1 @c -*- coding: utf-8; mode: texinfo; -*-
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
149 @rglos{Duration names notes and rests}.
152 @ref{Automatic beams},
155 @ref{Writing rhythms},
158 @ref{Ancient notation},
159 @ref{Proportional notation}.
166 @rinternals{DotColumn}.
171 @c Deliberately duplicated in Durations and Rests. -gp
172 There is no fundamental limit to rest durations (both in terms of
173 longest and shortest), but the number of glyphs is limited:
174 rests from 128th to maxima (8 x whole) may be printed.
178 @unnumberedsubsubsec Tuplets
186 Tuplets are made from a music expression by multiplying all the
187 durations with a fraction:
190 \times @var{fraction} @{ @var{music} @}
194 The duration of @var{music} will be multiplied by the
195 fraction. The fraction's denominator will be printed over or
196 under the notes, optionally with a bracket. The most common
197 tuplet is the triplet in which 3 notes have the duration of 2, so
198 the notes are 2/3 of their written length.
200 @lilypond[quote,verbatim,relative=2]
201 a2 \times 2/3 { b4 b b }
202 c4 c \times 2/3 { b4 a g }
205 @cindex tuplet bracket placement
209 @funindex \tupletDown
211 @funindex \tupletNeutral
212 @funindex tupletNeutral
214 Tuplet brackets may be manually placed above or below the staff;
215 see @ref{Direction and placement}.
217 Tuplets may be nested:
219 @lilypond[quote,verbatim,relative=2]
221 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
224 Modifying nested tuplets which begin at the same musical moment
225 must be done with @code{\tweak}.
227 To modify the duration of notes without printing a tuplet bracket,
228 see @ref{Scaling durations}.
234 @code{\tupletNeutral}.
240 @cindex tuplet formatting
241 @cindex triplet formatting
243 @funindex tupletNumberFormatFunction
244 @funindex tupletSpannerDuration
246 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
247 {entering-several-tuplets-using-only-one--times-command.ly}
249 @cindex Tuplet number changes
251 @funindex TupletNumber
253 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
254 {changing-the-tuplet-number.ly}
256 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
257 {non-default-tuplet-numbers.ly}
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {permitting-line-breaks-within-beamed-tuplets.ly}
270 @rlearning{Tweaking methods}.
273 @ref{Time administration},
274 @ref{Scaling durations},
275 @ref{The tweak command},
276 @ref{Polymetric notation}.
282 @rinternals{TupletBracket},
283 @rinternals{TupletNumber},
284 @rinternals{TimeScaledMusic}.
287 @cindex grace notes within tuplet brackets
290 When the first note on a staff is a grace note followed by a
291 tuplet the grace note must be placed before the @code{\times}
292 command to avoid errors. Anywhere else, grace notes may be
293 placed within tuplet brackets.
296 @node Scaling durations
297 @unnumberedsubsubsec Scaling durations
299 @cindex scaling durations
300 @cindex durations, scaling
302 You can alter the duration of single notes, rests or chords by a
303 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
304 is 1) to the duration. This will not affect the appearance of the
305 notes or rests produced, but the altered duration will be used in
306 calculating the position within the measure and setting the duration
307 in the MIDI output. Multiplying factors may be combined such as
310 In the following example, the first three notes take up exactly
311 two beats, but no triplet bracket is printed.
313 @lilypond[quote,relative=2,verbatim]
315 % Alter durations to triplets
316 a4*2/3 gis4*2/3 a4*2/3
319 % Double the duration of chord
321 % Duration of quarter, appears like sixteenth
325 The duration of spacing notes may also be modified by
326 a multiplier. This is useful for skipping many measures, e.g.,
329 @cindex compressing music
330 @cindex expanding music
332 @funindex \scaleDurations
333 @funindex scaleDurations
335 Longer stretches of music may be compressed by a fraction in the
336 same way, as if every note, chord or rest had the fraction as a
337 multiplier. This leaves the appearance of the music unchanged but
338 the internal duration of the notes will be multiplied by the
339 fraction @emph{num}/@emph{den}. The spaces around the dot are
340 required. Here is an example showing how music can be compressed
343 @lilypond[quote,relative=2,verbatim]
347 % Scale music by *2/3
348 \scaleDurations #'(2 . 3) {
352 \scaleDurations #'(2 . 1) {
357 One application of this command is in polymetric
358 notation, see @ref{Polymetric notation}.
364 @ref{Invisible rests},
365 @ref{Polymetric notation}.
372 @unnumberedsubsubsec Ties
378 A tie connects two adjacent note heads of the same pitch. The tie
379 in effect extends the duration of a note.
381 @warning{Ties should not be confused with @emph{slurs}, which
382 indicate articulation, or @emph{phrasing slurs}, which indicate
383 musical phrasing. A tie is just a way of extending a note
384 duration, similar to the augmentation dot.}
386 A tie is entered using the tilde symbol (@code{~}).
388 @lilypond[quote,verbatim,relative=2]
392 Ties are used either when the note crosses a bar line, or when
393 dots cannot be used to denote the rhythm. Ties should also be
394 used when note values cross larger subdivisions of the measure:
396 @lilypond[verbatim,quote]
403 If you need to tie many notes across bar lines, it may be
404 easier to use automatic note splitting, see @ref{Automatic note
405 splitting}. This mechanism automatically splits long notes, and
406 ties them across bar lines.
408 @cindex ties and chords
409 @cindex chords and ties
411 When a tie is applied to a chord, all note heads whose pitches
412 match are connected. When no note heads match, no ties will be
413 created. Chords may be partially tied by placing the tie inside
416 @lilypond[quote,verbatim,relative=1]
418 <c~ e g~ b> <c e g b>
421 @cindex repeating ties
422 @cindex ties, repeating
423 @cindex volta brackets and ties
424 @cindex ties and volta brackets
429 When a second alternative of a repeat starts with a tied note, you
430 have to specify the repeated tie as follows:
432 @lilypond[quote,relative=2,verbatim]
433 \repeat volta 2 { c g <c e>2 ~ }
435 % First alternative: following note is tied normally
437 % Second alternative: following note has a repeated tie
438 { <c e>2\repeatTie d4 c } }
441 @cindex laissez vibrer
442 @cindex ties, laissez vibrer
444 @funindex \laissezVibrer
445 @funindex laissezVibrer
447 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
448 notes must not be damped at the end. It is used in notation for
449 piano, harp and other string and percussion instruments. They can
450 be entered as follows:
452 @lilypond[quote,verbatim,relative=1]
453 <c f g>1\laissezVibrer
456 @cindex ties, placement
462 @funindex \tieNeutral
465 Ties may be manually placed above or below the staff; see
466 @ref{Direction and placement}.
468 @cindex ties, appearance
481 Ties may be made dashed, dotted, or a combination of solid and
484 @lilypond[quote, verbatim, relative=1]
497 Custom dash patterns can be specified:
499 @lilypond[quote, verbatim, relative=1]
500 \tieDashPattern #0.3 #0.75
502 \tieDashPattern #0.7 #1.5
508 Dash pattern definitions for ties have the same structure as
509 dash pattern definitions for slurs.
510 For more information about complex dash patterns,
511 see the snippets under @ref{Slurs}.
519 @code{\tieDashPattern},
520 @code{\tieHalfDashed},
521 @code{\tieHalfSolid},
528 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
529 {using-ties-with-arpeggios.ly}
531 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
532 {engraving-ties-manually.ly}
538 @rglos{laissez vibrer}.
542 @ref{Automatic note splitting}.
548 @rinternals{LaissezVibrerTie},
549 @rinternals{LaissezVibrerTieColumn},
550 @rinternals{TieColumn},
556 Switching staves when a tie is active will not produce a slanted
559 Changing clefs or octavations during a tie is not really
560 well-defined. In these cases, a slur may be preferable.
565 @subsection Writing rests
567 Rests are entered as part of the music in music expressions.
572 * Full measure rests::
576 @unnumberedsubsubsec Rests
579 @cindex rest, entering durations
594 Rests are entered like notes with the note name @code{r}.
595 Durations longer than a whole rest use the predefined
598 @c \time 16/1 is used to avoid spurious bar lines
599 @c and long tracts of empty measures
600 @lilypond[fragment,quote,verbatim]
602 % These two lines are just to prettify this example
604 \override Staff.TimeSignature #'stencil = ##f
605 % Print a maxima rest, equal to four breves
607 % Print a longa rest, equal to two breves
611 r1 r2 r4 r8 r16 r32 r64 r128
615 @cindex rest, multi-measure
616 @cindex rest, whole-measure
618 Whole measure rests, centered in the middle of the measure, must be
619 entered as multi-measure rests. They can be used for a single
620 measure as well as many measures and are discussed in @ref{Full
623 @cindex rest, specifying vertical position
625 To explicitly specify a rest's vertical position, write a note
626 followed by @code{\rest}. A rest of the duration of the note will
627 be placed at the staff position where the note would appear. This
628 allows for precise manual formatting of polyphonic music, since the
629 automatic rest collision formatter will not move these rests.
631 @lilypond[quote,verbatim,relative=2]
637 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
648 @ref{Full measure rests}.
659 @c Deliberately duplicated in Durations and Rests. -gp
660 There is no fundamental limit to rest durations (both in terms of
661 longest and shortest), but the number of glyphs is limited: there
662 are rests from 128th to maxima (8 x whole).
665 @node Invisible rests
666 @unnumberedsubsubsec Invisible rests
669 @cindex invisible rest
670 @cindex rest, invisible
678 An invisible rest (also called a @q{spacer rest}) can be entered
679 like a note with the note name@tie{}@code{s}:
681 @lilypond[verbatim,quote,relative=2]
688 Spacer rests are available only in note mode and chord mode. In
689 other situations, for example, when entering lyrics, the
690 command @code{\skip} is used to skip a musical moment.
691 @code{\skip} requires an explicit duration.
693 @lilypond[quote,verbatim,relative=2]
706 Because @code{\skip} is a command, it does not affect the default
707 durations of following notes, unlike@tie{}@code{s}.
709 @lilypond[quote,verbatim,relative=2]
712 \repeat unfold 8 {a4}
722 A spacer rest implicitly causes @code{Staff} and @code{Voice}
723 contexts to be created if none exist, just like notes and rests
726 @lilypond[quote,verbatim,fragment]
730 @code{\skip} simply skips musical time; it creates no output of
733 @lilypond[quote,verbatim,fragment]
734 % This is valid input, but does nothing
735 \skip 1 \skip1 \skip 1
741 @rlearning{Visibility and color of objects}.
745 @ref{Visibility of objects}.
751 @rinternals{SkipMusic}.
754 @node Full measure rests
755 @unnumberedsubsubsec Full measure rests
757 @cindex multi-measure rests
758 @cindex full-measure rests
759 @cindex rest, multi-measure
760 @cindex rest, full-measure
761 @cindex whole rest for a full measure
762 @cindex rest, whole for a full measure
766 Rests for one or more full measures are entered like notes with
767 the note name uppercase @code{R}:
769 @lilypond[quote,verbatim,relative=2]
770 % Rest measures contracted to single measure
771 \compressFullBarRests
778 The duration of full-measure rests is identical to the duration
779 notation used for notes. The duration in a multi-measure rest must
780 always be an integral number of measure-lengths, so augmentation dots
781 or fractions must often be used:
783 @lilypond[quote,fragment,verbatim]
784 \compressFullBarRests
790 R1*13/8 | R1*13/8*12 |
795 A full-measure rest is printed as either a whole or breve rest,
796 centered in the measure, depending on the time signature.
798 @lilypond[quote,verbatim,fragment]
807 @cindex multi-measure rest, expanding
808 @cindex multi-measure rest, contracting
810 @funindex \expandFullBarRests
811 @funindex expandFullBarRests
812 @funindex \compressFullBarRests
813 @funindex compressFullBarRests
815 By default a multi-measure rest is expanded in the printed score to
816 show all the rest measures explicitly. Alternatively, a multi-measure
817 rest can be shown as a single measure containing a multi-measure rest
818 symbol, with the number of measures of rest printed above the measure:
820 @lilypond[quote,fragment,verbatim]
822 \time 3/4 r2. | R2.*2 |
825 % Rest measures contracted to single measure
826 \compressFullBarRests
828 % Rest measures expanded
835 @cindex text on multi-measure rest
836 @cindex multi-measure rest, attaching text
837 @cindex script on multi-measure rest
838 @cindex multi-measure rest, script
839 @cindex fermata on multi-measure rest
840 @cindex multi-measure rest, attaching fermata
841 @cindex markup on multi-measure rest
842 @cindex multi-measure rest with markup
844 @funindex \fermataMarkup
845 @funindex fermataMarkup
846 @funindex MultiMeasureRestText
848 Markups can be added to multi-measure rests.
849 The predefined command @code{\fermataMarkup}
850 is provided for adding fermatas.
852 @lilypond[quote,verbatim,fragment]
853 \compressFullBarRests
855 R2.*10^\markup { \italic "ad lib." }
860 Markups attached to a multi-measure rest are
861 objects of type @code{MultiMeasureRestText}, not
862 @code{TextScript}. Overrides must be directed to the correct
863 object, or they will be ignored. See the following example.
866 @lilypond[quote,verbatim,fragment]
867 % This fails, as the wrong object name is specified
868 \override TextScript #'padding = #5
870 % This is correct and works
871 \override MultiMeasureRestText #'padding = #5
875 When a multi-measure rest immediately follows a @code{\partial}
876 setting, resulting bar-check warnings may not be displayed.
879 @funindex \textLengthOn
880 @funindex textLengthOn
881 @funindex \textLengthOff
882 @funindex textLenthOff
883 @funindex \fermataMarkup
884 @funindex fermataMarkup
885 @funindex \compressFullBarRests
886 @funindex compressFullBarRests
887 @funindex \expandFullBarRests
888 @funindex expandFullBarRests
891 @code{\textLengthOn},
892 @code{\textLengthOff},
893 @code{\fermataMarkup},
894 @code{\compressFullBarRests},
895 @code{\expandFullBarRests}.
903 @cindex kirchenpausen
905 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
906 {changing-form-of-multi-measure-rests.ly}
908 @cindex multi-measure rests, positioning
909 @cindex positioning multi-measure rests
911 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
912 {positioning-multi-measure-rests.ly}
914 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
915 {multi-measure-rest-markup.ly}
920 @rglos{multi-measure rest}.
925 @ref{Formatting text},
932 @rinternals{MultiMeasureRest},
933 @rinternals{MultiMeasureRestNumber},
934 @rinternals{MultiMeasureRestText}.
937 @cindex fingerings and multi-measure rests
938 @cindex multi-measure rests and fingerings
942 If an attempt is made to use fingerings (e.g.,
943 @code{R1*10-4}) to put numbers over multi-measure rests, the
944 fingering numeral (4) may collide with the bar counter
947 @cindex condensing rests
948 @cindex rest, condensing ordinary
950 There is no way to automatically condense multiple ordinary rests
951 into a single multi-measure rest.
953 @cindex rest, collisions of
955 Multi-measure rests do not take part in rest collisions.
957 @node Displaying rhythms
958 @subsection Displaying rhythms
964 * Polymetric notation::
965 * Automatic note splitting::
966 * Showing melody rhythms::
970 @unnumberedsubsubsec Time signature
972 @cindex time signature
978 The time signature is set as follows:
980 @lilypond[quote,verbatim,relative=2]
985 @cindex time signature, visibility of
987 Time signatures are printed at the beginning of a piece
988 and whenever the time signature changes. If a change takes place
989 at the end of a line a warning time signature sign is printed
990 there. This default behavior may be changed, see
991 @ref{Visibility of objects}.
993 @lilypond[quote,verbatim,relative=2]
1003 @cindex time signature style
1006 @funindex \numericTimeSignature
1007 @funindex numericTimeSignature
1008 @funindex \defaultTimeSignature
1009 @funindex defaultTimeSignature
1011 The time signature symbol that is used in 2/2 and 4/4 time can be
1012 changed to a numeric style:
1014 @lilypond[quote,verbatim,relative=2]
1018 % Change to numeric style
1019 \numericTimeSignature
1022 % Revert to default style
1023 \defaultTimeSignature
1029 Mensural time signatures are covered in
1030 @ref{Mensural time signatures}.
1034 @code{\numericTimeSignature},
1035 @code{\defaultTimeSignature}.
1041 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1042 {changing-the-time-signature-without-affecting-the-beaming.ly}
1044 @cindex compound time signatures
1045 @cindex time signature, compound
1047 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1048 {compound-time-signatures.ly}
1050 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1051 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1056 @rglos{time signature}
1059 @ref{Mensural time signatures},
1060 @ref{Time administration}.
1065 Internals Reference:
1066 @rinternals{TimeSignature},
1067 @rinternals{Timing_translator}.
1071 @unnumberedsubsubsec Upbeats
1075 @cindex partial measure
1076 @cindex measure, partial
1077 @cindex pickup measure
1078 @cindex measure, change length
1080 @funindex measurePosition
1084 Partial or pick-up measures, such as an anacrusis or upbeat, are
1085 entered using the @code{\partial} command, with the syntax
1088 \partial @var{duration}
1092 where @code{duration} is the rhythmic length of the interval
1093 before the start of the first complete measure:
1095 @lilypond[quote,verbatim,relative=2]
1100 The partial measure can be any duration less than a full measure:
1102 @lilypond[quote,verbatim,relative=2]
1103 \partial 8*3 c8 d e |
1107 Internally, @code{\partial} is translated into
1110 \set Timing.measurePosition = -@var{duration}
1114 The property @code{measurePosition} contains a rational number
1115 indicating how much of the measure has passed at this point. Note
1116 that this is set to a negative number by the @code{\partial}
1117 command: i.e., @code{\partial 4} is internally translated to
1118 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1132 @rinternals{Timing_translator}.
1137 The @code{\partial} command is intended to be used only at the
1138 beginning of a piece. If you use it after the beginning, some
1139 odd warnings may occur.
1141 @node Unmetered music
1142 @unnumberedsubsubsec Unmetered music
1144 @cindex bar lines, turning off
1145 @cindex bar numbering, turning off
1147 @cindex unmetered music
1149 @funindex \cadenzaOn
1151 @funindex \cadenzaOff
1152 @funindex cadenzaOff
1154 Bar lines and bar numbers are calculated automatically. For
1155 unmetered music (some cadenzas, for example), this is not desirable.
1156 To turn off automatic calculation of bar lines and bar numbers,
1157 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1158 to turn them on again.
1160 @lilypond[verbatim,relative=2,fragment]
1169 Bar numbering is resumed at the end of the cadenza as if the
1170 cadenza were not there:
1172 @lilypond[verbatim,relative=2,fragment]
1173 % Show all bar numbers
1174 \override Score.BarNumber #'break-visibility = #all-visible
1183 Note that these predefined commands affect all staves in the
1184 score, even when they are placed in just one @code{Voice}
1185 context. To change this, move the @code{Timing_translator}
1186 from the @code{Score} context to the @code{Staff} context, as
1187 shown in @ref{Polymetric notation}.
1200 @ref{Visibility of objects},
1201 @ref{Polymetric notation}.
1207 @cindex cadenza line breaks
1208 @cindex cadenza page breaks
1209 @cindex unmetered music, line breaks
1210 @cindex unmetered music, page breaks
1211 @cindex breaks in unmetered music
1212 @cindex line breaks in cadenzas
1213 @cindex page breaks in cadenzas
1214 @cindex line breaks in unmetered music
1215 @cindex page breaks in unmetered music
1219 LilyPond will insert line breaks and page breaks only at a
1220 bar line. Unless the unmetered music ends before the end of the
1221 staff line, you will need to insert invisible bar lines with
1228 to indicate where breaks can occur.
1230 You must explicitly create a @code{Voice} context when starting a
1231 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1233 @lilypond[verbatim,relative=2,fragment]
1234 \new Voice \relative c'{
1236 c16^"Solo Free Time" d e f g2. \bar "||"
1242 @node Polymetric notation
1243 @unnumberedsubsubsec Polymetric notation
1245 @c This section necessarily uses \set
1246 @c This is acceptable -td
1248 @cindex double time signatures
1249 @cindex signatures, polymetric
1250 @cindex time signatures, polymetric
1251 @cindex time signatures, double
1252 @cindex polymetric signatures
1253 @cindex meter, polymetric
1255 @funindex timeSignatureFraction
1256 @funindex \scaleDurations
1257 @funindex scaleDurations
1261 Polymetric notation is supported, either explicitly or by modifying
1262 the visible time signature symbol and scaling the note durations.
1264 @strong{@i{Staves with different time signatures, equal measure lengths}}
1266 This notation can be created by setting a common time signature
1267 for each staff but replacing the symbol manually by setting
1268 @code{timeSignatureFraction} to the desired fraction and scaling
1269 the printed durations in each staff to the common time
1270 signature; see @ref{Time signature}. The scaling is done with
1271 @code{\scaleDurations}, which is used in a similar way to
1272 @code{\times}, but does not create a tuplet bracket; see
1273 @ref{Scaling durations}.
1275 @cindex beaming in polymetric music
1276 @cindex beaming in polymetric meter
1278 In this example, music with the time signatures of 3/4, 9/8, and
1279 10/8 are used in parallel. In the second staff, shown durations
1280 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1281 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1282 It will often be necessary to insert beams manually, as the
1283 duration scaling affects the autobeaming rules.
1285 @lilypond[quote,verbatim,fragment]
1294 \set Staff.timeSignatureFraction = #'(9 . 8)
1295 \scaleDurations #'(2 . 3)
1296 \repeat unfold 6 { c8[ c c] }
1300 \set Staff.timeSignatureFraction = #'(10 . 8)
1301 \scaleDurations #'(3 . 5) {
1302 \repeat unfold 2 { c8[ c c] }
1303 \repeat unfold 2 { c8[ c] } |
1304 c4. c4. \times 2/3 { c8[ c c] } c4
1310 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1312 Each staff can be given its own independent time signature by
1313 moving the @code{Timing_translator} and the
1314 @code{Default_bar_line_engraver} to the @code{Staff} context.
1316 @lilypond[quote,verbatim]
1320 \remove "Timing_translator"
1321 \remove "Default_bar_line_engraver"
1325 \consists "Timing_translator"
1326 \consists "Default_bar_line_engraver"
1330 % Now each staff has its own time signature.
1356 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1357 {compound-time-signatures.ly}
1363 @rglos{polymetric time signature},
1367 @ref{Time signature},
1368 @ref{Scaling durations}.
1373 Internals Reference:
1374 @rinternals{TimeSignature},
1375 @rinternals{Timing_translator},
1376 @rinternals{Default_bar_line_engraver},
1382 When using different time signatures in parallel, notes
1383 at the same moment will be be placed at the same horizontal
1384 location. However, the bar lines in the different staves
1385 will cause the note spacing to be less regular in each of the
1386 individual staves than would be normal without the different
1389 @node Automatic note splitting
1390 @unnumberedsubsubsec Automatic note splitting
1392 @cindex notes, splitting
1393 @cindex splitting notes
1395 @funindex Note_heads_engraver
1396 @funindex Completion_heads_engraver
1398 Long notes which overrun bar lines can be converted automatically
1399 to tied notes. This is done by replacing the
1400 @code{Note_heads_engraver} with the
1401 @code{Completion_heads_engraver}. In the following
1402 example, notes crossing the bar lines are split and tied.
1404 @lilypond[quote,verbatim,relative=1]
1406 \remove "Note_heads_engraver"
1407 \consists "Completion_heads_engraver"
1410 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1413 This engraver splits all running notes at the bar line, and
1414 inserts ties. One of its uses is to debug complex scores: if the
1415 measures are not entirely filled, then the ties show exactly how
1416 much each measure is off.
1424 @rlearning{Engravers explained},
1425 @rlearning{Adding and removing engravers}.
1430 Internals Reference:
1431 @rinternals{Note_heads_engraver},
1432 @rinternals{Completion_heads_engraver},
1433 @rinternals{Forbid_line_break_engraver}.
1438 Not all durations (especially those containing tuplets) can be
1439 represented exactly with normal notes and dots, but the
1440 @code{Completion_heads_engraver} will not insert tuplets.
1442 The @code{Completion_heads_engraver} only affects notes; it does not
1446 @node Showing melody rhythms
1447 @unnumberedsubsubsec Showing melody rhythms
1449 @cindex melody rhythms, showing
1450 @cindex rhythms, showing melody
1452 Sometimes you might want to show only the rhythm of a melody. This
1453 can be done with the rhythmic staff. All pitches of notes on such a
1454 staff are squashed, and the staff itself has a single line
1456 @lilypond[quote,relative=1,verbatim]
1458 \new RhythmicStaff {
1459 \new Voice = "myRhythm" {
1467 \lyricsto "myRhythm" {
1475 @cindex guitar chord charts
1476 @cindex strumming rhythms, showing
1477 @cindex guitar strumming rhythms, showing
1479 @funindex Pitch_squash_engraver
1480 @funindex \improvisationOn
1481 @funindex improvisationOn
1482 @funindex \improvisationOff
1483 @funindex improvisationOff
1485 Guitar chord charts often show the strumming rhythms. This can
1486 be done with the @code{Pitch_squash_engraver} and
1487 @code{\improvisationOn}.
1490 @lilypond[quote,verbatim]
1499 \consists Pitch_squash_engraver
1512 @code{\improvisationOn},
1513 @code{\improvisationOff}.
1519 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1520 {guitar-strum-rhythms.ly}
1527 Internals Reference:
1528 @rinternals{RhythmicStaff},
1529 @rinternals{Pitch_squash_engraver}.
1537 * Setting automatic beam behavior::
1542 @node Automatic beams
1543 @unnumberedsubsubsec Automatic beams
1545 By default, beams are inserted automatically:
1547 @cindex beams, manual
1548 @cindex manual beams
1549 @cindex beams, setting rules for
1550 @cindex beams, custom rules for
1552 @funindex \autoBeamOn
1553 @funindex autoBeamOn
1554 @funindex \autoBeamOff
1555 @funindex autoBeamOff
1557 @lilypond[quote,verbatim,relative=2]
1559 \time 6/8 c c c c8. c16 c8
1562 If these automatic decisions are not satisfactory, beaming can be
1563 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1564 entered manually if beams are to be extended over rests.
1566 If automatic beaming is not required, it may be turned off with
1567 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1569 @lilypond[quote,relative=1,verbatim]
1570 c4 c8 c8. c16 c8. c16 c8
1577 @cindex melismata, beams
1578 @cindex beams and melismata
1580 @warning{If beams are used to indicate melismata in songs, then
1581 automatic beaming should be switched off with @code{\autoBeamOff}
1582 and the beams indicated manually.}
1584 Beaming patterns that differ from the automatic defaults can be
1585 created; see @ref{Setting automatic beam behavior}.
1589 @code{\autoBeamOff},
1596 @cindex line breaks and beams
1597 @cindex beams and line breaks
1601 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1602 {beams-across-line-breaks.ly}
1604 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1605 {changing-beam-knee-gap.ly}
1611 @ref{Setting automatic beam behavior}.
1614 @file{scm/@/auto@/-beam@/.scm}.
1619 Internals Reference:
1620 @rinternals{Auto_beam_engraver},
1621 @rinternals{Beam_engraver},
1623 @rinternals{BeamEvent},
1624 @rinternals{BeamForbidEvent},
1625 @rinternals{beam-interface},
1626 @rinternals{unbreakable-spanner-interface}.
1631 Beams can collide with note heads and accidentals in other voices.
1634 @node Setting automatic beam behavior
1635 @unnumberedsubsubsec Setting automatic beam behavior
1638 @cindex automatic beams, tuning
1639 @cindex tuning automatic beaming
1640 @cindex automatic beam generation
1642 @cindex lyrics and beaming
1644 @funindex autoBeaming
1645 @funindex beamSettings
1646 @funindex measureLength
1647 @funindex beatLength
1653 The placement of automatic beams is determined by the time signature.
1654 Three types of rules are used for determining the end of automatic
1655 beams: @emph{default} rules
1656 for the time signature, @emph{explicit} rules for the beam in the time
1657 signature, and the @emph{beatLength} for the time signature.
1659 The following rules, in order of priority, apply when determining
1660 the appearance of beams:
1664 If a manual beam is specified with @code{[..]} set the beam
1665 as specified, otherwise
1668 if @code{\autoBeamOff} is in force do not beam, otherwise
1671 if an explicit beam-ending rule is defined for the beam type
1672 in the time signature, use it to determine the valid
1673 places where beams may end, otherwise
1676 if a default beam-ending rule is defined in the time signature,
1677 use it to group notes with beams, otherwise
1680 use the value of @code{beatLength} to group notes with beams
1684 @i{@strong{Modifying the grouping of beats}}
1686 By default @code{beatLength} is
1687 derived from the time signature set by the @code{\time} command.
1688 The @code{beatLength} is set to be one over the denominator
1689 of the time signature.
1691 @code{beatLength} is a @i{moment},
1692 a unit of musical duration. A quantity of type @i{moment} is
1693 created by the scheme function @code{ly:make-moment}. For more
1694 information about this function, see @ref{Time administration}.
1696 Autobeam and beam subdivide settings are stored in the
1697 @code{beamSettings} property. Default values of @code{beamSettings}
1698 are determined in @file{scm/@/beam@/-settings@/.scm}. Entries in
1699 @code{beamSettings} are indexed by time signature and
1702 Time signature should be a scheme pair , e.g. @code{#'(4 . 4)}.
1704 Rule type should be @code{#'end} for beam ending and @code{#'subdivide} for
1707 The ending and subdivision rules consist of a scheme alist
1708 (or list of pairs) that
1709 indicates the beam type and the grouping to be applied to that
1713 #'((beam-type1 . grouping-1)
1714 (beam-type2 . grouping-2)
1715 (beam-type3 . grouping-3))
1718 Beam type is either a scheme pair indicating the duration
1719 of the beam, e.g. @code{(1 . 16)}, or @code{*} to indicate a
1720 default rule, which applies to all beams if no explicit rule is
1723 Grouping is a scheme list indicating the grouping to be applied to
1724 the beam. For default rules (where beam type is
1725 @code{*}, the grouping is in units of @code{beatLength}.
1726 For explicit rules, the grouping is in units of the beam type.
1728 For reference, the default beaming rules are found in
1729 @file{scm/beam-settings.scm}.
1731 Beam settings are changed with
1732 @code{\overrideBeamSettings} and @code{\revertBeamSettings}.
1735 The ending and subdivision settings must be
1736 @emph{complete} rules. That is, every rule that should apply to
1737 the current time signature must be included in the setting.
1738 It is not possible to change the grouping of only one beam type
1739 for a given time signature. While this may seem cumbersome,
1740 it means that the current beaming settings need not be known
1741 in order to specify a new beaming pattern.}
1743 @lilypond[quote,relative=2,verbatim]
1746 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (2 3)))
1748 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (3 2)))
1752 Beam setting changes can be limited to specific contexts. If no
1753 setting is included in a lower-level context, the setting of the
1754 enclosing context will apply.
1756 @lilypond[quote, verbatim,relative=1]
1761 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (2 3 2)))
1768 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (1 3 3)))
1775 When multiple voices are used the @code{Staff} context must be
1776 specified if the beaming is to be applied to all voices in the
1779 @lilypond[quote,verbatim,relative=2]
1782 % Context Voice specified -- does not work correctly
1783 % Because of autogenerated voices, all beating will
1784 % be at beatLength (1 . 8)
1785 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (3 1 1 2)))
1786 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1788 % Works correctly with context Staff specified
1789 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (3 1 1 2)))
1790 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1793 @funindex revertBeamSettings
1795 Beam settings can be reverted to get back to default behavior. This
1796 is accomplished by using @code{\revertBeamSettings}. The arguments
1797 are the same as for @code{\overrideBeamSettings}, except no value
1798 for @var{grouping} is given:
1801 \revertBeamSettings context time-signature rule-type
1805 @lilypond[quote,verbatim,relative=2]
1807 \repeat unfold 8 {a8}
1808 % set default rule for (1 1 1 1) grouping
1809 \overrideBeamSettings #'Score #'(4 . 4) #'end #'((* . (1 1 1 1)))
1810 \repeat unfold 8 {a8}
1811 % revert the new rule
1812 \revertBeamSettings #'Score #'(4 . 4) #'end
1813 \repeat unfold 8 {a8}
1818 @code{\overrideBeamSettings},
1819 @code{\revertBeamSettings}.
1825 @cindex beams, subdividing
1827 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1828 {sub-dividing-beams.ly}
1830 @cindex measure groupings
1831 @cindex beats, grouping
1832 @cindex grouping beats
1833 @cindex measure sub-grouping
1835 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1836 {conducting-signs,-measure-grouping-signs.ly}
1838 @cindex beam, last in score
1839 @cindex beam, last in polyphonic voice
1841 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1842 {beam-endings-in-score-context.ly}
1847 @file{scm/beam-settings.scm}.
1852 Internals Reference:
1853 @rinternals{Auto_beam_engraver},
1855 @rinternals{BeamForbidEvent},
1856 @rinternals{beam-interface}.
1861 If a score ends while an automatic beam has not been ended and is
1862 still accepting notes, this last beam will not be typeset at all.
1863 The same holds for polyphonic voices, entered with @code{<<
1864 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1865 automatic beam is still accepting notes, it is not typeset.
1869 @unnumberedsubsubsec Manual beams
1871 @cindex beams, manual
1872 @cindex manual beams
1877 In some cases it may be necessary to override the automatic
1878 beaming algorithm. For example, the autobeamer will not put beams
1879 over rests or bar lines, and in choral scores the beaming is
1880 often set to follow the meter of the lyrics rather than the
1881 notes. Such beams can be specified manually by
1882 marking the begin and end point with @code{[} and @code{]}.
1884 @lilypond[quote,relative=1,verbatim]
1885 r4 r8[ g' a r8] r8 g[ | a] r8
1888 @cindex manual beams, direction shorthand for
1890 Beaming direction can be set manually using direction indicators:
1892 @lilypond[quote,relative=2,verbatim]
1893 c8^[ d e] c,_[ d e f g]
1899 Individual notes may be marked with @code{\noBeam} to prevent them
1902 @lilypond[quote,verbatim,relative=2]
1907 @funindex stemLeftBeamCount
1908 @funindex stemRightBeamCount
1910 Even more strict manual control with the beams can be achieved by
1911 setting the properties @code{stemLeftBeamCount} and
1912 @code{stemRightBeamCount}. They specify the number of beams to
1913 draw on the left and right side, respectively, of the next note.
1914 If either property is set, its value will be used only once, and
1915 then it is erased. In this example, the last @code{f} is printed
1916 with only one beam on the left side, i.e., the eighth-note beam of
1917 the group as a whole.
1919 @lilypond[quote,relative=2,verbatim]
1922 \set stemLeftBeamCount = #2
1923 \set stemRightBeamCount = #1
1925 \set stemLeftBeamCount = #1
1937 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1938 {flat-flags-and-beam-nibs.ly}
1943 @ref{Direction and placement}.
1948 Internals Reference:
1950 @rinternals{BeamEvent},
1951 @rinternals{Beam_engraver},
1952 @rinternals{beam-interface},
1953 @rinternals{Stem_engraver}.
1956 @node Feathered beams
1957 @unnumberedsubsubsec Feathered beams
1959 @cindex beams, feathered
1960 @cindex feathered beams
1962 @funindex \featherDurations
1963 @funindex featherDurations
1964 @funindex grow-direction
1966 Feathered beams are used to indicate that a small group of notes
1967 should be played at an increasing (or decreasing) tempo, without
1968 changing the overall tempo of the piece. The extent of the
1969 feathered beam must be indicated manually using @code{[} and
1970 @code{]}, and the beam feathering is turned on by specifying a
1971 direction to the @code{Beam} property @code{grow-direction}.
1973 If the placement of the notes and the sound in the MIDI output is to
1974 reflect the ritardando or accelerando indicated by the feathered beam
1975 the notes must be grouped as a music expression delimited by braces
1976 and preceded by a @code{featherDurations} command which specifies
1977 the ratio between the durations of the first and last notes in the
1980 The square brackets show the extent of the beam and the braces show
1981 which notes are to have their durations modified. Normally these
1982 would delimit the same group of notes, but this is not required: the
1983 two commands are independent.
1985 In the following example the eight 16th notes occupy exactly the
1986 same time as a half note, but the first note is one half as long
1987 as the last one, with the intermediate notes gradually
1988 lengthening. The first four 32nd notes gradually speed up, while
1989 the last four 32nd notes are at a constant tempo.
1991 @lilypond[relative=1,verbatim,quote]
1992 \override Beam #'grow-direction = #LEFT
1993 \featherDurations #(ly:make-moment 2 1)
1994 { c16[ c c c c c c c] }
1995 \override Beam #'grow-direction = #RIGHT
1996 \featherDurations #(ly:make-moment 2 3)
1998 % revert to non-feathered beams
1999 \override Beam #'grow-direction = #'()
2004 The spacing in the printed output represents the
2005 note durations only approximately, but the MIDI output is exact.
2009 @code{\featherDurations}.
2019 The @code{\featherDurations} command only works with very short
2020 music snippets, and when numbers in the fraction are small.
2030 * Bar and bar number checks::
2035 @unnumberedsubsubsec Bar lines
2038 @cindex measure lines
2039 @cindex closing bar lines
2040 @cindex bar lines, closing
2041 @cindex double bar lines
2042 @cindex bar lines, double
2048 Bar lines delimit measures, and are also used to indicate
2049 repeats. Normally, simple bar lines are automatically inserted
2050 into the printed output at places based on the current time
2053 The simple bar lines inserted automatically can be changed to
2054 other types with the @code{\bar} command. For example, a closing
2055 double bar line is usually placed at the end of a piece:
2057 @lilypond[quote,relative=1,verbatim]
2061 It is not invalid if the final note in a measure does not
2062 end on the automatically entered bar line: the note is assumed
2063 to carry over into the next measure. But if a long sequence
2064 of such carry-over measures appears the music can appear compressed
2065 or even flowing off the page. This is because automatic line
2066 breaks happen only at the end of complete measures, i.e., where
2067 all notes end before the end of a measure.
2069 @warning{An incorrect duration can cause line breaks to be
2070 inhibited, leading to a line of highly compressed music or
2071 music which flows off the page.}
2074 @cindex bar lines, invisible
2075 @cindex measure lines, invisible
2077 Line breaks are also permitted at manually inserted bar lines
2078 even within incomplete measures. To allow a line break without
2079 printing a bar line, use the following:
2086 This will insert an invisible bar line and allow (but not
2087 force) a line break to occur at this point. The bar number
2088 counter is not increased. To force a line break see
2089 @ref{Line breaking}.
2091 @cindex manual bar lines
2092 @cindex manual measure lines
2093 @cindex bar lines, manual
2094 @cindex measure lines, manual
2096 This and other special bar lines may be inserted manually at any
2097 point. When they coincide with the end of a measure they replace
2098 the simple bar line which would have been inserted there
2099 automatically. When they do not coincide with the end of a measure
2100 the specified bar line is inserted at that point in the printed
2103 Note that manual bar lines are purely visual. They do not affect
2104 any of the properties that a normal bar line would affect, such as
2105 measure numbers, accidentals, line breaks, etc. They do not affect
2106 the calculation and placement of subsequent automatic bar lines.
2107 When a manual bar line is placed where a normal bar line already
2108 exists, the effects of the original bar line are not altered.
2110 Two types of simple bar lines and five types of double bar lines are
2111 available for manual insertion:
2113 @lilypond[quote,relative=1,verbatim]
2125 together with dotted and dashed bar lines:
2127 @lilypond[quote,relative=1,verbatim]
2134 and five types of repeat bar line:
2136 @lilypond[quote,relative=1,verbatim]
2145 Additionally, a bar line can be printed as a simple tick:
2146 @lilypond[quote,relative=1,verbatim]
2149 However, as such ticks are typically used in Gregorian chant, it is
2150 preferable to use @code{\divisioMinima} there instead, described in
2151 the section @ref{Divisiones} in Gregorian chant.
2156 Although the bar line types signifying repeats may be inserted
2157 manually they do not in themselves cause LilyPond to recognize
2158 a repeated section. Such repeated sections are better entered
2159 using the various repeat commands (see @ref{Repeats}), which
2160 automatically print the appropriate bar lines.
2162 In addition, you can specify @code{"||:"}, which is equivalent to
2163 @code{"|:"} except at line breaks, where it gives a double bar
2164 line at the end of the line and a start repeat at the beginning of
2167 @lilypond[quote,relative=2,verbatim]
2175 In scores with many staves, a @code{\bar} command in one staff is
2176 automatically applied to all staves. The resulting bar lines are
2177 connected between different staves of a @code{StaffGroup},
2178 @code{PianoStaff}, or @code{GrandStaff}.
2180 @lilypond[quote,relative=1,verbatim]
2188 \new Staff { \clef bass c4 g e g }
2190 \new Staff { \clef bass c2 c2 }
2195 @cindex default bar lines, changing
2196 @cindex bar lines, default, changing
2201 @funindex defaultBarType
2206 The command @code{\bar }@var{bartype} is a shortcut for
2207 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2208 created whenever the @code{whichBar} property is set.
2210 The default bar type used for automatically inserted bar lines is
2211 @code{"|"}. This may be changed at any time
2212 with @code{\set Timing.defaultBarType = }@var{bartype}.
2217 @ref{Line breaking},
2219 @ref{Grouping staves}.
2224 Internals Reference:
2225 @rinternals{BarLine} (created at @code{Staff} level),
2226 @rinternals{SpanBar} (across staves),
2227 @rinternals{Timing_translator} (for Timing properties).
2231 @unnumberedsubsubsec Bar numbers
2234 @cindex measure numbers
2235 @cindex numbers, bar
2236 @cindex numbers, measure
2238 @funindex currentBarNumber
2240 Bar numbers are typeset by default at the start of every line except
2241 the first line. The number itself is stored in the
2242 @code{currentBarNumber} property, which is normally updated
2243 automatically for every measure. It may also be set manually:
2245 @lilypond[verbatim,quote,relative=1]
2248 \set Score.currentBarNumber = #50
2252 @cindex bar numbers, regular spacing
2254 @funindex barNumberVisibility
2257 Bar numbers can be typeset at regular intervals instead of just at
2258 the beginning of every line. To do this the default behavior
2259 must be overridden to permit bar numbers to be printed at places
2260 other than the start of a line. This is controlled by the
2261 @code{break-visibility} property of @code{BarNumber}. This takes
2262 three values which may be set to @code{#t} or @code{#f} to specify
2263 whether the corresponding bar number is visible or not. The order
2264 of the three values is @code{end of line visible}, @code{middle of
2265 line visible}, @code{beginning of line visible}. In the following
2266 example bar numbers are printed at all possible places:
2268 @lilypond[verbatim,quote,relative=1]
2269 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2270 \set Score.currentBarNumber = #11
2271 % Permit first bar number to be printed
2281 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2282 {printing-the-bar-number-for-the-first-measure.ly}
2284 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2285 {printing-bar-numbers-at-regular-intervals.ly}
2287 @cindex measure number, format
2288 @cindex bar number, format
2290 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2291 {printing-bar-numbers-inside-boxes-or-circles.ly}
2293 @cindex bar number alignment
2295 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2296 {aligning-bar-numbers.ly}
2298 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2299 {removing-bar-numbers-from-a-score.ly}
2306 Internals Reference:
2307 @rinternals{BarNumber},
2308 @rinternals{Bar_number_engraver}.
2311 @cindex bar number collision
2312 @cindex collision, bar number
2316 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2317 if there is one. To solve this, the @code{padding} property of
2318 @code{BarNumber} can be used to position the number correctly. See
2319 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2322 @node Bar and bar number checks
2323 @unnumberedsubsubsec Bar and bar number checks
2326 @cindex bar number check
2327 @cindex measure check
2328 @cindex measure number check
2330 @funindex barCheckSynchronize
2333 Bar checks help detect errors in the entered durations. A bar check
2334 may be entered using the bar symbol, @code{|}, at any place where a
2335 bar line is expected to fall. If bar check lines are encountered at
2336 other places, a list of warnings is printed in the log file, showing
2337 the line numbers and lines in which the bar checks failed. In the
2338 next example, the second bar check will signal an error.
2341 \time 3/4 c2 e4 | g2 |
2344 Bar checks can also be used in lyrics:
2349 Twin -- kle | Twin -- kle |
2353 An incorrect duration can result in a completely garbled score,
2354 especially if the score is polyphonic, so a good place to start
2355 correcting input is by scanning for failed bar checks and
2356 incorrect durations.
2358 If successive bar checks are off by the same musical interval,
2359 only the first warning message is displayed. This allows the
2360 warning to focus on the source of the timing error.
2364 @funindex pipeSymbol
2366 It is also possible to redefine the action taken when a bar check
2367 or pipe symbol, @code{|}, is encountered in the input, so that
2368 it does something other than a bar check. This is done by
2369 assigning a music expression to @code{pipeSymbol}.
2370 In the following example @code{|} is set to insert a double bar
2371 line wherever it appears in the input, rather than checking
2374 @lilypond[quote,verbatim]
2375 pipeSymbol = \bar "||"
2384 @funindex \barNumberCheck
2385 @funindex barNumberCheck
2387 When copying large pieces of music, it can be helpful to check that
2388 the LilyPond bar number corresponds to the original that you are
2389 entering from. This can be checked with @code{\barNumberCheck}, for
2393 \barNumberCheck #123
2397 will print a warning if the @code{currentBarNumber} is not 123
2398 when it is processed.
2406 @node Rehearsal marks
2407 @unnumberedsubsubsec Rehearsal marks
2409 @cindex rehearsal marks
2410 @cindex mark, rehearsal
2415 To print a rehearsal mark, use the @code{\mark} command.
2417 @lilypond[quote,verbatim,relative=2]
2426 The letter@tie{}@q{I} is skipped in accordance with engraving
2427 traditions. If you wish to include the letter @q{I}, then use
2430 \set Score.markFormatter = #format-mark-alphabet
2433 The mark is incremented automatically if you use @code{\mark
2434 \default}, but you can also use an integer argument to set the
2435 mark manually. The value to use is stored in the property
2436 @code{rehearsalMark}.
2438 @cindex rehearsal mark format
2439 @cindex rehearsal mark style
2440 @cindex style, rehearsal mark
2441 @cindex format, rehearsal mark
2442 @cindex mark, rehearsal, style
2443 @cindex mark, rehearsal, format
2444 @cindex rehearsal mark, manual
2445 @cindex mark, rehearsal, manual
2446 @cindex custom rehearsal mark
2447 @cindex manual rehearsal mark
2449 The style is defined by the property @code{markFormatter}. It is
2450 a function taking the current mark (an integer) and the current
2451 context as argument. It should return a markup object. In the
2452 following example, @code{markFormatter} is set to a pre-defined
2453 procedure. After a few measures, it is set to a procedure that
2454 produces a boxed number.
2456 @lilypond[quote,verbatim,relative=2]
2457 \set Score.markFormatter = #format-mark-numbers
2460 \set Score.markFormatter = #format-mark-box-numbers
2462 \set Score.markFormatter = #format-mark-circle-numbers
2464 \set Score.markFormatter = #format-mark-circle-letters
2468 The file @file{scm/@/translation@/-functions@/.scm} contains the
2469 definitions of @code{format-mark-numbers} (the default format),
2470 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2471 @code{format-mark-box-letters}. These can be used as inspiration
2472 for other formatting functions.
2474 You may use @code{format-mark-barnumbers},
2475 @code{format-mark-box-barnumbers}, and
2476 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2477 incremented numbers or letters.
2479 Other styles of rehearsal mark can be specified manually:
2486 Note that @code{Score.markFormatter} does not affect marks specified
2487 in this manner. However, it is possible to apply a @code{\markup} to the
2491 \mark \markup@{ \box A1 @}
2496 @cindex D.S. al Fine
2498 @cindex music glyphs
2499 @cindex glyphs, music
2501 @funindex \musicglyph
2502 @funindex musicglyph
2504 Music glyphs (such as the segno sign) may be printed inside a
2507 @lilypond[quote,verbatim,relative=1]
2508 c1 \mark \markup { \musicglyph #"scripts.segno" }
2509 c1 \mark \markup { \musicglyph #"scripts.coda" }
2510 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2515 See @ref{The Feta font}, for a list of symbols which may be
2516 printed with @code{\musicglyph}.
2518 For common tweaks to the positioning of rehearsal marks, see
2519 @ref{Formatting text}.
2524 @ref{The Feta font},
2525 @ref{Formatting text}.
2528 @file{scm/@/translation@/-functions@/.scm} contains
2529 the definitions of @code{format-mark-numbers} and
2530 @code{format-mark-letters}. They can be used as inspiration for
2531 other formatting functions.
2536 Internals Reference:
2537 @rinternals{MarkEvent},
2538 @rinternals{Mark_engraver},
2539 @rinternals{RehearsalMark}.
2542 @node Special rhythmic concerns
2543 @subsection Special rhythmic concerns
2548 * Aligning to cadenzas::
2549 * Time administration::
2553 @unnumberedsubsubsec Grace notes
2557 @cindex appoggiatura
2558 @cindex acciaccatura
2563 Grace notes are ornaments that are written out. Grace notes
2564 are printed in a smaller font and take up no logical time
2567 @lilypond[quote,relative=2,verbatim]
2569 \grace { c16[ d16] } c2
2572 LilyPond also supports two special types of grace notes, the
2573 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2574 small note with a slashed stem -- and the @emph{appoggiatura}, which
2575 takes a fixed fraction of the main note and appears in small print
2578 @lilypond[quote,relative=2,verbatim]
2582 \acciaccatura { g16[ f] } e4
2585 The placement of grace notes is synchronized between different
2586 staves. In the following example, there are two sixteenth grace
2587 notes for every eighth grace note
2589 @lilypond[quote,relative=2,verbatim]
2591 \new Staff { e2 \grace { c16[ d e f] } e2 }
2592 \new Staff { c2 \grace { g8[ b] } c2 }
2596 @cindex grace notes, following
2598 @funindex \afterGrace
2599 @funindex afterGrace
2601 If you want to end a note with a grace, use the @code{\afterGrace}
2602 command. It takes two arguments: the main note, and the grace
2603 notes following the main note.
2605 @lilypond[quote,verbatim,relative=2]
2606 c1 \afterGrace d1 { c16[ d] } c1
2609 This will put the grace notes after a space lasting 3/4 of the
2610 length of the main note. The default fraction 3/4 can be changed by
2611 setting @code{afterGraceFraction}. The following example shows
2612 the results from setting the space at the default, at 15/16, and
2613 finally at 1/2 of the main note.
2615 @lilypond[quote,verbatim,relative=2]
2618 c1 \afterGrace d1 { c16[ d] } c1
2621 #(define afterGraceFraction (cons 15 16))
2622 c1 \afterGrace d1 { c16[ d] } c1
2625 #(define afterGraceFraction (cons 1 2))
2626 c1 \afterGrace d1 { c16[ d] } c1
2631 The space between the main note and the grace note may also be
2632 specified using spacers. The following example places the grace
2633 note after a space lasting 7/8 of the main note.
2635 @lilypond[quote,verbatim,relative=2]
2639 { s2 s4. \grace { c16[ d] } }
2645 @cindex tweaking grace notes
2646 @cindex grace notes, tweaking
2647 @cindex grace notes, changing layout settings
2649 A @code{\grace} music expression will introduce special
2650 typesetting settings, for example, to produce smaller type, and
2651 set directions. Hence, when introducing layout tweaks to
2652 override the special settings, they should be placed inside
2653 the grace expression. The overrides should also be reverted
2654 inside the grace expression. Here, the grace note's default stem
2655 direction is overridden and then reverted.
2657 @lilypond[quote,verbatim,relative=2]
2669 @cindex stem, with slash
2674 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2675 {using-grace-note-slashes-with-normal-heads.ly}
2677 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2678 {tweaking-grace-layout-within-music.ly}
2680 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2681 {redefining-grace-note-global-defaults.ly}
2683 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2684 {positioning-grace-notes-with-floating-space.ly}
2689 @rglos{grace notes},
2690 @rglos{acciaccatura},
2691 @rglos{appoggiatura}.
2694 @file{ly/@/grace@/-init@/.ly}.
2699 Internals Reference:
2700 @rinternals{GraceMusic},
2701 @rinternals{Grace_beam_engraver},
2702 @rinternals{Grace_engraver},
2703 @rinternals{Grace_spacing_engraver}.
2708 @cindex acciaccatura, multi-note
2709 @cindex multi-note acciaccatura
2710 @cindex grace-note synchronization
2712 A multi-note beamed @i{acciaccatura} is printed without a slash,
2713 and looks exactly the same as a multi-note beamed
2716 @c TODO Add link to LSR snippet to add slash when available
2718 Grace note synchronization can also lead to surprises. Staff
2719 notation, such as key signatures, bar lines, etc., are also
2720 synchronized. Take care when you mix staves with grace notes and
2721 staves without, for example,
2723 @lilypond[quote,relative=2,verbatim]
2725 \new Staff { e4 \bar "|:" \grace c16 d2. }
2726 \new Staff { c4 \bar "|:" d2. }
2731 This can be remedied by inserting grace skips of the corresponding
2732 durations in the other staves. For the above example
2734 @lilypond[quote,relative=2,verbatim]
2736 \new Staff { e4 \bar "|:" \grace c16 d2. }
2737 \new Staff { c4 \bar "|:" \grace s16 d2. }
2741 Grace sections should only be used within sequential music
2742 expressions. Nesting or juxtaposing grace sections is not
2743 supported, and might produce crashes or other errors.
2745 @node Aligning to cadenzas
2746 @unnumberedsubsubsec Aligning to cadenzas
2749 @cindex cadenza, aligning to
2750 @cindex aligning to cadenza
2752 In an orchestral context, cadenzas present a special problem: when
2753 constructing a score that includes a measured cadenza or other solo
2754 passage, all other instruments should skip just as many notes as the
2755 length of the cadenza, otherwise they will start too soon or too late.
2757 One solution to this problem is to use the functions
2758 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2759 functions take a defined piece of music as an argument and generate a
2760 multi-measure rest or @code{\skip} exactly as long as the piece.
2762 @lilypond[verbatim,quote]
2763 MyCadenza = \relative c' {
2774 #(ly:export (mmrest-of-length MyCadenza))
2776 #(ly:export (skip-of-length MyCadenza))
2791 @node Time administration
2792 @unnumberedsubsubsec Time administration
2794 @cindex time administration
2795 @cindex timing (within the score)
2796 @cindex music, unmetered
2797 @cindex unmetered music
2799 @funindex currentBarNumber
2800 @funindex measurePosition
2801 @funindex measureLength
2803 Time is administered by the @code{Timing_translator}, which by
2804 default is to be found in the @code{Score} context. An alias,
2805 @code{Timing}, is added to the context in which the
2806 @code{Timing_translator} is placed.
2808 The following properties of @code{Timing} are used
2809 to keep track of timing within the score.
2812 @cindex measure number
2815 @item currentBarNumber
2816 The current measure number. For an example showing the
2817 use of this property see @ref{Bar numbers}.
2820 The length of the measures in the current time signature. For a
2821 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2822 determines when bar lines are inserted and how automatic beams
2823 should be generated.
2825 @item measurePosition
2826 The point within the measure where we currently are. This
2827 quantity is reset by subtracting @code{measureLength} whenever
2828 @code{measureLength} is reached or exceeded. When that happens,
2829 @code{currentBarNumber} is incremented.
2832 If set to true, the above variables are updated for every time
2833 step. When set to false, the engraver stays in the current
2834 measure indefinitely.
2838 Timing can be changed by setting any of these variables
2839 explicitly. In the next example, the default 4/4 time
2840 signature is printed, but @code{measureLength} is set to 5/4.
2841 At 4/8 through the third measure, the @code{measurePosition} is
2842 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2843 The next bar line then falls at 9/8 rather than 5/4.
2845 @lilypond[quote,verbatim,relative=1]
2846 \set Score.measureLength = #(ly:make-moment 5 4)
2850 \set Score.measurePosition = #(ly:make-moment 5 8)
2856 As the example illustrates, @code{ly:make-moment n m} constructs a
2857 duration of n/m of a whole note. For example,
2858 @code{ly:make-moment 1 8} is an eighth note duration and
2859 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2866 @ref{Unmetered music}.
2871 Internals Reference:
2872 @rinternals{Timing_translator},