression to @code{pipeSymbol}.
2609 In the following example @code{|} is set to insert a double bar
2610 line wherever it appears in the input, rather than checking
2613 @lilypond[quote,verbatim]
2614 pipeSymbol = \bar "||"
2623 @funindex \barNumberCheck
2624 @funindex barNumberCheck
2626 When copying large pieces of music, it can be helpful to check that
2627 the LilyPond bar number corresponds to the original that you are
2628 entering from. This can be checked with @code{\barNumberCheck}, for
2632 \barNumberCheck #123
2636 will print a warning if the @code{currentBarNumber} is not 123
2637 when it is processed.
2645 @node Rehearsal marks
2646 @unnumberedsubsubsec Rehearsal marks
2648 @cindex rehearsal marks
2649 @cindex mark, rehearsal
2654 To print a rehearsal mark, use the @code{\mark} command.
2656 @lilypond[quote,verbatim,relative=2]
2664 The mark is incremented automatically if you use @code{\mark
2665 \default}, but you can also use an integer argument to set the
2666 mark manually. The value to use is stored in the property
2667 @code{rehearsalMark}.
2669 @lilypond[quote,verbatim,relative=2]
2678 The letter@tie{}@q{I} is skipped in accordance with engraving
2679 traditions. If you wish to include the letter @q{I}, then use one
2680 of the following commands, depending on which style of rehearsal mark
2681 you want (letters only, letters in a hollow box, or letters in a
2685 \set Score.markFormatter = #format-mark-alphabet
2686 \set Score.markFormatter = #format-mark-box-alphabet
2687 \set Score.markFormatter = #format-mark-circle-alphabet
2690 @lilypond[quote,verbatim,relative=2]
2691 \set Score.markFormatter = #format-mark-box-alphabet
2699 @cindex rehearsal mark format
2700 @cindex rehearsal mark style
2701 @cindex style, rehearsal mark
2702 @cindex format, rehearsal mark
2703 @cindex mark, rehearsal, style
2704 @cindex mark, rehearsal, format
2705 @cindex rehearsal mark, manual
2706 @cindex mark, rehearsal, manual
2707 @cindex custom rehearsal mark
2708 @cindex manual rehearsal mark
2710 The style is defined by the property @code{markFormatter}. It is
2711 a function taking the current mark (an integer) and the current
2712 context as argument. It should return a markup object. In the
2713 following example, @code{markFormatter} is set to a pre-defined
2714 procedure. After a few measures, it is set to a procedure that
2715 produces a boxed number.
2717 @lilypond[quote,verbatim,relative=2]
2718 \set Score.markFormatter = #format-mark-numbers
2721 \set Score.markFormatter = #format-mark-box-numbers
2723 \set Score.markFormatter = #format-mark-circle-numbers
2725 \set Score.markFormatter = #format-mark-circle-letters
2729 The file @file{scm/@/translation@/-functions@/.scm} contains the
2730 definitions of @code{format-mark-numbers} (the default format),
2731 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2732 @code{format-mark-box-letters}. These can be used as inspiration
2733 for other formatting functions.
2735 You may use @code{format-mark-barnumbers},
2736 @code{format-mark-box-barnumbers}, and
2737 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2738 incremented numbers or letters.
2740 Other styles of rehearsal mark can be specified manually:
2747 Note that @code{Score.markFormatter} does not affect marks specified
2748 in this manner. However, it is possible to apply a @code{\markup} to the
2752 \mark \markup@{ \box A1 @}
2757 @cindex D.S. al Fine
2759 @cindex music glyphs
2760 @cindex glyphs, music
2762 @funindex \musicglyph
2763 @funindex musicglyph
2765 Music glyphs (such as the segno sign) may be printed inside a
2768 @lilypond[quote,verbatim,relative=1]
2769 c1 \mark \markup { \musicglyph #"scripts.segno" }
2770 c1 \mark \markup { \musicglyph #"scripts.coda" }
2771 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2776 See @ref{The Feta font}, for a list of symbols which may be
2777 printed with @code{\musicglyph}.
2779 For common tweaks to the positioning of rehearsal marks, see
2780 @ref{Formatting text}. For more precise control, see
2781 @code{break-alignable-interface} in @ref{Aligning objects}.
2786 @ref{The Feta font},
2787 @ref{Formatting text},
2788 @ref{Aligning objects}.
2791 @file{scm/@/translation@/-functions@/.scm} contains
2792 the definitions of @code{format-mark-numbers} and
2793 @code{format-mark-letters}. They can be used as inspiration for
2794 other formatting functions.
2799 Internals Reference:
2800 @rinternals{MarkEvent},
2801 @rinternals{Mark_engraver},
2802 @rinternals{RehearsalMark}.
2805 @node Special rhythmic concerns
2806 @subsection Special rhythmic concerns
2811 * Aligning to cadenzas::
2812 * Time administration::
2816 @unnumberedsubsubsec Grace notes
2820 @cindex appoggiatura
2821 @cindex acciaccatura
2826 Grace notes are ornaments that are written out. Grace notes
2827 are printed in a smaller font and take up no logical time
2830 @lilypond[quote,relative=2,verbatim]
2832 \grace { c16[ d16] } c2
2835 LilyPond also supports two special types of grace notes, the
2836 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2837 small note with a slashed stem -- and the @emph{appoggiatura}, which
2838 takes a fixed fraction of the main note and appears in small print
2841 @lilypond[quote,relative=2,verbatim]
2845 \acciaccatura { g16[ f] } e4
2848 The placement of grace notes is synchronized between different
2849 staves. In the following example, there are two sixteenth grace
2850 notes for every eighth grace note
2852 @lilypond[quote,relative=2,verbatim]
2854 \new Staff { e2 \grace { c16[ d e f] } e2 }
2855 \new Staff { c2 \grace { g8[ b] } c2 }
2859 @cindex grace notes, following
2861 @funindex \afterGrace
2862 @funindex afterGrace
2864 If you want to end a note with a grace, use the @code{\afterGrace}
2865 command. It takes two arguments: the main note, and the grace
2866 notes following the main note.
2868 @lilypond[quote,verbatim,relative=2]
2869 c1 \afterGrace d1 { c16[ d] } c1
2872 This will put the grace notes after a space lasting 3/4 of the
2873 length of the main note. The default fraction 3/4 can be changed by
2874 setting @code{afterGraceFraction}. The following example shows
2875 the results from setting the space at the default, at 15/16, and
2876 finally at 1/2 of the main note.
2878 @lilypond[quote,verbatim,relative=2]
2881 c1 \afterGrace d1 { c16[ d] } c1
2884 #(define afterGraceFraction (cons 15 16))
2885 c1 \afterGrace d1 { c16[ d] } c1
2888 #(define afterGraceFraction (cons 1 2))
2889 c1 \afterGrace d1 { c16[ d] } c1
2894 The space between the main note and the grace note may also be
2895 specified using spacers. The following example places the grace
2896 note after a space lasting 7/8 of the main note.
2898 @lilypond[quote,verbatim,relative=2]
2902 { s2 s4. \grace { c16[ d] } }
2908 @cindex tweaking grace notes
2909 @cindex grace notes, tweaking
2910 @cindex grace notes, changing layout settings
2912 A @code{\grace} music expression will introduce special
2913 typesetting settings, for example, to produce smaller type, and
2914 set directions. Hence, when introducing layout tweaks to
2915 override the special settings, they should be placed inside
2916 the grace expression. The overrides should also be reverted
2917 inside the grace expression. Here, the grace note's default stem
2918 direction is overridden and then reverted.
2920 @lilypond[quote,verbatim,relative=2]
2932 @cindex stem, with slash
2937 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2938 {using-grace-note-slashes-with-normal-heads.ly}
2940 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2941 {tweaking-grace-layout-within-music.ly}
2943 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2944 {redefining-grace-note-global-defaults.ly}
2946 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2947 {positioning-grace-notes-with-floating-space.ly}
2952 @rglos{grace notes},
2953 @rglos{acciaccatura},
2954 @rglos{appoggiatura}.
2960 @file{ly/@/grace@/-init@/.ly}.
2965 Internals Reference:
2966 @rinternals{GraceMusic},
2967 @rinternals{Grace_beam_engraver},
2968 @rinternals{Grace_engraver},
2969 @rinternals{Grace_spacing_engraver}.
2974 @cindex acciaccatura, multi-note
2975 @cindex multi-note acciaccatura
2976 @cindex grace-note synchronization
2978 A multi-note beamed @i{acciaccatura} is printed without a slash,
2979 and looks exactly the same as a multi-note beamed
2982 @c TODO Add link to LSR snippet to add slash when available
2984 Grace note synchronization can also lead to surprises. Staff
2985 notation, such as key signatures, bar lines, etc., are also
2986 synchronized. Take care when you mix staves with grace notes and
2987 staves without, for example,
2989 @lilypond[quote,relative=2,verbatim]
2991 \new Staff { e4 \bar "|:" \grace c16 d2. }
2992 \new Staff { c4 \bar "|:" d2. }
2997 This can be remedied by inserting grace skips of the corresponding
2998 durations in the other staves. For the above example
3000 @lilypond[quote,relative=2,verbatim]
3002 \new Staff { e4 \bar "|:" \grace c16 d2. }
3003 \new Staff { c4 \bar "|:" \grace s16 d2. }
3007 Grace sections should only be used within sequential music
3008 expressions. Nesting or juxtaposing grace sections is not
3009 supported, and might produce crashes or other errors.
3011 @node Aligning to cadenzas
3012 @unnumberedsubsubsec Aligning to cadenzas
3015 @cindex cadenza, aligning to
3016 @cindex aligning to cadenza
3018 In an orchestral context, cadenzas present a special problem: when
3019 constructing a score that includes a measured cadenza or other solo
3020 passage, all other instruments should skip just as many notes as the
3021 length of the cadenza, otherwise they will start too soon or too late.
3023 One solution to this problem is to use the functions
3024 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3025 functions take a defined piece of music as an argument and generate a
3026 multi-measure rest or @code{\skip} exactly as long as the piece.
3028 @lilypond[verbatim,quote]
3029 MyCadenza = \relative c' {
3040 #(ly:export (mmrest-of-length MyCadenza))
3042 #(ly:export (skip-of-length MyCadenza))
3057 @node Time administration
3058 @unnumberedsubsubsec Time administration
3060 @cindex time administration
3061 @cindex timing (within the score)
3062 @cindex music, unmetered
3063 @cindex unmetered music
3065 @funindex currentBarNumber
3066 @funindex measurePosition
3067 @funindex measureLength
3069 Time is administered by the @code{Timing_translator}, which by
3070 default is to be found in the @code{Score} context. An alias,
3071 @code{Timing}, is added to the context in which the
3072 @code{Timing_translator} is placed. To ensure that the
3073 @code{Timing} alias is available, you may need to explicitly
3074 instantiate the containing context (such as @code{Voice} or
3077 The following properties of @code{Timing} are used
3078 to keep track of timing within the score.
3081 @cindex measure number
3084 @item currentBarNumber
3085 The current measure number. For an example showing the
3086 use of this property see @ref{Bar numbers}.
3089 The length of the measures in the current time signature. For a
3090 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3091 determines when bar lines are inserted and how automatic beams
3092 should be generated.
3094 @item measurePosition
3095 The point within the measure where we currently are. This
3096 quantity is reset by subtracting @code{measureLength} whenever
3097 @code{measureLength} is reached or exceeded. When that happens,
3098 @code{currentBarNumber} is incremented.
3101 If set to true, the above variables are updated for every time
3102 step. When set to false, the engraver stays in the current
3103 measure indefinitely.
3107 Timing can be changed by setting any of these variables
3108 explicitly. In the next example, the default 4/4 time
3109 signature is printed, but @code{measureLength} is set to 5/4.
3110 At 4/8 through the third measure, the @code{measurePosition} is
3111 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3112 The next bar line then falls at 9/8 rather than 5/4.
3114 @lilypond[quote,verbatim]
3115 \new Voice \relative c' {
3116 \set Timing.measureLength = #(ly:make-moment 5 4)
3120 \set Timing.measurePosition = #(ly:make-moment 5 8)
3127 As the example illustrates, @code{ly:make-moment n m} constructs a
3128 duration of n/m of a whole note. For example,
3129 @code{ly:make-moment 1 8} is an eighth note duration and
3130 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3137 @ref{Unmetered music}.
3142 Internals Reference:
3143 @rinternals{Timing_translator},