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]
96 Durations occuring on their own within a music sequence will take
97 their pitches from the preceding note or chord.
99 @lilypond[quote,verbatim,relative=2]
105 @cindex notes, dotted
107 @cindex notes, double-dotted
108 @cindex double-dotted notes
112 To obtain dotted note lengths, place a dot (@code{.}) after the
113 duration. Double-dotted notes are specified by appending two
116 @lilypond[quote,verbatim,relative=2]
117 a4 b c4. b8 a4. b4.. c8.
120 Some durations cannot be represented with just binary durations
121 and dots; they can be represented only by tying two or more
122 notes together. For details, see @ref{Ties}.
124 For ways of specifying durations for the syllables of lyrics and
125 ways of aligning lyrics to notes, see @ref{Vocal music}.
127 Optionally, notes can be spaced strictly proportionately to their
128 duration. For details of this and other settings which control
129 proportional notation, see @ref{Proportional notation}.
135 @funindex \dotsNeutral
136 @funindex dotsNeutral
138 Dots are normally moved up to avoid staff lines, except in
139 polyphonic situations. Dots may be manually placed above or below
140 the staff; see @ref{Direction and placement}.
154 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
155 {alternative-breve-notes.ly}
157 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
158 {changing-the-number-of-augmentation-dots-per-note.ly}
166 @rglos{Duration names notes and rests}.
169 @ref{Automatic beams},
172 @ref{Writing rhythms},
175 @ref{Ancient notation},
176 @ref{Proportional notation}.
183 @rinternals{DotColumn}.
186 @c Deliberately duplicated in Durations and Rests. -gp
187 There is no fundamental limit to rest durations (both in terms of
188 longest and shortest), but the number of glyphs is limited:
189 rests from 128th to maxima (8 x whole) may be printed.
193 @unnumberedsubsubsec Tuplets
201 Tuplets are made from a music expression with the @code{\tuplet}
202 command, multiplying the speed of the music expression by a fraction:
205 \tuplet @var{fraction} @{ @var{music} @}
209 The fraction's numerator will be printed over or under the notes,
210 optionally with a bracket. The most common tuplets are triplets
211 (3@tie{}notes sound within the duration normally allowed for@tie{}2).
213 @lilypond[quote,verbatim,relative=2]
214 a2 \tuplet 3/2 { b4 4 4 }
215 c4 c \tuplet 3/2 { b4 a g }
218 @cindex tuplet grouping
220 When entering long passages of tuplets, having to write a separate
221 @code{\tuplet} command for each group is inconvenient. It is possible
222 to specify the duration of one tuplet group directly before the music
223 in order to have the tuplets grouped automatically:
225 @lilypond[quote,verbatim,relative=2]
226 g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
229 @cindex tuplet bracket placement
233 @funindex \tupletDown
235 @funindex \tupletNeutral
236 @funindex tupletNeutral
238 Tuplet brackets may be manually placed above or below the staff:
240 @lilypond[quote,verbatim,relative=2]
241 \tupletUp \tuplet 3/2 { c8 d e }
242 \tupletNeutral \tuplet 3/2 { c8 d e }
243 \tupletDown \tuplet 3/2 { f,8 g a }
244 \tupletNeutral \tuplet 3/2 { f8 g a }
247 Tuplets may be nested:
249 @lilypond[quote,verbatim,relative=2]
251 c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
254 Modifying nested tuplets which begin at the same musical moment must be
255 done with @code{\tweak}.
257 To modify the duration of notes without printing a tuplet bracket, see
258 @ref{Scaling durations}.
263 @code{\tupletNeutral}.
269 @cindex tuplet formatting
270 @cindex triplet formatting
272 @funindex tupletNumberFormatFunction
273 @funindex tupletSpannerDuration
275 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
276 {entering-several-tuplets-using-only-one--tuplet-command.ly}
278 @cindex Tuplet number changes
280 @funindex TupletNumber
282 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
283 {changing-the-tuplet-number.ly}
285 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
286 {non-default-tuplet-numbers.ly}
288 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
289 {controlling-tuplet-bracket-visibility.ly}
291 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
292 {permitting-line-breaks-within-beamed-tuplets.ly}
301 @rlearning{Tweaking methods}.
304 @ref{Direction and placement},
305 @ref{Time administration},
306 @ref{Scaling durations},
307 @ref{The tweak command},
308 @ref{Polymetric notation}.
314 @rinternals{TupletBracket},
315 @rinternals{TupletNumber},
316 @rinternals{TimeScaledMusic}.
319 @node Scaling durations
320 @unnumberedsubsubsec Scaling durations
322 @cindex scaling durations
323 @cindex durations, scaling
325 The duration of single notes, rests or chords may be multiplied by a
326 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
327 is 1) to the duration. This will not affect the appearance of the
328 notes or rests produced, but the altered duration will be used in
329 calculating the position within the measure and setting the duration
330 in the MIDI output. Multiplying factors may be combined like
331 @code{*L*M/N}. Factors are part of the duration: if a duration is
332 not specified for subsequent notes, the default duration taken from
333 the preceding note will include any scaling factor.
335 In the following example, the first three notes take up exactly
336 two beats, but no triplet bracket is printed.
338 @lilypond[quote,relative=2,verbatim]
340 % Alter durations to triplets
344 % Double the duration of chord
346 % Duration of quarter, appears like sixteenth
350 The duration of spacer rests may also be modified by
351 a multiplier. This is useful for skipping many measures, e.g.,
354 @cindex compressing music
355 @cindex expanding music
357 @funindex \scaleDurations
358 @funindex scaleDurations
360 Longer stretches of music may be compressed by a fraction in the
361 same way, as if every note, chord or rest had the fraction as a
362 multiplier. This leaves the appearance of the music unchanged but
363 the internal duration of the notes will be multiplied by the
364 fraction @emph{num}/@emph{den}. Here is an example showing how music
365 can be compressed and expanded:
367 @lilypond[quote,relative=2,verbatim]
371 % Scale music by *2/3
372 \scaleDurations 2/3 {
376 \scaleDurations 2/1 {
381 One application of this command is in polymetric
382 notation, see @ref{Polymetric notation}.
387 @ref{Invisible rests},
388 @ref{Polymetric notation}.
394 The calculation of the position within a measure must take into
395 account all the scaling factors applied to the notes within that
396 measure and any fractional carry-out from earlier measures. This
397 calculation is carried out using rational numbers. If an intermediate
398 numerator or denominator in that calculation exceeds 2^30 the
399 execution and typesetting will stop at that point without indicating
404 @unnumberedsubsubsec Ties
410 A tie connects two adjacent note heads of the same pitch. The tie
411 in effect extends the duration of a note.
413 @warning{Ties should not be confused with @emph{slurs}, which
414 indicate articulation, or @emph{phrasing slurs}, which indicate
415 musical phrasing. A tie is just a way of extending a note
416 duration, similar to the augmentation dot.}
418 A tie is entered by appending a tilde symbol (@code{~}) to the first
419 of each pair of notes being tied. This indicates that the note
420 should be tied to the following note, which must be at the same pitch.
422 @lilypond[quote,verbatim,relative=2]
426 Ties can make use of the @q{last explicit pitch} interpretation of
429 @lilypond[quote,verbatim,relative=2]
433 Ties are used either when the note crosses a bar line, or when
434 dots cannot be used to denote the rhythm. Ties should also be
435 used when note values cross larger subdivisions of the measure:
437 @lilypond[verbatim,quote]
444 If you need to tie many notes across bar lines, it may be
445 easier to use automatic note splitting, see @ref{Automatic note
446 splitting}. This mechanism automatically splits long notes, and
447 ties them across bar lines.
449 @cindex ties and chords
450 @cindex chords and ties
452 When a tie is applied to a chord, all note heads whose pitches
453 match are connected. When no note heads match, no ties will be
454 created. Chords may be partially tied by placing the ties inside
457 @lilypond[quote,verbatim,relative=1]
460 <c~ e g~ b> <c e g b>
463 @cindex repeating ties
464 @cindex ties, repeating
465 @cindex volta brackets and ties
466 @cindex ties and volta brackets
471 When a second alternative of a repeat starts with a tied note, you
472 have to specify the repeated tie as follows:
474 @lilypond[quote,relative=2,verbatim]
475 \repeat volta 2 { c g <c e>2~ }
477 % First alternative: following note is tied normally
479 % Second alternative: following note has a repeated tie
480 { <c e>2\repeatTie d4 c } }
483 @cindex laissez vibrer
484 @cindex ties, laissez vibrer
486 @funindex \laissezVibrer
487 @funindex laissezVibrer
489 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
490 notes must not be damped at the end. It is used in notation for
491 piano, harp and other string and percussion instruments. They can
492 be entered as follows:
494 @lilypond[quote,verbatim,relative=1]
495 <c f g>1\laissezVibrer
498 @cindex ties, placement
504 @funindex \tieNeutral
507 Ties may be made to curve up or down manually; see
508 @ref{Direction and placement}.
510 @cindex ties, appearance
523 Ties may be made dashed, dotted, or a combination of solid and
526 @lilypond[quote, verbatim, relative=1]
539 Custom dash patterns can be specified:
541 @lilypond[quote, verbatim, relative=1]
542 \tieDashPattern #0.3 #0.75
544 \tieDashPattern #0.7 #1.5
550 Dash pattern definitions for ties have the same structure as dash
551 pattern definitions for slurs. For more information about complex dash
552 patterns, see @ref{Slurs}.
554 Override @var{whiteout} and @var{layer} layout properties for ties that
555 collide with other objects in a staff.
557 @lilypond[verbatim,quote,ragged-right,relative=2]
558 \override Tie.layer = #-2
559 \override Staff.TimeSignature.layer = #-1
560 \override Staff.KeySignature.layer = #-1
561 \override Staff.TimeSignature.whiteout = ##t
562 \override Staff.KeySignature.whiteout = ##t
575 @code{\tieDashPattern},
576 @code{\tieHalfDashed},
577 @code{\tieHalfSolid},
583 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
584 {using-ties-with-arpeggios.ly}
586 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
587 {engraving-ties-manually.ly}
592 @rglos{laissez vibrer}.
596 @ref{Automatic note splitting}.
599 @rlsr{Expressive marks},
603 @rinternals{LaissezVibrerTie},
604 @rinternals{LaissezVibrerTieColumn},
605 @rinternals{TieColumn},
609 Switching staves when a tie is active will not produce a slanted tie.
611 Changing clefs or ottavations during a tie is not really well-defined.
612 In these cases, a slur may be preferable.
616 @subsection Writing rests
618 Rests are entered as part of the music in music expressions.
623 * Full measure rests::
627 @unnumberedsubsubsec Rests
630 @cindex rest, entering durations
645 Rests are entered like notes with the note name @code{r}.
646 Durations longer than a whole rest use the following predefined
649 @c \time 16/1 is used to avoid spurious bar lines
650 @c and long tracts of empty measures
651 @lilypond[quote,verbatim,relative=2]
653 % These two lines are just to prettify this example
655 \omit Staff.TimeSignature
656 % Print a maxima rest, equal to four breves
658 % Print a longa rest, equal to two breves
662 r1 r2 r4 r8 r16 r32 r64 r128
666 @cindex rest, multi-measure
667 @cindex rest, whole-measure
669 Whole measure rests, centered in the middle of the measure, must be
670 entered as multi-measure rests. They can be used for a single
671 measure as well as many measures and are discussed in
672 @ref{Full measure rests}.
674 @cindex rest, specifying vertical position
676 To explicitly specify a rest's vertical position, write a note
677 followed by @code{\rest}. A rest of the duration of the note will
678 be placed at the staff position where the note would appear. This
679 allows for precise manual formatting of polyphonic music, since the
680 automatic rest collision formatter will not move these rests.
682 @lilypond[quote,verbatim,relative=2]
688 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
698 @ref{Full measure rests}.
707 @c Deliberately duplicated in Durations and Rests. -gp
708 There is no fundamental limit to rest durations (both in terms of
709 longest and shortest), but the number of glyphs is limited: there
710 are rests from 128th to maxima (8 x whole).
713 @node Invisible rests
714 @unnumberedsubsubsec Invisible rests
717 @cindex invisible rest
718 @cindex rest, invisible
726 An invisible rest (also called a @q{spacer rest}) can be entered
727 like a note with the note name@tie{}@code{s}:
729 @lilypond[verbatim,quote,relative=2]
736 Spacer rests are available only in note mode and chord mode. In
737 other situations, for example, when entering lyrics, the
738 command @code{\skip} is used to skip a musical moment.
739 @code{\skip} requires an explicit duration, but this is ignored if
740 the lyrics derive their durations from the notes in an associated
741 melody through @code{\addlyrics} or @code{\lyricsto}.
743 @lilypond[quote,verbatim,relative=2]
756 Because @code{\skip} is a command, it does not affect the default
757 durations of following notes, unlike@tie{}@code{s}.
759 @lilypond[quote,verbatim,relative=2]
762 \repeat unfold 8 { a4 }
772 A spacer rest implicitly causes @code{Staff} and @code{Voice}
773 contexts to be created if none exist, just like notes and rests
776 @lilypond[quote,verbatim,relative=2]
780 @code{\skip} simply skips musical time; it creates no output of
783 @lilypond[quote,verbatim,relative=2]
784 % This is valid input, but does nothing
785 \skip 1 \skip1 \skip 1
790 @rlearning{Visibility and color of objects}.
794 @ref{Visibility of objects}.
800 @rinternals{SkipMusic}.
803 @node Full measure rests
804 @unnumberedsubsubsec Full measure rests
806 @cindex multi-measure rests
807 @cindex full-measure rests
808 @cindex rest, multi-measure
809 @cindex rest, full-measure
810 @cindex whole rest for a full measure
811 @cindex rest, whole for a full measure
813 @funindex compressMMRests
814 @funindex \compressMMRests
817 Rests for one or more full measures are entered like notes with
818 the note name uppercase @code{R}:
820 @lilypond[quote,verbatim,relative=2]
821 % Rest measures contracted to single measure
830 The duration of full-measure rests is identical to the duration
831 notation used for notes. The duration in a multi-measure rest must
832 always be an integral number of measure-lengths, so augmentation dots
833 or fractions must often be used:
835 @lilypond[quote,verbatim,relative=2]
842 R1*13/8 | R1*13/8*12 |
848 A full-measure rest is printed as either a whole or breve rest,
849 centered in the measure, depending on the time signature.
851 @lilypond[quote,verbatim,relative=2]
860 @cindex multi-measure rest, expanding
861 @cindex multi-measure rest, contracting
863 By default a multi-measure rest is expanded in the printed score to
864 show all the rest measures explicitly. Alternatively, a multi-measure
865 rest can be shown as a single measure containing a multi-measure rest
866 symbol, with the number of measures of rest printed above the measure:
868 @lilypond[quote,verbatim,relative=2]
870 \time 3/4 r2. | R2.*2 |
873 % Rest measures contracted to single measure
877 % Rest measures expanded again
883 @cindex text on multi-measure rest
884 @cindex multi-measure rest, attaching text
885 @cindex script on multi-measure rest
886 @cindex multi-measure rest, script
887 @cindex fermata on multi-measure rest
888 @cindex multi-measure rest, attaching fermata
889 @cindex markup on multi-measure rest
890 @cindex multi-measure rest with markup
892 @funindex \fermataMarkup
893 @funindex fermataMarkup
894 @funindex MultiMeasureRestText
896 Markups can be added to multi-measure rests.
897 The predefined command @code{\fermataMarkup}
898 is provided for adding fermatas.
900 @lilypond[quote,verbatim,relative=2]
903 R2.*10^\markup { \italic "ad lib." }
908 @warning{Markups attached to a multi-measure rest are objects of type
909 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
910 be directed to the correct object, or they will be ignored. See the
913 @lilypond[quote,verbatim,relative=2]
914 % This fails, as the wrong object name is specified
915 \override TextScript.padding = #5
917 % This is the correct object name to be specified
918 \override MultiMeasureRestText.padding = #5
922 When a multi-measure rest immediately follows a @code{\partial}
923 setting, resulting bar-check warnings may not be displayed.
926 @funindex \textLengthOn
927 @funindex textLengthOn
928 @funindex \textLengthOff
929 @funindex textLengthOff
930 @funindex \fermataMarkup
931 @funindex fermataMarkup
932 @funindex \compressMMRests
933 @funindex compressMMRests
936 @code{\textLengthOn},
937 @code{\textLengthOff},
938 @code{\fermataMarkup},
939 @code{\compressMMRests}.
947 @cindex kirchenpausen
949 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
950 {changing-form-of-multi-measure-rests.ly}
952 @cindex multi-measure rests, positioning
953 @cindex positioning multi-measure rests
955 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
956 {positioning-multi-measure-rests.ly}
958 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
959 {multi-measure-rest-markup.ly}
963 @rglos{multi-measure rest}.
968 @ref{Formatting text},
975 @rinternals{MultiMeasureRest},
976 @rinternals{MultiMeasureRestNumber},
977 @rinternals{MultiMeasureRestText}.
979 @cindex fingerings and multi-measure rests
980 @cindex multi-measure rests and fingerings
983 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
984 in the fingering numeral colliding with the bar counter
987 @cindex condensing rests
988 @cindex rest, condensing ordinary
990 There is no way to automatically condense multiple ordinary rests
991 into a single multi-measure rest.
993 @cindex rest, collisions of
995 Multi-measure rests do not take part in rest collisions.
998 @node Displaying rhythms
999 @subsection Displaying rhythms
1006 * Polymetric notation::
1007 * Automatic note splitting::
1008 * Showing melody rhythms::
1011 @node Time signature
1012 @unnumberedsubsubsec Time signature
1014 @cindex time signature
1020 The time signature is set as follows:
1022 @lilypond[quote,verbatim,relative=2]
1027 Mid-measure time signature changes are covered in @ref{Upbeats}.
1029 @cindex time signature visibility
1031 Time signatures are printed at the beginning of a piece
1032 and whenever the time signature changes. If a change takes place
1033 at the end of a line a warning time signature sign is printed
1034 there. This default behavior may be changed, see
1035 @ref{Visibility of objects}.
1037 @lilypond[quote,verbatim,relative=2]
1047 @cindex time signature style
1050 @funindex \numericTimeSignature
1051 @funindex numericTimeSignature
1052 @funindex \defaultTimeSignature
1053 @funindex defaultTimeSignature
1055 The time signature symbol that is used in 2/2 and 4/4 time can be
1056 changed to a numeric style:
1058 @lilypond[quote,verbatim,relative=2]
1062 % Change to numeric style
1063 \numericTimeSignature
1066 % Revert to default style
1067 \defaultTimeSignature
1073 Mensural time signatures are covered in
1074 @ref{Mensural time signatures}.
1076 @cindex time signature default settings
1077 @cindex autobeaming properties for time signatures
1078 @cindex beaming, time signature default properties
1079 @funindex \overrideTimeSignatureSettings
1081 In addition to setting the printed time signature, the @code{\time}
1082 command also sets the values of the time-signature-based properties
1083 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
1084 The predefined default values for these properties can be found in
1085 @file{scm/time-signature-settings.scm}.
1087 The default value of @code{beatStructure} can be overridden in the
1088 @code{\time} command itself by supplying it as the optional first
1091 @lilypond[quote,verbatim]
1096 \repeat unfold 7 { c8 } |
1098 \repeat unfold 7 { c8 } |
1104 Alternatively, the default values of all these time-signature-based
1105 variables, including @code{baseMoment} and @code{beamExceptions},
1106 can be set together. The values can be set independently for several
1107 different time signatures. The new values take effect when a
1108 subsequent @code{\time} command with the same value of the time
1109 signature is executed:
1111 @lilypond[quote,verbatim]
1115 \overrideTimeSignatureSettings
1116 4/4 % timeSignatureFraction
1117 1/4 % baseMomentFraction
1118 #'(3 1) % beatStructure
1119 #'() % beamExceptions
1121 \repeat unfold 8 { c8 } |
1127 @code{\overrideTimeSignatureSettings} takes four arguments:
1132 @code{@var{timeSignatureFraction}}, a fraction describing the
1133 time signature to which these values apply.
1136 @code{@var{baseMomentFraction}}, a fraction containing the numerator
1137 and denominator of the basic timing unit for the time signature.
1140 @code{@var{beatStructure}}, a Scheme list indicating the structure
1141 of the beats in the measure, in units of the base moment.
1144 @code{@var{beamExceptions}}, an alist containing any beaming rules
1145 for the time signature that go beyond ending at every beat, as
1146 described in @ref{Setting automatic beam behavior}.
1150 @cindex time signature properties, restoring default values
1151 @cindex restoring default properties for time signatures
1152 @funindex \revertTimeSignatureSettings
1154 Changed values of default time signature properties can be restored
1155 to the original values:
1157 @lilypond[quote,verbatim]
1160 \repeat unfold 8 { c8 } |
1161 \overrideTimeSignatureSettings
1162 4/4 % timeSignatureFraction
1163 1/4 % baseMomentFraction
1164 #'(3 1) % beatStructure
1165 #'() % beamExceptions
1167 \repeat unfold 8 { c8 } |
1168 \revertTimeSignatureSettings 4/4
1170 \repeat unfold 8 { c8 } |
1175 Different values of default time signature properties can be established
1176 for different staves by moving the @code{Timing_translator} and the
1177 @code{Default_bar_line_engraver} from the @code{Score} context to the
1178 @code{Staff} context.
1180 @lilypond[quote, verbatim]
1184 \overrideTimeSignatureSettings
1185 4/4 % timeSignatureFraction
1186 1/4 % baseMomentFraction
1187 #'(3 1) % beatStructure
1188 #'() % beamExceptions
1190 \repeat unfold 8 {c''8}
1193 \overrideTimeSignatureSettings
1194 4/4 % timeSignatureFraction
1195 1/4 % baseMomentFraction
1196 #'(1 3) % beatStructure
1197 #'() % beamExceptions
1199 \repeat unfold 8 {c''8}
1205 \remove "Timing_translator"
1206 \remove "Default_bar_line_engraver"
1210 \consists "Timing_translator"
1211 \consists "Default_bar_line_engraver"
1217 A further method of changing these time-signature-related variables,
1218 which avoids reprinting the time signature at the time of the change,
1219 is shown in @ref{Setting automatic beam behavior}.
1222 @code{\numericTimeSignature},
1223 @code{\defaultTimeSignature}.
1228 @lilypondfile[verbatim,quote,texidoc,doctitle]
1229 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1233 @rglos{time signature}
1236 @ref{Mensural time signatures},
1237 @ref{Setting automatic beam behavior},
1238 @ref{Time administration}.
1241 @file{scm/time-signature-settings.scm}.
1246 Internals Reference:
1247 @rinternals{TimeSignature},
1248 @rinternals{Timing_translator}.
1251 @node Metronome marks
1252 @unnumberedsubsubsec Metronome marks
1255 @cindex beats per minute
1256 @cindex metronome mark
1257 @cindex metronome marking with text
1262 A basic metronome mark is simple to write:
1264 @lilypond[verbatim,quote,relative=1]
1270 Metronome marks may also be printed as a range of two numbers:
1272 @lilypond[verbatim,quote,relative=1]
1278 Tempo indications with text can be used instead:
1280 @lilypond[verbatim,quote,relative=2]
1286 Combining a metronome mark and text will automatically place the
1287 metronome mark within parentheses:
1289 @lilypond[verbatim,quote,relative=2]
1290 \tempo "Allegro" 4 = 160
1295 In general, the text can be any markup object:
1297 @lilypond[verbatim,quote,relative=2]
1298 \tempo \markup { \italic Faster } 4 = 132
1299 a8-. r8 b-. r gis-. r a-. r
1302 A parenthesized metronome mark with no textual indication may be
1303 written by including an empty string in the input:
1305 @lilypond[verbatim,quote,relative=2]
1310 @funindex \markLengthOn
1311 @funindex markLengthOn
1312 @funindex \markLengthOff
1313 @funindex markLengthOff
1315 In a part for an instrument with long periods of rests,
1316 tempo indications sometimes follow each other closely.
1317 The command @code{\markLengthOn} provides extra horizontal space
1318 to prevent tempo indications from overlapping, and @code{\markLengthOff}
1319 restores the default behavior of ignoring tempo marks
1320 for horizontal spacing.
1322 @lilypond[verbatim,quote,relative=0]
1325 \tempo "Molto vivace"
1337 @lilypondfile[verbatim,quote,texidoc,doctitle]
1338 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1340 @c perhaps also an example of how to move it horizontally?
1342 @lilypondfile[verbatim,quote,texidoc,doctitle]
1343 {changing-the-tempo-without-a-metronome-mark.ly}
1345 @lilypondfile[verbatim,quote,texidoc,doctitle]
1346 {creating-metronome-marks-in-markup-mode.ly}
1348 For more details, see @ref{Formatting text}.
1353 @rglos{metronomic indication},
1354 @rglos{tempo indication},
1355 @rglos{metronome mark}.
1358 @ref{Formatting text},
1359 @ref{Creating MIDI output}.
1362 @rlsr{Staff notation}.
1364 Internals Reference:
1365 @rinternals{MetronomeMark}.
1369 @unnumberedsubsubsec Upbeats
1373 @cindex partial measure
1374 @cindex measure, partial
1375 @cindex measure, pickup
1376 @cindex pickup measure
1377 @cindex time signature, mid-measure
1379 @funindex measurePosition
1383 Partial or pick-up measures, such as an @emph{anacrusis} or an
1384 @emph{upbeat}, are entered using the @code{\partial} command:
1387 \partial @var{duration}
1390 When @code{\partial} is used at the beginning of a score,
1391 @code{@var{duration}} is the length of the music preceding the
1394 @lilypond[quote,verbatim,relative=1]
1397 r4 e8 | a4 c8 b c4 |
1400 When @code{\partial} is used after the beginning of a score,
1401 @code{@var{duration}} is the @emph{remaining} length of the
1402 current measure. It does not create a new numbered bar.
1404 @lilypond[quote,verbatim,relative=1]
1405 \set Score.barNumberVisibility = #all-bar-numbers-visible
1406 \override Score.BarNumber.break-visibility =
1407 #end-of-line-invisible
1409 d'4.~ 4 d8 d( c) b | c4.~ 4. \bar "||"
1412 c8( d) e | f2.~ 4 f8 a,( c) f |
1415 The @code{\partial} command is @emph{required} when the time
1416 signature changes in mid measure, but it may also be used alone.
1418 @lilypond[quote,verbatim,relative=1]
1419 \set Score.barNumberVisibility = #all-bar-numbers-visible
1420 \override Score.BarNumber.break-visibility =
1421 #end-of-line-invisible
1424 e8 | a4 c8 b[ c b] |
1426 r8 e,8 | a4 \bar "||"
1432 The @code{\partial} command sets the @code{Timing.measurePosition}
1433 property, which is a rational number that indicates how much of
1434 the measure has passed.
1447 @rinternals{Timing_translator}.
1450 @node Unmetered music
1451 @unnumberedsubsubsec Unmetered music
1454 @cindex cadenza, beams
1455 @cindex cadenza, accidentals
1456 @cindex cadenza, bar lines
1457 @cindex cadenza, bar numbers
1458 @cindex unmetered music
1459 @cindex unmetered music, beams
1460 @cindex unmetered music, accidentals
1461 @cindex unmetered music, bar lines
1462 @cindex unmetered music, bar numbers
1463 @cindex accidentals, cadenzas
1464 @cindex accidentals, unmetered music
1465 @cindex bar lines, cadenzas
1466 @cindex bar lines, unmetered music
1467 @cindex bar numbers, cadenzas
1468 @cindex bar numbers, unmetered music
1469 @cindex beams, cadenzas
1470 @cindex beams, unmetered music
1472 @funindex \cadenzaOn
1474 @funindex \cadenzaOff
1475 @funindex cadenzaOff
1477 In metered music bar lines are inserted and bar numbers are calculated
1478 automatically. In unmetered music (i.e. cadenzas), this is not
1479 desirable and can be @q{switched off} using the command
1480 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
1481 using @code{\cadenzaOff}.
1483 @lilypond[verbatim,relative=2,quote]
1486 c4 c d8[ d d] f4 g4.
1492 Bar numbering is resumed at the end of the cadenza.
1494 @lilypond[verbatim,relative=2,quote]
1495 % Show all bar numbers
1496 \override Score.BarNumber.break-visibility = #all-visible
1499 c4 c d8[ d d] f4 g4.
1505 Inserting a @code{\bar} command within a cadenza does not start a new
1506 measure, even if a bar line is printed. So any accidentals -- which
1507 are usually assumed to remain in force until the end of the measure --
1508 will still be valid after the bar line printed by @code{\bar}. If
1509 subsequent accidentals should be printed, forced accidentals or
1510 reminder accidentals need to be inserted manually, see
1513 @lilypond[verbatim,relative=2,quote]
1518 % First cis is printed without alteration even if it's after a \bar
1524 Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
1525 beaming in cadenzas must be entered manually. See @ref{Manual beams}.
1527 @lilypond[verbatim,relative=2,quote]
1528 \repeat unfold 8 { c8 }
1534 \repeat unfold 8 { c8 }
1537 These predefined commands affect all staves in the score, even when
1538 placed in just one @code{Voice} context. To change this, move the
1539 @code{Timing_translator} from the @code{Score} context to the
1540 @code{Staff} context. See @ref{Polymetric notation}.
1552 @ref{Visibility of objects},
1553 @ref{Polymetric notation},
1560 @cindex cadenza, line breaks
1561 @cindex cadenza, page breaks
1562 @cindex unmetered music, line breaks
1563 @cindex unmetered music, page breaks
1564 @cindex breaks in unmetered music
1565 @cindex line breaks, cadenzas
1566 @cindex page breaks, cadenzas
1567 @cindex line breaks, unmetered music
1568 @cindex page breaks, unmetered music
1571 Automatic line and page breaks are inserted only at bar lines, so
1572 @q{invisible} bar lines will need to be inserted manually in long
1573 stretches of unmetered music to permit breaking:
1580 @node Polymetric notation
1581 @unnumberedsubsubsec Polymetric notation
1583 @c This section necessarily uses \set
1584 @c This is acceptable -td
1586 @cindex double time signatures
1587 @cindex signatures, polymetric
1588 @cindex time signature, polymetric
1589 @cindex time signature, double
1590 @cindex polymetric signatures
1591 @cindex meter, polymetric
1593 @funindex timeSignatureFraction
1594 @funindex \scaleDurations
1595 @funindex scaleDurations
1599 Polymetric notation is supported explicitly or by manually modifying the
1600 visible time signature symbol and/or scaling note durations.
1602 @subsubsubheading Different time signatures with equal-length measures
1604 Set a common time signature for each staff, and set the
1605 @code{timeSignatureFraction} to the desired fraction. Then use the
1606 @code{\scaleDurations} function to scale the durations of the notes in
1607 each staff to the common time signature.
1609 @cindex beams, with polymetric meters
1610 @cindex polymetric meters, with beams
1612 In the following example, music with the time signatures of 3/4, 9/8 and
1613 10/8 are used in parallel. In the second staff, shown durations are
1614 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1615 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1616 may be necessary to insert beams manually, as the duration scaling will
1617 affect the autobeaming rules.
1619 @lilypond[quote,verbatim]
1628 \set Staff.timeSignatureFraction = 9/8
1630 \repeat unfold 6 { c8[ c c] }
1634 \set Staff.timeSignatureFraction = 10/8
1635 \scaleDurations 3/5 {
1636 \repeat unfold 2 { c8[ c c] }
1637 \repeat unfold 2 { c8[ c] } |
1638 c4. c \tuplet 3/2 { c8[ c c] } c4
1644 @subsubsubheading Different time signatures with unequal-length measures
1646 Each staff can be given its own independent time signature by
1647 moving the @code{Timing_translator} and the
1648 @code{Default_bar_line_engraver} to the @code{Staff} context.
1650 @lilypond[quote,verbatim]
1654 \remove "Timing_translator"
1655 \remove "Default_bar_line_engraver"
1659 \consists "Timing_translator"
1660 \consists "Default_bar_line_engraver"
1664 % Now each staff has its own time signature.
1688 @funindex \compoundMeter
1689 @cindex compound time signatures
1690 @cindex time signature, compound
1692 @subsubsubheading Compound time signatures
1694 These are created using the @code{\compoundMeter} function. The syntax
1698 \compoundMeter #'@code{(list of lists)}
1701 The simplest construction is a single list, where the @emph{last} number
1702 indicates the bottom number of the time signature and those that come
1703 before it, the top numbers.
1705 @lilypond[quote,verbatim]
1707 \compoundMeter #'((2 2 2 8))
1708 \repeat unfold 6 c8 \repeat unfold 12 c16
1712 More complex meters can be constructed using additional lists. Also,
1713 automatic beaming settings will be adjusted depending on the values.
1715 @lilypond[quote,verbatim]
1717 \compoundMeter #'((1 4) (3 8))
1718 \repeat unfold 5 c8 \repeat unfold 10 c16
1722 \compoundMeter #'((1 2 3 8) (3 4))
1723 \repeat unfold 12 c8
1730 @rglos{polymetric time signature},
1734 @ref{Automatic beams},
1736 @ref{Time signature},
1737 @ref{Scaling durations}.
1742 Internals Reference:
1743 @rinternals{TimeSignature},
1744 @rinternals{Timing_translator},
1745 @rinternals{Default_bar_line_engraver},
1749 When using different time signatures in parallel, notes at the same
1750 moment will be placed at the same horizontal location. However, the bar
1751 lines in the different staves will cause the note spacing to be less
1752 regular in each of the individual staves than would be normal without
1753 the different time signatures.
1756 @node Automatic note splitting
1757 @unnumberedsubsubsec Automatic note splitting
1759 @cindex notes, splitting
1760 @cindex splitting notes
1761 @cindex rests, splitting
1762 @cindex splitting rests
1764 @funindex Note_heads_engraver
1765 @funindex Completion_heads_engraver
1766 @funindex Completion_rest_engraver
1768 Long notes which overrun bar lines can be converted automatically to
1769 tied notes. This is done by replacing the @code{Note_heads_engraver}
1770 with the @code{Completion_heads_engraver}. Similarly, long rests which
1771 overrun bar lines are split automatically by replacing the
1772 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1773 following example, notes and rests crossing the bar lines are split,
1774 notes are also tied.
1776 @lilypond[quote,verbatim,relative=1]
1778 \remove "Note_heads_engraver"
1779 \consists "Completion_heads_engraver"
1780 \remove "Rest_engraver"
1781 \consists "Completion_rest_engraver"
1784 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1787 These engravers split all running notes and rests at the bar line, and
1788 inserts ties for notes. One of its uses is to debug complex scores: if
1789 the measures are not entirely filled, then the ties show exactly how
1790 much each measure is off.
1792 The property @code{completionUnit} sets a preferred duration for
1795 @lilypond[quote,verbatim,relative=2]
1797 \remove "Note_heads_engraver"
1798 \consists "Completion_heads_engraver"
1800 \time 9/8 g\breve. d4. \bar "||"
1801 \set completionUnit = #(ly:make-moment 3 8)
1806 These engravers split notes with scaled duration, such as those in tuplets,
1807 into notes with the same scale-factor as in the input note.
1809 @lilypond[quote,verbatim,relative=2]
1811 \remove "Note_heads_engraver"
1812 \consists "Completion_heads_engraver"
1815 \tuplet 3/2 {g4 a b}
1816 \scaleDurations 2/3 {g a b}
1818 \tuplet 3/2 {g4 a b}
1828 @rlearning{Engravers explained},
1829 @rlearning{Adding and removing engravers}.
1834 Internals Reference:
1835 @rinternals{Note_heads_engraver},
1836 @rinternals{Completion_heads_engraver},
1837 @rinternals{Rest_engraver},
1838 @rinternals{Completion_rest_engraver},
1839 @rinternals{Forbid_line_break_engraver}.
1842 For consistency with previous behavior, notes and rests with
1843 duration longer than a measure, such as @code{c1*2}, are split into
1844 notes without any scale factor, @code{@{ c1 c1 @}}. The property
1845 @code{completionFactor} controls this behavior, and setting it to
1846 @code{#f} cause split notes and rest to have the scale factor
1847 of the input durations.
1850 @node Showing melody rhythms
1851 @unnumberedsubsubsec Showing melody rhythms
1853 @cindex melody rhythms, showing
1854 @cindex rhythms, showing melody
1856 Sometimes you might want to show only the rhythm of a melody. This
1857 can be done with the rhythmic staff. All pitches of notes on such a
1858 staff are squashed, and the staff itself has a single line
1860 @lilypond[quote,relative=1,verbatim]
1862 \new RhythmicStaff {
1863 \new Voice = "myRhythm" {
1871 \lyricsto "myRhythm" {
1879 @cindex guitar chord charts
1880 @cindex strumming rhythms, showing
1881 @cindex guitar strumming rhythms, showing
1883 @funindex Pitch_squash_engraver
1884 @funindex \improvisationOn
1885 @funindex improvisationOn
1886 @funindex \improvisationOff
1887 @funindex improvisationOff
1889 Guitar chord charts often show the strumming rhythms. This can
1890 be done with the @code{Pitch_squash_engraver} and
1891 @code{\improvisationOn}.
1894 @lilypond[quote,verbatim]
1902 \consists "Pitch_squash_engraver"
1915 @code{\improvisationOn},
1916 @code{\improvisationOff}.
1922 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1923 {guitar-strum-rhythms.ly}
1929 Internals Reference:
1930 @rinternals{RhythmicStaff},
1931 @rinternals{Pitch_squash_engraver}.
1939 * Setting automatic beam behavior::
1944 @node Automatic beams
1945 @unnumberedsubsubsec Automatic beams
1947 By default, beams are inserted automatically:
1949 @cindex beams, manual
1950 @cindex manual beams
1951 @cindex beams, customizing rules
1953 @funindex \autoBeamOn
1954 @funindex autoBeamOn
1955 @funindex \autoBeamOff
1956 @funindex autoBeamOff
1958 @lilypond[quote,verbatim,relative=2]
1960 \time 6/8 c8 c c c8. c16 c8
1963 If these automatic decisions are not satisfactory, beaming can be
1964 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1965 entered manually if beams are to be extended over rests.
1967 If automatic beaming is not required, it may be turned off with
1968 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1970 @lilypond[quote,relative=1,verbatim]
1971 c4 c8 c8. c16 c8. c16 c8
1978 @cindex melismata, with beams
1979 @cindex beams, with melismata
1981 @warning{If beams are used to indicate melismata in songs, then
1982 automatic beaming should be switched off with @code{@bs{}autoBeamOff}
1983 and the beams indicated manually. Using @code{@bs{}partcombine} with
1984 @code{@bs{}autoBeamOff} can produce unintended results. See the
1985 snippets for more information.}
1987 Beaming patterns that differ from the automatic defaults can be
1988 created; see @ref{Setting automatic beam behavior}.
1991 @code{\autoBeamOff},
1995 @cindex beams, line breaks
1996 @cindex line breaks, beams
1997 @cindex beams, with knee gap
1998 @cindex knee gap, with beams
2002 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2003 {beams-across-line-breaks.ly}
2005 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2006 {changing-beam-knee-gap.ly}
2008 @cindex beams, \partcombine with \autoBeamOff
2009 @cindex voices, \partcombine with \autoBeamOff
2011 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
2012 {partcombine-and-autobeamoff.ly}
2017 @ref{Setting automatic beam behavior}.
2020 @file{scm/auto-beam.scm}.
2025 Internals Reference:
2026 @rinternals{Auto_beam_engraver},
2027 @rinternals{Beam_engraver},
2029 @rinternals{BeamEvent},
2030 @rinternals{BeamForbidEvent},
2031 @rinternals{beam-interface},
2032 @rinternals{unbreakable-spanner-interface}.
2035 The properties of a beam are determined at the @emph{start} of its
2036 construction and any additional beam-property changes that occur before
2037 the beam has been completed will not take effect until the @emph{next},
2041 @node Setting automatic beam behavior
2042 @unnumberedsubsubsec Setting automatic beam behavior
2044 @cindex beams, with lyrics
2045 @cindex lyrics, with beams
2047 @funindex autoBeaming
2048 @funindex baseMoment
2049 @funindex beamExceptions
2050 @funindex \beamExceptions
2051 @funindex beatStructure
2052 @funindex measureLength
2058 When automatic beaming is enabled, the placement of automatic beams
2059 is determined by three context properties:
2060 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2061 The default values of these variables may be overridden as described
2062 below, or alternatively the default values themselves may be changed
2063 as explained in @ref{Time signature}.
2065 If a @code{beamExceptions} rule is defined for the time signature in
2066 force, that rule alone is used to determine the beam placement; the
2067 values of @code{baseMoment} and @code{beatStructure} are ignored.
2069 If no @code{beamExceptions} rule is defined for the time signature
2070 in force, the beam placement is determined by the values of
2071 @code{baseMoment} and @code{beatStructure}.
2074 @subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
2076 By default, @code{beamExceptions} rules are defined for most common
2077 time signatures, so the @code{beamExceptions} rules must be disabled
2078 if automatic beaming is to be based on @code{baseMoment} and
2079 @code{beatStructure}. The @code{beamExceptions} rules are disabled
2083 \set Timing.beamExceptions = #'()
2086 When @code{beamExceptions} is set to @code{#'()}, either due to an
2087 explicit setting or because no @code{beamExceptions} rules are defined
2088 internally for the time signature in force, the ending points for
2089 beams are on beats as specified by the context properties
2090 @code{baseMoment} and @code{beatStructure}. @code{beatStructure} is
2091 a scheme list that defines the length of each beat in the measure in
2092 units of @code{baseMoment}. By default, @code{baseMoment} is one
2093 over the denominator of the time signature. By default, each unit of
2094 length @code{baseMoment} is a single beat.
2096 Note that there are separate @code{beatStructure} and @code{baseMoment}
2097 values for each time signature. Changes to these variables apply only
2098 to the time signature that is currently in force, hence those changes
2099 must be placed after the @code{\time} command which starts a new time
2100 signature section, not before it. New values given to a particular
2101 time signature are retained and reinstated whenever that time signature
2104 @lilypond[quote,relative=2,verbatim]
2106 c16^"default" c c c c |
2107 % beamExceptions are unlikely to be defined for 5/16 time,
2108 % but let's disable them anyway to be sure
2109 \set Timing.beamExceptions = #'()
2110 \set Timing.beatStructure = #'(2 3)
2111 c16^"(2+3)" c c c c |
2112 \set Timing.beatStructure = #'(3 2)
2113 c16^"(3+2)" c c c c |
2116 @lilypond[quote,relative=2,verbatim]
2118 a8^"default" a a a a a a a
2119 % Disable beamExceptions because they are definitely
2120 % defined for 4/4 time
2121 \set Timing.beamExceptions = #'()
2122 \set Timing.baseMoment = #(ly:make-moment 1/4)
2123 \set Timing.beatStructure = #'(1 1 1 1)
2124 a8^"changed" a a a a a a a
2127 Beam setting changes can be limited to specific contexts. If no
2128 setting is included in a lower-level context, the setting of the
2129 enclosing context will apply.
2131 @lilypond[quote, verbatim,relative=1]
2134 % No need to disable beamExceptions
2135 % as they are not defined for 7/8 time
2136 \set Staff.beatStructure = #'(2 3 2)
2146 \set Voice.beatStructure = #'(1 3 3)
2154 When multiple voices are used the @code{Staff} context must be
2155 specified if the beaming is to be applied to all voices in the
2158 @lilypond[quote,verbatim,relative=2]
2161 % Change applied to Voice by default -- does not work correctly
2162 % Because of autogenerated voices, all beating will
2163 % be at baseMoment (1 . 8)
2164 \set beatStructure = #'(3 1 1 2)
2165 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2167 % Works correctly with context Staff specified
2168 \set Staff.beatStructure = #'(3 1 1 2)
2169 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2172 The value of @code{baseMoment} can be adjusted to change
2173 the beaming behavior, if desired. When this is done,
2174 the value of @code{beatStructure} must be set to be
2175 compatible with the new value of @code{baseMoment}.
2177 @lilypond[quote,verbatim,relative=2]
2179 % No need to disable beamExceptions
2180 % as they are not defined for 5/8 time
2181 \set Timing.baseMoment = #(ly:make-moment 1/16)
2182 \set Timing.beatStructure = #'(7 3)
2183 \repeat unfold 10 { a16 }
2186 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2187 quantity of type @i{moment} is created by the scheme function
2188 @code{ly:make-moment}. For more information about this function,
2189 see @ref{Time administration}.
2191 By default @code{baseMoment} is set to one over the denominator of
2192 the time signature. Any exceptions to this default can be found in
2193 @file{scm/time-signature-settings.scm}.
2195 @subsubsubheading Beaming based on @code{beamExceptions}
2197 Special autobeaming rules (other than ending a beam on a beat)
2198 are defined in the @code{beamExceptions} property.
2200 The value for @code{beamExceptions}, a somewhat complex Scheme
2201 data structure, is easiest generated with the
2202 @code{\beamExceptions} function. This function is given one or
2203 more manually beamed measure-length rhythmic patterns (measures
2204 have to be separated by a bar check@tie{}@code{|} since the
2205 function has no other way to discern the measure length). Here is
2208 @lilypond[quote,relative=2,verbatim]
2210 \set Timing.beatStructure = #'(2 1)
2211 \set Timing.beamExceptions =
2212 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
2214 \repeat unfold 6 { c32 } |
2217 @warning{A @code{beamExceptions} value must be @emph{complete}
2218 exceptions list. That is, every exception that should be applied
2219 must be included in the setting. It is not possible to add, remove,
2220 or change only one of the exceptions. While this may seem cumbersome,
2221 it means that the current beaming settings need not be known in order
2222 to specify a new beaming pattern.}
2224 When the time signature is changed, default values of
2225 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2226 and @code{Timing.beamExceptions} are set. Setting the time signature
2227 will reset the automatic beaming settings for the @code{Timing}
2228 context to the default behavior.
2230 @lilypond[quote,verbatim,relative=2]
2232 \repeat unfold 6 { a8 }
2234 \set Timing.beatStructure = #'(4 2)
2235 \repeat unfold 6 { a8 }
2236 % go back to default behavior
2238 \repeat unfold 6 { a8 }
2241 The default automatic beaming settings for a time signature
2242 are determined in @file{scm/time-signature-settings.scm}.
2243 Changing the default automatic beaming settings
2244 for a time signature is described in @ref{Time signature}.
2246 Many automatic beaming settings for a time signature contain an
2247 entry for @code{beamExceptions}. For example, 4/4 time tries to
2248 beam the measure in two if there are only eighth notes. The
2249 @code{beamExceptions} rule can override the @code{beatStructure} setting
2250 if @code{beamExceptions} is not reset.
2252 @lilypond[quote,verbatim,relative=2]
2254 \set Timing.baseMoment = #(ly:make-moment 1/8)
2255 \set Timing.beatStructure = #'(3 3 2)
2256 % This won't beam (3 3 2) because of beamExceptions
2257 \repeat unfold 8 {c8} |
2258 % This will beam (3 3 2) because we clear beamExceptions
2259 \set Timing.beamExceptions = #'()
2260 \repeat unfold 8 {c8}
2263 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2264 measure by default. To beam eighth notes in 3/4 time on the beat,
2265 reset @code{beamExceptions}.
2267 @lilypond[quote,verbatim,relative=2]
2269 % by default we beam in (6) due to beamExceptions
2270 \repeat unfold 6 {a8} |
2271 % This will beam (1 1 1) due to default baseMoment and beatStructure
2272 \set Timing.beamExceptions = #'()
2273 \repeat unfold 6 {a8}
2276 In engraving from the Romantic and Classical periods,
2277 beams often begin midway through the measure in 3/4 time,
2278 but modern practice is to avoid the false impression of 6/8 time
2279 (see Gould, p. 153). Similar situations arise in 3/8 time.
2280 This behavior is controlled by the context property @code{beamHalfMeasure},
2281 which has effect only in time signatures with 3 in the numerator:
2283 @lilypond[quote,verbatim,relative=2]
2286 \set Timing.beamHalfMeasure = ##f
2290 @subsubsubheading How automatic beaming works
2292 When automatic beaming is enabled, the placement of automatic beams
2293 is determined by the context properties
2294 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2296 The following rules, in order of priority, apply when determining
2297 the appearance of beams:
2301 If a manual beam is specified with @code{[@dots{}]} set the beam
2302 as specified, otherwise
2305 if a beam-ending rule is defined in @code{beamExceptions}
2306 for the beam-type, use it to determine the valid places where
2307 beams may end, otherwise
2310 if a beam-ending rule is defined in @code{beamExceptions}
2311 for a longer beam-type, use it to determine the valid places
2312 where beams may end, otherwise
2315 use the values of @code{baseMoment} and @code{beatStructure} to
2316 determine the ends of the beats in the measure, and
2317 end beams at the end of beats.
2321 In the rules above, the @emph{beam-type} is the duration of the
2322 shortest note in the beamed group.
2324 The default beaming rules can be found in
2325 @file{scm/time-signature-settings.scm}.
2329 @cindex beams, subdividing
2331 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2332 {subdividing-beams.ly}
2334 @cindex beamlets, orienting
2336 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2337 {strict-beat-beaming.ly}
2339 @cindex measure groupings
2340 @cindex beats, grouping
2341 @cindex grouping beats
2342 @cindex measure sub-grouping
2344 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2345 {conducting-signs,-measure-grouping-signs.ly}
2347 @cindex beam, endings in a score
2348 @cindex beam, endings with multiple voices
2350 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2351 {beam-endings-in-score-context.ly}
2355 @ref{Time signature}.
2358 @file{scm/time-signature-settings.scm}.
2363 Internals Reference:
2364 @rinternals{Auto_beam_engraver},
2366 @rinternals{BeamForbidEvent},
2367 @rinternals{beam-interface}.
2370 If a score ends while an automatic beam has not been ended and is
2371 still accepting notes, this last beam will not be typeset at all.
2372 The same holds for polyphonic voices, entered with
2373 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2374 automatic beam is still accepting notes, it is not typeset.
2375 The workaround for these problems is to manually beam the last
2376 beam in the voice or score.
2378 By default, the @code{Timing} translator is aliased to the
2379 @code{Score} context. This means that setting the time signature
2380 in one staff will affect the beaming of the other staves as well.
2381 Thus, a time signature setting in a later staff will reset custom
2382 beaming that was set in an earlier staff.
2383 One way to avoid this problem is to set the time signature
2386 @lilypond[quote,verbatim,relative=2]
2390 \set Timing.baseMoment = #(ly:make-moment 1/8)
2391 \set Timing.beatStructure = #'(1 5)
2392 \set Timing.beamExceptions = #'()
2393 \repeat unfold 6 { a8 }
2396 \repeat unfold 6 { a8 }
2401 The default beam settings for the time signature can also be changed, so
2402 that the desired beaming will always be used. Changes in automatic
2403 beaming settings for a time signature are described in
2404 @ref{Time signature}.
2406 @lilypond[quote,verbatim,relative=2]
2409 \overrideTimeSignatureSettings
2410 3/4 % timeSignatureFraction
2411 1/8 % baseMomentFraction
2412 #'(1 5) % beatStructure
2413 #'() % beamExceptions
2415 \repeat unfold 6 { a8 }
2419 \repeat unfold 6 { a8 }
2426 @unnumberedsubsubsec Manual beams
2428 @cindex beams, manual
2429 @cindex manual beams
2434 In some cases it may be necessary to override the automatic
2435 beaming algorithm. For example, the autobeamer will not put beams
2436 over rests or bar lines, and in choral scores the beaming is
2437 often set to follow the meter of the lyrics rather than the
2438 notes. Such beams can be specified manually by
2439 marking the begin and end point with @code{[} and @code{]}.
2441 @lilypond[quote,relative=1,verbatim]
2442 r4 r8[ g' a r] r g[ | a] r
2445 @cindex manual beams, direction shorthand for
2446 @cindex manual beams, grace notes
2448 Beaming direction can be set manually using direction indicators:
2450 @lilypond[quote,relative=2,verbatim]
2451 c8^[ d e] c,_[ d e f g]
2457 Individual notes may be marked with @code{\noBeam} to prevent them
2460 @lilypond[quote,verbatim,relative=2]
2465 Grace note beams and normal note beams can occur simultaneously.
2466 Unbeamed grace notes are not put into normal note beams.
2468 @lilypond[quote,verbatim,relative=2]
2470 \grace { e32 d c d }
2476 @funindex stemLeftBeamCount
2477 @funindex stemRightBeamCount
2479 Even more strict manual control with the beams can be achieved by
2480 setting the properties @code{stemLeftBeamCount} and
2481 @code{stemRightBeamCount}. They specify the number of beams to
2482 draw on the left and right side, respectively, of the next note.
2483 If either property is set, its value will be used only once, and
2484 then it is erased. In this example, the last @code{f} is printed
2485 with only one beam on the left side, i.e., the eighth-note beam of
2486 the group as a whole.
2488 @lilypond[quote,relative=2,verbatim]
2491 \set stemLeftBeamCount = #2
2492 \set stemRightBeamCount = #1
2494 \set stemLeftBeamCount = #1
2506 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2507 {flat-flags-and-beam-nibs.ly}
2511 @ref{Direction and placement},
2517 Internals Reference:
2519 @rinternals{BeamEvent},
2520 @rinternals{Beam_engraver},
2521 @rinternals{beam-interface},
2522 @rinternals{Stem_engraver}.
2525 @node Feathered beams
2526 @unnumberedsubsubsec Feathered beams
2528 @cindex beams, feathered
2529 @cindex feathered beams
2531 @funindex \featherDurations
2532 @funindex featherDurations
2533 @funindex grow-direction
2535 Feathered beams are used to indicate that a small group of notes
2536 should be played at an increasing (or decreasing) tempo, without
2537 changing the overall tempo of the piece. The extent of the
2538 feathered beam must be indicated manually using @code{[} and
2539 @code{]}, and the beam feathering is turned on by specifying a
2540 direction to the @code{Beam} property @code{grow-direction}.
2542 If the placement of the notes and the sound in the MIDI output is to
2543 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2544 feathered beam the notes must be grouped as a music expression delimited
2545 by braces and preceded by a @code{featherDurations} command which specifies
2546 the ratio between the durations of the first and last notes in the
2549 The square brackets show the extent of the beam and the braces show
2550 which notes are to have their durations modified. Normally these
2551 would delimit the same group of notes, but this is not required: the
2552 two commands are independent.
2554 In the following example the eight 16th notes occupy exactly the
2555 same time as a half note, but the first note is one half as long
2556 as the last one, with the intermediate notes gradually
2557 lengthening. The first four 32nd notes gradually speed up, while
2558 the last four 32nd notes are at a constant tempo.
2560 @lilypond[relative=1,verbatim,quote]
2561 \override Beam.grow-direction = #LEFT
2562 \featherDurations #(ly:make-moment 2/1)
2563 { c16[ c c c c c c c] }
2564 \override Beam.grow-direction = #RIGHT
2565 \featherDurations #(ly:make-moment 2/3)
2567 % revert to non-feathered beams
2568 \override Beam.grow-direction = #'()
2573 The spacing in the printed output represents the
2574 note durations only approximately, but the MIDI output is exact.
2577 @code{\featherDurations}.
2585 The @code{\featherDurations} command only works with very short
2586 music snippets, and when numbers in the fraction are small.
2595 * Bar and bar number checks::
2600 @unnumberedsubsubsec Bar lines
2603 @cindex measure lines
2604 @cindex closing bar lines
2605 @cindex bar lines, closing
2606 @cindex double bar lines
2607 @cindex bar lines, double
2613 Bar lines delimit measures, and are also used to indicate
2614 repeats. Normally, simple bar lines are automatically inserted
2615 into the printed output at places based on the current time
2618 The simple bar lines inserted automatically can be changed to
2619 other types with the @code{\bar} command. For example, a closing
2620 double bar line is usually placed at the end of a piece:
2622 @lilypond[quote,relative=1,verbatim]
2626 It is not invalid if the final note in a measure does not
2627 end on the automatically entered bar line: the note is assumed
2628 to carry over into the next measure. But if a long sequence
2629 of such carry-over measures appears the music can appear compressed
2630 or even flowing off the page. This is because automatic line
2631 breaks happen only at the end of complete measures, i.e., where
2632 all notes end before the end of a measure.
2634 @warning{An incorrect duration can cause line breaks to be
2635 inhibited, leading to a line of highly compressed music or
2636 music which flows off the page.}
2639 @cindex bar lines, invisible
2640 @cindex measure lines, invisible
2642 Line breaks are also permitted at manually inserted bar lines
2643 even within incomplete measures. To allow a line break without
2644 printing a bar line, use the following:
2651 This will insert an invisible bar line and allow (but not
2652 force) a line break to occur at this point. The bar number
2653 counter is not increased. To force a line break see
2654 @ref{Line breaking}.
2656 @cindex manual bar lines
2657 @cindex manual measure lines
2658 @cindex bar lines, manual
2659 @cindex measure lines, manual
2661 This and other special bar lines may be inserted manually at any
2662 point. When they coincide with the end of a measure they replace
2663 the simple bar line which would have been inserted there
2664 automatically. When they do not coincide with the end of a measure
2665 the specified bar line is inserted at that point in the printed
2668 Note that manual bar lines are purely visual. They do not affect
2669 any of the properties that a normal bar line would affect, such as
2670 measure numbers, accidentals, line breaks, etc. They do not affect
2671 the calculation and placement of subsequent automatic bar lines.
2672 When a manual bar line is placed where a normal bar line already
2673 exists, the effects of the original bar line are not altered.
2675 Two types of simple bar lines and five types of double bar lines are
2676 available for manual insertion:
2678 @lilypond[quote,relative=1,verbatim]
2690 together with dotted and dashed bar lines:
2692 @lilypond[quote,relative=1,verbatim]
2699 and nine types of repeat bar lines:
2701 @lilypond[quote,relative=1,verbatim]
2714 Additionally, a bar line can be printed as a simple tick:
2715 @lilypond[quote,relative=1,verbatim]
2718 However, as such ticks are typically used in Gregorian chant, it is
2719 preferable to use @code{\divisioMinima} there instead, described in
2720 the section @ref{Divisiones} in Gregorian chant.
2722 Lilypond supports kievan notation and provides a special kievan
2724 @lilypond[quote,relative=1,verbatim]
2727 Further details of this notation are explained in
2728 @ref{Typesetting Kievan square notation}.
2732 For in-line segno signs, there are three types of bar lines which
2733 differ in their behavior at line breaks:
2735 @lilypond[quote,relative=2,verbatim]
2753 Although the bar line types signifying repeats may be inserted
2754 manually they do not in themselves cause LilyPond to recognize
2755 a repeated section. Such repeated sections are better entered
2756 using the various repeat commands (see @ref{Repeats}), which
2757 automatically print the appropriate bar lines.
2759 In addition, you can specify @code{".|:-||"}, which is equivalent to
2760 @code{".|:"} except at line breaks, where it gives a double bar
2761 line at the end of the line and a start repeat at the beginning of
2764 @lilypond[quote,relative=2,verbatim]
2772 For combinations of repeats with the segno sign, there are six different
2775 @lilypond[quote,relative=2,verbatim]
2803 Additionally there is an @code{\inStaffSegno} command which creates
2804 a segno bar line in conjunction with an appropriate repeat bar line
2805 when used with a @code{\repeat volta} command, see
2806 @ref{Normal repeats}.
2808 @funindex \defineBarLine
2809 @funindex defineBarLine
2810 @cindex bar lines, defining
2811 @cindex defining bar lines
2813 New bar line types can be defined with @code{\defineBarLine}:
2816 \defineBarLine @var{bartype} #'(@var{end} @var{begin} @var{span})
2819 The @code{\defineBarline} variables can include the
2820 @q{empty} string @code{""}, which is equivalent to an invisible
2821 bar line being printed. Or they can be set to @code{#f} which
2822 prints no bar line at all.
2824 After the definiton, the new bar line can be used by
2825 @code{\bar} @var{bartype}.
2827 There are currently ten bar line elements available:
2829 @lilypond[quote,verbatim]
2830 \defineBarLine ":" #'("" ":" "")
2831 \defineBarLine "=" #'("=" "" "")
2832 \defineBarLine "[" #'("" "[" "")
2833 \defineBarLine "]" #'("]" "" "")
2850 The @code{"="} bar line provides the double span bar line, used
2851 in combination with the segno sign. Do not use it as a standalone
2852 double thin bar line; here, @code{\bar} @var{"||"} is
2855 The @code{"-"} sign starts annotations to bar lines which
2856 are useful to distinguish those with identical appearance
2857 but different behavior at line breaks and/or different span bars.
2858 The part following the @code{"-"} sign is not used for building up
2861 @lilypond[quote,relative=2,verbatim]
2862 \defineBarLine "||-dashedSpan" #'("||" "" "!!")
2867 c1 \bar "||-dashedSpan"
2878 Furthermore, the space character @code{" "} serves as a placeholder
2879 for defining span bars correctly aligned to the main bar lines:
2881 @lilypond[quote,relative=2,verbatim]
2882 \defineBarLine ":|.-wrong" #'(":|." "" "|.")
2883 \defineBarLine ":|.-right" #'(":|." "" " |.")
2899 If additional elements are needed, LilyPond provides a simple
2900 way to define them. For more informations on modifying or adding
2901 bar lines, see file @file{scm/bar-line.scm}.
2903 In scores with many staves, a @code{\bar} command in one staff is
2904 automatically applied to all staves. The resulting bar lines are
2905 connected between different staves of a @code{StaffGroup},
2906 @code{PianoStaff}, or @code{GrandStaff}.
2908 @lilypond[quote,relative=1,verbatim]
2916 \new Staff { \clef bass c4 g e g }
2918 \new Staff { \clef bass c2 c2 }
2923 @cindex default bar lines, changing
2924 @cindex bar lines, default, changing
2927 @funindex defaultBarType
2932 The command @samp{\bar @var{bartype}} is a shortcut for
2933 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2934 created whenever the @code{whichBar} property is set.
2936 The default bar type used for automatically inserted bar lines is
2937 @code{"|"}. This may be changed at any time with
2938 @samp{\set Timing.defaultBarType = @var{bartype}}.
2942 @ref{Line breaking},
2944 @ref{Grouping staves}.
2947 @file{scm/bar-line.scm}.
2952 Internals Reference:
2953 @rinternals{BarLine} (created at @code{Staff} level),
2954 @rinternals{SpanBar} (across staves),
2955 @rinternals{Timing_translator} (for Timing properties).
2959 @unnumberedsubsubsec Bar numbers
2962 @cindex measure numbers
2963 @cindex numbers, bar
2964 @cindex numbers, measure
2966 @funindex currentBarNumber
2968 Bar numbers are typeset by default at the start of every line except
2969 the first line. The number itself is stored in the
2970 @code{currentBarNumber} property, which is normally updated
2971 automatically for every measure. It may also be set manually:
2973 @lilypond[verbatim,quote,relative=1]
2976 \set Score.currentBarNumber = #50
2980 @cindex bar numbers, regular spacing
2982 @funindex barNumberVisibility
2985 Bar numbers can be typeset at regular intervals instead of just at
2986 the beginning of every line. To do this the default behavior
2987 must be overridden to permit bar numbers to be printed at places
2988 other than the start of a line. This is controlled by the
2989 @code{break-visibility} property of @code{BarNumber}. This takes
2990 three values which may be set to @code{#t} or @code{#f} to specify
2991 whether the corresponding bar number is visible or not. The order
2992 of the three values is @code{end of line visible}, @code{middle of
2993 line visible}, @code{beginning of line visible}. In the following
2994 example bar numbers are printed at all possible places:
2996 @lilypond[verbatim,quote,relative=1]
2997 \override Score.BarNumber.break-visibility = ##(#t #t #t)
2998 \set Score.currentBarNumber = #11
2999 % Permit first bar number to be printed
3007 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3008 {printing-the-bar-number-for-the-first-measure.ly}
3010 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3011 {printing-bar-numbers-at-regular-intervals.ly}
3013 @cindex measure number, format
3014 @cindex bar number, format
3016 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3017 {printing-bar-numbers-inside-boxes-or-circles.ly}
3019 @cindex bar numbers, with letters
3020 @cindex bar numbers, with repeats
3022 @lilypondfile[verbatim,quote,texidoc,doctitle]
3023 {alternative-bar-numbering.ly}
3025 @cindex bar number alignment
3027 @lilypondfile[verbatim,quote,texidoc,doctitle]
3028 {aligning-bar-numbers.ly}
3030 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3031 {removing-bar-numbers-from-a-score.ly}
3037 Internals Reference:
3038 @rinternals{BarNumber},
3039 @rinternals{Bar_number_engraver}.
3041 @cindex bar number collision
3042 @cindex collision, bar number
3045 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
3046 if there is one. To solve this, the @code{padding} property of
3047 @code{BarNumber} can be used to position the number correctly. See
3048 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
3051 @node Bar and bar number checks
3052 @unnumberedsubsubsec Bar and bar number checks
3055 @cindex bar number check
3056 @cindex measure check
3057 @cindex measure number check
3059 @funindex barCheckSynchronize
3062 Bar checks help detect errors in the entered durations. A bar check
3063 may be entered using the bar symbol, @code{|}, at any place where a
3064 bar line is expected to fall. If bar check lines are encountered at
3065 other places, a list of warnings is printed in the log file, showing
3066 the line numbers and lines in which the bar checks failed. In the
3067 next example, the second bar check will signal an error.
3070 \time 3/4 c2 e4 | g2 |
3073 An incorrect duration can result in a completely garbled score,
3074 especially if the score is polyphonic, so a good place to start
3075 correcting input is by scanning for failed bar checks and
3076 incorrect durations.
3078 If successive bar checks are off by the same musical interval,
3079 only the first warning message is displayed. This allows the
3080 warning to focus on the source of the timing error.
3082 Bar checks can also be inserted in lyrics:
3087 Twin -- kle | Twin -- kle |
3091 Note that bar check marks in lyrics are evaluated at the musical
3092 moment when the syllable @emph{following} the check mark is processed.
3093 If the lyrics are associated with the notes of a voice which has a
3094 rest at the beginning of a bar, then no syllable can be located at the
3095 start of that bar and a warning will be issued if a bar check mark is
3096 placed in the lyrics at that position.
3102 It is also possible to redefine the action taken when a bar check
3103 or pipe symbol, @code{|}, is encountered in the input, so that
3104 it does something other than a bar check. This is done by
3105 assigning a music expression to @code{"|"}.
3106 In the following example @code{|} is set to insert a double bar
3107 line wherever it appears in the input, rather than checking
3110 @lilypond[quote,verbatim]
3120 @funindex \barNumberCheck
3121 @funindex barNumberCheck
3123 When copying large pieces of music, it can be helpful to check that
3124 the LilyPond bar number corresponds to the original that you are
3125 entering from. This can be checked with @code{\barNumberCheck}, for
3129 \barNumberCheck #123
3133 will print a warning if the @code{currentBarNumber} is not 123
3134 when it is processed.
3141 @node Rehearsal marks
3142 @unnumberedsubsubsec Rehearsal marks
3144 @cindex rehearsal marks
3145 @cindex mark, rehearsal
3150 To print a rehearsal mark, use the @code{\mark} command.
3152 @lilypond[quote,verbatim,relative=2]
3160 The mark is incremented automatically if you use @code{\mark
3161 \default}, but you can also use an integer argument to set the
3162 mark manually. The value to use is stored in the property
3163 @code{rehearsalMark}.
3165 @lilypond[quote,verbatim,relative=2]
3174 The letter@tie{}@q{I} is skipped in accordance with engraving
3175 traditions. If you wish to include the letter @q{I}, then use one
3176 of the following commands, depending on which style of rehearsal mark
3177 you want (letters only, letters in a hollow box, or letters in a
3181 \set Score.markFormatter = #format-mark-alphabet
3182 \set Score.markFormatter = #format-mark-box-alphabet
3183 \set Score.markFormatter = #format-mark-circle-alphabet
3186 @lilypond[quote,verbatim,relative=2]
3187 \set Score.markFormatter = #format-mark-box-alphabet
3195 @cindex rehearsal mark format
3196 @cindex rehearsal mark style
3197 @cindex style, rehearsal mark
3198 @cindex format, rehearsal mark
3199 @cindex mark, rehearsal, style
3200 @cindex mark, rehearsal, format
3201 @cindex rehearsal mark, manual
3202 @cindex mark, rehearsal, manual
3203 @cindex custom rehearsal mark
3204 @cindex manual rehearsal mark
3206 The style is defined by the property @code{markFormatter}. It is
3207 a function taking the current mark (an integer) and the current
3208 context as argument. It should return a markup object. In the
3209 following example, @code{markFormatter} is set to a pre-defined
3210 procedure. After a few measures, it is set to a procedure that
3211 produces a boxed number.
3213 @lilypond[quote,verbatim,relative=2]
3214 \set Score.markFormatter = #format-mark-numbers
3217 \set Score.markFormatter = #format-mark-box-numbers
3219 \set Score.markFormatter = #format-mark-circle-numbers
3221 \set Score.markFormatter = #format-mark-circle-letters
3225 The file @file{scm/translation-functions.scm} contains the
3226 definitions of @code{format-mark-numbers} (the default format),
3227 @code{format-mark-box-numbers}, @code{format-mark-letters} and
3228 @code{format-mark-box-letters}. These can be used as inspiration
3229 for other formatting functions.
3231 You may use @code{format-mark-barnumbers},
3232 @code{format-mark-box-barnumbers}, and
3233 @code{format-mark-circle-barnumbers} to get bar numbers instead of
3234 incremented numbers or letters.
3236 Other styles of rehearsal mark can be specified manually:
3243 Note that @code{Score.markFormatter} does not affect marks specified
3244 in this manner. However, it is possible to apply a @code{\markup} to the
3248 \mark \markup@{ \box A1 @}
3253 @cindex D.S. al Fine
3255 @cindex music glyphs
3256 @cindex glyphs, music
3258 @funindex \musicglyph
3259 @funindex musicglyph
3261 Music glyphs (such as the segno sign) may be printed inside a
3264 @lilypond[quote,verbatim,relative=1]
3265 c1 \mark \markup { \musicglyph #"scripts.segno" }
3266 c1 \mark \markup { \musicglyph #"scripts.coda" }
3267 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3272 See @ref{The Feta font}, for a list of symbols which may be
3273 printed with @code{\musicglyph}.
3275 For common tweaks to the positioning of rehearsal marks, see
3276 @ref{Formatting text}. For more precise control, see
3277 @code{break-alignable-interface} in @ref{Aligning objects}.
3279 The file @file{scm/translation-functions.scm} contains
3280 the definitions of @code{format-mark-numbers} and
3281 @code{format-mark-letters}. They can be used as inspiration for
3282 other formatting functions.
3286 @ref{The Feta font},
3287 @ref{Formatting text},
3288 @ref{Aligning objects}.
3291 @file{scm/translation-functions.scm}.
3296 Internals Reference:
3297 @rinternals{MarkEvent},
3298 @rinternals{Mark_engraver},
3299 @rinternals{RehearsalMark}.
3302 @node Special rhythmic concerns
3303 @subsection Special rhythmic concerns
3308 * Aligning to cadenzas::
3309 * Time administration::
3313 @unnumberedsubsubsec Grace notes
3317 @cindex appoggiatura
3318 @cindex acciaccatura
3321 @funindex \slashedGrace
3322 @funindex \acciaccatura
3323 @funindex \appoggiatura
3325 Grace notes are musical ornaments, printed in a smaller font, that take
3326 up no additional logical time in a measure.
3328 @lilypond[quote,relative=2,verbatim]
3330 \grace { b16 c16 } a2)
3333 There are three other types of grace notes possible; the
3334 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3335 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3336 fixed fraction of the main note it is attached to and prints without the
3337 slash. It is also possible to write a grace note with a slashed stem,
3338 like the @emph{acciaccatura} but without the slur, so as to place it
3339 between notes that are slurred themselves, using the
3340 @code{\slashedGrace} function.
3342 @lilypond[quote,relative=2,verbatim]
3345 \acciaccatura { g16 f } e2
3346 \slashedGrace a,8 g4
3347 \slashedGrace b16 a4(
3348 \slashedGrace b8 a2)
3351 The placement of grace notes is synchronized between different staves.
3352 In the following example, there are two sixteenth grace notes for every
3355 @lilypond[quote,relative=2,verbatim]
3357 \new Staff { e2 \grace { c16 d e f } e2 }
3358 \new Staff { c2 \grace { g8 b } c2 }
3362 @cindex grace notes, following
3364 @funindex \afterGrace
3365 @funindex afterGrace
3367 If you want to end a note with a grace, use the @code{\afterGrace}
3368 command. It takes two arguments: the main note, and the grace
3369 notes following the main note.
3371 @lilypond[quote,verbatim,relative=2]
3372 c1 \afterGrace d1 { c16[ d] } c1
3375 This will put the grace notes after a space lasting 3/4 of the
3376 length of the main note. The default fraction 3/4 can be changed by
3377 setting @code{afterGraceFraction}. The following example shows
3378 the results from setting the space at the default, at 15/16, and
3379 finally at 1/2 of the main note.
3381 @lilypond[quote,verbatim,relative=2]
3384 c1 \afterGrace d1 { c16[ d] } c1
3387 #(define afterGraceFraction (cons 15 16))
3388 c1 \afterGrace d1 { c16[ d] } c1
3391 #(define afterGraceFraction (cons 1 2))
3392 c1 \afterGrace d1 { c16[ d] } c1
3397 The space between the main note and the grace note may also be
3398 specified using spacers. The following example places the grace
3399 note after a space lasting 7/8 of the main note.
3401 @lilypond[quote,verbatim,relative=2]
3405 { s2 s4. \grace { c16 d } }
3411 @cindex tweaking grace notes
3412 @cindex grace notes, tweaking
3413 @cindex grace notes, changing layout settings
3415 A @code{\grace} music expression will introduce special
3416 typesetting settings, for example, to produce smaller type, and
3417 set directions. Hence, when introducing layout tweaks to
3418 override the special settings, they should be placed inside
3419 the grace expression. The overrides should also be reverted
3420 inside the grace expression. Here, the grace note's default stem
3421 direction is overridden and then reverted.
3423 @lilypond[quote,verbatim,relative=2]
3435 @cindex stem, with slash
3440 @lilypondfile[verbatim,quote,texidoc,doctitle]
3441 {using-grace-note-slashes-with-normal-heads.ly}
3443 @lilypondfile[verbatim,quote,texidoc,doctitle]
3444 {tweaking-grace-layout-within-music.ly}
3446 @lilypondfile[verbatim,quote,texidoc,doctitle]
3447 {redefining-grace-note-global-defaults.ly}
3449 @lilypondfile[verbatim,quote,texidoc,doctitle]
3450 {positioning-grace-notes-with-floating-space.ly}
3454 @rglos{grace notes},
3455 @rglos{acciaccatura},
3456 @rglos{appoggiatura}.
3459 @ref{Scaling durations},
3463 @file{ly/grace-init.ly}.
3468 Internals Reference:
3469 @rinternals{GraceMusic},
3470 @rinternals{Grace_beam_engraver},
3471 @rinternals{Grace_auto_beam_engraver},
3472 @rinternals{Grace_engraver},
3473 @rinternals{Grace_spacing_engraver}.
3477 @cindex acciaccatura, multi-note
3478 @cindex multi-note acciaccatura
3479 @cindex grace-note synchronization
3481 A multi-note beamed @i{acciaccatura} is printed without a slash,
3482 and looks exactly the same as a multi-note beamed
3485 @c TODO Add link to LSR snippet to add slash when available
3487 Grace note synchronization can also lead to surprises. Staff
3488 notation, such as key signatures, bar lines, etc., are also
3489 synchronized. Take care when you mix staves with grace notes and
3490 staves without, for example,
3492 @lilypond[quote,relative=2,verbatim]
3494 \new Staff { e4 \bar ".|:" \grace c16 d2. }
3495 \new Staff { c4 \bar ".|:" d2. }
3500 This can be remedied by inserting grace skips of the corresponding
3501 durations in the other staves. For the above example
3503 @lilypond[quote,relative=2,verbatim]
3505 \new Staff { e4 \bar ".|:" \grace c16 d2. }
3506 \new Staff { c4 \bar ".|:" \grace s16 d2. }
3510 Please make sure that you use the @code{\grace} command for the
3511 spacer part, even if the visual part uses @code{\acciaccatura} or
3512 @code{\appoggiatura} because otherwise an ugly slur fragment will
3513 be printed, connecting the invisible grace note with the following
3516 Grace sections should only be used within sequential music expressions.
3517 Nesting or juxtaposing grace sections is not supported, and might
3518 produce crashes or other errors.
3520 Each grace note in MIDI output has a length of 1/4 of its actual
3521 duration. If the combined length of the grace notes is greater than the
3522 length of the preceding note a @qq{@code{Going back in MIDI time}}
3523 error will be generated. Either make the grace notes shorter in
3524 duration, for example:
3527 c'8 \acciaccatura @{ c'8[ d' e' f' g'] @}
3533 c'8 \acciaccatura @{ c'16[ d' e' f' g'] @}
3536 Or explicitly change the musical duration:
3539 c'8 \acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
3542 See @ref{Scaling durations}.
3545 @node Aligning to cadenzas
3546 @unnumberedsubsubsec Aligning to cadenzas
3549 @cindex cadenza, aligning to
3550 @cindex aligning to cadenza
3552 In an orchestral context, cadenzas present a special problem: when
3553 constructing a score that includes a measured cadenza or other solo
3554 passage, all other instruments should skip just as many notes as the
3555 length of the cadenza, otherwise they will start too soon or too late.
3557 One solution to this problem is to use the functions
3558 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3559 functions take a defined piece of music as an argument and generate a
3560 multi-measure rest or @code{\skip} exactly as long as the piece.
3562 @lilypond[verbatim,quote]
3563 MyCadenza = \relative {
3574 #(mmrest-of-length MyCadenza)
3576 #(skip-of-length MyCadenza)
3590 @node Time administration
3591 @unnumberedsubsubsec Time administration
3593 @cindex time administration
3594 @cindex timing (within the score)
3595 @cindex music, unmetered
3596 @cindex unmetered music
3598 @funindex currentBarNumber
3599 @funindex measurePosition
3600 @funindex measureLength
3602 Time is administered by the @code{Timing_translator}, which by
3603 default is to be found in the @code{Score} context. An alias,
3604 @code{Timing}, is added to the context in which the
3605 @code{Timing_translator} is placed. To ensure that the
3606 @code{Timing} alias is available, you may need to explicitly
3607 instantiate the containing context (such as @code{Voice} or
3610 The following properties of @code{Timing} are used
3611 to keep track of timing within the score.
3614 @cindex measure number
3617 @item currentBarNumber
3618 The current measure number. For an example showing the
3619 use of this property see @ref{Bar numbers}.
3622 The length of the measures in the current time signature. For a
3623 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3624 determines when bar lines are inserted and how automatic beams
3625 should be generated.
3627 @item measurePosition
3628 The point within the measure where we currently are. This
3629 quantity is reset by subtracting @code{measureLength} whenever
3630 @code{measureLength} is reached or exceeded. When that happens,
3631 @code{currentBarNumber} is incremented.
3634 If set to true, the above variables are updated for every time
3635 step. When set to false, the engraver stays in the current
3636 measure indefinitely.
3640 Timing can be changed by setting any of these variables
3641 explicitly. In the next example, the default 4/4 time
3642 signature is printed, but @code{measureLength} is set to 5/4.
3643 At 4/8 through the third measure, the @code{measurePosition} is
3644 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3645 The next bar line then falls at 9/8 rather than 5/4.
3647 @lilypond[quote,verbatim]
3648 \new Voice \relative c' {
3649 \set Timing.measureLength = #(ly:make-moment 5/4)
3653 \set Timing.measurePosition = #(ly:make-moment 5/8)
3660 As the example illustrates, @code{ly:make-moment n m} constructs a
3661 duration of n/m of a whole note. For example,
3662 @code{ly:make-moment 1 8} is an eighth note duration and
3663 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3669 @ref{Unmetered music}.
3674 Internals Reference:
3675 @rinternals{Timing_translator},