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 @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
979 * Polymetric notation::
980 * Automatic note splitting::
981 * Showing melody rhythms::
985 @unnumberedsubsubsec Time signature
987 @cindex time signature
993 The time signature is set as follows:
995 @lilypond[quote,verbatim,relative=2]
1000 @cindex time signature, visibility of
1002 Time signatures are printed at the beginning of a piece
1003 and whenever the time signature changes. If a change takes place
1004 at the end of a line a warning time signature sign is printed
1005 there. This default behavior may be changed, see
1006 @ref{Visibility of objects}.
1008 @lilypond[quote,verbatim,relative=2]
1018 @cindex time signature style
1021 @funindex \numericTimeSignature
1022 @funindex numericTimeSignature
1023 @funindex \defaultTimeSignature
1024 @funindex defaultTimeSignature
1026 The time signature symbol that is used in 2/2 and 4/4 time can be
1027 changed to a numeric style:
1029 @lilypond[quote,verbatim,relative=2]
1033 % Change to numeric style
1034 \numericTimeSignature
1037 % Revert to default style
1038 \defaultTimeSignature
1044 Mensural time signatures are covered in
1045 @ref{Mensural time signatures}.
1047 @cindex time signature default settings
1048 @cindex autobeaming properties for time signatures
1049 @cindex beaming, time signature default properties
1050 @funindex \overrideTimeSignatureSettings
1052 In addition to setting the printed time signature, the @code{\time}
1053 command also sets time-signature-based default values for the properties
1054 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1055 predefined default values for these properties can be found in
1056 @file{scm/time-signature-settings.scm}. The existing default values can
1057 be changed, or new default values can be added:
1059 @lilypond[quote,verbatim]
1062 \overrideTimeSignatureSettings
1064 #'(4 . 4) % time signature fraction
1065 #'(1 . 4) % base moment fraction
1066 #'(3 1) % beatStructure
1067 #'() % beamExceptions
1069 \repeat unfold 8 c8 |
1074 @code{\overrideTimeSignatureSettings} takes five arguments:
1075 context, time signature fraction, base moment, beat structure, and
1076 beaming exception. The context is a Scheme symbol that describes
1077 the context to which the default setting will apply. The
1078 time signature fraction is a Scheme pair describing the time signature.
1079 The base moment is a Scheme pair containing the
1080 numerator and denominator of the basic timing unit for the
1081 time signature. The beat structure is a Scheme list indicating
1082 the structure of the beats in the measure, in units of the base moment.
1083 The beaming exception is an alist containing any beaming rules for the
1084 time signature that go beyond ending at every beat,
1085 as described in @ref{Setting automatic beam behavior}.
1087 @cindex time signature properties, restoring default values
1088 @cindex restoring default properties for time signatures
1089 @funindex \revertTimeSignatureSettings
1091 Changed values of default time signature properties can be restored
1092 to the original values:
1094 @lilypond[quote,verbatim]
1098 \repeat unfold 8 c8 |
1099 \overrideTimeSignatureSettings
1104 #'((end . (((1 . 8) . (3 1)))))
1106 \repeat unfold 8 c8 |
1107 \revertTimeSignatureSettings #'Score #'(4 . 4)
1109 \repeat unfold 8 c8 |
1115 @code{\numericTimeSignature},
1116 @code{\defaultTimeSignature}.
1122 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1123 {changing-the-time-signature-without-affecting-the-beaming.ly}
1125 @cindex compound time signatures
1126 @cindex time signature, compound
1128 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1129 {compound-time-signatures.ly}
1131 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1132 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1137 @rglos{time signature}
1140 @ref{Mensural time signatures},
1141 @ref{Time administration}.
1146 Internals Reference:
1147 @rinternals{TimeSignature},
1148 @rinternals{Timing_translator}.
1152 @unnumberedsubsubsec Upbeats
1156 @cindex partial measure
1157 @cindex measure, partial
1158 @cindex pickup measure
1159 @cindex measure, change length
1161 @funindex measurePosition
1165 Partial or pick-up measures, such as an anacrusis or upbeat, are
1166 entered using the @code{\partial} command, with the syntax
1169 \partial @var{duration}
1173 where @code{duration} is the rhythmic length of the remaining
1174 interval of the current measure before the start of the next.
1176 @lilypond[quote,verbatim,relative=2]
1181 The partial measure can be any duration less than the full measure:
1183 @lilypond[quote,verbatim,relative=2]
1184 \partial 8*3 c8 d e |
1188 Internally, @code{\partial @var{duration}} is translated into:
1191 \set Timing.measurePosition -@var{duration}
1194 For example, @code{\partial 8*3} becomes:
1197 \set Timing.measurePosition = #(ly:make-moment -3 8)
1200 The property @code{measurePosition} contains a rational number
1201 indicating how much of the measure has passed at this point. Note
1202 that this is set to a negative number by the @code{\partial} command:
1203 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1204 @qq{there is a quarter note left in the measure.}
1217 @rinternals{Timing_translator}.
1221 The @code{\partial} command is intended to be used only at the
1222 beginning of a piece. If you use it after the beginning, some
1223 odd warnings or effects may occur, in this case use
1224 @code{\set Timing.measurePosition} instead.
1226 @node Unmetered music
1227 @unnumberedsubsubsec Unmetered music
1229 @cindex bar lines, turning off
1230 @cindex bar numbering, turning off
1232 @cindex unmetered music
1234 @funindex \cadenzaOn
1236 @funindex \cadenzaOff
1237 @funindex cadenzaOff
1239 Bar lines and bar numbers are calculated automatically. For
1240 unmetered music (some cadenzas, for example), this is not desirable.
1241 To turn off automatic calculation of bar lines and bar numbers,
1242 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1243 to turn them on again.
1245 @lilypond[verbatim,relative=2,fragment]
1254 Bar numbering is resumed at the end of the cadenza as if the
1255 cadenza were not there:
1257 @lilypond[verbatim,relative=2,fragment]
1258 % Show all bar numbers
1259 \override Score.BarNumber #'break-visibility = #all-visible
1268 Note that these predefined commands affect all staves in the
1269 score, even when they are placed in just one @code{Voice}
1270 context. To change this, move the @code{Timing_translator}
1271 from the @code{Score} context to the @code{Staff} context, as
1272 shown in @ref{Polymetric notation}.
1285 @ref{Visibility of objects},
1286 @ref{Polymetric notation}.
1292 @cindex cadenza line breaks
1293 @cindex cadenza page breaks
1294 @cindex unmetered music, line breaks
1295 @cindex unmetered music, page breaks
1296 @cindex breaks in unmetered music
1297 @cindex line breaks in cadenzas
1298 @cindex page breaks in cadenzas
1299 @cindex line breaks in unmetered music
1300 @cindex page breaks in unmetered music
1304 LilyPond will insert line breaks and page breaks only at a
1305 bar line. Unless the unmetered music ends before the end of the
1306 staff line, you will need to insert invisible bar lines with
1313 to indicate where breaks can occur.
1315 You must explicitly create a @code{Voice} context when starting a
1316 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1318 @lilypond[verbatim,relative=2,fragment]
1319 \new Voice \relative c'{
1321 c16^"Solo Free Time" d e f g2. \bar "||"
1327 @node Polymetric notation
1328 @unnumberedsubsubsec Polymetric notation
1330 @c This section necessarily uses \set
1331 @c This is acceptable -td
1333 @cindex double time signatures
1334 @cindex signatures, polymetric
1335 @cindex time signatures, polymetric
1336 @cindex time signatures, double
1337 @cindex polymetric signatures
1338 @cindex meter, polymetric
1340 @funindex timeSignatureFraction
1341 @funindex \scaleDurations
1342 @funindex scaleDurations
1346 Polymetric notation is supported, either explicitly or by modifying
1347 the visible time signature symbol and scaling the note durations.
1349 @strong{@i{Staves with different time signatures, equal measure lengths}}
1351 This notation can be created by setting a common time signature
1352 for each staff but replacing the symbol manually by setting
1353 @code{timeSignatureFraction} to the desired fraction and scaling
1354 the printed durations in each staff to the common time
1355 signature; see @ref{Time signature}. The scaling is done with
1356 @code{\scaleDurations}, which is used in a similar way to
1357 @code{\times}, but does not create a tuplet bracket; see
1358 @ref{Scaling durations}.
1360 @cindex beaming in polymetric music
1361 @cindex beaming in polymetric meter
1363 In this example, music with the time signatures of 3/4, 9/8, and
1364 10/8 are used in parallel. In the second staff, shown durations
1365 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1366 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1367 It will often be necessary to insert beams manually, as the
1368 duration scaling affects the autobeaming rules.
1370 @lilypond[quote,verbatim,fragment]
1379 \set Staff.timeSignatureFraction = #'(9 . 8)
1380 \scaleDurations #'(2 . 3)
1381 \repeat unfold 6 { c8[ c c] }
1385 \set Staff.timeSignatureFraction = #'(10 . 8)
1386 \scaleDurations #'(3 . 5) {
1387 \repeat unfold 2 { c8[ c c] }
1388 \repeat unfold 2 { c8[ c] } |
1389 c4. c4. \times 2/3 { c8[ c c] } c4
1395 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1397 Each staff can be given its own independent time signature by
1398 moving the @code{Timing_translator} and the
1399 @code{Default_bar_line_engraver} to the @code{Staff} context.
1401 @lilypond[quote,verbatim]
1405 \remove "Timing_translator"
1406 \remove "Default_bar_line_engraver"
1410 \consists "Timing_translator"
1411 \consists "Default_bar_line_engraver"
1415 % Now each staff has its own time signature.
1441 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1442 {compound-time-signatures.ly}
1448 @rglos{polymetric time signature},
1452 @ref{Time signature},
1453 @ref{Scaling durations}.
1458 Internals Reference:
1459 @rinternals{TimeSignature},
1460 @rinternals{Timing_translator},
1461 @rinternals{Default_bar_line_engraver},
1467 When using different time signatures in parallel, notes
1468 at the same moment will be placed at the same horizontal
1469 location. However, the bar lines in the different staves
1470 will cause the note spacing to be less regular in each of the
1471 individual staves than would be normal without the different
1474 @node Automatic note splitting
1475 @unnumberedsubsubsec Automatic note splitting
1477 @cindex notes, splitting
1478 @cindex splitting notes
1480 @funindex Note_heads_engraver
1481 @funindex Completion_heads_engraver
1483 Long notes which overrun bar lines can be converted automatically
1484 to tied notes. This is done by replacing the
1485 @code{Note_heads_engraver} with the
1486 @code{Completion_heads_engraver}. In the following
1487 example, notes crossing the bar lines are split and tied.
1489 @lilypond[quote,verbatim,relative=1]
1491 \remove "Note_heads_engraver"
1492 \consists "Completion_heads_engraver"
1495 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1498 This engraver splits all running notes at the bar line, and
1499 inserts ties. One of its uses is to debug complex scores: if the
1500 measures are not entirely filled, then the ties show exactly how
1501 much each measure is off.
1509 @rlearning{Engravers explained},
1510 @rlearning{Adding and removing engravers}.
1515 Internals Reference:
1516 @rinternals{Note_heads_engraver},
1517 @rinternals{Completion_heads_engraver},
1518 @rinternals{Forbid_line_break_engraver}.
1523 Not all durations (especially those containing tuplets) can be
1524 represented exactly with normal notes and dots, but the
1525 @code{Completion_heads_engraver} will not insert tuplets.
1527 The @code{Completion_heads_engraver} only affects notes; it does not
1531 @node Showing melody rhythms
1532 @unnumberedsubsubsec Showing melody rhythms
1534 @cindex melody rhythms, showing
1535 @cindex rhythms, showing melody
1537 Sometimes you might want to show only the rhythm of a melody. This
1538 can be done with the rhythmic staff. All pitches of notes on such a
1539 staff are squashed, and the staff itself has a single line
1541 @lilypond[quote,relative=1,verbatim]
1543 \new RhythmicStaff {
1544 \new Voice = "myRhythm" {
1552 \lyricsto "myRhythm" {
1560 @cindex guitar chord charts
1561 @cindex strumming rhythms, showing
1562 @cindex guitar strumming rhythms, showing
1564 @funindex Pitch_squash_engraver
1565 @funindex \improvisationOn
1566 @funindex improvisationOn
1567 @funindex \improvisationOff
1568 @funindex improvisationOff
1570 Guitar chord charts often show the strumming rhythms. This can
1571 be done with the @code{Pitch_squash_engraver} and
1572 @code{\improvisationOn}.
1575 @lilypond[quote,verbatim]
1584 \consists Pitch_squash_engraver
1597 @code{\improvisationOn},
1598 @code{\improvisationOff}.
1604 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1605 {guitar-strum-rhythms.ly}
1612 Internals Reference:
1613 @rinternals{RhythmicStaff},
1614 @rinternals{Pitch_squash_engraver}.
1622 * Setting automatic beam behavior::
1627 @node Automatic beams
1628 @unnumberedsubsubsec Automatic beams
1630 By default, beams are inserted automatically:
1632 @cindex beams, manual
1633 @cindex manual beams
1634 @cindex beams, setting rules for
1635 @cindex beams, custom rules for
1637 @funindex \autoBeamOn
1638 @funindex autoBeamOn
1639 @funindex \autoBeamOff
1640 @funindex autoBeamOff
1642 @lilypond[quote,verbatim,relative=2]
1644 \time 6/8 c c c c8. c16 c8
1647 If these automatic decisions are not satisfactory, beaming can be
1648 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1649 entered manually if beams are to be extended over rests.
1651 If automatic beaming is not required, it may be turned off with
1652 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1654 @lilypond[quote,relative=1,verbatim]
1655 c4 c8 c8. c16 c8. c16 c8
1662 @cindex melismata, beams
1663 @cindex beams and melismata
1665 @warning{If beams are used to indicate melismata in songs, then
1666 automatic beaming should be switched off with @code{\autoBeamOff}
1667 and the beams indicated manually.}
1669 Beaming patterns that differ from the automatic defaults can be
1670 created; see @ref{Setting automatic beam behavior}.
1674 @code{\autoBeamOff},
1681 @cindex line breaks and beams
1682 @cindex beams and line breaks
1686 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1687 {beams-across-line-breaks.ly}
1689 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1690 {changing-beam-knee-gap.ly}
1696 @ref{Setting automatic beam behavior}.
1699 @file{scm/@/auto@/-beam@/.scm}.
1704 Internals Reference:
1705 @rinternals{Auto_beam_engraver},
1706 @rinternals{Beam_engraver},
1708 @rinternals{BeamEvent},
1709 @rinternals{BeamForbidEvent},
1710 @rinternals{beam-interface},
1711 @rinternals{unbreakable-spanner-interface}.
1716 Beams can collide with note heads and accidentals in other voices.
1719 @node Setting automatic beam behavior
1720 @unnumberedsubsubsec Setting automatic beam behavior
1723 @cindex automatic beams, tuning
1724 @cindex tuning automatic beaming
1725 @cindex automatic beam generation
1727 @cindex lyrics and beaming
1729 @funindex autoBeaming
1730 @funindex baseMoment
1731 @funindex beamExceptions
1732 @funindex beatStructure
1733 @funindex measureLength
1739 The placement of automatic beams is determined by the context properties
1740 @code{baseMoment}, @code{beatStructure}, @code{beamExceptions},
1741 and @code{autoBeaming}.
1743 The following rules, in order of priority, apply when determining
1744 the appearance of beams:
1748 If a manual beam is specified with @code{[..]} set the beam
1749 as specified, otherwise
1752 if @code{\autoBeamOff} is in force do not beam, otherwise
1755 if a beam-ending rule is defined in @code{beamExceptions}
1756 for the beam type, use it to determine the valid places where
1757 beams may end, otherwise
1760 if a beam-ending rule is defined in @code{beamExceptions}
1761 for a larger beam-type, use it to determined the valid places
1762 where beams may end, otherwise
1765 use the values of @code{baseMoment} and @code{beatStructure} to
1766 determine the ends of the beats in the measure, and
1767 end beams at the end of beats.
1771 The beam type is the duration of the shortest note in the beamed group.
1772 If no beam-ending rule is defined for a beam type, the rule for the
1773 smallest beam-type larger than the current beam is used.
1775 @i{@strong{Modifying the grouping of beats}}
1777 By default @code{baseMoment} is set by the @code{\time} command,
1778 normally to one over the denominator of the time signature.
1779 Any exceptions to this default
1780 can be found in @file{scm/@/time@/-signature@/-settings@/.scm}.
1781 Changing the default value of @code{baseMoment} for a given
1782 time signature is described in @ref{Time signature}.
1784 @code{baseMoment} is a @i{moment},
1785 a unit of musical duration. A quantity of type @i{moment} is
1786 created by the scheme function @code{ly:make-moment}. For more
1787 information about this function, see @ref{Time administration}.
1789 Special (i.e., other than at the end of the beat) autobeam settings
1791 @code{beamExceptions} property. Default values of @code{beamExceptions}
1792 are established by the @code{\time} command. Default values of
1793 @code{beamExceptions} for a time signature
1794 are determined in @file{scm/@/time@/-signature@/-settings@/.scm}.
1795 Entries in @code{beamExceptions} are indexed by rule type and beam type.
1797 Rule type should be @code{#'end} for beam ending.
1799 The ending rules consist of a scheme alist
1800 (or list of pairs) that
1801 indicates the beam type and the grouping to be applied to
1802 beams containing notes with a shortest duration of that
1806 #'((beam-type1 . grouping-1)
1807 (beam-type2 . grouping-2)
1808 (beam-type3 . grouping-3))
1811 Beam type is a scheme pair indicating the duration
1812 of the beam, e.g., @code{(1 . 16)}.
1814 Grouping is a scheme list indicating the grouping to be applied to
1815 the beam. The grouping is in units of the beam type.
1817 For reference, the default beaming rules are found in
1818 @file{scm/time-signature-settings.scm}.
1820 Alternate values for @code{beamExceptions}
1821 can be defined using the @code{\set} command.
1824 A @code{beamExceptions} value must be
1825 @emph{complete} exceptions list. That is, every exception that should
1826 be applied must be included in the setting.
1827 It is not possible to add, remove, or change only one of the exceptions.
1828 While this may seem cumbersome,
1829 it means that the current beaming settings need not be known
1830 in order to specify a new beaming pattern.}
1832 @lilypond[quote,relative=2,verbatim]
1835 \set beatStructure = #'(2 3)
1837 \set beatStructure = #'(3 2)
1841 Beam setting changes can be limited to specific contexts. If no
1842 setting is included in a lower-level context, the setting of the
1843 enclosing context will apply.
1845 @lilypond[quote, verbatim,relative=1]
1848 \set Staff.beatStructure = #'(2 3 2)
1858 \set Voice.beatStructure = #'(1 3 3)
1866 When multiple voices are used the @code{Staff} context must be
1867 specified if the beaming is to be applied to all voices in the
1870 @lilypond[quote,verbatim,relative=2]
1873 % Context Voice specified -- does not work correctly
1874 % Because of autogenerated voices, all beating will
1875 % be at baseMoment (1 . 8)
1876 \set beatStructure = #'(3 1 1 2)
1877 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1879 % Works correctly with context Staff specified
1880 \set Staff.beatStructure = #'(3 1 1 2)
1881 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1884 Beam settings can be set back to default behavior. This
1885 is accomplished by setting the time signature.
1887 @lilypond[quote,verbatim,relative=2]
1889 \repeat unfold 8 {a8}
1890 % eliminate beam exception that groups beats 1, 2 and 3, 4
1891 \set Timing.beamExceptions = #'()
1892 \repeat unfold 8 {a8}
1893 % go back to default behavior
1895 \repeat unfold 8 {a8}
1901 @cindex beams, subdividing
1903 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1904 {subdividing-beams.ly}
1906 @cindex measure groupings
1907 @cindex beats, grouping
1908 @cindex grouping beats
1909 @cindex measure sub-grouping
1911 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1912 {conducting-signs,-measure-grouping-signs.ly}
1914 @cindex beam, last in score
1915 @cindex beam, last in polyphonic voice
1917 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1918 {beam-endings-in-score-context.ly}
1923 @file{scm/beam-settings.scm}.
1928 Internals Reference:
1929 @rinternals{Auto_beam_engraver},
1931 @rinternals{BeamForbidEvent},
1932 @rinternals{beam-interface}.
1937 If a score ends while an automatic beam has not been ended and is
1938 still accepting notes, this last beam will not be typeset at all.
1939 The same holds for polyphonic voices, entered with @code{<<
1940 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1941 automatic beam is still accepting notes, it is not typeset.
1942 The workaround for these problems is to manually beam the last
1943 beam in the voice or score.
1946 @unnumberedsubsubsec Manual beams
1948 @cindex beams, manual
1949 @cindex manual beams
1954 In some cases it may be necessary to override the automatic
1955 beaming algorithm. For example, the autobeamer will not put beams
1956 over rests or bar lines, and in choral scores the beaming is
1957 often set to follow the meter of the lyrics rather than the
1958 notes. Such beams can be specified manually by
1959 marking the begin and end point with @code{[} and @code{]}.
1961 @lilypond[quote,relative=1,verbatim]
1962 r4 r8[ g' a r8] r8 g[ | a] r8
1965 @cindex manual beams, direction shorthand for
1966 @cindex manual beams, grace notes
1968 Beaming direction can be set manually using direction indicators:
1970 @lilypond[quote,relative=2,verbatim]
1971 c8^[ d e] c,_[ d e f g]
1977 Individual notes may be marked with @code{\noBeam} to prevent them
1980 @lilypond[quote,verbatim,relative=2]
1985 Grace note beams and normal note beams can occur simultaneously.
1986 Unbeamed grace notes are not put into normal note beams.
1988 @lilypond[quote,verbatim,relative=2]
1990 \grace { e32[ d c d] }
1996 @funindex stemLeftBeamCount
1997 @funindex stemRightBeamCount
1999 Even more strict manual control with the beams can be achieved by
2000 setting the properties @code{stemLeftBeamCount} and
2001 @code{stemRightBeamCount}. They specify the number of beams to
2002 draw on the left and right side, respectively, of the next note.
2003 If either property is set, its value will be used only once, and
2004 then it is erased. In this example, the last @code{f} is printed
2005 with only one beam on the left side, i.e., the eighth-note beam of
2006 the group as a whole.
2008 @lilypond[quote,relative=2,verbatim]
2011 \set stemLeftBeamCount = #2
2012 \set stemRightBeamCount = #1
2014 \set stemLeftBeamCount = #1
2026 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2027 {flat-flags-and-beam-nibs.ly}
2032 @ref{Direction and placement},
2038 Internals Reference:
2040 @rinternals{BeamEvent},
2041 @rinternals{Beam_engraver},
2042 @rinternals{beam-interface},
2043 @rinternals{Stem_engraver}.
2046 @node Feathered beams
2047 @unnumberedsubsubsec Feathered beams
2049 @cindex beams, feathered
2050 @cindex feathered beams
2052 @funindex \featherDurations
2053 @funindex featherDurations
2054 @funindex grow-direction
2056 Feathered beams are used to indicate that a small group of notes
2057 should be played at an increasing (or decreasing) tempo, without
2058 changing the overall tempo of the piece. The extent of the
2059 feathered beam must be indicated manually using @code{[} and
2060 @code{]}, and the beam feathering is turned on by specifying a
2061 direction to the @code{Beam} property @code{grow-direction}.
2063 If the placement of the notes and the sound in the MIDI output is to
2064 reflect the ritardando or accelerando indicated by the feathered beam
2065 the notes must be grouped as a music expression delimited by braces
2066 and preceded by a @code{featherDurations} command which specifies
2067 the ratio between the durations of the first and last notes in the
2070 The square brackets show the extent of the beam and the braces show
2071 which notes are to have their durations modified. Normally these
2072 would delimit the same group of notes, but this is not required: the
2073 two commands are independent.
2075 In the following example the eight 16th notes occupy exactly the
2076 same time as a half note, but the first note is one half as long
2077 as the last one, with the intermediate notes gradually
2078 lengthening. The first four 32nd notes gradually speed up, while
2079 the last four 32nd notes are at a constant tempo.
2081 @lilypond[relative=1,verbatim,quote]
2082 \override Beam #'grow-direction = #LEFT
2083 \featherDurations #(ly:make-moment 2 1)
2084 { c16[ c c c c c c c] }
2085 \override Beam #'grow-direction = #RIGHT
2086 \featherDurations #(ly:make-moment 2 3)
2088 % revert to non-feathered beams
2089 \override Beam #'grow-direction = #'()
2094 The spacing in the printed output represents the
2095 note durations only approximately, but the MIDI output is exact.
2099 @code{\featherDurations}.
2109 The @code{\featherDurations} command only works with very short
2110 music snippets, and when numbers in the fraction are small.
2120 * Bar and bar number checks::
2125 @unnumberedsubsubsec Bar lines
2128 @cindex measure lines
2129 @cindex closing bar lines
2130 @cindex bar lines, closing
2131 @cindex double bar lines
2132 @cindex bar lines, double
2138 Bar lines delimit measures, and are also used to indicate
2139 repeats. Normally, simple bar lines are automatically inserted
2140 into the printed output at places based on the current time
2143 The simple bar lines inserted automatically can be changed to
2144 other types with the @code{\bar} command. For example, a closing
2145 double bar line is usually placed at the end of a piece:
2147 @lilypond[quote,relative=1,verbatim]
2151 It is not invalid if the final note in a measure does not
2152 end on the automatically entered bar line: the note is assumed
2153 to carry over into the next measure. But if a long sequence
2154 of such carry-over measures appears the music can appear compressed
2155 or even flowing off the page. This is because automatic line
2156 breaks happen only at the end of complete measures, i.e., where
2157 all notes end before the end of a measure.
2159 @warning{An incorrect duration can cause line breaks to be
2160 inhibited, leading to a line of highly compressed music or
2161 music which flows off the page.}
2164 @cindex bar lines, invisible
2165 @cindex measure lines, invisible
2167 Line breaks are also permitted at manually inserted bar lines
2168 even within incomplete measures. To allow a line break without
2169 printing a bar line, use the following:
2176 This will insert an invisible bar line and allow (but not
2177 force) a line break to occur at this point. The bar number
2178 counter is not increased. To force a line break see
2179 @ref{Line breaking}.
2181 @cindex manual bar lines
2182 @cindex manual measure lines
2183 @cindex bar lines, manual
2184 @cindex measure lines, manual
2186 This and other special bar lines may be inserted manually at any
2187 point. When they coincide with the end of a measure they replace
2188 the simple bar line which would have been inserted there
2189 automatically. When they do not coincide with the end of a measure
2190 the specified bar line is inserted at that point in the printed
2193 Note that manual bar lines are purely visual. They do not affect
2194 any of the properties that a normal bar line would affect, such as
2195 measure numbers, accidentals, line breaks, etc. They do not affect
2196 the calculation and placement of subsequent automatic bar lines.
2197 When a manual bar line is placed where a normal bar line already
2198 exists, the effects of the original bar line are not altered.
2200 Two types of simple bar lines and five types of double bar lines are
2201 available for manual insertion:
2203 @lilypond[quote,relative=1,verbatim]
2215 together with dotted and dashed bar lines:
2217 @lilypond[quote,relative=1,verbatim]
2224 and five types of repeat bar line:
2226 @lilypond[quote,relative=1,verbatim]
2235 Additionally, a bar line can be printed as a simple tick:
2236 @lilypond[quote,relative=1,verbatim]
2239 However, as such ticks are typically used in Gregorian chant, it is
2240 preferable to use @code{\divisioMinima} there instead, described in
2241 the section @ref{Divisiones} in Gregorian chant.
2245 For in-line segno signs, there are three types of bar lines which
2246 differ in their behavior at line breaks:
2248 @lilypond[quote,relative=2,verbatim]
2266 Although the bar line types signifying repeats may be inserted
2267 manually they do not in themselves cause LilyPond to recognize
2268 a repeated section. Such repeated sections are better entered
2269 using the various repeat commands (see @ref{Repeats}), which
2270 automatically print the appropriate bar lines.
2272 In addition, you can specify @code{"||:"}, which is equivalent to
2273 @code{"|:"} except at line breaks, where it gives a double bar
2274 line at the end of the line and a start repeat at the beginning of
2277 @lilypond[quote,relative=2,verbatim]
2285 For combinations of repeats with the segno sign, there are six different
2288 @lilypond[quote,relative=2,verbatim]
2317 In scores with many staves, a @code{\bar} command in one staff is
2318 automatically applied to all staves. The resulting bar lines are
2319 connected between different staves of a @code{StaffGroup},
2320 @code{PianoStaff}, or @code{GrandStaff}.
2322 @lilypond[quote,relative=1,verbatim]
2330 \new Staff { \clef bass c4 g e g }
2332 \new Staff { \clef bass c2 c2 }
2337 @cindex default bar lines, changing
2338 @cindex bar lines, default, changing
2343 @funindex defaultBarType
2348 The command @code{\bar }@var{bartype} is a shortcut for
2349 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2350 created whenever the @code{whichBar} property is set.
2352 The default bar type used for automatically inserted bar lines is
2353 @code{"|"}. This may be changed at any time
2354 with @code{\set Timing.defaultBarType = }@var{bartype}.
2359 @ref{Line breaking},
2361 @ref{Grouping staves}.
2366 Internals Reference:
2367 @rinternals{BarLine} (created at @code{Staff} level),
2368 @rinternals{SpanBar} (across staves),
2369 @rinternals{Timing_translator} (for Timing properties).
2373 @unnumberedsubsubsec Bar numbers
2376 @cindex measure numbers
2377 @cindex numbers, bar
2378 @cindex numbers, measure
2380 @funindex currentBarNumber
2382 Bar numbers are typeset by default at the start of every line except
2383 the first line. The number itself is stored in the
2384 @code{currentBarNumber} property, which is normally updated
2385 automatically for every measure. It may also be set manually:
2387 @lilypond[verbatim,quote,relative=1]
2390 \set Score.currentBarNumber = #50
2394 @cindex bar numbers, regular spacing
2396 @funindex barNumberVisibility
2399 Bar numbers can be typeset at regular intervals instead of just at
2400 the beginning of every line. To do this the default behavior
2401 must be overridden to permit bar numbers to be printed at places
2402 other than the start of a line. This is controlled by the
2403 @code{break-visibility} property of @code{BarNumber}. This takes
2404 three values which may be set to @code{#t} or @code{#f} to specify
2405 whether the corresponding bar number is visible or not. The order
2406 of the three values is @code{end of line visible}, @code{middle of
2407 line visible}, @code{beginning of line visible}. In the following
2408 example bar numbers are printed at all possible places:
2410 @lilypond[verbatim,quote,relative=1]
2411 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2412 \set Score.currentBarNumber = #11
2413 % Permit first bar number to be printed
2423 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2424 {printing-the-bar-number-for-the-first-measure.ly}
2426 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2427 {printing-bar-numbers-at-regular-intervals.ly}
2429 @cindex measure number, format
2430 @cindex bar number, format
2432 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2433 {printing-bar-numbers-inside-boxes-or-circles.ly}
2435 @cindex bar number alignment
2437 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2438 {aligning-bar-numbers.ly}
2440 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2441 {removing-bar-numbers-from-a-score.ly}
2448 Internals Reference:
2449 @rinternals{BarNumber},
2450 @rinternals{Bar_number_engraver}.
2453 @cindex bar number collision
2454 @cindex collision, bar number
2458 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2459 if there is one. To solve this, the @code{padding} property of
2460 @code{BarNumber} can be used to position the number correctly. See
2461 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2464 @node Bar and bar number checks
2465 @unnumberedsubsubsec Bar and bar number checks
2468 @cindex bar number check
2469 @cindex measure check
2470 @cindex measure number check
2472 @funindex barCheckSynchronize
2475 Bar checks help detect errors in the entered durations. A bar check
2476 may be entered using the bar symbol, @code{|}, at any place where a
2477 bar line is expected to fall. If bar check lines are encountered at
2478 other places, a list of warnings is printed in the log file, showing
2479 the line numbers and lines in which the bar checks failed. In the
2480 next example, the second bar check will signal an error.
2483 \time 3/4 c2 e4 | g2 |
2486 Bar checks can also be used in lyrics:
2491 Twin -- kle | Twin -- kle |
2495 An incorrect duration can result in a completely garbled score,
2496 especially if the score is polyphonic, so a good place to start
2497 correcting input is by scanning for failed bar checks and
2498 incorrect durations.
2500 If successive bar checks are off by the same musical interval,
2501 only the first warning message is displayed. This allows the
2502 warning to focus on the source of the timing error.
2506 @funindex pipeSymbol
2508 It is also possible to redefine the action taken when a bar check
2509 or pipe symbol, @code{|}, is encountered in the input, so that
2510 it does something other than a bar check. This is done by
2511 assigning a music expression to @code{pipeSymbol}.
2512 In the following example @code{|} is set to insert a double bar
2513 line wherever it appears in the input, rather than checking
2516 @lilypond[quote,verbatim]
2517 pipeSymbol = \bar "||"
2526 @funindex \barNumberCheck
2527 @funindex barNumberCheck
2529 When copying large pieces of music, it can be helpful to check that
2530 the LilyPond bar number corresponds to the original that you are
2531 entering from. This can be checked with @code{\barNumberCheck}, for
2535 \barNumberCheck #123
2539 will print a warning if the @code{currentBarNumber} is not 123
2540 when it is processed.
2548 @node Rehearsal marks
2549 @unnumberedsubsubsec Rehearsal marks
2551 @cindex rehearsal marks
2552 @cindex mark, rehearsal
2557 To print a rehearsal mark, use the @code{\mark} command.
2559 @lilypond[quote,verbatim,relative=2]
2567 The mark is incremented automatically if you use @code{\mark
2568 \default}, but you can also use an integer argument to set the
2569 mark manually. The value to use is stored in the property
2570 @code{rehearsalMark}.
2572 @lilypond[quote,verbatim,relative=2]
2581 The letter@tie{}@q{I} is skipped in accordance with engraving
2582 traditions. If you wish to include the letter @q{I}, then use one
2583 of the following commands, depending on which style of rehearsal mark
2584 you want (letters only, letters in a hollow box, or letters in a
2588 \set Score.markFormatter = #format-mark-alphabet
2589 \set Score.markFormatter = #format-mark-box-alphabet
2590 \set Score.markFormatter = #format-mark-circle-alphabet
2593 @lilypond[quote,verbatim,relative=2]
2594 \set Score.markFormatter = #format-mark-box-alphabet
2602 @cindex rehearsal mark format
2603 @cindex rehearsal mark style
2604 @cindex style, rehearsal mark
2605 @cindex format, rehearsal mark
2606 @cindex mark, rehearsal, style
2607 @cindex mark, rehearsal, format
2608 @cindex rehearsal mark, manual
2609 @cindex mark, rehearsal, manual
2610 @cindex custom rehearsal mark
2611 @cindex manual rehearsal mark
2613 The style is defined by the property @code{markFormatter}. It is
2614 a function taking the current mark (an integer) and the current
2615 context as argument. It should return a markup object. In the
2616 following example, @code{markFormatter} is set to a pre-defined
2617 procedure. After a few measures, it is set to a procedure that
2618 produces a boxed number.
2620 @lilypond[quote,verbatim,relative=2]
2621 \set Score.markFormatter = #format-mark-numbers
2624 \set Score.markFormatter = #format-mark-box-numbers
2626 \set Score.markFormatter = #format-mark-circle-numbers
2628 \set Score.markFormatter = #format-mark-circle-letters
2632 The file @file{scm/@/translation@/-functions@/.scm} contains the
2633 definitions of @code{format-mark-numbers} (the default format),
2634 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2635 @code{format-mark-box-letters}. These can be used as inspiration
2636 for other formatting functions.
2638 You may use @code{format-mark-barnumbers},
2639 @code{format-mark-box-barnumbers}, and
2640 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2641 incremented numbers or letters.
2643 Other styles of rehearsal mark can be specified manually:
2650 Note that @code{Score.markFormatter} does not affect marks specified
2651 in this manner. However, it is possible to apply a @code{\markup} to the
2655 \mark \markup@{ \box A1 @}
2660 @cindex D.S. al Fine
2662 @cindex music glyphs
2663 @cindex glyphs, music
2665 @funindex \musicglyph
2666 @funindex musicglyph
2668 Music glyphs (such as the segno sign) may be printed inside a
2671 @lilypond[quote,verbatim,relative=1]
2672 c1 \mark \markup { \musicglyph #"scripts.segno" }
2673 c1 \mark \markup { \musicglyph #"scripts.coda" }
2674 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2679 See @ref{The Feta font}, for a list of symbols which may be
2680 printed with @code{\musicglyph}.
2682 For common tweaks to the positioning of rehearsal marks, see
2683 @ref{Formatting text}. For more precise control, see
2684 @code{break-alignable-interface} in @ref{Aligning objects}.
2689 @ref{The Feta font},
2690 @ref{Formatting text},
2691 @ref{Aligning objects}.
2694 @file{scm/@/translation@/-functions@/.scm} contains
2695 the definitions of @code{format-mark-numbers} and
2696 @code{format-mark-letters}. They can be used as inspiration for
2697 other formatting functions.
2702 Internals Reference:
2703 @rinternals{MarkEvent},
2704 @rinternals{Mark_engraver},
2705 @rinternals{RehearsalMark}.
2708 @node Special rhythmic concerns
2709 @subsection Special rhythmic concerns
2714 * Aligning to cadenzas::
2715 * Time administration::
2719 @unnumberedsubsubsec Grace notes
2723 @cindex appoggiatura
2724 @cindex acciaccatura
2729 Grace notes are ornaments that are written out. Grace notes
2730 are printed in a smaller font and take up no logical time
2733 @lilypond[quote,relative=2,verbatim]
2735 \grace { c16[ d16] } c2
2738 LilyPond also supports two special types of grace notes, the
2739 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2740 small note with a slashed stem -- and the @emph{appoggiatura}, which
2741 takes a fixed fraction of the main note and appears in small print
2744 @lilypond[quote,relative=2,verbatim]
2748 \acciaccatura { g16[ f] } e4
2751 The placement of grace notes is synchronized between different
2752 staves. In the following example, there are two sixteenth grace
2753 notes for every eighth grace note
2755 @lilypond[quote,relative=2,verbatim]
2757 \new Staff { e2 \grace { c16[ d e f] } e2 }
2758 \new Staff { c2 \grace { g8[ b] } c2 }
2762 @cindex grace notes, following
2764 @funindex \afterGrace
2765 @funindex afterGrace
2767 If you want to end a note with a grace, use the @code{\afterGrace}
2768 command. It takes two arguments: the main note, and the grace
2769 notes following the main note.
2771 @lilypond[quote,verbatim,relative=2]
2772 c1 \afterGrace d1 { c16[ d] } c1
2775 This will put the grace notes after a space lasting 3/4 of the
2776 length of the main note. The default fraction 3/4 can be changed by
2777 setting @code{afterGraceFraction}. The following example shows
2778 the results from setting the space at the default, at 15/16, and
2779 finally at 1/2 of the main note.
2781 @lilypond[quote,verbatim,relative=2]
2784 c1 \afterGrace d1 { c16[ d] } c1
2787 #(define afterGraceFraction (cons 15 16))
2788 c1 \afterGrace d1 { c16[ d] } c1
2791 #(define afterGraceFraction (cons 1 2))
2792 c1 \afterGrace d1 { c16[ d] } c1
2797 The space between the main note and the grace note may also be
2798 specified using spacers. The following example places the grace
2799 note after a space lasting 7/8 of the main note.
2801 @lilypond[quote,verbatim,relative=2]
2805 { s2 s4. \grace { c16[ d] } }
2811 @cindex tweaking grace notes
2812 @cindex grace notes, tweaking
2813 @cindex grace notes, changing layout settings
2815 A @code{\grace} music expression will introduce special
2816 typesetting settings, for example, to produce smaller type, and
2817 set directions. Hence, when introducing layout tweaks to
2818 override the special settings, they should be placed inside
2819 the grace expression. The overrides should also be reverted
2820 inside the grace expression. Here, the grace note's default stem
2821 direction is overridden and then reverted.
2823 @lilypond[quote,verbatim,relative=2]
2835 @cindex stem, with slash
2840 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2841 {using-grace-note-slashes-with-normal-heads.ly}
2843 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2844 {tweaking-grace-layout-within-music.ly}
2846 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2847 {redefining-grace-note-global-defaults.ly}
2849 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2850 {positioning-grace-notes-with-floating-space.ly}
2855 @rglos{grace notes},
2856 @rglos{acciaccatura},
2857 @rglos{appoggiatura}.
2863 @file{ly/@/grace@/-init@/.ly}.
2868 Internals Reference:
2869 @rinternals{GraceMusic},
2870 @rinternals{Grace_beam_engraver},
2871 @rinternals{Grace_engraver},
2872 @rinternals{Grace_spacing_engraver}.
2877 @cindex acciaccatura, multi-note
2878 @cindex multi-note acciaccatura
2879 @cindex grace-note synchronization
2881 A multi-note beamed @i{acciaccatura} is printed without a slash,
2882 and looks exactly the same as a multi-note beamed
2885 @c TODO Add link to LSR snippet to add slash when available
2887 Grace note synchronization can also lead to surprises. Staff
2888 notation, such as key signatures, bar lines, etc., are also
2889 synchronized. Take care when you mix staves with grace notes and
2890 staves without, for example,
2892 @lilypond[quote,relative=2,verbatim]
2894 \new Staff { e4 \bar "|:" \grace c16 d2. }
2895 \new Staff { c4 \bar "|:" d2. }
2900 This can be remedied by inserting grace skips of the corresponding
2901 durations in the other staves. For the above example
2903 @lilypond[quote,relative=2,verbatim]
2905 \new Staff { e4 \bar "|:" \grace c16 d2. }
2906 \new Staff { c4 \bar "|:" \grace s16 d2. }
2910 Grace sections should only be used within sequential music
2911 expressions. Nesting or juxtaposing grace sections is not
2912 supported, and might produce crashes or other errors.
2914 @node Aligning to cadenzas
2915 @unnumberedsubsubsec Aligning to cadenzas
2918 @cindex cadenza, aligning to
2919 @cindex aligning to cadenza
2921 In an orchestral context, cadenzas present a special problem: when
2922 constructing a score that includes a measured cadenza or other solo
2923 passage, all other instruments should skip just as many notes as the
2924 length of the cadenza, otherwise they will start too soon or too late.
2926 One solution to this problem is to use the functions
2927 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2928 functions take a defined piece of music as an argument and generate a
2929 multi-measure rest or @code{\skip} exactly as long as the piece.
2931 @lilypond[verbatim,quote]
2932 MyCadenza = \relative c' {
2943 #(ly:export (mmrest-of-length MyCadenza))
2945 #(ly:export (skip-of-length MyCadenza))
2960 @node Time administration
2961 @unnumberedsubsubsec Time administration
2963 @cindex time administration
2964 @cindex timing (within the score)
2965 @cindex music, unmetered
2966 @cindex unmetered music
2968 @funindex currentBarNumber
2969 @funindex measurePosition
2970 @funindex measureLength
2972 Time is administered by the @code{Timing_translator}, which by
2973 default is to be found in the @code{Score} context. An alias,
2974 @code{Timing}, is added to the context in which the
2975 @code{Timing_translator} is placed. To ensure that the
2976 @code{Timing} alias is available, you may need to explicitly
2977 instantiate the containing context (such as @code{Voice} or
2980 The following properties of @code{Timing} are used
2981 to keep track of timing within the score.
2984 @cindex measure number
2987 @item currentBarNumber
2988 The current measure number. For an example showing the
2989 use of this property see @ref{Bar numbers}.
2992 The length of the measures in the current time signature. For a
2993 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2994 determines when bar lines are inserted and how automatic beams
2995 should be generated.
2997 @item measurePosition
2998 The point within the measure where we currently are. This
2999 quantity is reset by subtracting @code{measureLength} whenever
3000 @code{measureLength} is reached or exceeded. When that happens,
3001 @code{currentBarNumber} is incremented.
3004 If set to true, the above variables are updated for every time
3005 step. When set to false, the engraver stays in the current
3006 measure indefinitely.
3010 Timing can be changed by setting any of these variables
3011 explicitly. In the next example, the default 4/4 time
3012 signature is printed, but @code{measureLength} is set to 5/4.
3013 At 4/8 through the third measure, the @code{measurePosition} is
3014 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3015 The next bar line then falls at 9/8 rather than 5/4.
3017 @lilypond[quote,verbatim]
3018 \new Voice \relative c' {
3019 \set Timing.measureLength = #(ly:make-moment 5 4)
3023 \set Timing.measurePosition = #(ly:make-moment 5 8)
3030 As the example illustrates, @code{ly:make-moment n m} constructs a
3031 duration of n/m of a whole note. For example,
3032 @code{ly:make-moment 1 8} is an eighth note duration and
3033 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3040 @ref{Unmetered music}.
3045 Internals Reference:
3046 @rinternals{Timing_translator},