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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,quote,ragged-right,texidoc,doctitle]
146 {alternative-breve-note.ly}
148 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
149 {changing-the-number-of-augmentation-dots-per-note.ly}
157 @rglos{Duration names notes and rests}.
160 @ref{Automatic beams},
163 @ref{Writing rhythms},
166 @ref{Ancient notation},
167 @ref{Proportional notation}.
174 @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 with the @code{\tuplet}
193 command, multiplying the speed of the music expression by a
197 \tuplet @var{fraction} @{ @var{music} @}
201 The fraction's numerator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplets are triplets: 3@tie{}notes sound within the duration
204 normally allowed for@tie{}2:
206 @lilypond[quote,verbatim,relative=2]
207 a2 \tuplet 3/2 { b4 b b }
208 c4 c \tuplet 3/2 { b4 a g }
211 @cindex tuplet grouping
213 When entering long passages of tuplets, having to write a separate
214 @code{\tuplet} command for each group is inconvenient. It is
215 possible to specify the duration of one tuplet group directly
216 before the music in order to have the tuplets grouped
219 @lilypond[quote,verbatim,relative=2]
220 g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
223 @cindex tuplet bracket placement
227 @funindex \tupletDown
229 @funindex \tupletNeutral
230 @funindex tupletNeutral
232 Tuplet brackets may be manually placed above or below the staff;
233 see @ref{Direction and placement}.
235 Tuplets may be nested:
237 @lilypond[quote,verbatim,relative=2]
239 c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
242 Modifying nested tuplets which begin at the same musical moment
243 must be done with @code{\tweak}.
245 To modify the duration of notes without printing a tuplet bracket,
246 see @ref{Scaling durations}.
252 @code{\tupletNeutral}.
258 @cindex tuplet formatting
259 @cindex triplet formatting
261 @funindex tupletNumberFormatFunction
262 @funindex tupletSpannerDuration
264 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
265 {entering-several-tuplets-using-only-one--times-command.ly}
267 @cindex Tuplet number changes
269 @funindex TupletNumber
271 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
272 {changing-the-tuplet-number.ly}
274 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
275 {non-default-tuplet-numbers.ly}
277 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
278 {controlling-tuplet-bracket-visibility.ly}
280 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
281 {permitting-line-breaks-within-beamed-tuplets.ly}
290 @rlearning{Tweaking methods}.
293 @ref{Time administration},
294 @ref{Scaling durations},
295 @ref{The tweak command},
296 @ref{Polymetric notation}.
302 @rinternals{TupletBracket},
303 @rinternals{TupletNumber},
304 @rinternals{TimeScaledMusic}.
306 @cindex grace notes within tuplet brackets
309 Grace notes may be placed within tuplet brackets, @emph{except}
310 when a staff begins with a grace note followed by a tuplet. In this
311 particular case, the grace note must be placed before the @code{\tuplet}
312 command to avoid errors.
314 @cindex tempo marks within tuplet brackets
316 When using a tuplet at the beginning of a piece with a @code{\tempo}
317 mark, the music must be explicitly entered in a @code{\new Voice}
318 block, as discussed in @rlearning{Voices contain music}.
321 @node Scaling durations
322 @unnumberedsubsubsec Scaling durations
324 @cindex scaling durations
325 @cindex durations, scaling
327 The duration of single notes, rests or chords may be multiplied by a
328 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
329 is 1) to the duration. This will not affect the appearance of the
330 notes or rests produced, but the altered duration will be used in
331 calculating the position within the measure and setting the duration
332 in the MIDI output. Multiplying factors may be combined like
333 @code{*L*M/N}. Factors are part of the duration: if a duration is
334 not specified for subsequent notes, the default duration taken from
335 the preceding note will include any scaling factor.
337 In the following example, the first three notes take up exactly
338 two beats, but no triplet bracket is printed.
340 @lilypond[quote,relative=2,verbatim]
342 % Alter durations to triplets
346 % Double the duration of chord
348 % Duration of quarter, appears like sixteenth
352 The duration of spacer rests may also be modified by
353 a multiplier. This is useful for skipping many measures, e.g.,
356 @cindex compressing music
357 @cindex expanding music
359 @funindex \scaleDurations
360 @funindex scaleDurations
362 Longer stretches of music may be compressed by a fraction in the
363 same way, as if every note, chord or rest had the fraction as a
364 multiplier. This leaves the appearance of the music unchanged but
365 the internal duration of the notes will be multiplied by the
366 fraction @emph{num}/@emph{den}. Here is an example showing how music
367 can be compressed and expanded:
369 @lilypond[quote,relative=2,verbatim]
373 % Scale music by *2/3
374 \scaleDurations 2/3 {
378 \scaleDurations 2/1 {
383 One application of this command is in polymetric
384 notation, see @ref{Polymetric notation}.
389 @ref{Invisible rests},
390 @ref{Polymetric notation}.
396 The calculation of the position within a measure must take into
397 account all the scaling factors applied to the notes within that
398 measure and any fractional carry-out from earlier measures. This
399 calculation is carried out using rational numbers. If an intermediate
400 numerator or denominator in that calculation exceeds 2^30 the
401 execution and typesetting will stop at that point without indicating
406 @unnumberedsubsubsec Ties
412 A tie connects two adjacent note heads of the same pitch. The tie
413 in effect extends the duration of a note.
415 @warning{Ties should not be confused with @emph{slurs}, which
416 indicate articulation, or @emph{phrasing slurs}, which indicate
417 musical phrasing. A tie is just a way of extending a note
418 duration, similar to the augmentation dot.}
420 A tie is entered by appending a tilde symbol (@code{~}) to the first
421 of each pair of notes being tied. This indicates that the note
422 should be tied to the following note, which must be at the same pitch.
424 @lilypond[quote,verbatim,relative=2]
428 Ties are used either when the note crosses a bar line, or when
429 dots cannot be used to denote the rhythm. Ties should also be
430 used when note values cross larger subdivisions of the measure:
432 @lilypond[verbatim,quote]
439 If you need to tie many notes across bar lines, it may be
440 easier to use automatic note splitting, see @ref{Automatic note
441 splitting}. This mechanism automatically splits long notes, and
442 ties them across bar lines.
444 @cindex ties and chords
445 @cindex chords and ties
447 When a tie is applied to a chord, all note heads whose pitches
448 match are connected. When no note heads match, no ties will be
449 created. Chords may be partially tied by placing the ties inside
452 @lilypond[quote,verbatim,relative=1]
454 <c~ e g~ b> <c e g b>
457 @cindex repeating ties
458 @cindex ties, repeating
459 @cindex volta brackets and ties
460 @cindex ties and volta brackets
465 When a second alternative of a repeat starts with a tied note, you
466 have to specify the repeated tie as follows:
468 @lilypond[quote,relative=2,verbatim]
469 \repeat volta 2 { c g <c e>2~ }
471 % First alternative: following note is tied normally
473 % Second alternative: following note has a repeated tie
474 { <c e>2\repeatTie d4 c } }
477 @cindex laissez vibrer
478 @cindex ties, laissez vibrer
480 @funindex \laissezVibrer
481 @funindex laissezVibrer
483 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
484 notes must not be damped at the end. It is used in notation for
485 piano, harp and other string and percussion instruments. They can
486 be entered as follows:
488 @lilypond[quote,verbatim,relative=1]
489 <c f g>1\laissezVibrer
492 @cindex ties, placement
498 @funindex \tieNeutral
501 Ties may be made to curve up or down manually; see
502 @ref{Direction and placement}.
504 @cindex ties, appearance
517 Ties may be made dashed, dotted, or a combination of solid and
520 @lilypond[quote, verbatim, relative=1]
533 Custom dash patterns can be specified:
535 @lilypond[quote, verbatim, relative=1]
536 \tieDashPattern #0.3 #0.75
538 \tieDashPattern #0.7 #1.5
544 Dash pattern definitions for ties have the same structure as dash
545 pattern definitions for slurs. For more information about complex dash
546 patterns, see @ref{Slurs}.
548 Override @var{whiteout} and @var{layer} layout properties for ties that
549 collide with other objects in a staff.
551 @lilypond[verbatim,quote,ragged-right,relative=2]
552 \override Tie.layer = #-2
553 \override Staff.TimeSignature.layer = #-1
554 \override Staff.KeySignature.layer = #-1
555 \override Staff.TimeSignature.whiteout = ##t
556 \override Staff.KeySignature.whiteout = ##t
569 @code{\tieDashPattern},
570 @code{\tieHalfDashed},
571 @code{\tieHalfSolid},
577 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
578 {using-ties-with-arpeggios.ly}
580 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
581 {engraving-ties-manually.ly}
586 @rglos{laissez vibrer}.
590 @ref{Automatic note splitting}.
593 @rlsr{Expressive marks},
597 @rinternals{LaissezVibrerTie},
598 @rinternals{LaissezVibrerTieColumn},
599 @rinternals{TieColumn},
603 Switching staves when a tie is active will not produce a slanted tie.
605 Changing clefs or ottavations during a tie is not really well-defined.
606 In these cases, a slur may be preferable.
610 @subsection Writing rests
612 Rests are entered as part of the music in music expressions.
617 * Full measure rests::
621 @unnumberedsubsubsec Rests
624 @cindex rest, entering durations
639 Rests are entered like notes with the note name @code{r}.
640 Durations longer than a whole rest use the following predefined
643 @c \time 16/1 is used to avoid spurious bar lines
644 @c and long tracts of empty measures
645 @lilypond[quote,verbatim,relative=2]
647 % These two lines are just to prettify this example
649 \override Staff.TimeSignature.stencil = ##f
650 % Print a maxima rest, equal to four breves
652 % Print a longa rest, equal to two breves
656 r1 r2 r4 r8 r16 r32 r64 r128
660 @cindex rest, multi-measure
661 @cindex rest, whole-measure
663 Whole measure rests, centered in the middle of the measure, must be
664 entered as multi-measure rests. They can be used for a single
665 measure as well as many measures and are discussed in
666 @ref{Full measure rests}.
668 @cindex rest, specifying vertical position
670 To explicitly specify a rest's vertical position, write a note
671 followed by @code{\rest}. A rest of the duration of the note will
672 be placed at the staff position where the note would appear. This
673 allows for precise manual formatting of polyphonic music, since the
674 automatic rest collision formatter will not move these rests.
676 @lilypond[quote,verbatim,relative=2]
682 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
692 @ref{Full measure rests}.
701 @c Deliberately duplicated in Durations and Rests. -gp
702 There is no fundamental limit to rest durations (both in terms of
703 longest and shortest), but the number of glyphs is limited: there
704 are rests from 128th to maxima (8 x whole).
707 @node Invisible rests
708 @unnumberedsubsubsec Invisible rests
711 @cindex invisible rest
712 @cindex rest, invisible
720 An invisible rest (also called a @q{spacer rest}) can be entered
721 like a note with the note name@tie{}@code{s}:
723 @lilypond[verbatim,quote,relative=2]
730 Spacer rests are available only in note mode and chord mode. In
731 other situations, for example, when entering lyrics, the
732 command @code{\skip} is used to skip a musical moment.
733 @code{\skip} requires an explicit duration, but this is ignored if
734 the lyrics derive their durations from the notes in an associated
735 melody through @code{\addlyrics} or @code{\lyricsto}.
737 @lilypond[quote,verbatim,relative=2]
750 Because @code{\skip} is a command, it does not affect the default
751 durations of following notes, unlike@tie{}@code{s}.
753 @lilypond[quote,verbatim,relative=2]
756 \repeat unfold 8 { a4 }
766 A spacer rest implicitly causes @code{Staff} and @code{Voice}
767 contexts to be created if none exist, just like notes and rests
770 @lilypond[quote,verbatim,relative=2]
774 @code{\skip} simply skips musical time; it creates no output of
777 @lilypond[quote,verbatim,relative=2]
778 % This is valid input, but does nothing
779 \skip 1 \skip1 \skip 1
784 @rlearning{Visibility and color of objects}.
788 @ref{Visibility of objects}.
794 @rinternals{SkipMusic}.
797 @node Full measure rests
798 @unnumberedsubsubsec Full measure rests
800 @cindex multi-measure rests
801 @cindex full-measure rests
802 @cindex rest, multi-measure
803 @cindex rest, full-measure
804 @cindex whole rest for a full measure
805 @cindex rest, whole for a full measure
809 Rests for one or more full measures are entered like notes with
810 the note name uppercase @code{R}:
812 @lilypond[quote,verbatim,relative=2]
813 % Rest measures contracted to single measure
814 \compressFullBarRests
821 The duration of full-measure rests is identical to the duration
822 notation used for notes. The duration in a multi-measure rest must
823 always be an integral number of measure-lengths, so augmentation dots
824 or fractions must often be used:
826 @lilypond[quote,verbatim,relative=2]
827 \compressFullBarRests
833 R1*13/8 | R1*13/8*12 |
838 A full-measure rest is printed as either a whole or breve rest,
839 centered in the measure, depending on the time signature.
841 @lilypond[quote,verbatim,relative=2]
850 @cindex multi-measure rest, expanding
851 @cindex multi-measure rest, contracting
853 @funindex \expandFullBarRests
854 @funindex expandFullBarRests
855 @funindex \compressFullBarRests
856 @funindex compressFullBarRests
858 By default a multi-measure rest is expanded in the printed score to
859 show all the rest measures explicitly. Alternatively, a multi-measure
860 rest can be shown as a single measure containing a multi-measure rest
861 symbol, with the number of measures of rest printed above the measure:
863 @lilypond[quote,verbatim,relative=2]
865 \time 3/4 r2. | R2.*2 |
868 % Rest measures contracted to single measure
869 \compressFullBarRests
871 % Rest measures expanded
878 @cindex text on multi-measure rest
879 @cindex multi-measure rest, attaching text
880 @cindex script on multi-measure rest
881 @cindex multi-measure rest, script
882 @cindex fermata on multi-measure rest
883 @cindex multi-measure rest, attaching fermata
884 @cindex markup on multi-measure rest
885 @cindex multi-measure rest with markup
887 @funindex \fermataMarkup
888 @funindex fermataMarkup
889 @funindex MultiMeasureRestText
891 Markups can be added to multi-measure rests.
892 The predefined command @code{\fermataMarkup}
893 is provided for adding fermatas.
895 @lilypond[quote,verbatim,relative=2]
896 \compressFullBarRests
898 R2.*10^\markup { \italic "ad lib." }
902 @warning{Markups attached to a multi-measure rest are objects of type
903 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
904 be directed to the correct object, or they will be ignored. See the
907 @lilypond[quote,verbatim,relative=2]
908 % This fails, as the wrong object name is specified
909 \override TextScript.padding = #5
911 % This is the correct object name to be specified
912 \override MultiMeasureRestText.padding = #5
916 When a multi-measure rest immediately follows a @code{\partial}
917 setting, resulting bar-check warnings may not be displayed.
920 @funindex \textLengthOn
921 @funindex textLengthOn
922 @funindex \textLengthOff
923 @funindex textLengthOff
924 @funindex \fermataMarkup
925 @funindex fermataMarkup
926 @funindex \compressFullBarRests
927 @funindex compressFullBarRests
928 @funindex \expandFullBarRests
929 @funindex expandFullBarRests
932 @code{\textLengthOn},
933 @code{\textLengthOff},
934 @code{\fermataMarkup},
935 @code{\compressFullBarRests},
936 @code{\expandFullBarRests}.
944 @cindex kirchenpausen
946 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
947 {changing-form-of-multi-measure-rests.ly}
949 @cindex multi-measure rests, positioning
950 @cindex positioning multi-measure rests
952 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
953 {positioning-multi-measure-rests.ly}
955 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
956 {multi-measure-rest-markup.ly}
960 @rglos{multi-measure rest}.
965 @ref{Formatting text},
972 @rinternals{MultiMeasureRest},
973 @rinternals{MultiMeasureRestNumber},
974 @rinternals{MultiMeasureRestText}.
976 @cindex fingerings and multi-measure rests
977 @cindex multi-measure rests and fingerings
980 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
981 in the fingering numeral colliding with the bar counter
984 @cindex condensing rests
985 @cindex rest, condensing ordinary
987 There is no way to automatically condense multiple ordinary rests
988 into a single multi-measure rest.
990 @cindex rest, collisions of
992 Multi-measure rests do not take part in rest collisions.
995 @node Displaying rhythms
996 @subsection Displaying rhythms
1003 * Polymetric notation::
1004 * Automatic note splitting::
1005 * Showing melody rhythms::
1008 @node Time signature
1009 @unnumberedsubsubsec Time signature
1011 @cindex time signature
1017 The time signature is set as follows:
1019 @lilypond[quote,verbatim,relative=2]
1024 @cindex time signature, visibility of
1026 Time signatures are printed at the beginning of a piece
1027 and whenever the time signature changes. If a change takes place
1028 at the end of a line a warning time signature sign is printed
1029 there. This default behavior may be changed, see
1030 @ref{Visibility of objects}.
1032 @lilypond[quote,verbatim,relative=2]
1042 @cindex time signature style
1045 @funindex \numericTimeSignature
1046 @funindex numericTimeSignature
1047 @funindex \defaultTimeSignature
1048 @funindex defaultTimeSignature
1050 The time signature symbol that is used in 2/2 and 4/4 time can be
1051 changed to a numeric style:
1053 @lilypond[quote,verbatim,relative=2]
1057 % Change to numeric style
1058 \numericTimeSignature
1061 % Revert to default style
1062 \defaultTimeSignature
1068 Mensural time signatures are covered in
1069 @ref{Mensural time signatures}.
1071 @cindex time signature default settings
1072 @cindex autobeaming properties for time signatures
1073 @cindex beaming, time signature default properties
1074 @funindex \overrideTimeSignatureSettings
1076 In addition to setting the printed time signature, the @code{\time}
1077 command also sets the values of the time-signature-based properties
1078 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
1079 The predefined default values for these properties can be found in
1080 @file{scm/time-signature-settings.scm}.
1082 The default value of @code{beatStructure} can be overridden in the
1083 @code{\time} command itself by supplying it as the optional first
1086 @lilypond[quote,verbatim]
1091 \repeat unfold 7 { c8 } |
1093 \repeat unfold 7 { c8 } |
1099 Alternatively, the default values of all these time-signature-based
1100 variables, including @code{baseMoment} and @code{beamExceptions},
1101 can be set together. The values can be set independently for several
1102 different time signatures. The new values take effect when a
1103 subsequent @code{\time} command with the same value of the time
1104 signature is executed:
1106 @lilypond[quote,verbatim]
1110 \overrideTimeSignatureSettings
1111 4/4 % timeSignatureFraction
1112 1/4 % baseMomentFraction
1113 #'(3 1) % beatStructure
1114 #'() % beamExceptions
1116 \repeat unfold 8 { c8 } |
1122 @code{\overrideTimeSignatureSettings} takes four arguments:
1127 @code{@var{timeSignatureFraction}}, a fraction describing the
1128 time signature to which these values apply.
1131 @code{@var{baseMomentFraction}}, a fraction containing the numerator
1132 and denominator of the basic timing unit for the time signature.
1135 @code{@var{beatStructure}}, a Scheme list indicating the structure
1136 of the beats in the measure, in units of the base moment.
1139 @code{@var{beamExceptions}}, an alist containing any beaming rules
1140 for the time signature that go beyond ending at every beat, as
1141 described in @ref{Setting automatic beam behavior}.
1144 The context containing @code{\overrideTimeSignatureSettings} must
1145 be instantiated before the @code{\overrideTimeSignatureSettings}
1146 call is executed. That means it must either be explicitly
1147 instantiated or there must be music in the context before the
1148 @code{\overrideTimeSignatureSettings} call:
1150 @lilypond[quote,verbatim]
1153 % This call will fail because the context isn't yet instantiated
1154 \overrideTimeSignatureSettings
1155 4/4 % timeSignatureFraction
1156 1/4 % baseMomentFraction
1157 #'(3 1) % beatStructure
1158 #'() % beamExceptions
1160 c8^\markup {"Beamed (2 2)"}
1161 \repeat unfold 7 { c8 } |
1162 % This call will succeed
1163 \overrideTimeSignatureSettings
1164 4/4 % timeSignatureFraction
1165 1/4 % baseMomentFraction
1166 #'(3 1) % beatStructure
1167 #'() % beamExceptions
1169 c8^\markup {"Beamed (3 1)"}
1170 \repeat unfold 7 { c8 } |
1176 @cindex time signature properties, restoring default values
1177 @cindex restoring default properties for time signatures
1178 @funindex \revertTimeSignatureSettings
1180 Changed values of default time signature properties can be restored
1181 to the original values:
1183 @lilypond[quote,verbatim]
1186 \repeat unfold 8 { c8 } |
1187 \overrideTimeSignatureSettings
1188 4/4 % timeSignatureFraction
1189 1/4 % baseMomentFraction
1190 #'(3 1) % beatStructure
1191 #'() % beamExceptions
1193 \repeat unfold 8 { c8 } |
1194 \revertTimeSignatureSettings 4/4
1196 \repeat unfold 8 { c8 } |
1201 Different values of default time signature properties can be established
1202 for different staves by moving the @code{Timing_translator} and the
1203 @code{Default_bar_line_engraver} from the @code{Score} context to the
1204 @code{Staff} context.
1206 @lilypond[quote, verbatim]
1210 \overrideTimeSignatureSettings
1211 4/4 % timeSignatureFraction
1212 1/4 % baseMomentFraction
1213 #'(3 1) % beatStructure
1214 #'() % beamExceptions
1216 \repeat unfold 8 {c''8}
1219 \overrideTimeSignatureSettings
1220 4/4 % timeSignatureFraction
1221 1/4 % baseMomentFraction
1222 #'(1 3) % beatStructure
1223 #'() % beamExceptions
1225 \repeat unfold 8 {c''8}
1231 \remove "Timing_translator"
1232 \remove "Default_bar_line_engraver"
1236 \consists "Timing_translator"
1237 \consists "Default_bar_line_engraver"
1243 A further method of changing these time-signature-related variables,
1244 which avoids reprinting the time signature at the time of the change,
1245 is shown in @ref{Setting automatic beam behavior}.
1248 @code{\numericTimeSignature},
1249 @code{\defaultTimeSignature}.
1254 @lilypondfile[verbatim,quote,texidoc,doctitle]
1255 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1259 @rglos{time signature}
1262 @ref{Mensural time signatures},
1263 @ref{Setting automatic beam behavior},
1264 @ref{Time administration}.
1267 @file{scm/time-signature-settings.scm}.
1272 Internals Reference:
1273 @rinternals{TimeSignature},
1274 @rinternals{Timing_translator}.
1277 @node Metronome marks
1278 @unnumberedsubsubsec Metronome marks
1281 @cindex beats per minute
1282 @cindex metronome mark
1283 @cindex metronome marking with text
1288 A basic metronome mark is simple to write:
1290 @lilypond[verbatim,quote,relative=1]
1296 Metronome marks may also be printed as a range of two numbers:
1298 @lilypond[verbatim,quote,relative=1]
1304 Tempo indications with text can be used instead:
1306 @lilypond[verbatim,quote,relative=2]
1312 Combining a metronome mark and text will automatically place the
1313 metronome mark within parentheses:
1315 @lilypond[verbatim,quote,relative=2]
1316 \tempo "Allegro" 4 = 160
1321 In general, the text can be any markup object:
1323 @lilypond[verbatim,quote,relative=2]
1324 \tempo \markup { \italic Faster } 4 = 132
1325 a8-. r8 b-. r gis-. r a-. r
1328 A parenthesized metronome mark with no textual indication may be
1329 written by including an empty string in the input:
1331 @lilypond[verbatim,quote,relative=2]
1336 @funindex \markLengthOn
1337 @funindex markLengthOn
1338 @funindex \markLengthOff
1339 @funindex markLengthOff
1341 In a part for an instrument with long periods of rests,
1342 tempo indications sometimes follow each other closely.
1343 The command @code{\markLengthOn} provides extra horizontal space
1344 to prevent tempo indications from overlapping, and @code{\markLengthOff}
1345 restores the default behavior of ignoring tempo marks
1346 for horizontal spacing.
1348 @lilypond[quote,relative=0]
1349 \compressFullBarRests
1351 \tempo "Molto vivace"
1359 @lilypondfile[verbatim,quote,texidoc,doctitle]
1360 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1362 @c perhaps also an example of how to move it horizontally?
1364 @lilypondfile[verbatim,quote,texidoc,doctitle]
1365 {changing-the-tempo-without-a-metronome-mark.ly}
1367 @lilypondfile[verbatim,quote,texidoc,doctitle]
1368 {creating-metronome-marks-in-markup-mode.ly}
1370 For more details, see @ref{Formatting text}.
1375 @rglos{metronomic indication},
1376 @rglos{tempo indication},
1377 @rglos{metronome mark}.
1380 @ref{Formatting text},
1384 @rlsr{Staff notation}.
1386 Internals Reference:
1387 @rinternals{MetronomeMark}.
1391 @unnumberedsubsubsec Upbeats
1395 @cindex partial measure
1396 @cindex measure, partial
1397 @cindex measure, pickup
1398 @cindex pickup measure
1400 @funindex measurePosition
1404 Partial or pick-up measures, such as an @emph{anacrusis} or an
1405 @emph{upbeat}, are entered using the @code{\partial} command,
1408 \partial @var{duration}
1412 where @code{@var{duration}} is the @emph{remaining} length of the
1413 partial measure @emph{before} the start of the next full measure.
1415 @lilypond[quote,verbatim,relative=1]
1421 The @var{duration} can be any value less than a full measure:
1423 @lilypond[quote,verbatim,relative=1]
1426 r4 e8 | a4 c8 b c4 |
1429 @code{\partial @var{duration}} can also be written as:
1432 \set Timing.measurePosition -@var{duration}
1435 So the first example above could be written:
1437 @lilypond[quote,verbatim,relative=1]
1439 \set Timing.measurePosition = #(ly:make-moment -1/8)
1443 The property @code{measurePosition} contains a rational number, which
1444 is usually positive and indicates how much of the measure has passed
1445 at this point. The @code{\partial @var{duration}} command sets it to
1446 a negative number, when it has a different meaning: it then says that
1447 the current (first) bar will be @emph{preceded} by a bar 0 (the partial
1448 bar) with a duration given by @var{duration}.
1461 @rinternals{Timing_translator}.
1464 The @code{\partial} command should be used only at the beginning of a
1465 piece. If you use it after the beginning, warnings or problems may
1466 occur, so use @code{\set Timing.measurePosition} instead.
1468 @lilypond[quote,verbatim,relative=1]
1471 e8 | a4 c8 b[ c b] |
1472 \set Timing.measurePosition = #(ly:make-moment -1/4)
1473 r8 e,8 | a4 c8 b[ c b] |
1477 @node Unmetered music
1478 @unnumberedsubsubsec Unmetered music
1481 @cindex cadenza, beams
1482 @cindex cadenza, accidentals
1483 @cindex cadenza, bar lines
1484 @cindex cadenza, bar numbers
1485 @cindex unmetered music
1486 @cindex unmetered music, beams
1487 @cindex unmetered music, accidentals
1488 @cindex unmetered music, bar lines
1489 @cindex unmetered music, bar numbers
1490 @cindex accidentals, cadenzas
1491 @cindex accidentals, unmetered music
1492 @cindex bar lines, cadenzas
1493 @cindex bar lines, unmetered music
1494 @cindex bar numbers, cadenzas
1495 @cindex bar numbers, unmetered music
1496 @cindex beams, cadenzas
1497 @cindex beams, unmetered music
1499 @funindex \cadenzaOn
1501 @funindex \cadenzaOff
1502 @funindex cadenzaOff
1504 In metered music bar lines are inserted and bar numbers are calculated
1505 automatically. In unmetered music (i.e. cadenzas), this is not
1506 desirable and can be @q{switched off} using the command
1507 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
1508 using @code{\cadenzaOff}.
1510 @lilypond[verbatim,relative=2,quote]
1513 c4 c d8[ d d] f4 g4.
1519 Bar numbering is resumed at the end of the cadenza.
1521 @lilypond[verbatim,relative=2,quote]
1522 % Show all bar numbers
1523 \override Score.BarNumber.break-visibility = #all-visible
1526 c4 c d8[ d d] f4 g4.
1532 Inserting a @code{\bar} command within a cadenza does not start a new
1533 measure, even if a bar line is printed. So any accidentals -- which
1534 are usually assumed to remain in force until the end of the measure --
1535 will still be valid after the bar line printed by @code{\bar}. If
1536 subsequent accidentals should be printed, forced accidentals or
1537 reminder accidentals need to be inserted manually, see
1540 @lilypond[verbatim,relative=2,quote]
1545 % First cis is printed without alteration even if it's after a \bar
1551 Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
1552 beaming in cadenzas must be entered manually. See @ref{Manual beams}.
1554 @lilypond[verbatim,relative=2,quote]
1555 \repeat unfold 8 { c8 }
1561 \repeat unfold 8 { c8 }
1564 These predefined commands affect all staves in the score, even when
1565 placed in just one @code{Voice} context. To change this, move the
1566 @code{Timing_translator} from the @code{Score} context to the
1567 @code{Staff} context. See @ref{Polymetric notation}.
1579 @ref{Visibility of objects},
1580 @ref{Polymetric notation},
1587 @cindex cadenza, line breaks
1588 @cindex cadenza, page breaks
1589 @cindex unmetered music, line breaks
1590 @cindex unmetered music, page breaks
1591 @cindex breaks in unmetered music
1592 @cindex line breaks, cadenzas
1593 @cindex page breaks, cadenzas
1594 @cindex line breaks, unmetered music
1595 @cindex page breaks, unmetered music
1598 Automatic line and page breaks are inserted only at bar lines, so
1599 @q{invisible} bar lines will need to be inserted manually in long
1600 stretches of unmetered music to permit breaking:
1606 Explicitly create a @code{Voice} context when starting a piece with
1607 @code{\cadenzaOn}, else unexpected errors may occur.
1613 c16[^"Solo Free Time" d e f] g2.
1621 @node Polymetric notation
1622 @unnumberedsubsubsec Polymetric notation
1624 @c This section necessarily uses \set
1625 @c This is acceptable -td
1627 @cindex double time signatures
1628 @cindex signatures, polymetric
1629 @cindex time signatures, polymetric
1630 @cindex time signatures, double
1631 @cindex polymetric signatures
1632 @cindex meter, polymetric
1634 @funindex timeSignatureFraction
1635 @funindex \scaleDurations
1636 @funindex scaleDurations
1640 Polymetric notation is supported explicitly or by manually modifying the
1641 visible time signature symbol and/or scaling note durations.
1643 @subsubsubheading Different time signatures with equal-length measures
1645 Set a common time signature for each staff, and set the
1646 @code{timeSignatureFraction} to the desired fraction. Then use the
1647 @code{\scaleDurations} function to scale the durations of the notes in
1648 each staff to the common time signature.
1650 @cindex beams, with polymetric meters
1651 @cindex polymetric meters, with beams
1653 In the following example, music with the time signatures of 3/4, 9/8 and
1654 10/8 are used in parallel. In the second staff, shown durations are
1655 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1656 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1657 may be necessary to insert beams manually, as the duration scaling will
1658 affect the autobeaming rules.
1660 @lilypond[quote,verbatim]
1669 \set Staff.timeSignatureFraction = 9/8
1671 \repeat unfold 6 { c8[ c c] }
1675 \set Staff.timeSignatureFraction = 10/8
1676 \scaleDurations 3/5 {
1677 \repeat unfold 2 { c8[ c c] }
1678 \repeat unfold 2 { c8[ c] } |
1679 c4. c \tuplet 3/2 { c8[ c c] } c4
1685 @subsubsubheading Different time signatures with unequal-length measures
1687 Each staff can be given its own independent time signature by
1688 moving the @code{Timing_translator} and the
1689 @code{Default_bar_line_engraver} to the @code{Staff} context.
1691 @lilypond[quote,verbatim]
1695 \remove "Timing_translator"
1696 \remove "Default_bar_line_engraver"
1700 \consists "Timing_translator"
1701 \consists "Default_bar_line_engraver"
1705 % Now each staff has its own time signature.
1729 @funindex \compoundMeter
1730 @cindex compound time signatures
1731 @cindex time signature, compound
1733 @subsubsubheading Compound time signatures
1735 These are created using the @code{\compoundMeter} function. The syntax
1739 \compoundMeter #'@code{(list of lists)}
1742 The simplest construction is a single list, where the @emph{last} number
1743 indicates the bottom number of the time signature and those that come
1744 before it, the top numbers.
1746 @lilypond[quote,verbatim]
1748 \compoundMeter #'((2 2 2 8))
1749 \repeat unfold 6 c8 \repeat unfold 12 c16
1753 More complex meters can be constructed using additional lists. Also,
1754 automatic beaming settings will be adjusted depending on the values.
1756 @lilypond[quote,verbatim]
1758 \compoundMeter #'((1 4) (3 8))
1759 \repeat unfold 5 c8 \repeat unfold 10 c16
1763 \compoundMeter #'((1 2 3 8) (3 4))
1764 \repeat unfold 12 c8
1771 @rglos{polymetric time signature},
1775 @ref{Automatic beams},
1777 @ref{Time signature},
1778 @ref{Scaling durations}.
1783 Internals Reference:
1784 @rinternals{TimeSignature},
1785 @rinternals{Timing_translator},
1786 @rinternals{Default_bar_line_engraver},
1790 When using different time signatures in parallel, notes at the same
1791 moment will be placed at the same horizontal location. However, the bar
1792 lines in the different staves will cause the note spacing to be less
1793 regular in each of the individual staves than would be normal without
1794 the different time signatures.
1797 @node Automatic note splitting
1798 @unnumberedsubsubsec Automatic note splitting
1800 @cindex notes, splitting
1801 @cindex splitting notes
1802 @cindex rests, splitting
1803 @cindex splitting rests
1805 @funindex Note_heads_engraver
1806 @funindex Completion_heads_engraver
1807 @funindex Completion_rest_engraver
1809 Long notes which overrun bar lines can be converted automatically to
1810 tied notes. This is done by replacing the @code{Note_heads_engraver}
1811 with the @code{Completion_heads_engraver}. Similarly, long rests which
1812 overrun bar lines are split automatically by replacing the
1813 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1814 following example, notes and rests crossing the bar lines are split,
1815 notes are also tied.
1817 @lilypond[quote,verbatim,relative=1]
1819 \remove "Note_heads_engraver"
1820 \consists "Completion_heads_engraver"
1821 \remove "Rest_engraver"
1822 \consists "Completion_rest_engraver"
1825 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1828 These engravers split all running notes and rests at the bar line, and
1829 inserts ties for notes. One of its uses is to debug complex scores: if
1830 the measures are not entirely filled, then the ties show exactly how
1831 much each measure is off.
1838 @rlearning{Engravers explained},
1839 @rlearning{Adding and removing engravers}.
1844 Internals Reference:
1845 @rinternals{Note_heads_engraver},
1846 @rinternals{Completion_heads_engraver},
1847 @rinternals{Rest_engraver},
1848 @rinternals{Completion_rest_engraver},
1849 @rinternals{Forbid_line_break_engraver}.
1852 Not all durations (especially those containing tuplets) can be
1853 represented exactly with normal notes and dots, but the
1854 @code{Completion_heads_engraver} will not insert tuplets.
1856 The @code{Completion_heads_engraver} only affects notes; it does not
1860 @node Showing melody rhythms
1861 @unnumberedsubsubsec Showing melody rhythms
1863 @cindex melody rhythms, showing
1864 @cindex rhythms, showing melody
1866 Sometimes you might want to show only the rhythm of a melody. This
1867 can be done with the rhythmic staff. All pitches of notes on such a
1868 staff are squashed, and the staff itself has a single line
1870 @lilypond[quote,relative=1,verbatim]
1872 \new RhythmicStaff {
1873 \new Voice = "myRhythm" {
1881 \lyricsto "myRhythm" {
1889 @cindex guitar chord charts
1890 @cindex strumming rhythms, showing
1891 @cindex guitar strumming rhythms, showing
1893 @funindex Pitch_squash_engraver
1894 @funindex \improvisationOn
1895 @funindex improvisationOn
1896 @funindex \improvisationOff
1897 @funindex improvisationOff
1899 Guitar chord charts often show the strumming rhythms. This can
1900 be done with the @code{Pitch_squash_engraver} and
1901 @code{\improvisationOn}.
1904 @lilypond[quote,verbatim]
1912 \consists "Pitch_squash_engraver"
1925 @code{\improvisationOn},
1926 @code{\improvisationOff}.
1932 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1933 {guitar-strum-rhythms.ly}
1939 Internals Reference:
1940 @rinternals{RhythmicStaff},
1941 @rinternals{Pitch_squash_engraver}.
1949 * Setting automatic beam behavior::
1954 @node Automatic beams
1955 @unnumberedsubsubsec Automatic beams
1957 By default, beams are inserted automatically:
1959 @cindex beams, manual
1960 @cindex manual beams
1961 @cindex beams, customizing rules
1963 @funindex \autoBeamOn
1964 @funindex autoBeamOn
1965 @funindex \autoBeamOff
1966 @funindex autoBeamOff
1968 @lilypond[quote,verbatim,relative=2]
1970 \time 6/8 c8 c c c8. c16 c8
1973 If these automatic decisions are not satisfactory, beaming can be
1974 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1975 entered manually if beams are to be extended over rests.
1977 If automatic beaming is not required, it may be turned off with
1978 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1980 @lilypond[quote,relative=1,verbatim]
1981 c4 c8 c8. c16 c8. c16 c8
1988 @cindex melismata, with beams
1989 @cindex beams, with melismata
1991 @warning{If beams are used to indicate melismata in songs, then
1992 automatic beaming should be switched off with @code{@bs{}autoBeamOff}
1993 and the beams indicated manually. Using @code{@bs{}partcombine} with
1994 @code{@bs{}autoBeamOff} can produce unintended results. See the
1995 snippets for more information.}
1997 Beaming patterns that differ from the automatic defaults can be
1998 created; see @ref{Setting automatic beam behavior}.
2001 @code{\autoBeamOff},
2005 @cindex beams, line breaks
2006 @cindex line breaks, beams
2007 @cindex beams, with knee gap
2008 @cindex knee gap, with beams
2012 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2013 {beams-across-line-breaks.ly}
2015 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2016 {changing-beam-knee-gap.ly}
2018 @cindex beams, \partcombine with \autoBeamOff
2019 @cindex voices, \partcombine with \autoBeamOff
2021 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
2022 {partcombine-and-autobeamoff.ly}
2027 @ref{Setting automatic beam behavior}.
2030 @file{scm/auto-beam.scm}.
2035 Internals Reference:
2036 @rinternals{Auto_beam_engraver},
2037 @rinternals{Beam_engraver},
2039 @rinternals{BeamEvent},
2040 @rinternals{BeamForbidEvent},
2041 @rinternals{beam-interface},
2042 @rinternals{unbreakable-spanner-interface}.
2045 The properties of a beam are determined at the @emph{start} of its
2046 construction and any additional beam-property changes that occur before
2047 the beam has been completed will not take effect until the @emph{next},
2051 @node Setting automatic beam behavior
2052 @unnumberedsubsubsec Setting automatic beam behavior
2054 @cindex beams, with lyrics
2055 @cindex lyrics, with beams
2057 @funindex autoBeaming
2058 @funindex baseMoment
2059 @funindex beamExceptions
2060 @funindex beatStructure
2061 @funindex measureLength
2067 When automatic beaming is enabled, the placement of automatic beams
2068 is determined by three context properties:
2069 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2070 The default values of these variables may be overridden as described
2071 below, or alternatively the default values themselves may be changed
2072 as explained in @ref{Time signature}.
2074 If a @code{beamExceptions} rule is defined for the time signature in
2075 force, that rule alone is used to determine the beam placement; the
2076 values of @code{baseMoment} and @code{beatStructure} are ignored.
2078 If no @code{beamExceptions} rule is defined for the time signature
2079 in force, the beam placement is determined by the values of
2080 @code{baseMoment} and @code{beatStructure}.
2083 @subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
2085 By default, @code{beamExceptions} rules are defined for most common
2086 time signatures, so the @code{beamExceptions} rules must be disabled
2087 if automatic beaming is to be based on @code{baseMoment} and
2088 @code{beatStructure}. The @code{beamExceptions} rules are disabled
2092 \set Timing.beamExceptions = #'()
2095 When @code{beamExceptions} is set to @code{#'()}, either due to an
2096 explicit setting or because no @code{beamExceptions} rules are defined
2097 internally for the time signature in force, the ending points for
2098 beams are on beats as specified by the context properties
2099 @code{baseMoment} and @code{beatStructure}. @code{beatStructure} is
2100 a scheme list that defines the length of each beat in the measure in
2101 units of @code{baseMoment}. By default, @code{baseMoment} is one
2102 over the denominator of the time signature. By default, each unit of
2103 length @code{baseMoment} is a single beat.
2105 @lilypond[quote,relative=2,verbatim]
2107 c16^"default" c c c c |
2108 % beamExceptions are unlikely to be defined for 5/16 time,
2109 % but let's disable them anyway to be sure
2110 \set Timing.beamExceptions = #'()
2111 \set Timing.beatStructure = #'(2 3)
2112 c16^"(2+3)" c c c c |
2113 \set Timing.beatStructure = #'(3 2)
2114 c16^"(3+2)" c c c c |
2117 @lilypond[quote,relative=2,verbatim]
2119 a8^"default" a a a a a a a
2120 % Disable beamExceptions because they are definitely
2121 % defined for 4/4 time
2122 \set Timing.beamExceptions = #'()
2123 \set Timing.baseMoment = #(ly:make-moment 1/4)
2124 \set Timing.beatStructure = #'(1 1 1 1)
2125 a8^"changed" a a a a a a a
2128 Beam setting changes can be limited to specific contexts. If no
2129 setting is included in a lower-level context, the setting of the
2130 enclosing context will apply.
2132 @lilypond[quote, verbatim,relative=1]
2135 % No need to disable beamExceptions as they are not defined for 7/8 time
2136 \set Staff.beatStructure = #'(2 3 2)
2146 \set Voice.beatStructure = #'(1 3 3)
2154 When multiple voices are used the @code{Staff} context must be
2155 specified if the beaming is to be applied to all voices in the
2158 @lilypond[quote,verbatim,relative=2]
2161 % Change applied to Voice by default -- does not work correctly
2162 % Because of autogenerated voices, all beating will
2163 % be at baseMoment (1 . 8)
2164 \set beatStructure = #'(3 1 1 2)
2165 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2167 % Works correctly with context Staff specified
2168 \set Staff.beatStructure = #'(3 1 1 2)
2169 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2172 The value of @code{baseMoment} can be adjusted to change
2173 the beaming behavior, if desired. When this is done,
2174 the value of @code{beatStructure} must be set to be
2175 compatible with the new value of @code{baseMoment}.
2177 @lilypond[quote,verbatim,relative=2]
2179 % No need to disable beamExceptions as they are not defined for 5/8 time
2180 \set Timing.baseMoment = #(ly:make-moment 1/16)
2181 \set Timing.beatStructure = #'(7 3)
2182 \repeat unfold 10 { a16 }
2185 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2186 quantity of type @i{moment} is created by the scheme function
2187 @code{ly:make-moment}. For more information about this function,
2188 see @ref{Time administration}.
2190 By default @code{baseMoment} is set to one over the denominator of
2191 the time signature. Any exceptions to this default can be found in
2192 @file{scm/time-signature-settings.scm}.
2194 @subsubsubheading Beaming based on @code{beamExceptions}
2196 Special autobeaming rules (other than ending a beam on a beat)
2197 are defined in the @code{beamExceptions} property.
2199 @lilypond[quote,relative=2,verbatim]
2201 \set Timing.beatStructure = #'(2 1)
2202 \set Timing.beamExceptions =
2204 (end . ;entry for end of beams
2205 ( ;start of alist of end points
2206 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2207 ))) %close all entries
2209 \repeat unfold 6 { c32 } |
2212 @code{beamExceptions} is an alist with a key of rule-type and a value
2215 At this time the only available value of rule-type is
2216 @code{'end} for beam ending.
2218 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2219 beam type and the grouping to be applied to beams containing notes with
2220 a shortest duration of that beam type.
2223 #'((beam-type1 . grouping-1)
2224 (beam-type2 . grouping-2)
2225 (beam-type3 . grouping-3))
2228 Beam type is a scheme pair indicating the duration of the beam,
2229 e.g., @code{(1 . 16)}.
2231 Grouping is a scheme list indicating the grouping to be applied to
2232 the beam. The grouping is in units of the beam type.
2234 @warning{ A @code{beamExceptions} value must be @emph{complete}
2235 exceptions list. That is, every exception that should be applied
2236 must be included in the setting. It is not possible to add, remove,
2237 or change only one of the exceptions. While this may seem cumbersome,
2238 it means that the current beaming settings need not be known in order
2239 to specify a new beaming pattern.}
2241 When the time signature is changed, default values of
2242 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2243 and @code{Timing.beamExceptions} are set. Setting the time signature
2244 will reset the automatic beaming settings for the @code{Timing}
2245 context to the default behavior.
2247 @lilypond[quote,verbatim,relative=2]
2249 \repeat unfold 6 { a8 }
2251 \set Timing.beatStructure = #'(4 2)
2252 \repeat unfold 6 { a8 }
2253 % go back to default behavior
2255 \repeat unfold 6 { a8 }
2258 The default automatic beaming settings for a time signature
2259 are determined in @file{scm/time-signature-settings.scm}.
2260 Changing the default automatic beaming settings
2261 for a time signature is described in @ref{Time signature}.
2263 Many automatic beaming settings for a time signature contain an
2264 entry for @code{beamExceptions}. For example, 4/4 time tries to
2265 beam the measure in two if there are only eighth notes. The
2266 @code{beamExceptions} rule can override the @code{beatStructure} setting
2267 if @code{beamExceptions} is not reset.
2269 @lilypond[quote,verbatim,relative=2]
2271 \set Timing.baseMoment = #(ly:make-moment 1/8)
2272 \set Timing.beatStructure = #'(3 3 2)
2273 % This won't beam (3 3 2) because of beamExceptions
2274 \repeat unfold 8 {c8} |
2275 % This will beam (3 3 2) because we clear beamExceptions
2276 \set Timing.beamExceptions = #'()
2277 \repeat unfold 8 {c8}
2280 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2281 measure by default. To beam eighth notes in 3/4 time on the beat,
2282 reset @code{beamExceptions}.
2284 @lilypond[quote,verbatim,relative=2]
2286 % by default we beam in (6) due to beamExceptions
2287 \repeat unfold 6 {a8} |
2288 % This will beam (1 1 1) due to default baseMoment and beatStructure
2289 \set Timing.beamExceptions = #'()
2290 \repeat unfold 6 {a8}
2293 In engraving from the Romantic and Classical periods,
2294 beams often begin midway through the measure in 3/4 time,
2295 but modern practice is to avoid the false impression of 6/8 time
2296 (see Gould, p. 153). Similar situations arise in 3/8 time.
2297 This behavior is controlled by the context property @code{beamHalfMeasure},
2298 which has effect only in time signatures with 3 in the numerator:
2300 @lilypond[quote,verbatim,relative=2]
2303 \set Timing.beamHalfMeasure = ##f
2307 @subsubsubheading How automatic beaming works
2309 When automatic beaming is enabled, the placement of automatic beams
2310 is determined by the context properties
2311 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2313 The following rules, in order of priority, apply when determining
2314 the appearance of beams:
2318 If a manual beam is specified with @code{[..]} set the beam
2319 as specified, otherwise
2322 if a beam-ending rule is defined in @code{beamExceptions}
2323 for the beam-type, use it to determine the valid places where
2324 beams may end, otherwise
2327 if a beam-ending rule is defined in @code{beamExceptions}
2328 for a longer beam-type, use it to determine the valid places
2329 where beams may end, otherwise
2332 use the values of @code{baseMoment} and @code{beatStructure} to
2333 determine the ends of the beats in the measure, and
2334 end beams at the end of beats.
2338 In the rules above, the @emph{beam-type} is the duration of the
2339 shortest note in the beamed group.
2341 The default beaming rules can be found in
2342 @file{scm/time-signature-settings.scm}.
2346 @cindex beams, subdividing
2348 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2349 {subdividing-beams.ly}
2351 @cindex beamlets, orienting
2353 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2354 {strict-beat-beaming.ly}
2356 @cindex measure groupings
2357 @cindex beats, grouping
2358 @cindex grouping beats
2359 @cindex measure sub-grouping
2361 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2362 {conducting-signs,-measure-grouping-signs.ly}
2364 @cindex beam, endings in a score
2365 @cindex beam, endings with multiple voices
2367 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2368 {beam-endings-in-score-context.ly}
2372 @ref{Time signature}.
2375 @file{scm/time-signature-settings.scm}.
2380 Internals Reference:
2381 @rinternals{Auto_beam_engraver},
2383 @rinternals{BeamForbidEvent},
2384 @rinternals{beam-interface}.
2387 If a score ends while an automatic beam has not been ended and is
2388 still accepting notes, this last beam will not be typeset at all.
2389 The same holds for polyphonic voices, entered with
2390 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2391 automatic beam is still accepting notes, it is not typeset.
2392 The workaround for these problems is to manually beam the last
2393 beam in the voice or score.
2395 By default, the @code{Timing} translator is aliased to the
2396 @code{Score} context. This means that setting the time signature
2397 in one staff will affect the beaming of the other staves as well.
2398 Thus, a time signature setting in a later staff will reset custom
2399 beaming that was set in an earlier staff.
2400 One way to avoid this problem is to set the time signature
2403 @lilypond[quote,verbatim,relative=2]
2407 \set Timing.baseMoment = #(ly:make-moment 1/8)
2408 \set Timing.beatStructure = #'(1 5)
2409 \repeat unfold 6 { a8 }
2412 \repeat unfold 6 { a8 }
2417 The default beam settings for the time signature can also be changed, so
2418 that the desired beaming will always be used. Changes in automatic
2419 beaming settings for a time signature are described in
2420 @ref{Time signature}.
2422 @lilypond[quote,verbatim,relative=2]
2425 \overrideTimeSignatureSettings
2426 3/4 % timeSignatureFraction
2427 1/8 % baseMomentFraction
2428 #'(1 5) % beatStructure
2429 #'() % beamExceptions
2431 \repeat unfold 6 { a8 }
2435 \repeat unfold 6 { a8 }
2442 @unnumberedsubsubsec Manual beams
2444 @cindex beams, manual
2445 @cindex manual beams
2450 In some cases it may be necessary to override the automatic
2451 beaming algorithm. For example, the autobeamer will not put beams
2452 over rests or bar lines, and in choral scores the beaming is
2453 often set to follow the meter of the lyrics rather than the
2454 notes. Such beams can be specified manually by
2455 marking the begin and end point with @code{[} and @code{]}.
2457 @lilypond[quote,relative=1,verbatim]
2458 r4 r8[ g' a r] r g[ | a] r
2461 @cindex manual beams, direction shorthand for
2462 @cindex manual beams, grace notes
2464 Beaming direction can be set manually using direction indicators:
2466 @lilypond[quote,relative=2,verbatim]
2467 c8^[ d e] c,_[ d e f g]
2473 Individual notes may be marked with @code{\noBeam} to prevent them
2476 @lilypond[quote,verbatim,relative=2]
2481 Grace note beams and normal note beams can occur simultaneously.
2482 Unbeamed grace notes are not put into normal note beams.
2484 @lilypond[quote,verbatim,relative=2]
2486 \grace { e32[ d c d] }
2492 @funindex stemLeftBeamCount
2493 @funindex stemRightBeamCount
2495 Even more strict manual control with the beams can be achieved by
2496 setting the properties @code{stemLeftBeamCount} and
2497 @code{stemRightBeamCount}. They specify the number of beams to
2498 draw on the left and right side, respectively, of the next note.
2499 If either property is set, its value will be used only once, and
2500 then it is erased. In this example, the last @code{f} is printed
2501 with only one beam on the left side, i.e., the eighth-note beam of
2502 the group as a whole.
2504 @lilypond[quote,relative=2,verbatim]
2507 \set stemLeftBeamCount = #2
2508 \set stemRightBeamCount = #1
2510 \set stemLeftBeamCount = #1
2522 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2523 {flat-flags-and-beam-nibs.ly}
2527 @ref{Direction and placement},
2533 Internals Reference:
2535 @rinternals{BeamEvent},
2536 @rinternals{Beam_engraver},
2537 @rinternals{beam-interface},
2538 @rinternals{Stem_engraver}.
2541 @node Feathered beams
2542 @unnumberedsubsubsec Feathered beams
2544 @cindex beams, feathered
2545 @cindex feathered beams
2547 @funindex \featherDurations
2548 @funindex featherDurations
2549 @funindex grow-direction
2551 Feathered beams are used to indicate that a small group of notes
2552 should be played at an increasing (or decreasing) tempo, without
2553 changing the overall tempo of the piece. The extent of the
2554 feathered beam must be indicated manually using @code{[} and
2555 @code{]}, and the beam feathering is turned on by specifying a
2556 direction to the @code{Beam} property @code{grow-direction}.
2558 If the placement of the notes and the sound in the MIDI output is to
2559 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2560 feathered beam the notes must be grouped as a music expression delimited
2561 by braces and preceded by a @code{featherDurations} command which specifies
2562 the ratio between the durations of the first and last notes in the
2565 The square brackets show the extent of the beam and the braces show
2566 which notes are to have their durations modified. Normally these
2567 would delimit the same group of notes, but this is not required: the
2568 two commands are independent.
2570 In the following example the eight 16th notes occupy exactly the
2571 same time as a half note, but the first note is one half as long
2572 as the last one, with the intermediate notes gradually
2573 lengthening. The first four 32nd notes gradually speed up, while
2574 the last four 32nd notes are at a constant tempo.
2576 @lilypond[relative=1,verbatim,quote]
2577 \override Beam.grow-direction = #LEFT
2578 \featherDurations #(ly:make-moment 2/1)
2579 { c16[ c c c c c c c] }
2580 \override Beam.grow-direction = #RIGHT
2581 \featherDurations #(ly:make-moment 2/3)
2583 % revert to non-feathered beams
2584 \override Beam.grow-direction = #'()
2589 The spacing in the printed output represents the
2590 note durations only approximately, but the MIDI output is exact.
2593 @code{\featherDurations}.
2601 The @code{\featherDurations} command only works with very short
2602 music snippets, and when numbers in the fraction are small.
2611 * Bar and bar number checks::
2616 @unnumberedsubsubsec Bar lines
2619 @cindex measure lines
2620 @cindex closing bar lines
2621 @cindex bar lines, closing
2622 @cindex double bar lines
2623 @cindex bar lines, double
2629 Bar lines delimit measures, and are also used to indicate
2630 repeats. Normally, simple bar lines are automatically inserted
2631 into the printed output at places based on the current time
2634 The simple bar lines inserted automatically can be changed to
2635 other types with the @code{\bar} command. For example, a closing
2636 double bar line is usually placed at the end of a piece:
2638 @lilypond[quote,relative=1,verbatim]
2642 It is not invalid if the final note in a measure does not
2643 end on the automatically entered bar line: the note is assumed
2644 to carry over into the next measure. But if a long sequence
2645 of such carry-over measures appears the music can appear compressed
2646 or even flowing off the page. This is because automatic line
2647 breaks happen only at the end of complete measures, i.e., where
2648 all notes end before the end of a measure.
2650 @warning{An incorrect duration can cause line breaks to be
2651 inhibited, leading to a line of highly compressed music or
2652 music which flows off the page.}
2655 @cindex bar lines, invisible
2656 @cindex measure lines, invisible
2658 Line breaks are also permitted at manually inserted bar lines
2659 even within incomplete measures. To allow a line break without
2660 printing a bar line, use the following:
2667 This will insert an invisible bar line and allow (but not
2668 force) a line break to occur at this point. The bar number
2669 counter is not increased. To force a line break see
2670 @ref{Line breaking}.
2672 @cindex manual bar lines
2673 @cindex manual measure lines
2674 @cindex bar lines, manual
2675 @cindex measure lines, manual
2677 This and other special bar lines may be inserted manually at any
2678 point. When they coincide with the end of a measure they replace
2679 the simple bar line which would have been inserted there
2680 automatically. When they do not coincide with the end of a measure
2681 the specified bar line is inserted at that point in the printed
2684 Note that manual bar lines are purely visual. They do not affect
2685 any of the properties that a normal bar line would affect, such as
2686 measure numbers, accidentals, line breaks, etc. They do not affect
2687 the calculation and placement of subsequent automatic bar lines.
2688 When a manual bar line is placed where a normal bar line already
2689 exists, the effects of the original bar line are not altered.
2691 Two types of simple bar lines and five types of double bar lines are
2692 available for manual insertion:
2694 @lilypond[quote,relative=1,verbatim]
2706 together with dotted and dashed bar lines:
2708 @lilypond[quote,relative=1,verbatim]
2715 and nine types of repeat bar lines:
2717 @lilypond[quote,relative=1,verbatim]
2730 Additionally, a bar line can be printed as a simple tick:
2731 @lilypond[quote,relative=1,verbatim]
2734 However, as such ticks are typically used in Gregorian chant, it is
2735 preferable to use @code{\divisioMinima} there instead, described in
2736 the section @ref{Divisiones} in Gregorian chant.
2738 Lilypond supports kievan notation and provides a special kievan
2740 @lilypond[quote,relative=1,verbatim]
2743 Further details of this notation are explained in
2744 @ref{Typesetting Kievan square notation}.
2748 For in-line segno signs, there are three types of bar lines which
2749 differ in their behavior at line breaks:
2751 @lilypond[quote,relative=2,verbatim]
2769 Although the bar line types signifying repeats may be inserted
2770 manually they do not in themselves cause LilyPond to recognize
2771 a repeated section. Such repeated sections are better entered
2772 using the various repeat commands (see @ref{Repeats}), which
2773 automatically print the appropriate bar lines.
2775 In addition, you can specify @code{".|:-||"}, which is equivalent to
2776 @code{".|:"} except at line breaks, where it gives a double bar
2777 line at the end of the line and a start repeat at the beginning of
2780 @lilypond[quote,relative=2,verbatim]
2788 For combinations of repeats with the segno sign, there are six different
2791 @lilypond[quote,relative=2,verbatim]
2819 Additionally there is an @code{\inStaffSegno} command which
2820 creates a segno bar, placed in cooperation
2821 with the @code{\repeat volta} command.
2823 @funindex \defineBarLine
2824 @funindex defineBarLine
2825 @cindex bar lines, defining
2826 @cindex defining bar lines
2828 New bar line types can be defined with @code{\defineBarLine}:
2831 \defineBarLine @var{bartype} #'(@var{end} @var{begin} @var{span})
2834 The @code{\defineBarline} variables can include the
2835 @q{empty} string @code{""}, which is equivalent to an invisible
2836 bar line being printed. Or they can be set to @code{#f} which
2837 prints no bar line at all.
2839 After the definiton, the new bar line can be used by
2840 @code{\bar} @var{bartype}.
2842 There are currently ten bar line elements available:
2844 @lilypond[quote,verbatim]
2845 \defineBarLine ":" #'("" ":" "")
2846 \defineBarLine "=" #'("=" "" "")
2847 \defineBarLine "[" #'("" "[" "")
2848 \defineBarLine "]" #'("]" "" "")
2865 The @code{"="} bar line provides the double span bar line, used
2866 in combination with the segno sign. Do not use it as a standalone
2867 double thin bar line; here, @code{\bar} @var{"||"} is
2870 The @code{"-"} sign starts annotations to bar lines which
2871 are useful to distinguish those with identical appearance
2872 but different behavior at line breaks and/or different span bars.
2873 The part following the @code{"-"} sign is not used for building up
2876 @lilypond[quote,relative=2,verbatim]
2877 \defineBarLine "||-dashedSpan" #'("||" "" "!!")
2882 c1 \bar "||-dashedSpan"
2893 Furthermore, the space character @code{" "} serves as a placeholder
2894 for defining span bars correctly aligned to the main bar lines:
2896 @lilypond[quote,relative=2,verbatim]
2897 \defineBarLine ":|.-wrong" #'(":|." "" "|.")
2898 \defineBarLine ":|.-right" #'(":|." "" " |.")
2914 If additional elements are needed, LilyPond provides a simple
2915 way to define them. For more informations on modifying or adding
2916 bar lines, see file @file{scm/bar-line.scm}.
2918 In scores with many staves, a @code{\bar} command in one staff is
2919 automatically applied to all staves. The resulting bar lines are
2920 connected between different staves of a @code{StaffGroup},
2921 @code{PianoStaff}, or @code{GrandStaff}.
2923 @lilypond[quote,relative=1,verbatim]
2931 \new Staff { \clef bass c4 g e g }
2933 \new Staff { \clef bass c2 c2 }
2938 @cindex default bar lines, changing
2939 @cindex bar lines, default, changing
2942 @funindex defaultBarType
2947 The command @samp{\bar @var{bartype}} is a shortcut for
2948 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2949 created whenever the @code{whichBar} property is set.
2951 The default bar type used for automatically inserted bar lines is
2952 @code{"|"}. This may be changed at any time with
2953 @samp{\set Timing.defaultBarType = @var{bartype}}.
2957 @ref{Line breaking},
2959 @ref{Grouping staves}.
2962 @file{scm/bar-line.scm}.
2967 Internals Reference:
2968 @rinternals{BarLine} (created at @code{Staff} level),
2969 @rinternals{SpanBar} (across staves),
2970 @rinternals{Timing_translator} (for Timing properties).
2974 @unnumberedsubsubsec Bar numbers
2977 @cindex measure numbers
2978 @cindex numbers, bar
2979 @cindex numbers, measure
2981 @funindex currentBarNumber
2983 Bar numbers are typeset by default at the start of every line except
2984 the first line. The number itself is stored in the
2985 @code{currentBarNumber} property, which is normally updated
2986 automatically for every measure. It may also be set manually:
2988 @lilypond[verbatim,quote,relative=1]
2991 \set Score.currentBarNumber = #50
2995 @cindex bar numbers, regular spacing
2997 @funindex barNumberVisibility
3000 Bar numbers can be typeset at regular intervals instead of just at
3001 the beginning of every line. To do this the default behavior
3002 must be overridden to permit bar numbers to be printed at places
3003 other than the start of a line. This is controlled by the
3004 @code{break-visibility} property of @code{BarNumber}. This takes
3005 three values which may be set to @code{#t} or @code{#f} to specify
3006 whether the corresponding bar number is visible or not. The order
3007 of the three values is @code{end of line visible}, @code{middle of
3008 line visible}, @code{beginning of line visible}. In the following
3009 example bar numbers are printed at all possible places:
3011 @lilypond[verbatim,quote,relative=1]
3012 \override Score.BarNumber.break-visibility = ##(#t #t #t)
3013 \set Score.currentBarNumber = #11
3014 % Permit first bar number to be printed
3022 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3023 {printing-the-bar-number-for-the-first-measure.ly}
3025 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3026 {printing-bar-numbers-at-regular-intervals.ly}
3028 @cindex measure number, format
3029 @cindex bar number, format
3031 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3032 {printing-bar-numbers-inside-boxes-or-circles.ly}
3034 @cindex bar numbers, with letters
3035 @cindex bar numbers, with repeats
3037 @lilypondfile[verbatim,quote,texidoc,doctitle]
3038 {alternative-bar-numbering.ly}
3040 @cindex bar number alignment
3042 @lilypondfile[verbatim,quote,texidoc,doctitle]
3043 {aligning-bar-numbers.ly}
3045 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3046 {removing-bar-numbers-from-a-score.ly}
3052 Internals Reference:
3053 @rinternals{BarNumber},
3054 @rinternals{Bar_number_engraver}.
3056 @cindex bar number collision
3057 @cindex collision, bar number
3060 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
3061 if there is one. To solve this, the @code{padding} property of
3062 @code{BarNumber} can be used to position the number correctly. See
3063 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
3066 @node Bar and bar number checks
3067 @unnumberedsubsubsec Bar and bar number checks
3070 @cindex bar number check
3071 @cindex measure check
3072 @cindex measure number check
3074 @funindex barCheckSynchronize
3077 Bar checks help detect errors in the entered durations. A bar check
3078 may be entered using the bar symbol, @code{|}, at any place where a
3079 bar line is expected to fall. If bar check lines are encountered at
3080 other places, a list of warnings is printed in the log file, showing
3081 the line numbers and lines in which the bar checks failed. In the
3082 next example, the second bar check will signal an error.
3085 \time 3/4 c2 e4 | g2 |
3088 Bar checks can also be used in lyrics:
3093 Twin -- kle | Twin -- kle |
3097 An incorrect duration can result in a completely garbled score,
3098 especially if the score is polyphonic, so a good place to start
3099 correcting input is by scanning for failed bar checks and
3100 incorrect durations.
3102 If successive bar checks are off by the same musical interval,
3103 only the first warning message is displayed. This allows the
3104 warning to focus on the source of the timing error.
3108 @funindex pipeSymbol
3110 It is also possible to redefine the action taken when a bar check
3111 or pipe symbol, @code{|}, is encountered in the input, so that
3112 it does something other than a bar check. This is done by
3113 assigning a music expression to @code{pipeSymbol}.
3114 In the following example @code{|} is set to insert a double bar
3115 line wherever it appears in the input, rather than checking
3118 @lilypond[quote,verbatim]
3119 pipeSymbol = \bar "||"
3128 @funindex \barNumberCheck
3129 @funindex barNumberCheck
3131 When copying large pieces of music, it can be helpful to check that
3132 the LilyPond bar number corresponds to the original that you are
3133 entering from. This can be checked with @code{\barNumberCheck}, for
3137 \barNumberCheck #123
3141 will print a warning if the @code{currentBarNumber} is not 123
3142 when it is processed.
3149 @node Rehearsal marks
3150 @unnumberedsubsubsec Rehearsal marks
3152 @cindex rehearsal marks
3153 @cindex mark, rehearsal
3158 To print a rehearsal mark, use the @code{\mark} command.
3160 @lilypond[quote,verbatim,relative=2]
3168 The mark is incremented automatically if you use @code{\mark
3169 \default}, but you can also use an integer argument to set the
3170 mark manually. The value to use is stored in the property
3171 @code{rehearsalMark}.
3173 @lilypond[quote,verbatim,relative=2]
3182 The letter@tie{}@q{I} is skipped in accordance with engraving
3183 traditions. If you wish to include the letter @q{I}, then use one
3184 of the following commands, depending on which style of rehearsal mark
3185 you want (letters only, letters in a hollow box, or letters in a
3189 \set Score.markFormatter = #format-mark-alphabet
3190 \set Score.markFormatter = #format-mark-box-alphabet
3191 \set Score.markFormatter = #format-mark-circle-alphabet
3194 @lilypond[quote,verbatim,relative=2]
3195 \set Score.markFormatter = #format-mark-box-alphabet
3203 @cindex rehearsal mark format
3204 @cindex rehearsal mark style
3205 @cindex style, rehearsal mark
3206 @cindex format, rehearsal mark
3207 @cindex mark, rehearsal, style
3208 @cindex mark, rehearsal, format
3209 @cindex rehearsal mark, manual
3210 @cindex mark, rehearsal, manual
3211 @cindex custom rehearsal mark
3212 @cindex manual rehearsal mark
3214 The style is defined by the property @code{markFormatter}. It is
3215 a function taking the current mark (an integer) and the current
3216 context as argument. It should return a markup object. In the
3217 following example, @code{markFormatter} is set to a pre-defined
3218 procedure. After a few measures, it is set to a procedure that
3219 produces a boxed number.
3221 @lilypond[quote,verbatim,relative=2]
3222 \set Score.markFormatter = #format-mark-numbers
3225 \set Score.markFormatter = #format-mark-box-numbers
3227 \set Score.markFormatter = #format-mark-circle-numbers
3229 \set Score.markFormatter = #format-mark-circle-letters
3233 The file @file{scm/translation-functions.scm} contains the
3234 definitions of @code{format-mark-numbers} (the default format),
3235 @code{format-mark-box-numbers}, @code{format-mark-letters} and
3236 @code{format-mark-box-letters}. These can be used as inspiration
3237 for other formatting functions.
3239 You may use @code{format-mark-barnumbers},
3240 @code{format-mark-box-barnumbers}, and
3241 @code{format-mark-circle-barnumbers} to get bar numbers instead of
3242 incremented numbers or letters.
3244 Other styles of rehearsal mark can be specified manually:
3251 Note that @code{Score.markFormatter} does not affect marks specified
3252 in this manner. However, it is possible to apply a @code{\markup} to the
3256 \mark \markup@{ \box A1 @}
3261 @cindex D.S. al Fine
3263 @cindex music glyphs
3264 @cindex glyphs, music
3266 @funindex \musicglyph
3267 @funindex musicglyph
3269 Music glyphs (such as the segno sign) may be printed inside a
3272 @lilypond[quote,verbatim,relative=1]
3273 c1 \mark \markup { \musicglyph #"scripts.segno" }
3274 c1 \mark \markup { \musicglyph #"scripts.coda" }
3275 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3280 See @ref{The Feta font}, for a list of symbols which may be
3281 printed with @code{\musicglyph}.
3283 For common tweaks to the positioning of rehearsal marks, see
3284 @ref{Formatting text}. For more precise control, see
3285 @code{break-alignable-interface} in @ref{Aligning objects}.
3287 The file @file{scm/translation-functions.scm} contains
3288 the definitions of @code{format-mark-numbers} and
3289 @code{format-mark-letters}. They can be used as inspiration for
3290 other formatting functions.
3294 @ref{The Feta font},
3295 @ref{Formatting text},
3296 @ref{Aligning objects}.
3299 @file{scm/translation-functions.scm}.
3304 Internals Reference:
3305 @rinternals{MarkEvent},
3306 @rinternals{Mark_engraver},
3307 @rinternals{RehearsalMark}.
3310 @node Special rhythmic concerns
3311 @subsection Special rhythmic concerns
3316 * Aligning to cadenzas::
3317 * Time administration::
3321 @unnumberedsubsubsec Grace notes
3325 @cindex appoggiatura
3326 @cindex acciaccatura
3329 @funindex \slashedGrace
3330 @funindex \acciaccatura
3331 @funindex \appoggiatura
3333 Grace notes are musical ornaments, printed in a smaller font, that take
3334 up no additional logical time in a measure.
3336 @lilypond[quote,relative=2,verbatim]
3338 \grace { b16[ c16] } a2)
3341 There are three other types of grace notes possible; the
3342 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3343 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3344 fixed fraction of the main note it is attached to and prints without the
3345 slash. It is also possible to write a grace note with a slashed stem,
3346 like the @emph{acciaccatura} but without the slur, so as to place it
3347 between notes that are slurred themselves, using the
3348 @code{\slashedGrace} function.
3350 @lilypond[quote,relative=2,verbatim]
3353 \acciaccatura { g16[ f] } e2
3354 \slashedGrace a,8 g4
3355 \slashedGrace b16 a4(
3356 \slashedGrace b8 a2)
3359 The placement of grace notes is synchronized between different staves.
3360 In the following example, there are two sixteenth grace notes for every
3363 @lilypond[quote,relative=2,verbatim]
3365 \new Staff { e2 \grace { c16[ d e f] } e2 }
3366 \new Staff { c2 \grace { g8[ b] } c2 }
3370 @cindex grace notes, following
3372 @funindex \afterGrace
3373 @funindex afterGrace
3375 If you want to end a note with a grace, use the @code{\afterGrace}
3376 command. It takes two arguments: the main note, and the grace
3377 notes following the main note.
3379 @lilypond[quote,verbatim,relative=2]
3380 c1 \afterGrace d1 { c16[ d] } c1
3383 This will put the grace notes after a space lasting 3/4 of the
3384 length of the main note. The default fraction 3/4 can be changed by
3385 setting @code{afterGraceFraction}. The following example shows
3386 the results from setting the space at the default, at 15/16, and
3387 finally at 1/2 of the main note.
3389 @lilypond[quote,verbatim,relative=2]
3392 c1 \afterGrace d1 { c16[ d] } c1
3395 #(define afterGraceFraction (cons 15 16))
3396 c1 \afterGrace d1 { c16[ d] } c1
3399 #(define afterGraceFraction (cons 1 2))
3400 c1 \afterGrace d1 { c16[ d] } c1
3405 The space between the main note and the grace note may also be
3406 specified using spacers. The following example places the grace
3407 note after a space lasting 7/8 of the main note.
3409 @lilypond[quote,verbatim,relative=2]
3413 { s2 s4. \grace { c16[ d] } }
3419 @cindex tweaking grace notes
3420 @cindex grace notes, tweaking
3421 @cindex grace notes, changing layout settings
3423 A @code{\grace} music expression will introduce special
3424 typesetting settings, for example, to produce smaller type, and
3425 set directions. Hence, when introducing layout tweaks to
3426 override the special settings, they should be placed inside
3427 the grace expression. The overrides should also be reverted
3428 inside the grace expression. Here, the grace note's default stem
3429 direction is overridden and then reverted.
3431 @lilypond[quote,verbatim,relative=2]
3443 @cindex stem, with slash
3448 @lilypondfile[verbatim,quote,texidoc,doctitle]
3449 {using-grace-note-slashes-with-normal-heads.ly}
3451 @lilypondfile[verbatim,quote,texidoc,doctitle]
3452 {tweaking-grace-layout-within-music.ly}
3454 @lilypondfile[verbatim,quote,texidoc,doctitle]
3455 {redefining-grace-note-global-defaults.ly}
3457 @lilypondfile[verbatim,quote,texidoc,doctitle]
3458 {positioning-grace-notes-with-floating-space.ly}
3462 @rglos{grace notes},
3463 @rglos{acciaccatura},
3464 @rglos{appoggiatura}.
3467 @ref{Scaling durations},
3471 @file{ly/grace-init.ly}.
3476 Internals Reference:
3477 @rinternals{GraceMusic},
3478 @rinternals{Grace_beam_engraver},
3479 @rinternals{Grace_engraver},
3480 @rinternals{Grace_spacing_engraver}.
3484 @cindex acciaccatura, multi-note
3485 @cindex multi-note acciaccatura
3486 @cindex grace-note synchronization
3488 A multi-note beamed @i{acciaccatura} is printed without a slash,
3489 and looks exactly the same as a multi-note beamed
3492 @c TODO Add link to LSR snippet to add slash when available
3494 Grace note synchronization can also lead to surprises. Staff
3495 notation, such as key signatures, bar lines, etc., are also
3496 synchronized. Take care when you mix staves with grace notes and
3497 staves without, for example,
3499 @lilypond[quote,relative=2,verbatim]
3501 \new Staff { e4 \bar ".|:" \grace c16 d2. }
3502 \new Staff { c4 \bar ".|:" d2. }
3507 This can be remedied by inserting grace skips of the corresponding
3508 durations in the other staves. For the above example
3510 @lilypond[quote,relative=2,verbatim]
3512 \new Staff { e4 \bar ".|:" \grace c16 d2. }
3513 \new Staff { c4 \bar ".|:" \grace s16 d2. }
3517 The use of grace notes within voice contexts confuses the way the voice
3518 is typeset. This can be overcome by inserting a rest or note between the
3519 voice command and the grace note.
3521 @lilypond[quote,verbatim]
3523 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3530 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3531 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3536 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3537 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3544 Grace sections should only be used within sequential music expressions.
3545 Nesting or juxtaposing grace sections is not supported, and might
3546 produce crashes or other errors.
3548 Each grace note in MIDI output has a length of 1/4 of its actual
3549 duration. If the combined length of the grace notes is greater than the
3550 length of the preceding note a @qq{@code{Going back in MIDI time}}
3551 error will be generated. Either make the grace notes shorter in
3552 duration, for example:
3555 c'8 \acciaccatura @{ c'8[ d' e' f' g'] @}
3561 c'8 \acciaccatura @{ c'16[ d' e' f' g'] @}
3564 Or explicitly change the musical duration:
3567 c'8 \acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
3570 See @ref{Scaling durations}.
3573 @node Aligning to cadenzas
3574 @unnumberedsubsubsec Aligning to cadenzas
3577 @cindex cadenza, aligning to
3578 @cindex aligning to cadenza
3580 In an orchestral context, cadenzas present a special problem: when
3581 constructing a score that includes a measured cadenza or other solo
3582 passage, all other instruments should skip just as many notes as the
3583 length of the cadenza, otherwise they will start too soon or too late.
3585 One solution to this problem is to use the functions
3586 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3587 functions take a defined piece of music as an argument and generate a
3588 multi-measure rest or @code{\skip} exactly as long as the piece.
3590 @lilypond[verbatim,quote]
3591 MyCadenza = \relative c' {
3602 #(mmrest-of-length MyCadenza)
3604 #(skip-of-length MyCadenza)
3618 @node Time administration
3619 @unnumberedsubsubsec Time administration
3621 @cindex time administration
3622 @cindex timing (within the score)
3623 @cindex music, unmetered
3624 @cindex unmetered music
3626 @funindex currentBarNumber
3627 @funindex measurePosition
3628 @funindex measureLength
3630 Time is administered by the @code{Timing_translator}, which by
3631 default is to be found in the @code{Score} context. An alias,
3632 @code{Timing}, is added to the context in which the
3633 @code{Timing_translator} is placed. To ensure that the
3634 @code{Timing} alias is available, you may need to explicitly
3635 instantiate the containing context (such as @code{Voice} or
3638 The following properties of @code{Timing} are used
3639 to keep track of timing within the score.
3642 @cindex measure number
3645 @item currentBarNumber
3646 The current measure number. For an example showing the
3647 use of this property see @ref{Bar numbers}.
3650 The length of the measures in the current time signature. For a
3651 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3652 determines when bar lines are inserted and how automatic beams
3653 should be generated.
3655 @item measurePosition
3656 The point within the measure where we currently are. This
3657 quantity is reset by subtracting @code{measureLength} whenever
3658 @code{measureLength} is reached or exceeded. When that happens,
3659 @code{currentBarNumber} is incremented.
3662 If set to true, the above variables are updated for every time
3663 step. When set to false, the engraver stays in the current
3664 measure indefinitely.
3668 Timing can be changed by setting any of these variables
3669 explicitly. In the next example, the default 4/4 time
3670 signature is printed, but @code{measureLength} is set to 5/4.
3671 At 4/8 through the third measure, the @code{measurePosition} is
3672 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3673 The next bar line then falls at 9/8 rather than 5/4.
3675 @lilypond[quote,verbatim]
3676 \new Voice \relative c' {
3677 \set Timing.measureLength = #(ly:make-moment 5/4)
3681 \set Timing.measurePosition = #(ly:make-moment 5/8)
3688 As the example illustrates, @code{ly:make-moment n m} constructs a
3689 duration of n/m of a whole note. For example,
3690 @code{ly:make-moment 1 8} is an eighth note duration and
3691 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3697 @ref{Unmetered music}.
3702 Internals Reference:
3703 @rinternals{Timing_translator},