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}.
145 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
146 {changing-the-number-of-augmentation-dots-per-note.ly}
155 @rglos{Duration names notes and rests}.
158 @ref{Automatic beams},
161 @ref{Writing rhythms},
164 @ref{Ancient notation},
165 @ref{Proportional notation}.
172 @rinternals{DotColumn}.
177 @c Deliberately duplicated in Durations and Rests. -gp
178 There is no fundamental limit to rest durations (both in terms of
179 longest and shortest), but the number of glyphs is limited:
180 rests from 128th to maxima (8 x whole) may be printed.
184 @unnumberedsubsubsec Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @code{@var{music}} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
211 @cindex tuplet bracket placement
215 @funindex \tupletDown
217 @funindex \tupletNeutral
218 @funindex tupletNeutral
220 Tuplet brackets may be manually placed above or below the staff;
221 see @ref{Direction and placement}.
223 Tuplets may be nested:
225 @lilypond[quote,verbatim,relative=2]
227 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
230 Modifying nested tuplets which begin at the same musical moment
231 must be done with @code{\tweak}.
233 To modify the duration of notes without printing a tuplet bracket,
234 see @ref{Scaling durations}.
240 @code{\tupletNeutral}.
246 @cindex tuplet formatting
247 @cindex triplet formatting
249 @funindex tupletNumberFormatFunction
250 @funindex tupletSpannerDuration
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {entering-several-tuplets-using-only-one--times-command.ly}
255 @cindex Tuplet number changes
257 @funindex TupletNumber
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
279 @rlearning{Tweaking methods}.
282 @ref{Time administration},
283 @ref{Scaling durations},
284 @ref{The tweak command},
285 @ref{Polymetric notation}.
291 @rinternals{TupletBracket},
292 @rinternals{TupletNumber},
293 @rinternals{TimeScaledMusic}.
296 @cindex grace notes within tuplet brackets
299 Grace notes may be placed within tuplet brackets, @emph{except}
300 when a staff begins with a grace note followed by a tuplet. In this
301 particular case, the grace note must be placed before the @code{\times}
302 command to avoid errors.
304 @cindex tempo marks within tuplet brackets
306 When using a tuplet at the beginning of a piece with a @code{\tempo}
307 mark, the music must be explicitly entered in a @code{\new Voice}
308 block, as discussed in @rlearning{Voices contain music}.
311 @node Scaling durations
312 @unnumberedsubsubsec Scaling durations
314 @cindex scaling durations
315 @cindex durations, scaling
317 You can alter the duration of single notes, rests or chords by a
318 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
319 is 1) to the duration. This will not affect the appearance of the
320 notes or rests produced, but the altered duration will be used in
321 calculating the position within the measure and setting the duration
322 in the MIDI output. Multiplying factors may be combined such as
325 In the following example, the first three notes take up exactly
326 two beats, but no triplet bracket is printed.
328 @lilypond[quote,relative=2,verbatim]
330 % Alter durations to triplets
331 a4*2/3 gis4*2/3 a4*2/3
334 % Double the duration of chord
336 % Duration of quarter, appears like sixteenth
340 The duration of spacing notes may also be modified by
341 a multiplier. This is useful for skipping many measures, e.g.,
344 @cindex compressing music
345 @cindex expanding music
347 @funindex \scaleDurations
348 @funindex scaleDurations
350 Longer stretches of music may be compressed by a fraction in the
351 same way, as if every note, chord or rest had the fraction as a
352 multiplier. This leaves the appearance of the music unchanged but
353 the internal duration of the notes will be multiplied by the
354 fraction @emph{num}/@emph{den}. The spaces around the dot are
355 required. Here is an example showing how music can be compressed
358 @lilypond[quote,relative=2,verbatim]
362 % Scale music by *2/3
363 \scaleDurations #'(2 . 3) {
367 \scaleDurations #'(2 . 1) {
372 One application of this command is in polymetric
373 notation, see @ref{Polymetric notation}.
379 @ref{Invisible rests},
380 @ref{Polymetric notation}.
387 @unnumberedsubsubsec Ties
393 A tie connects two adjacent note heads of the same pitch. The tie
394 in effect extends the duration of a note.
396 @warning{Ties should not be confused with @emph{slurs}, which
397 indicate articulation, or @emph{phrasing slurs}, which indicate
398 musical phrasing. A tie is just a way of extending a note
399 duration, similar to the augmentation dot.}
401 A tie is entered using the tilde symbol (@code{~}).
403 @lilypond[quote,verbatim,relative=2]
407 Ties are used either when the note crosses a bar line, or when
408 dots cannot be used to denote the rhythm. Ties should also be
409 used when note values cross larger subdivisions of the measure:
411 @lilypond[verbatim,quote]
418 If you need to tie many notes across bar lines, it may be
419 easier to use automatic note splitting, see @ref{Automatic note
420 splitting}. This mechanism automatically splits long notes, and
421 ties them across bar lines.
423 @cindex ties and chords
424 @cindex chords and ties
426 When a tie is applied to a chord, all note heads whose pitches
427 match are connected. When no note heads match, no ties will be
428 created. Chords may be partially tied by placing the tie inside
431 @lilypond[quote,verbatim,relative=1]
433 <c~ e g~ b> <c e g b>
436 @cindex repeating ties
437 @cindex ties, repeating
438 @cindex volta brackets and ties
439 @cindex ties and volta brackets
444 When a second alternative of a repeat starts with a tied note, you
445 have to specify the repeated tie as follows:
447 @lilypond[quote,relative=2,verbatim]
448 \repeat volta 2 { c g <c e>2 ~ }
450 % First alternative: following note is tied normally
452 % Second alternative: following note has a repeated tie
453 { <c e>2\repeatTie d4 c } }
456 @cindex laissez vibrer
457 @cindex ties, laissez vibrer
459 @funindex \laissezVibrer
460 @funindex laissezVibrer
462 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
463 notes must not be damped at the end. It is used in notation for
464 piano, harp and other string and percussion instruments. They can
465 be entered as follows:
467 @lilypond[quote,verbatim,relative=1]
468 <c f g>1\laissezVibrer
471 @cindex ties, placement
477 @funindex \tieNeutral
480 Ties may be manually placed above or below the staff; see
481 @ref{Direction and placement}.
483 @cindex ties, appearance
496 Ties may be made dashed, dotted, or a combination of solid and
499 @lilypond[quote, verbatim, relative=1]
512 Custom dash patterns can be specified:
514 @lilypond[quote, verbatim, relative=1]
515 \tieDashPattern #0.3 #0.75
517 \tieDashPattern #0.7 #1.5
523 Dash pattern definitions for ties have the same structure as
524 dash pattern definitions for slurs.
525 For more information about complex dash patterns,
526 see the snippets under @ref{Slurs}.
534 @code{\tieDashPattern},
535 @code{\tieHalfDashed},
536 @code{\tieHalfSolid},
543 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
544 {using-ties-with-arpeggios.ly}
546 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
547 {engraving-ties-manually.ly}
553 @rglos{laissez vibrer}.
557 @ref{Automatic note splitting}.
563 @rinternals{LaissezVibrerTie},
564 @rinternals{LaissezVibrerTieColumn},
565 @rinternals{TieColumn},
571 Switching staves when a tie is active will not produce a slanted
574 Changing clefs or octavations during a tie is not really
575 well-defined. In these cases, a slur may be preferable.
580 @subsection Writing rests
582 Rests are entered as part of the music in music expressions.
587 * Full measure rests::
591 @unnumberedsubsubsec Rests
594 @cindex rest, entering durations
609 Rests are entered like notes with the note name @code{r}.
610 Durations longer than a whole rest use the predefined
613 @c \time 16/1 is used to avoid spurious bar lines
614 @c and long tracts of empty measures
615 @lilypond[fragment,quote,verbatim]
617 % These two lines are just to prettify this example
619 \override Staff.TimeSignature #'stencil = ##f
620 % Print a maxima rest, equal to four breves
622 % Print a longa rest, equal to two breves
626 r1 r2 r4 r8 r16 r32 r64 r128
630 @cindex rest, multi-measure
631 @cindex rest, whole-measure
633 Whole measure rests, centered in the middle of the measure, must be
634 entered as multi-measure rests. They can be used for a single
635 measure as well as many measures and are discussed in @ref{Full
638 @cindex rest, specifying vertical position
640 To explicitly specify a rest's vertical position, write a note
641 followed by @code{\rest}. A rest of the duration of the note will
642 be placed at the staff position where the note would appear. This
643 allows for precise manual formatting of polyphonic music, since the
644 automatic rest collision formatter will not move these rests.
646 @lilypond[quote,verbatim,relative=2]
652 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
663 @ref{Full measure rests}.
674 @c Deliberately duplicated in Durations and Rests. -gp
675 There is no fundamental limit to rest durations (both in terms of
676 longest and shortest), but the number of glyphs is limited: there
677 are rests from 128th to maxima (8 x whole).
680 @node Invisible rests
681 @unnumberedsubsubsec Invisible rests
684 @cindex invisible rest
685 @cindex rest, invisible
693 An invisible rest (also called a @q{spacer rest}) can be entered
694 like a note with the note name@tie{}@code{s}:
696 @lilypond[verbatim,quote,relative=2]
703 Spacer rests are available only in note mode and chord mode. In
704 other situations, for example, when entering lyrics, the
705 command @code{\skip} is used to skip a musical moment.
706 @code{\skip} requires an explicit duration.
708 @lilypond[quote,verbatim,relative=2]
721 Because @code{\skip} is a command, it does not affect the default
722 durations of following notes, unlike@tie{}@code{s}.
724 @lilypond[quote,verbatim,relative=2]
727 \repeat unfold 8 {a4}
737 A spacer rest implicitly causes @code{Staff} and @code{Voice}
738 contexts to be created if none exist, just like notes and rests
741 @lilypond[quote,verbatim,fragment]
745 @code{\skip} simply skips musical time; it creates no output of
748 @lilypond[quote,verbatim,fragment]
749 % This is valid input, but does nothing
750 \skip 1 \skip1 \skip 1
756 @rlearning{Visibility and color of objects}.
760 @ref{Visibility of objects}.
766 @rinternals{SkipMusic}.
769 @node Full measure rests
770 @unnumberedsubsubsec Full measure rests
772 @cindex multi-measure rests
773 @cindex full-measure rests
774 @cindex rest, multi-measure
775 @cindex rest, full-measure
776 @cindex whole rest for a full measure
777 @cindex rest, whole for a full measure
781 Rests for one or more full measures are entered like notes with
782 the note name uppercase @code{R}:
784 @lilypond[quote,verbatim,relative=2]
785 % Rest measures contracted to single measure
786 \compressFullBarRests
793 The duration of full-measure rests is identical to the duration
794 notation used for notes. The duration in a multi-measure rest must
795 always be an integral number of measure-lengths, so augmentation dots
796 or fractions must often be used:
798 @lilypond[quote,fragment,verbatim]
799 \compressFullBarRests
805 R1*13/8 | R1*13/8*12 |
810 A full-measure rest is printed as either a whole or breve rest,
811 centered in the measure, depending on the time signature.
813 @lilypond[quote,verbatim,fragment]
822 @cindex multi-measure rest, expanding
823 @cindex multi-measure rest, contracting
825 @funindex \expandFullBarRests
826 @funindex expandFullBarRests
827 @funindex \compressFullBarRests
828 @funindex compressFullBarRests
830 By default a multi-measure rest is expanded in the printed score to
831 show all the rest measures explicitly. Alternatively, a multi-measure
832 rest can be shown as a single measure containing a multi-measure rest
833 symbol, with the number of measures of rest printed above the measure:
835 @lilypond[quote,fragment,verbatim]
837 \time 3/4 r2. | R2.*2 |
840 % Rest measures contracted to single measure
841 \compressFullBarRests
843 % Rest measures expanded
850 @cindex text on multi-measure rest
851 @cindex multi-measure rest, attaching text
852 @cindex script on multi-measure rest
853 @cindex multi-measure rest, script
854 @cindex fermata on multi-measure rest
855 @cindex multi-measure rest, attaching fermata
856 @cindex markup on multi-measure rest
857 @cindex multi-measure rest with markup
859 @funindex \fermataMarkup
860 @funindex fermataMarkup
861 @funindex MultiMeasureRestText
863 Markups can be added to multi-measure rests.
864 The predefined command @code{\fermataMarkup}
865 is provided for adding fermatas.
867 @lilypond[quote,verbatim,fragment]
868 \compressFullBarRests
870 R2.*10^\markup { \italic "ad lib." }
875 Markups attached to a multi-measure rest are
876 objects of type @code{MultiMeasureRestText}, not
877 @code{TextScript}. Overrides must be directed to the correct
878 object, or they will be ignored. See the following example.
881 @lilypond[quote,verbatim,fragment]
882 % This fails, as the wrong object name is specified
883 \override TextScript #'padding = #5
885 % This is correct and works
886 \override MultiMeasureRestText #'padding = #5
890 When a multi-measure rest immediately follows a @code{\partial}
891 setting, resulting bar-check warnings may not be displayed.
894 @funindex \textLengthOn
895 @funindex textLengthOn
896 @funindex \textLengthOff
897 @funindex textLengthOff
898 @funindex \fermataMarkup
899 @funindex fermataMarkup
900 @funindex \compressFullBarRests
901 @funindex compressFullBarRests
902 @funindex \expandFullBarRests
903 @funindex expandFullBarRests
906 @code{\textLengthOn},
907 @code{\textLengthOff},
908 @code{\fermataMarkup},
909 @code{\compressFullBarRests},
910 @code{\expandFullBarRests}.
918 @cindex kirchenpausen
920 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
921 {changing-form-of-multi-measure-rests.ly}
923 @cindex multi-measure rests, positioning
924 @cindex positioning multi-measure rests
926 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
927 {positioning-multi-measure-rests.ly}
929 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
930 {multi-measure-rest-markup.ly}
935 @rglos{multi-measure rest}.
940 @ref{Formatting text},
947 @rinternals{MultiMeasureRest},
948 @rinternals{MultiMeasureRestNumber},
949 @rinternals{MultiMeasureRestText}.
952 @cindex fingerings and multi-measure rests
953 @cindex multi-measure rests and fingerings
957 If an attempt is made to use fingerings (e.g.,
958 @code{R1*10-4}) to put numbers over multi-measure rests, the
959 fingering numeral (4) may collide with the bar counter
962 @cindex condensing rests
963 @cindex rest, condensing ordinary
965 There is no way to automatically condense multiple ordinary rests
966 into a single multi-measure rest.
968 @cindex rest, collisions of
970 Multi-measure rests do not take part in rest collisions.
972 @node Displaying rhythms
973 @subsection Displaying rhythms
980 * Polymetric notation::
981 * Automatic note splitting::
982 * Showing melody rhythms::
986 @unnumberedsubsubsec Time signature
988 @cindex time signature
994 The time signature is set as follows:
996 @lilypond[quote,verbatim,relative=2]
1001 @cindex time signature, visibility of
1003 Time signatures are printed at the beginning of a piece
1004 and whenever the time signature changes. If a change takes place
1005 at the end of a line a warning time signature sign is printed
1006 there. This default behavior may be changed, see
1007 @ref{Visibility of objects}.
1009 @lilypond[quote,verbatim,relative=2]
1019 @cindex time signature style
1022 @funindex \numericTimeSignature
1023 @funindex numericTimeSignature
1024 @funindex \defaultTimeSignature
1025 @funindex defaultTimeSignature
1027 The time signature symbol that is used in 2/2 and 4/4 time can be
1028 changed to a numeric style:
1030 @lilypond[quote,verbatim,relative=2]
1034 % Change to numeric style
1035 \numericTimeSignature
1038 % Revert to default style
1039 \defaultTimeSignature
1045 Mensural time signatures are covered in
1046 @ref{Mensural time signatures}.
1048 @cindex time signature default settings
1049 @cindex autobeaming properties for time signatures
1050 @cindex beaming, time signature default properties
1051 @funindex \overrideTimeSignatureSettings
1053 In addition to setting the printed time signature, the @code{\time}
1054 command also sets time-signature-based default values for the properties
1055 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1056 predefined default values for these properties can be found in
1057 @file{scm/time-signature-settings.scm}. The existing default values can
1058 be changed, or new default values can be added:
1060 @lilypond[quote,verbatim]
1063 \overrideTimeSignatureSettings
1065 #'(4 . 4) % timeSignatureFraction
1066 #'(1 . 4) % baseMomentFraction
1067 #'(3 1) % beatStructure
1068 #'() % beamExceptions
1070 \repeat unfold 8 c8 |
1075 @code{\overrideTimeSignatureSettings} takes five arguments:
1079 @code{@var{context}}, a Scheme symbol that describes the context
1080 to which the default setting will apply.
1083 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1087 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1088 and denominator of the basic timing unit for the time signature.
1091 @code{@var{beatStructure}}, a Scheme list indicating the structure
1092 of the beats in the measure, in units of the base moment.
1095 @code{@var{beamExceptions}}, an alist containing any beaming rules
1096 for the time signature that go beyond ending at every beat, as
1097 described in @ref{Setting automatic beam behavior}.
1100 @cindex time signature properties, restoring default values
1101 @cindex restoring default properties for time signatures
1102 @funindex \revertTimeSignatureSettings
1104 Changed values of default time signature properties can be restored
1105 to the original values:
1107 @lilypond[quote,verbatim]
1110 \repeat unfold 8 c8 |
1111 \overrideTimeSignatureSettings
1113 #'(4 . 4) % timeSignatureFraction
1114 #'(1 . 4) % baseMomentFraction
1115 #'(3 1) % beatStructure
1116 #'((end . (((1 . 8) . (3 1))))) % beamExceptions
1118 \repeat unfold 8 c8 |
1119 \revertTimeSignatureSettings #'Score #'(4 . 4)
1121 \repeat unfold 8 c8 |
1127 @code{\numericTimeSignature},
1128 @code{\defaultTimeSignature}.
1134 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1135 {changing-the-time-signature-without-affecting-the-beaming.ly}
1137 @cindex compound time signatures
1138 @cindex time signature, compound
1140 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1141 {compound-time-signatures.ly}
1143 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1144 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1149 @rglos{time signature}
1152 @ref{Mensural time signatures},
1153 @ref{Time administration}.
1158 Internals Reference:
1159 @rinternals{TimeSignature},
1160 @rinternals{Timing_translator}.
1162 @node Metronome marks
1163 @unnumberedsubsubsec Metronome marks
1166 @cindex beats per minute
1167 @cindex metronome mark
1168 @cindex metronome marking with text
1173 A basic metronome mark is simple to write:
1175 @lilypond[verbatim,quote,relative=1]
1181 Tempo indications with text can be used instead:
1183 @lilypond[verbatim,quote,relative=2]
1189 Combining a metronome mark and text will automatically place the
1190 metronome mark within parentheses:
1192 @lilypond[verbatim,quote,relative=2]
1193 \tempo "Allegro" 4 = 160
1198 In general, the text can be any markup object:
1200 @lilypond[verbatim,quote,relative=2]
1201 \tempo \markup { \italic Faster } 4 = 132
1202 a8-. r8 b-. r gis-. r a-. r
1205 A parenthesized metronome mark with no textual indication may be
1206 written by including an empty string in the input:
1208 @lilypond[verbatim,quote,relative=2]
1216 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1217 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1219 @c perhaps also an example of how to move it horizontally?
1221 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1222 {changing-the-tempo-without-a-metronome-mark.ly}
1224 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1225 {creating-metronome-marks-in-markup-mode.ly}
1227 For more details, see @ref{Formatting text}.
1233 @rglos{metronomic indication},
1234 @rglos{tempo indication},
1235 @rglos{metronome mark}.
1238 @ref{Formatting text},
1242 @rlsr{Staff notation}.
1244 Internals Reference:
1245 @rinternals{MetronomeMark}.
1249 @unnumberedsubsubsec Upbeats
1253 @cindex partial measure
1254 @cindex measure, partial
1255 @cindex pickup measure
1256 @cindex measure, change length
1258 @funindex measurePosition
1262 Partial or pick-up measures, such as an anacrusis or upbeat, are
1263 entered using the @code{\partial} command, with the syntax
1266 \partial @var{duration}
1270 where @code{@var{duration}} is the rhythmic length of the
1271 remaining interval of the current measure before the start of the
1274 @lilypond[quote,verbatim,relative=2]
1279 The partial measure can be any duration less than the full measure:
1281 @lilypond[quote,verbatim,relative=2]
1282 \partial 8*3 c8 d e |
1286 Internally, @code{\partial @var{duration}} is translated into:
1289 \set Timing.measurePosition -@var{duration}
1292 For example, @code{\partial 8*3} becomes:
1295 \set Timing.measurePosition = #(ly:make-moment -3 8)
1298 The property @code{measurePosition} contains a rational number
1299 indicating how much of the measure has passed at this point. Note
1300 that this is set to a negative number by the @code{\partial} command:
1301 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1302 @qq{there is a quarter note left in the measure.}
1315 @rinternals{Timing_translator}.
1319 The @code{\partial} command is intended to be used only at the
1320 beginning of a piece. If you use it after the beginning, some
1321 odd warnings or effects may occur, in this case use
1322 @code{\set Timing.measurePosition} instead.
1324 @node Unmetered music
1325 @unnumberedsubsubsec Unmetered music
1327 @cindex bar lines, turning off
1328 @cindex bar numbering, turning off
1330 @cindex unmetered music
1332 @funindex \cadenzaOn
1334 @funindex \cadenzaOff
1335 @funindex cadenzaOff
1337 Bar lines and bar numbers are calculated automatically. For
1338 unmetered music (some cadenzas, for example), this is not desirable.
1339 To turn off automatic calculation of bar lines and bar numbers,
1340 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1341 to turn them on again.
1343 @lilypond[verbatim,relative=2,quote]
1352 Bar numbering is resumed at the end of the cadenza as if the
1353 cadenza were not there:
1355 @lilypond[verbatim,relative=2,quote]
1356 % Show all bar numbers
1357 \override Score.BarNumber #'break-visibility = #all-visible
1366 Note that these predefined commands affect all staves in the
1367 score, even when they are placed in just one @code{Voice}
1368 context. To change this, move the @code{Timing_translator}
1369 from the @code{Score} context to the @code{Staff} context, as
1370 shown in @ref{Polymetric notation}.
1383 @ref{Visibility of objects},
1384 @ref{Polymetric notation}.
1390 @cindex cadenza line breaks
1391 @cindex cadenza page breaks
1392 @cindex unmetered music, line breaks
1393 @cindex unmetered music, page breaks
1394 @cindex breaks in unmetered music
1395 @cindex line breaks in cadenzas
1396 @cindex page breaks in cadenzas
1397 @cindex line breaks in unmetered music
1398 @cindex page breaks in unmetered music
1402 LilyPond will insert line breaks and page breaks only at a
1403 bar line. Unless the unmetered music ends before the end of the
1404 staff line, you will need to insert invisible bar lines with
1411 to indicate where breaks can occur.
1413 You must explicitly create a @code{Voice} context when starting a
1414 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1416 @lilypond[verbatim,relative=2,quote]
1417 \new Voice \relative c'{
1419 c16^"Solo Free Time" d e f g2. \bar "||"
1425 @node Polymetric notation
1426 @unnumberedsubsubsec Polymetric notation
1428 @c This section necessarily uses \set
1429 @c This is acceptable -td
1431 @cindex double time signatures
1432 @cindex signatures, polymetric
1433 @cindex time signatures, polymetric
1434 @cindex time signatures, double
1435 @cindex polymetric signatures
1436 @cindex meter, polymetric
1438 @funindex timeSignatureFraction
1439 @funindex \scaleDurations
1440 @funindex scaleDurations
1444 Polymetric notation is supported, either explicitly or by modifying
1445 the visible time signature symbol and scaling the note durations.
1447 @strong{@i{Staves with different time signatures, equal measure lengths}}
1449 This notation can be created by setting a common time signature
1450 for each staff but replacing the symbol manually by setting
1451 @code{timeSignatureFraction} to the desired fraction and scaling
1452 the printed durations in each staff to the common time
1453 signature; see @ref{Time signature}. The scaling is done with
1454 @code{\scaleDurations}, which is used in a similar way to
1455 @code{\times}, but does not create a tuplet bracket; see
1456 @ref{Scaling durations}.
1458 @cindex beaming in polymetric music
1459 @cindex beaming in polymetric meter
1461 In this example, music with the time signatures of 3/4, 9/8, and
1462 10/8 are used in parallel. In the second staff, shown durations
1463 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1464 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1465 It will often be necessary to insert beams manually, as the
1466 duration scaling affects the autobeaming rules.
1468 @lilypond[quote,verbatim,fragment]
1477 \set Staff.timeSignatureFraction = #'(9 . 8)
1478 \scaleDurations #'(2 . 3)
1479 \repeat unfold 6 { c8[ c c] }
1483 \set Staff.timeSignatureFraction = #'(10 . 8)
1484 \scaleDurations #'(3 . 5) {
1485 \repeat unfold 2 { c8[ c c] }
1486 \repeat unfold 2 { c8[ c] } |
1487 c4. c4. \times 2/3 { c8[ c c] } c4
1493 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1495 Each staff can be given its own independent time signature by
1496 moving the @code{Timing_translator} and the
1497 @code{Default_bar_line_engraver} to the @code{Staff} context.
1499 @lilypond[quote,verbatim]
1503 \remove "Timing_translator"
1504 \remove "Default_bar_line_engraver"
1508 \consists "Timing_translator"
1509 \consists "Default_bar_line_engraver"
1513 % Now each staff has its own time signature.
1539 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1540 {compound-time-signatures.ly}
1546 @rglos{polymetric time signature},
1550 @ref{Time signature},
1551 @ref{Scaling durations}.
1556 Internals Reference:
1557 @rinternals{TimeSignature},
1558 @rinternals{Timing_translator},
1559 @rinternals{Default_bar_line_engraver},
1565 When using different time signatures in parallel, notes
1566 at the same moment will be placed at the same horizontal
1567 location. However, the bar lines in the different staves
1568 will cause the note spacing to be less regular in each of the
1569 individual staves than would be normal without the different
1572 @node Automatic note splitting
1573 @unnumberedsubsubsec Automatic note splitting
1575 @cindex notes, splitting
1576 @cindex splitting notes
1578 @funindex Note_heads_engraver
1579 @funindex Completion_heads_engraver
1581 Long notes which overrun bar lines can be converted automatically
1582 to tied notes. This is done by replacing the
1583 @code{Note_heads_engraver} with the
1584 @code{Completion_heads_engraver}. In the following
1585 example, notes crossing the bar lines are split and tied.
1587 @lilypond[quote,verbatim,relative=1]
1589 \remove "Note_heads_engraver"
1590 \consists "Completion_heads_engraver"
1593 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1596 This engraver splits all running notes at the bar line, and
1597 inserts ties. One of its uses is to debug complex scores: if the
1598 measures are not entirely filled, then the ties show exactly how
1599 much each measure is off.
1607 @rlearning{Engravers explained},
1608 @rlearning{Adding and removing engravers}.
1613 Internals Reference:
1614 @rinternals{Note_heads_engraver},
1615 @rinternals{Completion_heads_engraver},
1616 @rinternals{Forbid_line_break_engraver}.
1621 Not all durations (especially those containing tuplets) can be
1622 represented exactly with normal notes and dots, but the
1623 @code{Completion_heads_engraver} will not insert tuplets.
1625 The @code{Completion_heads_engraver} only affects notes; it does not
1629 @node Showing melody rhythms
1630 @unnumberedsubsubsec Showing melody rhythms
1632 @cindex melody rhythms, showing
1633 @cindex rhythms, showing melody
1635 Sometimes you might want to show only the rhythm of a melody. This
1636 can be done with the rhythmic staff. All pitches of notes on such a
1637 staff are squashed, and the staff itself has a single line
1639 @lilypond[quote,relative=1,verbatim]
1641 \new RhythmicStaff {
1642 \new Voice = "myRhythm" {
1650 \lyricsto "myRhythm" {
1658 @cindex guitar chord charts
1659 @cindex strumming rhythms, showing
1660 @cindex guitar strumming rhythms, showing
1662 @funindex Pitch_squash_engraver
1663 @funindex \improvisationOn
1664 @funindex improvisationOn
1665 @funindex \improvisationOff
1666 @funindex improvisationOff
1668 Guitar chord charts often show the strumming rhythms. This can
1669 be done with the @code{Pitch_squash_engraver} and
1670 @code{\improvisationOn}.
1673 @lilypond[quote,verbatim]
1682 \consists Pitch_squash_engraver
1695 @code{\improvisationOn},
1696 @code{\improvisationOff}.
1702 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1703 {guitar-strum-rhythms.ly}
1710 Internals Reference:
1711 @rinternals{RhythmicStaff},
1712 @rinternals{Pitch_squash_engraver}.
1720 * Setting automatic beam behavior::
1725 @node Automatic beams
1726 @unnumberedsubsubsec Automatic beams
1728 By default, beams are inserted automatically:
1730 @cindex beams, manual
1731 @cindex manual beams
1732 @cindex beams, setting rules for
1733 @cindex beams, custom rules for
1735 @funindex \autoBeamOn
1736 @funindex autoBeamOn
1737 @funindex \autoBeamOff
1738 @funindex autoBeamOff
1740 @lilypond[quote,verbatim,relative=2]
1742 \time 6/8 c c c c8. c16 c8
1745 If these automatic decisions are not satisfactory, beaming can be
1746 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1747 entered manually if beams are to be extended over rests.
1749 If automatic beaming is not required, it may be turned off with
1750 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1752 @lilypond[quote,relative=1,verbatim]
1753 c4 c8 c8. c16 c8. c16 c8
1760 @cindex melismata, beams
1761 @cindex beams and melismata
1763 @warning{If beams are used to indicate melismata in songs, then
1764 automatic beaming should be switched off with @code{\autoBeamOff}
1765 and the beams indicated manually.}
1767 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1768 produce unintended results. See the snippet below for more information.}
1770 Beaming patterns that differ from the automatic defaults can be
1771 created; see @ref{Setting automatic beam behavior}.
1775 @code{\autoBeamOff},
1783 @cindex line breaks and beams
1784 @cindex beams and line breaks
1788 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1789 {beams-across-line-breaks.ly}
1791 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1792 {changing-beam-knee-gap.ly}
1794 @cindex \partcombine and \autoBeamOff
1795 @cindex \autoBeamOff and \partcombine
1798 @lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
1799 {partcombine-and-autobeamoff.ly}
1805 @ref{Setting automatic beam behavior}.
1808 @file{scm/@/auto@/-beam@/.scm}.
1813 Internals Reference:
1814 @rinternals{Auto_beam_engraver},
1815 @rinternals{Beam_engraver},
1817 @rinternals{BeamEvent},
1818 @rinternals{BeamForbidEvent},
1819 @rinternals{beam-interface},
1820 @rinternals{unbreakable-spanner-interface}.
1825 Beams can collide with note heads and accidentals in other voices.
1828 @node Setting automatic beam behavior
1829 @unnumberedsubsubsec Setting automatic beam behavior
1832 @cindex automatic beams, tuning
1833 @cindex tuning automatic beaming
1834 @cindex automatic beam generation
1836 @cindex lyrics and beaming
1838 @funindex autoBeaming
1839 @funindex baseMoment
1840 @funindex beamExceptions
1841 @funindex beatStructure
1842 @funindex measureLength
1848 The placement of automatic beams is determined by the context properties
1849 @code{baseMoment}, @code{beatStructure}, @code{beamExceptions},
1850 and @code{autoBeaming}.
1852 The following rules, in order of priority, apply when determining
1853 the appearance of beams:
1857 If a manual beam is specified with @code{[..]} set the beam
1858 as specified, otherwise
1861 if @code{\autoBeamOff} is in force do not beam, otherwise
1864 if a beam-ending rule is defined in @code{beamExceptions}
1865 for the beam-type, use it to determine the valid places where
1866 beams may end, otherwise
1869 if a beam-ending rule is defined in @code{beamExceptions}
1870 for a longer beam-type, use it to determined the valid places
1871 where beams may end, otherwise
1874 use the values of @code{baseMoment} and @code{beatStructure} to
1875 determine the ends of the beats in the measure, and
1876 end beams at the end of beats.
1880 The beam-type is the duration of the shortest note in the beamed group.
1882 @i{@strong{Modifying the grouping of beats}}
1884 By default @code{baseMoment} is set by the @code{\time} command,
1885 normally to one over the denominator of the time signature.
1886 Any exceptions to this default
1887 can be found in @file{scm/@/time@/-signature@/-settings@/.scm}.
1888 Changing the default value of @code{baseMoment} for a given
1889 time signature is described in @ref{Time signature}.
1891 @code{baseMoment} is a @i{moment},
1892 a unit of musical duration. A quantity of type @i{moment} is
1893 created by the scheme function @code{ly:make-moment}. For more
1894 information about this function, see @ref{Time administration}.
1896 Special (i.e., other than at the end of the beat) autobeam settings
1898 @code{beamExceptions} property. Default values of @code{beamExceptions}
1899 are established by the @code{\time} command. Default values of
1900 @code{beamExceptions} for a time signature
1901 are determined in @file{scm/@/time@/-signature@/-settings@/.scm}.
1902 Entries in @code{beamExceptions} are indexed by rule type and beam type.
1904 Rule type should be @code{#'end} for beam ending.
1906 The ending rules consist of a scheme alist
1907 (or list of pairs) that
1908 indicates the beam type and the grouping to be applied to
1909 beams containing notes with a shortest duration of that
1913 #'((beam-type1 . grouping-1)
1914 (beam-type2 . grouping-2)
1915 (beam-type3 . grouping-3))
1918 Beam type is a scheme pair indicating the duration
1919 of the beam, e.g., @code{(1 . 16)}.
1921 Grouping is a scheme list indicating the grouping to be applied to
1922 the beam. The grouping is in units of the beam type.
1924 For reference, the default beaming rules are found in
1925 @file{scm/time-signature-settings.scm}.
1927 Alternate values for @code{beamExceptions}
1928 can be defined using the @code{\set} command.
1931 A @code{beamExceptions} value must be
1932 @emph{complete} exceptions list. That is, every exception that should
1933 be applied must be included in the setting.
1934 It is not possible to add, remove, or change only one of the exceptions.
1935 While this may seem cumbersome,
1936 it means that the current beaming settings need not be known
1937 in order to specify a new beaming pattern.}
1939 @lilypond[quote,relative=2,verbatim]
1942 \set beatStructure = #'(2 3)
1944 \set beatStructure = #'(3 2)
1948 Beam setting changes can be limited to specific contexts. If no
1949 setting is included in a lower-level context, the setting of the
1950 enclosing context will apply.
1952 @lilypond[quote, verbatim,relative=1]
1955 \set Staff.beatStructure = #'(2 3 2)
1965 \set Voice.beatStructure = #'(1 3 3)
1973 When multiple voices are used the @code{Staff} context must be
1974 specified if the beaming is to be applied to all voices in the
1977 @lilypond[quote,verbatim,relative=2]
1980 % Context Voice specified -- does not work correctly
1981 % Because of autogenerated voices, all beating will
1982 % be at baseMoment (1 . 8)
1983 \set beatStructure = #'(3 1 1 2)
1984 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1986 % Works correctly with context Staff specified
1987 \set Staff.beatStructure = #'(3 1 1 2)
1988 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1991 Beam settings can be set back to default behavior. This
1992 is accomplished by setting the time signature.
1994 @lilypond[quote,verbatim,relative=2]
1996 \repeat unfold 8 {a8}
1997 % eliminate beam exception that groups beats 1, 2 and 3, 4
1998 \set Timing.beamExceptions = #'()
1999 \repeat unfold 8 {a8}
2000 % go back to default behavior
2002 \repeat unfold 8 {a8}
2008 @cindex beams, subdividing
2010 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2011 {subdividing-beams.ly}
2013 @cindex measure groupings
2014 @cindex beats, grouping
2015 @cindex grouping beats
2016 @cindex measure sub-grouping
2018 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2019 {conducting-signs,-measure-grouping-signs.ly}
2021 @cindex beam, last in score
2022 @cindex beam, last in polyphonic voice
2024 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2025 {beam-endings-in-score-context.ly}
2030 @file{scm/beam-settings.scm}.
2035 Internals Reference:
2036 @rinternals{Auto_beam_engraver},
2038 @rinternals{BeamForbidEvent},
2039 @rinternals{beam-interface}.
2044 If a score ends while an automatic beam has not been ended and is
2045 still accepting notes, this last beam will not be typeset at all.
2046 The same holds for polyphonic voices, entered with @code{<<
2047 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2048 automatic beam is still accepting notes, it is not typeset.
2049 The workaround for these problems is to manually beam the last
2050 beam in the voice or score.
2053 @unnumberedsubsubsec Manual beams
2055 @cindex beams, manual
2056 @cindex manual beams
2061 In some cases it may be necessary to override the automatic
2062 beaming algorithm. For example, the autobeamer will not put beams
2063 over rests or bar lines, and in choral scores the beaming is
2064 often set to follow the meter of the lyrics rather than the
2065 notes. Such beams can be specified manually by
2066 marking the begin and end point with @code{[} and @code{]}.
2068 @lilypond[quote,relative=1,verbatim]
2069 r4 r8[ g' a r8] r8 g[ | a] r8
2072 @cindex manual beams, direction shorthand for
2073 @cindex manual beams, grace notes
2075 Beaming direction can be set manually using direction indicators:
2077 @lilypond[quote,relative=2,verbatim]
2078 c8^[ d e] c,_[ d e f g]
2084 Individual notes may be marked with @code{\noBeam} to prevent them
2087 @lilypond[quote,verbatim,relative=2]
2092 Grace note beams and normal note beams can occur simultaneously.
2093 Unbeamed grace notes are not put into normal note beams.
2095 @lilypond[quote,verbatim,relative=2]
2097 \grace { e32[ d c d] }
2103 @funindex stemLeftBeamCount
2104 @funindex stemRightBeamCount
2106 Even more strict manual control with the beams can be achieved by
2107 setting the properties @code{stemLeftBeamCount} and
2108 @code{stemRightBeamCount}. They specify the number of beams to
2109 draw on the left and right side, respectively, of the next note.
2110 If either property is set, its value will be used only once, and
2111 then it is erased. In this example, the last @code{f} is printed
2112 with only one beam on the left side, i.e., the eighth-note beam of
2113 the group as a whole.
2115 @lilypond[quote,relative=2,verbatim]
2118 \set stemLeftBeamCount = #2
2119 \set stemRightBeamCount = #1
2121 \set stemLeftBeamCount = #1
2133 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2134 {flat-flags-and-beam-nibs.ly}
2139 @ref{Direction and placement},
2145 Internals Reference:
2147 @rinternals{BeamEvent},
2148 @rinternals{Beam_engraver},
2149 @rinternals{beam-interface},
2150 @rinternals{Stem_engraver}.
2153 @node Feathered beams
2154 @unnumberedsubsubsec Feathered beams
2156 @cindex beams, feathered
2157 @cindex feathered beams
2159 @funindex \featherDurations
2160 @funindex featherDurations
2161 @funindex grow-direction
2163 Feathered beams are used to indicate that a small group of notes
2164 should be played at an increasing (or decreasing) tempo, without
2165 changing the overall tempo of the piece. The extent of the
2166 feathered beam must be indicated manually using @code{[} and
2167 @code{]}, and the beam feathering is turned on by specifying a
2168 direction to the @code{Beam} property @code{grow-direction}.
2170 If the placement of the notes and the sound in the MIDI output is to
2171 reflect the ritardando or accelerando indicated by the feathered beam
2172 the notes must be grouped as a music expression delimited by braces
2173 and preceded by a @code{featherDurations} command which specifies
2174 the ratio between the durations of the first and last notes in the
2177 The square brackets show the extent of the beam and the braces show
2178 which notes are to have their durations modified. Normally these
2179 would delimit the same group of notes, but this is not required: the
2180 two commands are independent.
2182 In the following example the eight 16th notes occupy exactly the
2183 same time as a half note, but the first note is one half as long
2184 as the last one, with the intermediate notes gradually
2185 lengthening. The first four 32nd notes gradually speed up, while
2186 the last four 32nd notes are at a constant tempo.
2188 @lilypond[relative=1,verbatim,quote]
2189 \override Beam #'grow-direction = #LEFT
2190 \featherDurations #(ly:make-moment 2 1)
2191 { c16[ c c c c c c c] }
2192 \override Beam #'grow-direction = #RIGHT
2193 \featherDurations #(ly:make-moment 2 3)
2195 % revert to non-feathered beams
2196 \override Beam #'grow-direction = #'()
2201 The spacing in the printed output represents the
2202 note durations only approximately, but the MIDI output is exact.
2206 @code{\featherDurations}.
2216 The @code{\featherDurations} command only works with very short
2217 music snippets, and when numbers in the fraction are small.
2227 * Bar and bar number checks::
2232 @unnumberedsubsubsec Bar lines
2235 @cindex measure lines
2236 @cindex closing bar lines
2237 @cindex bar lines, closing
2238 @cindex double bar lines
2239 @cindex bar lines, double
2245 Bar lines delimit measures, and are also used to indicate
2246 repeats. Normally, simple bar lines are automatically inserted
2247 into the printed output at places based on the current time
2250 The simple bar lines inserted automatically can be changed to
2251 other types with the @code{\bar} command. For example, a closing
2252 double bar line is usually placed at the end of a piece:
2254 @lilypond[quote,relative=1,verbatim]
2258 It is not invalid if the final note in a measure does not
2259 end on the automatically entered bar line: the note is assumed
2260 to carry over into the next measure. But if a long sequence
2261 of such carry-over measures appears the music can appear compressed
2262 or even flowing off the page. This is because automatic line
2263 breaks happen only at the end of complete measures, i.e., where
2264 all notes end before the end of a measure.
2266 @warning{An incorrect duration can cause line breaks to be
2267 inhibited, leading to a line of highly compressed music or
2268 music which flows off the page.}
2271 @cindex bar lines, invisible
2272 @cindex measure lines, invisible
2274 Line breaks are also permitted at manually inserted bar lines
2275 even within incomplete measures. To allow a line break without
2276 printing a bar line, use the following:
2283 This will insert an invisible bar line and allow (but not
2284 force) a line break to occur at this point. The bar number
2285 counter is not increased. To force a line break see
2286 @ref{Line breaking}.
2288 @cindex manual bar lines
2289 @cindex manual measure lines
2290 @cindex bar lines, manual
2291 @cindex measure lines, manual
2293 This and other special bar lines may be inserted manually at any
2294 point. When they coincide with the end of a measure they replace
2295 the simple bar line which would have been inserted there
2296 automatically. When they do not coincide with the end of a measure
2297 the specified bar line is inserted at that point in the printed
2300 Note that manual bar lines are purely visual. They do not affect
2301 any of the properties that a normal bar line would affect, such as
2302 measure numbers, accidentals, line breaks, etc. They do not affect
2303 the calculation and placement of subsequent automatic bar lines.
2304 When a manual bar line is placed where a normal bar line already
2305 exists, the effects of the original bar line are not altered.
2307 Two types of simple bar lines and five types of double bar lines are
2308 available for manual insertion:
2310 @lilypond[quote,relative=1,verbatim]
2322 together with dotted and dashed bar lines:
2324 @lilypond[quote,relative=1,verbatim]
2331 and five types of repeat bar line:
2333 @lilypond[quote,relative=1,verbatim]
2342 Additionally, a bar line can be printed as a simple tick:
2343 @lilypond[quote,relative=1,verbatim]
2346 However, as such ticks are typically used in Gregorian chant, it is
2347 preferable to use @code{\divisioMinima} there instead, described in
2348 the section @ref{Divisiones} in Gregorian chant.
2352 For in-line segno signs, there are three types of bar lines which
2353 differ in their behavior at line breaks:
2355 @lilypond[quote,relative=2,verbatim]
2373 Although the bar line types signifying repeats may be inserted
2374 manually they do not in themselves cause LilyPond to recognize
2375 a repeated section. Such repeated sections are better entered
2376 using the various repeat commands (see @ref{Repeats}), which
2377 automatically print the appropriate bar lines.
2379 In addition, you can specify @code{"||:"}, which is equivalent to
2380 @code{"|:"} except at line breaks, where it gives a double bar
2381 line at the end of the line and a start repeat at the beginning of
2384 @lilypond[quote,relative=2,verbatim]
2392 For combinations of repeats with the segno sign, there are six different
2395 @lilypond[quote,relative=2,verbatim]
2424 In scores with many staves, a @code{\bar} command in one staff is
2425 automatically applied to all staves. The resulting bar lines are
2426 connected between different staves of a @code{StaffGroup},
2427 @code{PianoStaff}, or @code{GrandStaff}.
2429 @lilypond[quote,relative=1,verbatim]
2437 \new Staff { \clef bass c4 g e g }
2439 \new Staff { \clef bass c2 c2 }
2444 @cindex default bar lines, changing
2445 @cindex bar lines, default, changing
2450 @funindex defaultBarType
2455 The command @samp{\bar @var{bartype}} is a shortcut for
2456 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2457 created whenever the @code{whichBar} property is set.
2459 The default bar type used for automatically inserted bar lines is
2460 @code{"|"}. This may be changed at any time with
2461 @samp{\set Timing.defaultBarType = @var{bartype}}.
2466 @ref{Line breaking},
2468 @ref{Grouping staves}.
2473 Internals Reference:
2474 @rinternals{BarLine} (created at @code{Staff} level),
2475 @rinternals{SpanBar} (across staves),
2476 @rinternals{Timing_translator} (for Timing properties).
2480 @unnumberedsubsubsec Bar numbers
2483 @cindex measure numbers
2484 @cindex numbers, bar
2485 @cindex numbers, measure
2487 @funindex currentBarNumber
2489 Bar numbers are typeset by default at the start of every line except
2490 the first line. The number itself is stored in the
2491 @code{currentBarNumber} property, which is normally updated
2492 automatically for every measure. It may also be set manually:
2494 @lilypond[verbatim,quote,relative=1]
2497 \set Score.currentBarNumber = #50
2501 @cindex bar numbers, regular spacing
2503 @funindex barNumberVisibility
2506 Bar numbers can be typeset at regular intervals instead of just at
2507 the beginning of every line. To do this the default behavior
2508 must be overridden to permit bar numbers to be printed at places
2509 other than the start of a line. This is controlled by the
2510 @code{break-visibility} property of @code{BarNumber}. This takes
2511 three values which may be set to @code{#t} or @code{#f} to specify
2512 whether the corresponding bar number is visible or not. The order
2513 of the three values is @code{end of line visible}, @code{middle of
2514 line visible}, @code{beginning of line visible}. In the following
2515 example bar numbers are printed at all possible places:
2517 @lilypond[verbatim,quote,relative=1]
2518 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2519 \set Score.currentBarNumber = #11
2520 % Permit first bar number to be printed
2530 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2531 {printing-the-bar-number-for-the-first-measure.ly}
2533 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2534 {printing-bar-numbers-at-regular-intervals.ly}
2536 @cindex measure number, format
2537 @cindex bar number, format
2539 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2540 {printing-bar-numbers-inside-boxes-or-circles.ly}
2542 @cindex bar number alignment
2544 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2545 {aligning-bar-numbers.ly}
2547 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2548 {removing-bar-numbers-from-a-score.ly}
2555 Internals Reference:
2556 @rinternals{BarNumber},
2557 @rinternals{Bar_number_engraver}.
2560 @cindex bar number collision
2561 @cindex collision, bar number
2565 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2566 if there is one. To solve this, the @code{padding} property of
2567 @code{BarNumber} can be used to position the number correctly. See
2568 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2571 @node Bar and bar number checks
2572 @unnumberedsubsubsec Bar and bar number checks
2575 @cindex bar number check
2576 @cindex measure check
2577 @cindex measure number check
2579 @funindex barCheckSynchronize
2582 Bar checks help detect errors in the entered durations. A bar check
2583 may be entered using the bar symbol, @code{|}, at any place where a
2584 bar line is expected to fall. If bar check lines are encountered at
2585 other places, a list of warnings is printed in the log file, showing
2586 the line numbers and lines in which the bar checks failed. In the
2587 next example, the second bar check will signal an error.
2590 \time 3/4 c2 e4 | g2 |
2593 Bar checks can also be used in lyrics:
2598 Twin -- kle | Twin -- kle |
2602 An incorrect duration can result in a completely garbled score,
2603 especially if the score is polyphonic, so a good place to start
2604 correcting input is by scanning for failed bar checks and
2605 incorrect durations.
2607 If successive bar checks are off by the same musical interval,
2608 only the first warning message is displayed. This allows the
2609 warning to focus on the source of the timing error.
2613 @funindex pipeSymbol
2615 It is also possible to redefine the action taken when a bar check
2616 or pipe symbol, @code{|}, is encountered in the input, so that
2617 it does something other than a bar check. This is done by
2618 assigning a music expression to @code{pipeSymbol}.
2619 In the following example @code{|} is set to insert a double bar
2620 line wherever it appears in the input, rather than checking
2623 @lilypond[quote,verbatim]
2624 pipeSymbol = \bar "||"
2633 @funindex \barNumberCheck
2634 @funindex barNumberCheck
2636 When copying large pieces of music, it can be helpful to check that
2637 the LilyPond bar number corresponds to the original that you are
2638 entering from. This can be checked with @code{\barNumberCheck}, for
2642 \barNumberCheck #123
2646 will print a warning if the @code{currentBarNumber} is not 123
2647 when it is processed.
2655 @node Rehearsal marks
2656 @unnumberedsubsubsec Rehearsal marks
2658 @cindex rehearsal marks
2659 @cindex mark, rehearsal
2664 To print a rehearsal mark, use the @code{\mark} command.
2666 @lilypond[quote,verbatim,relative=2]
2674 The mark is incremented automatically if you use @code{\mark
2675 \default}, but you can also use an integer argument to set the
2676 mark manually. The value to use is stored in the property
2677 @code{rehearsalMark}.
2679 @lilypond[quote,verbatim,relative=2]
2688 The letter@tie{}@q{I} is skipped in accordance with engraving
2689 traditions. If you wish to include the letter @q{I}, then use one
2690 of the following commands, depending on which style of rehearsal mark
2691 you want (letters only, letters in a hollow box, or letters in a
2695 \set Score.markFormatter = #format-mark-alphabet
2696 \set Score.markFormatter = #format-mark-box-alphabet
2697 \set Score.markFormatter = #format-mark-circle-alphabet
2700 @lilypond[quote,verbatim,relative=2]
2701 \set Score.markFormatter = #format-mark-box-alphabet
2709 @cindex rehearsal mark format
2710 @cindex rehearsal mark style
2711 @cindex style, rehearsal mark
2712 @cindex format, rehearsal mark
2713 @cindex mark, rehearsal, style
2714 @cindex mark, rehearsal, format
2715 @cindex rehearsal mark, manual
2716 @cindex mark, rehearsal, manual
2717 @cindex custom rehearsal mark
2718 @cindex manual rehearsal mark
2720 The style is defined by the property @code{markFormatter}. It is
2721 a function taking the current mark (an integer) and the current
2722 context as argument. It should return a markup object. In the
2723 following example, @code{markFormatter} is set to a pre-defined
2724 procedure. After a few measures, it is set to a procedure that
2725 produces a boxed number.
2727 @lilypond[quote,verbatim,relative=2]
2728 \set Score.markFormatter = #format-mark-numbers
2731 \set Score.markFormatter = #format-mark-box-numbers
2733 \set Score.markFormatter = #format-mark-circle-numbers
2735 \set Score.markFormatter = #format-mark-circle-letters
2739 The file @file{scm/@/translation@/-functions@/.scm} contains the
2740 definitions of @code{format-mark-numbers} (the default format),
2741 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2742 @code{format-mark-box-letters}. These can be used as inspiration
2743 for other formatting functions.
2745 You may use @code{format-mark-barnumbers},
2746 @code{format-mark-box-barnumbers}, and
2747 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2748 incremented numbers or letters.
2750 Other styles of rehearsal mark can be specified manually:
2757 Note that @code{Score.markFormatter} does not affect marks specified
2758 in this manner. However, it is possible to apply a @code{\markup} to the
2762 \mark \markup@{ \box A1 @}
2767 @cindex D.S. al Fine
2769 @cindex music glyphs
2770 @cindex glyphs, music
2772 @funindex \musicglyph
2773 @funindex musicglyph
2775 Music glyphs (such as the segno sign) may be printed inside a
2778 @lilypond[quote,verbatim,relative=1]
2779 c1 \mark \markup { \musicglyph #"scripts.segno" }
2780 c1 \mark \markup { \musicglyph #"scripts.coda" }
2781 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2786 See @ref{The Feta font}, for a list of symbols which may be
2787 printed with @code{\musicglyph}.
2789 For common tweaks to the positioning of rehearsal marks, see
2790 @ref{Formatting text}. For more precise control, see
2791 @code{break-alignable-interface} in @ref{Aligning objects}.
2796 @ref{The Feta font},
2797 @ref{Formatting text},
2798 @ref{Aligning objects}.
2801 @file{scm/@/translation@/-functions@/.scm} contains
2802 the definitions of @code{format-mark-numbers} and
2803 @code{format-mark-letters}. They can be used as inspiration for
2804 other formatting functions.
2809 Internals Reference:
2810 @rinternals{MarkEvent},
2811 @rinternals{Mark_engraver},
2812 @rinternals{RehearsalMark}.
2815 @node Special rhythmic concerns
2816 @subsection Special rhythmic concerns
2821 * Aligning to cadenzas::
2822 * Time administration::
2826 @unnumberedsubsubsec Grace notes
2830 @cindex appoggiatura
2831 @cindex acciaccatura
2836 Grace notes are ornaments that are written out. Grace notes
2837 are printed in a smaller font and take up no logical time
2840 @lilypond[quote,relative=2,verbatim]
2842 \grace { c16[ d16] } c2
2845 LilyPond also supports two special types of grace notes, the
2846 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2847 small note with a slashed stem -- and the @emph{appoggiatura}, which
2848 takes a fixed fraction of the main note and appears in small print
2851 @lilypond[quote,relative=2,verbatim]
2855 \acciaccatura { g16[ f] } e4
2858 The placement of grace notes is synchronized between different
2859 staves. In the following example, there are two sixteenth grace
2860 notes for every eighth grace note
2862 @lilypond[quote,relative=2,verbatim]
2864 \new Staff { e2 \grace { c16[ d e f] } e2 }
2865 \new Staff { c2 \grace { g8[ b] } c2 }
2869 @cindex grace notes, following
2871 @funindex \afterGrace
2872 @funindex afterGrace
2874 If you want to end a note with a grace, use the @code{\afterGrace}
2875 command. It takes two arguments: the main note, and the grace
2876 notes following the main note.
2878 @lilypond[quote,verbatim,relative=2]
2879 c1 \afterGrace d1 { c16[ d] } c1
2882 This will put the grace notes after a space lasting 3/4 of the
2883 length of the main note. The default fraction 3/4 can be changed by
2884 setting @code{afterGraceFraction}. The following example shows
2885 the results from setting the space at the default, at 15/16, and
2886 finally at 1/2 of the main note.
2888 @lilypond[quote,verbatim,relative=2]
2891 c1 \afterGrace d1 { c16[ d] } c1
2894 #(define afterGraceFraction (cons 15 16))
2895 c1 \afterGrace d1 { c16[ d] } c1
2898 #(define afterGraceFraction (cons 1 2))
2899 c1 \afterGrace d1 { c16[ d] } c1
2904 The space between the main note and the grace note may also be
2905 specified using spacers. The following example places the grace
2906 note after a space lasting 7/8 of the main note.
2908 @lilypond[quote,verbatim,relative=2]
2912 { s2 s4. \grace { c16[ d] } }
2918 @cindex tweaking grace notes
2919 @cindex grace notes, tweaking
2920 @cindex grace notes, changing layout settings
2922 A @code{\grace} music expression will introduce special
2923 typesetting settings, for example, to produce smaller type, and
2924 set directions. Hence, when introducing layout tweaks to
2925 override the special settings, they should be placed inside
2926 the grace expression. The overrides should also be reverted
2927 inside the grace expression. Here, the grace note's default stem
2928 direction is overridden and then reverted.
2930 @lilypond[quote,verbatim,relative=2]
2942 @cindex stem, with slash
2947 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2948 {using-grace-note-slashes-with-normal-heads.ly}
2950 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2951 {tweaking-grace-layout-within-music.ly}
2953 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2954 {redefining-grace-note-global-defaults.ly}
2956 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2957 {positioning-grace-notes-with-floating-space.ly}
2962 @rglos{grace notes},
2963 @rglos{acciaccatura},
2964 @rglos{appoggiatura}.
2970 @file{ly/@/grace@/-init@/.ly}.
2975 Internals Reference:
2976 @rinternals{GraceMusic},
2977 @rinternals{Grace_beam_engraver},
2978 @rinternals{Grace_engraver},
2979 @rinternals{Grace_spacing_engraver}.
2984 @cindex acciaccatura, multi-note
2985 @cindex multi-note acciaccatura
2986 @cindex grace-note synchronization
2988 A multi-note beamed @i{acciaccatura} is printed without a slash,
2989 and looks exactly the same as a multi-note beamed
2992 @c TODO Add link to LSR snippet to add slash when available
2994 Grace note synchronization can also lead to surprises. Staff
2995 notation, such as key signatures, bar lines, etc., are also
2996 synchronized. Take care when you mix staves with grace notes and
2997 staves without, for example,
2999 @lilypond[quote,relative=2,verbatim]
3001 \new Staff { e4 \bar "|:" \grace c16 d2. }
3002 \new Staff { c4 \bar "|:" d2. }
3007 This can be remedied by inserting grace skips of the corresponding
3008 durations in the other staves. For the above example
3010 @lilypond[quote,relative=2,verbatim]
3012 \new Staff { e4 \bar "|:" \grace c16 d2. }
3013 \new Staff { c4 \bar "|:" \grace s16 d2. }
3017 Grace sections should only be used within sequential music
3018 expressions. Nesting or juxtaposing grace sections is not
3019 supported, and might produce crashes or other errors.
3021 @node Aligning to cadenzas
3022 @unnumberedsubsubsec Aligning to cadenzas
3025 @cindex cadenza, aligning to
3026 @cindex aligning to cadenza
3028 In an orchestral context, cadenzas present a special problem: when
3029 constructing a score that includes a measured cadenza or other solo
3030 passage, all other instruments should skip just as many notes as the
3031 length of the cadenza, otherwise they will start too soon or too late.
3033 One solution to this problem is to use the functions
3034 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3035 functions take a defined piece of music as an argument and generate a
3036 multi-measure rest or @code{\skip} exactly as long as the piece.
3038 @lilypond[verbatim,quote]
3039 MyCadenza = \relative c' {
3050 #(ly:export (mmrest-of-length MyCadenza))
3052 #(ly:export (skip-of-length MyCadenza))
3067 @node Time administration
3068 @unnumberedsubsubsec Time administration
3070 @cindex time administration
3071 @cindex timing (within the score)
3072 @cindex music, unmetered
3073 @cindex unmetered music
3075 @funindex currentBarNumber
3076 @funindex measurePosition
3077 @funindex measureLength
3079 Time is administered by the @code{Timing_translator}, which by
3080 default is to be found in the @code{Score} context. An alias,
3081 @code{Timing}, is added to the context in which the
3082 @code{Timing_translator} is placed. To ensure that the
3083 @code{Timing} alias is available, you may need to explicitly
3084 instantiate the containing context (such as @code{Voice} or
3087 The following properties of @code{Timing} are used
3088 to keep track of timing within the score.
3091 @cindex measure number
3094 @item currentBarNumber
3095 The current measure number. For an example showing the
3096 use of this property see @ref{Bar numbers}.
3099 The length of the measures in the current time signature. For a
3100 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3101 determines when bar lines are inserted and how automatic beams
3102 should be generated.
3104 @item measurePosition
3105 The point within the measure where we currently are. This
3106 quantity is reset by subtracting @code{measureLength} whenever
3107 @code{measureLength} is reached or exceeded. When that happens,
3108 @code{currentBarNumber} is incremented.
3111 If set to true, the above variables are updated for every time
3112 step. When set to false, the engraver stays in the current
3113 measure indefinitely.
3117 Timing can be changed by setting any of these variables
3118 explicitly. In the next example, the default 4/4 time
3119 signature is printed, but @code{measureLength} is set to 5/4.
3120 At 4/8 through the third measure, the @code{measurePosition} is
3121 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3122 The next bar line then falls at 9/8 rather than 5/4.
3124 @lilypond[quote,verbatim]
3125 \new Voice \relative c' {
3126 \set Timing.measureLength = #(ly:make-moment 5 4)
3130 \set Timing.measurePosition = #(ly:make-moment 5 8)
3137 As the example illustrates, @code{ly:make-moment n m} constructs a
3138 duration of n/m of a whole note. For example,
3139 @code{ly:make-moment 1 8} is an eighth note duration and
3140 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3147 @ref{Unmetered music}.
3152 Internals Reference:
3153 @rinternals{Timing_translator},