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
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) % baseMoment
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{baseMoment}}, 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) % baseMoment
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{duration} is the rhythmic length of the remaining
1271 interval of the current measure before the start of the next.
1273 @lilypond[quote,verbatim,relative=2]
1278 The partial measure can be any duration less than the full measure:
1280 @lilypond[quote,verbatim,relative=2]
1281 \partial 8*3 c8 d e |
1285 Internally, @code{\partial @var{duration}} is translated into:
1288 \set Timing.measurePosition -@var{duration}
1291 For example, @code{\partial 8*3} becomes:
1294 \set Timing.measurePosition = #(ly:make-moment -3 8)
1297 The property @code{measurePosition} contains a rational number
1298 indicating how much of the measure has passed at this point. Note
1299 that this is set to a negative number by the @code{\partial} command:
1300 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1301 @qq{there is a quarter note left in the measure.}
1314 @rinternals{Timing_translator}.
1318 The @code{\partial} command is intended to be used only at the
1319 beginning of a piece. If you use it after the beginning, some
1320 odd warnings or effects may occur, in this case use
1321 @code{\set Timing.measurePosition} instead.
1323 @node Unmetered music
1324 @unnumberedsubsubsec Unmetered music
1326 @cindex bar lines, turning off
1327 @cindex bar numbering, turning off
1329 @cindex unmetered music
1331 @funindex \cadenzaOn
1333 @funindex \cadenzaOff
1334 @funindex cadenzaOff
1336 Bar lines and bar numbers are calculated automatically. For
1337 unmetered music (some cadenzas, for example), this is not desirable.
1338 To turn off automatic calculation of bar lines and bar numbers,
1339 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1340 to turn them on again.
1342 @lilypond[verbatim,relative=2,quote]
1351 Bar numbering is resumed at the end of the cadenza as if the
1352 cadenza were not there:
1354 @lilypond[verbatim,relative=2,quote]
1355 % Show all bar numbers
1356 \override Score.BarNumber #'break-visibility = #all-visible
1365 Note that these predefined commands affect all staves in the
1366 score, even when they are placed in just one @code{Voice}
1367 context. To change this, move the @code{Timing_translator}
1368 from the @code{Score} context to the @code{Staff} context, as
1369 shown in @ref{Polymetric notation}.
1382 @ref{Visibility of objects},
1383 @ref{Polymetric notation}.
1389 @cindex cadenza line breaks
1390 @cindex cadenza page breaks
1391 @cindex unmetered music, line breaks
1392 @cindex unmetered music, page breaks
1393 @cindex breaks in unmetered music
1394 @cindex line breaks in cadenzas
1395 @cindex page breaks in cadenzas
1396 @cindex line breaks in unmetered music
1397 @cindex page breaks in unmetered music
1401 LilyPond will insert line breaks and page breaks only at a
1402 bar line. Unless the unmetered music ends before the end of the
1403 staff line, you will need to insert invisible bar lines with
1410 to indicate where breaks can occur.
1412 You must explicitly create a @code{Voice} context when starting a
1413 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1415 @lilypond[verbatim,relative=2,quote]
1416 \new Voice \relative c'{
1418 c16^"Solo Free Time" d e f g2. \bar "||"
1424 @node Polymetric notation
1425 @unnumberedsubsubsec Polymetric notation
1427 @c This section necessarily uses \set
1428 @c This is acceptable -td
1430 @cindex double time signatures
1431 @cindex signatures, polymetric
1432 @cindex time signatures, polymetric
1433 @cindex time signatures, double
1434 @cindex polymetric signatures
1435 @cindex meter, polymetric
1437 @funindex timeSignatureFraction
1438 @funindex \scaleDurations
1439 @funindex scaleDurations
1443 Polymetric notation is supported, either explicitly or by modifying
1444 the visible time signature symbol and scaling the note durations.
1446 @strong{@i{Staves with different time signatures, equal measure lengths}}
1448 This notation can be created by setting a common time signature
1449 for each staff but replacing the symbol manually by setting
1450 @code{timeSignatureFraction} to the desired fraction and scaling
1451 the printed durations in each staff to the common time
1452 signature; see @ref{Time signature}. The scaling is done with
1453 @code{\scaleDurations}, which is used in a similar way to
1454 @code{\times}, but does not create a tuplet bracket; see
1455 @ref{Scaling durations}.
1457 @cindex beaming in polymetric music
1458 @cindex beaming in polymetric meter
1460 In this example, music with the time signatures of 3/4, 9/8, and
1461 10/8 are used in parallel. In the second staff, shown durations
1462 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1463 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1464 It will often be necessary to insert beams manually, as the
1465 duration scaling affects the autobeaming rules.
1467 @lilypond[quote,verbatim,fragment]
1476 \set Staff.timeSignatureFraction = #'(9 . 8)
1477 \scaleDurations #'(2 . 3)
1478 \repeat unfold 6 { c8[ c c] }
1482 \set Staff.timeSignatureFraction = #'(10 . 8)
1483 \scaleDurations #'(3 . 5) {
1484 \repeat unfold 2 { c8[ c c] }
1485 \repeat unfold 2 { c8[ c] } |
1486 c4. c4. \times 2/3 { c8[ c c] } c4
1492 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1494 Each staff can be given its own independent time signature by
1495 moving the @code{Timing_translator} and the
1496 @code{Default_bar_line_engraver} to the @code{Staff} context.
1498 @lilypond[quote,verbatim]
1502 \remove "Timing_translator"
1503 \remove "Default_bar_line_engraver"
1507 \consists "Timing_translator"
1508 \consists "Default_bar_line_engraver"
1512 % Now each staff has its own time signature.
1538 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1539 {compound-time-signatures.ly}
1545 @rglos{polymetric time signature},
1549 @ref{Time signature},
1550 @ref{Scaling durations}.
1555 Internals Reference:
1556 @rinternals{TimeSignature},
1557 @rinternals{Timing_translator},
1558 @rinternals{Default_bar_line_engraver},
1564 When using different time signatures in parallel, notes
1565 at the same moment will be placed at the same horizontal
1566 location. However, the bar lines in the different staves
1567 will cause the note spacing to be less regular in each of the
1568 individual staves than would be normal without the different
1571 @node Automatic note splitting
1572 @unnumberedsubsubsec Automatic note splitting
1574 @cindex notes, splitting
1575 @cindex splitting notes
1577 @funindex Note_heads_engraver
1578 @funindex Completion_heads_engraver
1580 Long notes which overrun bar lines can be converted automatically
1581 to tied notes. This is done by replacing the
1582 @code{Note_heads_engraver} with the
1583 @code{Completion_heads_engraver}. In the following
1584 example, notes crossing the bar lines are split and tied.
1586 @lilypond[quote,verbatim,relative=1]
1588 \remove "Note_heads_engraver"
1589 \consists "Completion_heads_engraver"
1592 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1595 This engraver splits all running notes at the bar line, and
1596 inserts ties. One of its uses is to debug complex scores: if the
1597 measures are not entirely filled, then the ties show exactly how
1598 much each measure is off.
1606 @rlearning{Engravers explained},
1607 @rlearning{Adding and removing engravers}.
1612 Internals Reference:
1613 @rinternals{Note_heads_engraver},
1614 @rinternals{Completion_heads_engraver},
1615 @rinternals{Forbid_line_break_engraver}.
1620 Not all durations (especially those containing tuplets) can be
1621 represented exactly with normal notes and dots, but the
1622 @code{Completion_heads_engraver} will not insert tuplets.
1624 The @code{Completion_heads_engraver} only affects notes; it does not
1628 @node Showing melody rhythms
1629 @unnumberedsubsubsec Showing melody rhythms
1631 @cindex melody rhythms, showing
1632 @cindex rhythms, showing melody
1634 Sometimes you might want to show only the rhythm of a melody. This
1635 can be done with the rhythmic staff. All pitches of notes on such a
1636 staff are squashed, and the staff itself has a single line
1638 @lilypond[quote,relative=1,verbatim]
1640 \new RhythmicStaff {
1641 \new Voice = "myRhythm" {
1649 \lyricsto "myRhythm" {
1657 @cindex guitar chord charts
1658 @cindex strumming rhythms, showing
1659 @cindex guitar strumming rhythms, showing
1661 @funindex Pitch_squash_engraver
1662 @funindex \improvisationOn
1663 @funindex improvisationOn
1664 @funindex \improvisationOff
1665 @funindex improvisationOff
1667 Guitar chord charts often show the strumming rhythms. This can
1668 be done with the @code{Pitch_squash_engraver} and
1669 @code{\improvisationOn}.
1672 @lilypond[quote,verbatim]
1681 \consists Pitch_squash_engraver
1694 @code{\improvisationOn},
1695 @code{\improvisationOff}.
1701 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1702 {guitar-strum-rhythms.ly}
1709 Internals Reference:
1710 @rinternals{RhythmicStaff},
1711 @rinternals{Pitch_squash_engraver}.
1719 * Setting automatic beam behavior::
1724 @node Automatic beams
1725 @unnumberedsubsubsec Automatic beams
1727 By default, beams are inserted automatically:
1729 @cindex beams, manual
1730 @cindex manual beams
1731 @cindex beams, setting rules for
1732 @cindex beams, custom rules for
1734 @funindex \autoBeamOn
1735 @funindex autoBeamOn
1736 @funindex \autoBeamOff
1737 @funindex autoBeamOff
1739 @lilypond[quote,verbatim,relative=2]
1741 \time 6/8 c c c c8. c16 c8
1744 If these automatic decisions are not satisfactory, beaming can be
1745 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1746 entered manually if beams are to be extended over rests.
1748 If automatic beaming is not required, it may be turned off with
1749 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1751 @lilypond[quote,relative=1,verbatim]
1752 c4 c8 c8. c16 c8. c16 c8
1759 @cindex melismata, beams
1760 @cindex beams and melismata
1762 @warning{If beams are used to indicate melismata in songs, then
1763 automatic beaming should be switched off with @code{\autoBeamOff}
1764 and the beams indicated manually.}
1766 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1767 produce unintended results. See the snippet below for more information.}
1769 Beaming patterns that differ from the automatic defaults can be
1770 created; see @ref{Setting automatic beam behavior}.
1774 @code{\autoBeamOff},
1782 @cindex line breaks and beams
1783 @cindex beams and line breaks
1787 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1788 {beams-across-line-breaks.ly}
1790 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1791 {changing-beam-knee-gap.ly}
1793 @cindex \partcombine and \autoBeamOff
1794 @cindex \autoBeamOff and \partcombine
1797 @lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
1798 {partcombine-and-autobeamoff.ly}
1804 @ref{Setting automatic beam behavior}.
1807 @file{scm/@/auto@/-beam@/.scm}.
1812 Internals Reference:
1813 @rinternals{Auto_beam_engraver},
1814 @rinternals{Beam_engraver},
1816 @rinternals{BeamEvent},
1817 @rinternals{BeamForbidEvent},
1818 @rinternals{beam-interface},
1819 @rinternals{unbreakable-spanner-interface}.
1824 Beams can collide with note heads and accidentals in other voices.
1827 @node Setting automatic beam behavior
1828 @unnumberedsubsubsec Setting automatic beam behavior
1831 @cindex automatic beams, tuning
1832 @cindex tuning automatic beaming
1833 @cindex automatic beam generation
1835 @cindex lyrics and beaming
1837 @funindex autoBeaming
1838 @funindex baseMoment
1839 @funindex beamExceptions
1840 @funindex beatStructure
1841 @funindex measureLength
1847 The placement of automatic beams is determined by the context properties
1848 @code{baseMoment}, @code{beatStructure}, @code{beamExceptions},
1849 and @code{autoBeaming}.
1851 The following rules, in order of priority, apply when determining
1852 the appearance of beams:
1856 If a manual beam is specified with @code{[..]} set the beam
1857 as specified, otherwise
1860 if @code{\autoBeamOff} is in force do not beam, otherwise
1863 if a beam-ending rule is defined in @code{beamExceptions}
1864 for the beam type, use it to determine the valid places where
1865 beams may end, otherwise
1868 if a beam-ending rule is defined in @code{beamExceptions}
1869 for a larger beam-type, use it to determined the valid places
1870 where beams may end, otherwise
1873 use the values of @code{baseMoment} and @code{beatStructure} to
1874 determine the ends of the beats in the measure, and
1875 end beams at the end of beats.
1879 The beam type is the duration of the shortest note in the beamed group.
1880 If no beam-ending rule is defined for a beam type, the rule for the
1881 smallest beam-type larger than the current beam is used.
1883 @i{@strong{Modifying the grouping of beats}}
1885 By default @code{baseMoment} is set by the @code{\time} command,
1886 normally to one over the denominator of the time signature.
1887 Any exceptions to this default
1888 can be found in @file{scm/@/time@/-signature@/-settings@/.scm}.
1889 Changing the default value of @code{baseMoment} for a given
1890 time signature is described in @ref{Time signature}.
1892 @code{baseMoment} is a @i{moment},
1893 a unit of musical duration. A quantity of type @i{moment} is
1894 created by the scheme function @code{ly:make-moment}. For more
1895 information about this function, see @ref{Time administration}.
1897 Special (i.e., other than at the end of the beat) autobeam settings
1899 @code{beamExceptions} property. Default values of @code{beamExceptions}
1900 are established by the @code{\time} command. Default values of
1901 @code{beamExceptions} for a time signature
1902 are determined in @file{scm/@/time@/-signature@/-settings@/.scm}.
1903 Entries in @code{beamExceptions} are indexed by rule type and beam type.
1905 Rule type should be @code{#'end} for beam ending.
1907 The ending rules consist of a scheme alist
1908 (or list of pairs) that
1909 indicates the beam type and the grouping to be applied to
1910 beams containing notes with a shortest duration of that
1914 #'((beam-type1 . grouping-1)
1915 (beam-type2 . grouping-2)
1916 (beam-type3 . grouping-3))
1919 Beam type is a scheme pair indicating the duration
1920 of the beam, e.g., @code{(1 . 16)}.
1922 Grouping is a scheme list indicating the grouping to be applied to
1923 the beam. The grouping is in units of the beam type.
1925 For reference, the default beaming rules are found in
1926 @file{scm/time-signature-settings.scm}.
1928 Alternate values for @code{beamExceptions}
1929 can be defined using the @code{\set} command.
1932 A @code{beamExceptions} value must be
1933 @emph{complete} exceptions list. That is, every exception that should
1934 be applied must be included in the setting.
1935 It is not possible to add, remove, or change only one of the exceptions.
1936 While this may seem cumbersome,
1937 it means that the current beaming settings need not be known
1938 in order to specify a new beaming pattern.}
1940 @lilypond[quote,relative=2,verbatim]
1943 \set beatStructure = #'(2 3)
1945 \set beatStructure = #'(3 2)
1949 Beam setting changes can be limited to specific contexts. If no
1950 setting is included in a lower-level context, the setting of the
1951 enclosing context will apply.
1953 @lilypond[quote, verbatim,relative=1]
1956 \set Staff.beatStructure = #'(2 3 2)
1966 \set Voice.beatStructure = #'(1 3 3)
1974 When multiple voices are used the @code{Staff} context must be
1975 specified if the beaming is to be applied to all voices in the
1978 @lilypond[quote,verbatim,relative=2]
1981 % Context Voice specified -- does not work correctly
1982 % Because of autogenerated voices, all beating will
1983 % be at baseMoment (1 . 8)
1984 \set beatStructure = #'(3 1 1 2)
1985 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1987 % Works correctly with context Staff specified
1988 \set Staff.beatStructure = #'(3 1 1 2)
1989 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1992 Beam settings can be set back to default behavior. This
1993 is accomplished by setting the time signature.
1995 @lilypond[quote,verbatim,relative=2]
1997 \repeat unfold 8 {a8}
1998 % eliminate beam exception that groups beats 1, 2 and 3, 4
1999 \set Timing.beamExceptions = #'()
2000 \repeat unfold 8 {a8}
2001 % go back to default behavior
2003 \repeat unfold 8 {a8}
2009 @cindex beams, subdividing
2011 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2012 {subdividing-beams.ly}
2014 @cindex measure groupings
2015 @cindex beats, grouping
2016 @cindex grouping beats
2017 @cindex measure sub-grouping
2019 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2020 {conducting-signs,-measure-grouping-signs.ly}
2022 @cindex beam, last in score
2023 @cindex beam, last in polyphonic voice
2025 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2026 {beam-endings-in-score-context.ly}
2031 @file{scm/beam-settings.scm}.
2036 Internals Reference:
2037 @rinternals{Auto_beam_engraver},
2039 @rinternals{BeamForbidEvent},
2040 @rinternals{beam-interface}.
2045 If a score ends while an automatic beam has not been ended and is
2046 still accepting notes, this last beam will not be typeset at all.
2047 The same holds for polyphonic voices, entered with @code{<<
2048 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2049 automatic beam is still accepting notes, it is not typeset.
2050 The workaround for these problems is to manually beam the last
2051 beam in the voice or score.
2054 @unnumberedsubsubsec Manual beams
2056 @cindex beams, manual
2057 @cindex manual beams
2062 In some cases it may be necessary to override the automatic
2063 beaming algorithm. For example, the autobeamer will not put beams
2064 over rests or bar lines, and in choral scores the beaming is
2065 often set to follow the meter of the lyrics rather than the
2066 notes. Such beams can be specified manually by
2067 marking the begin and end point with @code{[} and @code{]}.
2069 @lilypond[quote,relative=1,verbatim]
2070 r4 r8[ g' a r8] r8 g[ | a] r8
2073 @cindex manual beams, direction shorthand for
2074 @cindex manual beams, grace notes
2076 Beaming direction can be set manually using direction indicators:
2078 @lilypond[quote,relative=2,verbatim]
2079 c8^[ d e] c,_[ d e f g]
2085 Individual notes may be marked with @code{\noBeam} to prevent them
2088 @lilypond[quote,verbatim,relative=2]
2093 Grace note beams and normal note beams can occur simultaneously.
2094 Unbeamed grace notes are not put into normal note beams.
2096 @lilypond[quote,verbatim,relative=2]
2098 \grace { e32[ d c d] }
2104 @funindex stemLeftBeamCount
2105 @funindex stemRightBeamCount
2107 Even more strict manual control with the beams can be achieved by
2108 setting the properties @code{stemLeftBeamCount} and
2109 @code{stemRightBeamCount}. They specify the number of beams to
2110 draw on the left and right side, respectively, of the next note.
2111 If either property is set, its value will be used only once, and
2112 then it is erased. In this example, the last @code{f} is printed
2113 with only one beam on the left side, i.e., the eighth-note beam of
2114 the group as a whole.
2116 @lilypond[quote,relative=2,verbatim]
2119 \set stemLeftBeamCount = #2
2120 \set stemRightBeamCount = #1
2122 \set stemLeftBeamCount = #1
2134 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2135 {flat-flags-and-beam-nibs.ly}
2140 @ref{Direction and placement},
2146 Internals Reference:
2148 @rinternals{BeamEvent},
2149 @rinternals{Beam_engraver},
2150 @rinternals{beam-interface},
2151 @rinternals{Stem_engraver}.
2154 @node Feathered beams
2155 @unnumberedsubsubsec Feathered beams
2157 @cindex beams, feathered
2158 @cindex feathered beams
2160 @funindex \featherDurations
2161 @funindex featherDurations
2162 @funindex grow-direction
2164 Feathered beams are used to indicate that a small group of notes
2165 should be played at an increasing (or decreasing) tempo, without
2166 changing the overall tempo of the piece. The extent of the
2167 feathered beam must be indicated manually using @code{[} and
2168 @code{]}, and the beam feathering is turned on by specifying a
2169 direction to the @code{Beam} property @code{grow-direction}.
2171 If the placement of the notes and the sound in the MIDI output is to
2172 reflect the ritardando or accelerando indicated by the feathered beam
2173 the notes must be grouped as a music expression delimited by braces
2174 and preceded by a @code{featherDurations} command which specifies
2175 the ratio between the durations of the first and last notes in the
2178 The square brackets show the extent of the beam and the braces show
2179 which notes are to have their durations modified. Normally these
2180 would delimit the same group of notes, but this is not required: the
2181 two commands are independent.
2183 In the following example the eight 16th notes occupy exactly the
2184 same time as a half note, but the first note is one half as long
2185 as the last one, with the intermediate notes gradually
2186 lengthening. The first four 32nd notes gradually speed up, while
2187 the last four 32nd notes are at a constant tempo.
2189 @lilypond[relative=1,verbatim,quote]
2190 \override Beam #'grow-direction = #LEFT
2191 \featherDurations #(ly:make-moment 2 1)
2192 { c16[ c c c c c c c] }
2193 \override Beam #'grow-direction = #RIGHT
2194 \featherDurations #(ly:make-moment 2 3)
2196 % revert to non-feathered beams
2197 \override Beam #'grow-direction = #'()
2202 The spacing in the printed output represents the
2203 note durations only approximately, but the MIDI output is exact.
2207 @code{\featherDurations}.
2217 The @code{\featherDurations} command only works with very short
2218 music snippets, and when numbers in the fraction are small.
2228 * Bar and bar number checks::
2233 @unnumberedsubsubsec Bar lines
2236 @cindex measure lines
2237 @cindex closing bar lines
2238 @cindex bar lines, closing
2239 @cindex double bar lines
2240 @cindex bar lines, double
2246 Bar lines delimit measures, and are also used to indicate
2247 repeats. Normally, simple bar lines are automatically inserted
2248 into the printed output at places based on the current time
2251 The simple bar lines inserted automatically can be changed to
2252 other types with the @code{\bar} command. For example, a closing
2253 double bar line is usually placed at the end of a piece:
2255 @lilypond[quote,relative=1,verbatim]
2259 It is not invalid if the final note in a measure does not
2260 end on the automatically entered bar line: the note is assumed
2261 to carry over into the next measure. But if a long sequence
2262 of such carry-over measures appears the music can appear compressed
2263 or even flowing off the page. This is because automatic line
2264 breaks happen only at the end of complete measures, i.e., where
2265 all notes end before the end of a measure.
2267 @warning{An incorrect duration can cause line breaks to be
2268 inhibited, leading to a line of highly compressed music or
2269 music which flows off the page.}
2272 @cindex bar lines, invisible
2273 @cindex measure lines, invisible
2275 Line breaks are also permitted at manually inserted bar lines
2276 even within incomplete measures. To allow a line break without
2277 printing a bar line, use the following:
2284 This will insert an invisible bar line and allow (but not
2285 force) a line break to occur at this point. The bar number
2286 counter is not increased. To force a line break see
2287 @ref{Line breaking}.
2289 @cindex manual bar lines
2290 @cindex manual measure lines
2291 @cindex bar lines, manual
2292 @cindex measure lines, manual
2294 This and other special bar lines may be inserted manually at any
2295 point. When they coincide with the end of a measure they replace
2296 the simple bar line which would have been inserted there
2297 automatically. When they do not coincide with the end of a measure
2298 the specified bar line is inserted at that point in the printed
2301 Note that manual bar lines are purely visual. They do not affect
2302 any of the properties that a normal bar line would affect, such as
2303 measure numbers, accidentals, line breaks, etc. They do not affect
2304 the calculation and placement of subsequent automatic bar lines.
2305 When a manual bar line is placed where a normal bar line already
2306 exists, the effects of the original bar line are not altered.
2308 Two types of simple bar lines and five types of double bar lines are
2309 available for manual insertion:
2311 @lilypond[quote,relative=1,verbatim]
2323 together with dotted and dashed bar lines:
2325 @lilypond[quote,relative=1,verbatim]
2332 and five types of repeat bar line:
2334 @lilypond[quote,relative=1,verbatim]
2343 Additionally, a bar line can be printed as a simple tick:
2344 @lilypond[quote,relative=1,verbatim]
2347 However, as such ticks are typically used in Gregorian chant, it is
2348 preferable to use @code{\divisioMinima} there instead, described in
2349 the section @ref{Divisiones} in Gregorian chant.
2353 For in-line segno signs, there are three types of bar lines which
2354 differ in their behavior at line breaks:
2356 @lilypond[quote,relative=2,verbatim]
2374 Although the bar line types signifying repeats may be inserted
2375 manually they do not in themselves cause LilyPond to recognize
2376 a repeated section. Such repeated sections are better entered
2377 using the various repeat commands (see @ref{Repeats}), which
2378 automatically print the appropriate bar lines.
2380 In addition, you can specify @code{"||:"}, which is equivalent to
2381 @code{"|:"} except at line breaks, where it gives a double bar
2382 line at the end of the line and a start repeat at the beginning of
2385 @lilypond[quote,relative=2,verbatim]
2393 For combinations of repeats with the segno sign, there are six different
2396 @lilypond[quote,relative=2,verbatim]
2425 In scores with many staves, a @code{\bar} command in one staff is
2426 automatically applied to all staves. The resulting bar lines are
2427 connected between different staves of a @code{StaffGroup},
2428 @code{PianoStaff}, or @code{GrandStaff}.
2430 @lilypond[quote,relative=1,verbatim]
2438 \new Staff { \clef bass c4 g e g }
2440 \new Staff { \clef bass c2 c2 }
2445 @cindex default bar lines, changing
2446 @cindex bar lines, default, changing
2451 @funindex defaultBarType
2456 The command @code{\bar }@var{bartype} is a shortcut for
2457 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2458 created whenever the @code{whichBar} property is set.
2460 The default bar type used for automatically inserted bar lines is
2461 @code{"|"}. This may be changed at any time
2462 with @code{\set Timing.defaultBarType = }@var{bartype}.
2467 @ref{Line breaking},
2469 @ref{Grouping staves}.
2474 Internals Reference:
2475 @rinternals{BarLine} (created at @code{Staff} level),
2476 @rinternals{SpanBar} (across staves),
2477 @rinternals{Timing_translator} (for Timing properties).
2481 @unnumberedsubsubsec Bar numbers
2484 @cindex measure numbers
2485 @cindex numbers, bar
2486 @cindex numbers, measure
2488 @funindex currentBarNumber
2490 Bar numbers are typeset by default at the start of every line except
2491 the first line. The number itself is stored in the
2492 @code{currentBarNumber} property, which is normally updated
2493 automatically for every measure. It may also be set manually:
2495 @lilypond[verbatim,quote,relative=1]
2498 \set Score.currentBarNumber = #50
2502 @cindex bar numbers, regular spacing
2504 @funindex barNumberVisibility
2507 Bar numbers can be typeset at regular intervals instead of just at
2508 the beginning of every line. To do this the default behavior
2509 must be overridden to permit bar numbers to be printed at places
2510 other than the start of a line. This is controlled by the
2511 @code{break-visibility} property of @code{BarNumber}. This takes
2512 three values which may be set to @code{#t} or @code{#f} to specify
2513 whether the corresponding bar number is visible or not. The order
2514 of the three values is @code{end of line visible}, @code{middle of
2515 line visible}, @code{beginning of line visible}. In the following
2516 example bar numbers are printed at all possible places:
2518 @lilypond[verbatim,quote,relative=1]
2519 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2520 \set Score.currentBarNumber = #11
2521 % Permit first bar number to be printed
2531 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2532 {printing-the-bar-number-for-the-first-measure.ly}
2534 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2535 {printing-bar-numbers-at-regular-intervals.ly}
2537 @cindex measure number, format
2538 @cindex bar number, format
2540 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2541 {printing-bar-numbers-inside-boxes-or-circles.ly}
2543 @cindex bar number alignment
2545 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2546 {aligning-bar-numbers.ly}
2548 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2549 {removing-bar-numbers-from-a-score.ly}
2556 Internals Reference:
2557 @rinternals{BarNumber},
2558 @rinternals{Bar_number_engraver}.
2561 @cindex bar number collision
2562 @cindex collision, bar number
2566 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2567 if there is one. To solve this, the @code{padding} property of
2568 @code{BarNumber} can be used to position the number correctly. See
2569 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2572 @node Bar and bar number checks
2573 @unnumberedsubsubsec Bar and bar number checks
2576 @cindex bar number check
2577 @cindex measure check
2578 @cindex measure number check
2580 @funindex barCheckSynchronize
2583 Bar checks help detect errors in the entered durations. A bar check
2584 may be entered using the bar symbol, @code{|}, at any place where a
2585 bar line is expected to fall. If bar check lines are encountered at
2586 other places, a list of warnings is printed in the log file, showing
2587 the line numbers and lines in which the bar checks failed. In the
2588 next example, the second bar check will signal an error.
2591 \time 3/4 c2 e4 | g2 |
2594 Bar checks can also be used in lyrics:
2599 Twin -- kle | Twin -- kle |
2603 An incorrect duration can result in a completely garbled score,
2604 especially if the score is polyphonic, so a good place to start
2605 correcting input is by scanning for failed bar checks and
2606 incorrect durations.
2608 If successive bar checks are off by the same musical interval,
2609 only the first warning message is displayed. This allows the
2610 warning to focus on the source of the timing error.
2614 @funindex pipeSymbol
2616 It is also possible to redefine the action taken when a bar check
2617 or pipe symbol, @code{|}, is encountered in the input, so that
2618 it does something other than a bar check. This is done by
2619 assigning a music expression to @code{pipeSymbol}.
2620 In the following example @code{|} is set to insert a double bar
2621 line wherever it appears in the input, rather than checking
2624 @lilypond[quote,verbatim]
2625 pipeSymbol = \bar "||"
2634 @funindex \barNumberCheck
2635 @funindex barNumberCheck
2637 When copying large pieces of music, it can be helpful to check that
2638 the LilyPond bar number corresponds to the original that you are
2639 entering from. This can be checked with @code{\barNumberCheck}, for
2643 \barNumberCheck #123
2647 will print a warning if the @code{currentBarNumber} is not 123
2648 when it is processed.
2656 @node Rehearsal marks
2657 @unnumberedsubsubsec Rehearsal marks
2659 @cindex rehearsal marks
2660 @cindex mark, rehearsal
2665 To print a rehearsal mark, use the @code{\mark} command.
2667 @lilypond[quote,verbatim,relative=2]
2675 The mark is incremented automatically if you use @code{\mark
2676 \default}, but you can also use an integer argument to set the
2677 mark manually. The value to use is stored in the property
2678 @code{rehearsalMark}.
2680 @lilypond[quote,verbatim,relative=2]
2689 The letter@tie{}@q{I} is skipped in accordance with engraving
2690 traditions. If you wish to include the letter @q{I}, then use one
2691 of the following commands, depending on which style of rehearsal mark
2692 you want (letters only, letters in a hollow box, or letters in a
2696 \set Score.markFormatter = #format-mark-alphabet
2697 \set Score.markFormatter = #format-mark-box-alphabet
2698 \set Score.markFormatter = #format-mark-circle-alphabet
2701 @lilypond[quote,verbatim,relative=2]
2702 \set Score.markFormatter = #format-mark-box-alphabet
2710 @cindex rehearsal mark format
2711 @cindex rehearsal mark style
2712 @cindex style, rehearsal mark
2713 @cindex format, rehearsal mark
2714 @cindex mark, rehearsal, style
2715 @cindex mark, rehearsal, format
2716 @cindex rehearsal mark, manual
2717 @cindex mark, rehearsal, manual
2718 @cindex custom rehearsal mark
2719 @cindex manual rehearsal mark
2721 The style is defined by the property @code{markFormatter}. It is
2722 a function taking the current mark (an integer) and the current
2723 context as argument. It should return a markup object. In the
2724 following example, @code{markFormatter} is set to a pre-defined
2725 procedure. After a few measures, it is set to a procedure that
2726 produces a boxed number.
2728 @lilypond[quote,verbatim,relative=2]
2729 \set Score.markFormatter = #format-mark-numbers
2732 \set Score.markFormatter = #format-mark-box-numbers
2734 \set Score.markFormatter = #format-mark-circle-numbers
2736 \set Score.markFormatter = #format-mark-circle-letters
2740 The file @file{scm/@/translation@/-functions@/.scm} contains the
2741 definitions of @code{format-mark-numbers} (the default format),
2742 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2743 @code{format-mark-box-letters}. These can be used as inspiration
2744 for other formatting functions.
2746 You may use @code{format-mark-barnumbers},
2747 @code{format-mark-box-barnumbers}, and
2748 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2749 incremented numbers or letters.
2751 Other styles of rehearsal mark can be specified manually:
2758 Note that @code{Score.markFormatter} does not affect marks specified
2759 in this manner. However, it is possible to apply a @code{\markup} to the
2763 \mark \markup@{ \box A1 @}
2768 @cindex D.S. al Fine
2770 @cindex music glyphs
2771 @cindex glyphs, music
2773 @funindex \musicglyph
2774 @funindex musicglyph
2776 Music glyphs (such as the segno sign) may be printed inside a
2779 @lilypond[quote,verbatim,relative=1]
2780 c1 \mark \markup { \musicglyph #"scripts.segno" }
2781 c1 \mark \markup { \musicglyph #"scripts.coda" }
2782 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2787 See @ref{The Feta font}, for a list of symbols which may be
2788 printed with @code{\musicglyph}.
2790 For common tweaks to the positioning of rehearsal marks, see
2791 @ref{Formatting text}. For more precise control, see
2792 @code{break-alignable-interface} in @ref{Aligning objects}.
2797 @ref{The Feta font},
2798 @ref{Formatting text},
2799 @ref{Aligning objects}.
2802 @file{scm/@/translation@/-functions@/.scm} contains
2803 the definitions of @code{format-mark-numbers} and
2804 @code{format-mark-letters}. They can be used as inspiration for
2805 other formatting functions.
2810 Internals Reference:
2811 @rinternals{MarkEvent},
2812 @rinternals{Mark_engraver},
2813 @rinternals{RehearsalMark}.
2816 @node Special rhythmic concerns
2817 @subsection Special rhythmic concerns
2822 * Aligning to cadenzas::
2823 * Time administration::
2827 @unnumberedsubsubsec Grace notes
2831 @cindex appoggiatura
2832 @cindex acciaccatura
2837 Grace notes are ornaments that are written out. Grace notes
2838 are printed in a smaller font and take up no logical time
2841 @lilypond[quote,relative=2,verbatim]
2843 \grace { c16[ d16] } c2
2846 LilyPond also supports two special types of grace notes, the
2847 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2848 small note with a slashed stem -- and the @emph{appoggiatura}, which
2849 takes a fixed fraction of the main note and appears in small print
2852 @lilypond[quote,relative=2,verbatim]
2856 \acciaccatura { g16[ f] } e4
2859 The placement of grace notes is synchronized between different
2860 staves. In the following example, there are two sixteenth grace
2861 notes for every eighth grace note
2863 @lilypond[quote,relative=2,verbatim]
2865 \new Staff { e2 \grace { c16[ d e f] } e2 }
2866 \new Staff { c2 \grace { g8[ b] } c2 }
2870 @cindex grace notes, following
2872 @funindex \afterGrace
2873 @funindex afterGrace
2875 If you want to end a note with a grace, use the @code{\afterGrace}
2876 command. It takes two arguments: the main note, and the grace
2877 notes following the main note.
2879 @lilypond[quote,verbatim,relative=2]
2880 c1 \afterGrace d1 { c16[ d] } c1
2883 This will put the grace notes after a space lasting 3/4 of the
2884 length of the main note. The default fraction 3/4 can be changed by
2885 setting @code{afterGraceFraction}. The following example shows
2886 the results from setting the space at the default, at 15/16, and
2887 finally at 1/2 of the main note.
2889 @lilypond[quote,verbatim,relative=2]
2892 c1 \afterGrace d1 { c16[ d] } c1
2895 #(define afterGraceFraction (cons 15 16))
2896 c1 \afterGrace d1 { c16[ d] } c1
2899 #(define afterGraceFraction (cons 1 2))
2900 c1 \afterGrace d1 { c16[ d] } c1
2905 The space between the main note and the grace note may also be
2906 specified using spacers. The following example places the grace
2907 note after a space lasting 7/8 of the main note.
2909 @lilypond[quote,verbatim,relative=2]
2913 { s2 s4. \grace { c16[ d] } }
2919 @cindex tweaking grace notes
2920 @cindex grace notes, tweaking
2921 @cindex grace notes, changing layout settings
2923 A @code{\grace} music expression will introduce special
2924 typesetting settings, for example, to produce smaller type, and
2925 set directions. Hence, when introducing layout tweaks to
2926 override the special settings, they should be placed inside
2927 the grace expression. The overrides should also be reverted
2928 inside the grace expression. Here, the grace note's default stem
2929 direction is overridden and then reverted.
2931 @lilypond[quote,verbatim,relative=2]
2943 @cindex stem, with slash
2948 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2949 {using-grace-note-slashes-with-normal-heads.ly}
2951 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2952 {tweaking-grace-layout-within-music.ly}
2954 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2955 {redefining-grace-note-global-defaults.ly}
2957 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2958 {positioning-grace-notes-with-floating-space.ly}
2963 @rglos{grace notes},
2964 @rglos{acciaccatura},
2965 @rglos{appoggiatura}.
2971 @file{ly/@/grace@/-init@/.ly}.
2976 Internals Reference:
2977 @rinternals{GraceMusic},
2978 @rinternals{Grace_beam_engraver},
2979 @rinternals{Grace_engraver},
2980 @rinternals{Grace_spacing_engraver}.
2985 @cindex acciaccatura, multi-note
2986 @cindex multi-note acciaccatura
2987 @cindex grace-note synchronization
2989 A multi-note beamed @i{acciaccatura} is printed without a slash,
2990 and looks exactly the same as a multi-note beamed
2993 @c TODO Add link to LSR snippet to add slash when available
2995 Grace note synchronization can also lead to surprises. Staff
2996 notation, such as key signatures, bar lines, etc., are also
2997 synchronized. Take care when you mix staves with grace notes and
2998 staves without, for example,
3000 @lilypond[quote,relative=2,verbatim]
3002 \new Staff { e4 \bar "|:" \grace c16 d2. }
3003 \new Staff { c4 \bar "|:" d2. }
3008 This can be remedied by inserting grace skips of the corresponding
3009 durations in the other staves. For the above example
3011 @lilypond[quote,relative=2,verbatim]
3013 \new Staff { e4 \bar "|:" \grace c16 d2. }
3014 \new Staff { c4 \bar "|:" \grace s16 d2. }
3018 Grace sections should only be used within sequential music
3019 expressions. Nesting or juxtaposing grace sections is not
3020 supported, and might produce crashes or other errors.
3022 @node Aligning to cadenzas
3023 @unnumberedsubsubsec Aligning to cadenzas
3026 @cindex cadenza, aligning to
3027 @cindex aligning to cadenza
3029 In an orchestral context, cadenzas present a special problem: when
3030 constructing a score that includes a measured cadenza or other solo
3031 passage, all other instruments should skip just as many notes as the
3032 length of the cadenza, otherwise they will start too soon or too late.
3034 One solution to this problem is to use the functions
3035 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3036 functions take a defined piece of music as an argument and generate a
3037 multi-measure rest or @code{\skip} exactly as long as the piece.
3039 @lilypond[verbatim,quote]
3040 MyCadenza = \relative c' {
3051 #(ly:export (mmrest-of-length MyCadenza))
3053 #(ly:export (skip-of-length MyCadenza))
3068 @node Time administration
3069 @unnumberedsubsubsec Time administration
3071 @cindex time administration
3072 @cindex timing (within the score)
3073 @cindex music, unmetered
3074 @cindex unmetered music
3076 @funindex currentBarNumber
3077 @funindex measurePosition
3078 @funindex measureLength
3080 Time is administered by the @code{Timing_translator}, which by
3081 default is to be found in the @code{Score} context. An alias,
3082 @code{Timing}, is added to the context in which the
3083 @code{Timing_translator} is placed. To ensure that the
3084 @code{Timing} alias is available, you may need to explicitly
3085 instantiate the containing context (such as @code{Voice} or
3088 The following properties of @code{Timing} are used
3089 to keep track of timing within the score.
3092 @cindex measure number
3095 @item currentBarNumber
3096 The current measure number. For an example showing the
3097 use of this property see @ref{Bar numbers}.
3100 The length of the measures in the current time signature. For a
3101 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3102 determines when bar lines are inserted and how automatic beams
3103 should be generated.
3105 @item measurePosition
3106 The point within the measure where we currently are. This
3107 quantity is reset by subtracting @code{measureLength} whenever
3108 @code{measureLength} is reached or exceeded. When that happens,
3109 @code{currentBarNumber} is incremented.
3112 If set to true, the above variables are updated for every time
3113 step. When set to false, the engraver stays in the current
3114 measure indefinitely.
3118 Timing can be changed by setting any of these variables
3119 explicitly. In the next example, the default 4/4 time
3120 signature is printed, but @code{measureLength} is set to 5/4.
3121 At 4/8 through the third measure, the @code{measurePosition} is
3122 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3123 The next bar line then falls at 9/8 rather than 5/4.
3125 @lilypond[quote,verbatim]
3126 \new Voice \relative c' {
3127 \set Timing.measureLength = #(ly:make-moment 5 4)
3131 \set Timing.measurePosition = #(ly:make-moment 5 8)
3138 As the example illustrates, @code{ly:make-moment n m} constructs a
3139 duration of n/m of a whole note. For example,
3140 @code{ly:make-moment 1 8} is an eighth note duration and
3141 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3148 @ref{Unmetered music}.
3153 Internals Reference:
3154 @rinternals{Timing_translator},