1 @c -*- coding: utf-8; mode: texinfo; -*-
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
145 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
146 {changing-the-number-of-augmentation-dots-per-note.ly}
155 @rglos{Duration names notes and rests}.
158 @ref{Automatic beams},
161 @ref{Writing rhythms},
164 @ref{Ancient notation},
165 @ref{Proportional notation}.
172 @rinternals{DotColumn}.
177 @c Deliberately duplicated in Durations and Rests. -gp
178 There is no fundamental limit to rest durations (both in terms of
179 longest and shortest), but the number of glyphs is limited:
180 rests from 128th to maxima (8 x whole) may be printed.
184 @unnumberedsubsubsec Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @code{@var{music}} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
211 @cindex tuplet bracket placement
215 @funindex \tupletDown
217 @funindex \tupletNeutral
218 @funindex tupletNeutral
220 Tuplet brackets may be manually placed above or below the staff;
221 see @ref{Direction and placement}.
223 Tuplets may be nested:
225 @lilypond[quote,verbatim,relative=2]
227 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
230 Modifying nested tuplets which begin at the same musical moment
231 must be done with @code{\tweak}.
233 To modify the duration of notes without printing a tuplet bracket,
234 see @ref{Scaling durations}.
240 @code{\tupletNeutral}.
246 @cindex tuplet formatting
247 @cindex triplet formatting
249 @funindex tupletNumberFormatFunction
250 @funindex tupletSpannerDuration
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {entering-several-tuplets-using-only-one--times-command.ly}
255 @cindex Tuplet number changes
257 @funindex TupletNumber
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
279 @rlearning{Tweaking methods}.
282 @ref{Time administration},
283 @ref{Scaling durations},
284 @ref{The tweak command},
285 @ref{Polymetric notation}.
291 @rinternals{TupletBracket},
292 @rinternals{TupletNumber},
293 @rinternals{TimeScaledMusic}.
296 @cindex grace notes within tuplet brackets
299 Grace notes may be placed within tuplet brackets, @emph{except}
300 when a staff begins with a grace note followed by a tuplet. In this
301 particular case, the grace note must be placed before the @code{\times}
302 command to avoid errors.
304 @cindex tempo marks within tuplet brackets
306 When using a tuplet at the beginning of a piece with a @code{\tempo}
307 mark, the music must be explicitly entered in a @code{\new Voice}
308 block, as discussed in @rlearning{Voices contain music}.
311 @node Scaling durations
312 @unnumberedsubsubsec Scaling durations
314 @cindex scaling durations
315 @cindex durations, scaling
317 You can alter the duration of single notes, rests or chords by a
318 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
319 is 1) to the duration. This will not affect the appearance of the
320 notes or rests produced, but the altered duration will be used in
321 calculating the position within the measure and setting the duration
322 in the MIDI output. Multiplying factors may be combined such as
325 In the following example, the first three notes take up exactly
326 two beats, but no triplet bracket is printed.
328 @lilypond[quote,relative=2,verbatim]
330 % Alter durations to triplets
331 a4*2/3 gis4*2/3 a4*2/3
334 % Double the duration of chord
336 % Duration of quarter, appears like sixteenth
340 The duration of spacing notes may also be modified by
341 a multiplier. This is useful for skipping many measures, e.g.,
344 @cindex compressing music
345 @cindex expanding music
347 @funindex \scaleDurations
348 @funindex scaleDurations
350 Longer stretches of music may be compressed by a fraction in the
351 same way, as if every note, chord or rest had the fraction as a
352 multiplier. This leaves the appearance of the music unchanged but
353 the internal duration of the notes will be multiplied by the
354 fraction @emph{num}/@emph{den}. The spaces around the dot are
355 required. Here is an example showing how music can be compressed
358 @lilypond[quote,relative=2,verbatim]
362 % Scale music by *2/3
363 \scaleDurations #'(2 . 3) {
367 \scaleDurations #'(2 . 1) {
372 One application of this command is in polymetric
373 notation, see @ref{Polymetric notation}.
379 @ref{Invisible rests},
380 @ref{Polymetric notation}.
387 @unnumberedsubsubsec Ties
393 A tie connects two adjacent note heads of the same pitch. The tie
394 in effect extends the duration of a note.
396 @warning{Ties should not be confused with @emph{slurs}, which
397 indicate articulation, or @emph{phrasing slurs}, which indicate
398 musical phrasing. A tie is just a way of extending a note
399 duration, similar to the augmentation dot.}
401 A tie is entered using the tilde symbol (@code{~}).
403 @lilypond[quote,verbatim,relative=2]
407 Ties are used either when the note crosses a bar line, or when
408 dots cannot be used to denote the rhythm. Ties should also be
409 used when note values cross larger subdivisions of the measure:
411 @lilypond[verbatim,quote]
418 If you need to tie many notes across bar lines, it may be
419 easier to use automatic note splitting, see @ref{Automatic note
420 splitting}. This mechanism automatically splits long notes, and
421 ties them across bar lines.
423 @cindex ties and chords
424 @cindex chords and ties
426 When a tie is applied to a chord, all note heads whose pitches
427 match are connected. When no note heads match, no ties will be
428 created. Chords may be partially tied by placing the tie inside
431 @lilypond[quote,verbatim,relative=1]
433 <c~ e g~ b> <c e g b>
436 @cindex repeating ties
437 @cindex ties, repeating
438 @cindex volta brackets and ties
439 @cindex ties and volta brackets
444 When a second alternative of a repeat starts with a tied note, you
445 have to specify the repeated tie as follows:
447 @lilypond[quote,relative=2,verbatim]
448 \repeat volta 2 { c g <c e>2 ~ }
450 % First alternative: following note is tied normally
452 % Second alternative: following note has a repeated tie
453 { <c e>2\repeatTie d4 c } }
456 @cindex laissez vibrer
457 @cindex ties, laissez vibrer
459 @funindex \laissezVibrer
460 @funindex laissezVibrer
462 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
463 notes must not be damped at the end. It is used in notation for
464 piano, harp and other string and percussion instruments. They can
465 be entered as follows:
467 @lilypond[quote,verbatim,relative=1]
468 <c f g>1\laissezVibrer
471 @cindex ties, placement
477 @funindex \tieNeutral
480 Ties may be manually placed above or below the staff; see
481 @ref{Direction and placement}.
483 @cindex ties, appearance
496 Ties may be made dashed, dotted, or a combination of solid and
499 @lilypond[quote, verbatim, relative=1]
512 Custom dash patterns can be specified:
514 @lilypond[quote, verbatim, relative=1]
515 \tieDashPattern #0.3 #0.75
517 \tieDashPattern #0.7 #1.5
523 Dash pattern definitions for ties have the same structure as
524 dash pattern definitions for slurs.
525 For more information about complex dash patterns,
526 see the snippets under @ref{Slurs}.
534 @code{\tieDashPattern},
535 @code{\tieHalfDashed},
536 @code{\tieHalfSolid},
543 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
544 {using-ties-with-arpeggios.ly}
546 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
547 {engraving-ties-manually.ly}
553 @rglos{laissez vibrer}.
557 @ref{Automatic note splitting}.
563 @rinternals{LaissezVibrerTie},
564 @rinternals{LaissezVibrerTieColumn},
565 @rinternals{TieColumn},
570 Switching staves when a tie is active will not produce a slanted
573 Changing clefs or octavations during a tie is not really
574 well-defined. In these cases, a slur may be preferable.
579 @subsection Writing rests
581 Rests are entered as part of the music in music expressions.
586 * Full measure rests::
590 @unnumberedsubsubsec Rests
593 @cindex rest, entering durations
608 Rests are entered like notes with the note name @code{r}.
609 Durations longer than a whole rest use the following predefined
612 @c \time 16/1 is used to avoid spurious bar lines
613 @c and long tracts of empty measures
614 @lilypond[quote,verbatim,relative=2]
616 % These two lines are just to prettify this example
618 \override Staff.TimeSignature #'stencil = ##f
619 % Print a maxima rest, equal to four breves
621 % Print a longa rest, equal to two breves
625 r1 r2 r4 r8 r16 r32 r64 r128
629 @cindex rest, multi-measure
630 @cindex rest, whole-measure
632 Whole measure rests, centered in the middle of the measure, must be
633 entered as multi-measure rests. They can be used for a single
634 measure as well as many measures and are discussed in
635 @ref{Full measure rests}.
637 @cindex rest, specifying vertical position
639 To explicitly specify a rest's vertical position, write a note
640 followed by @code{\rest}. A rest of the duration of the note will
641 be placed at the staff position where the note would appear. This
642 allows for precise manual formatting of polyphonic music, since the
643 automatic rest collision formatter will not move these rests.
645 @lilypond[quote,verbatim,relative=2]
651 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
662 @ref{Full measure rests}.
673 @c Deliberately duplicated in Durations and Rests. -gp
674 There is no fundamental limit to rest durations (both in terms of
675 longest and shortest), but the number of glyphs is limited: there
676 are rests from 128th to maxima (8 x whole).
679 @node Invisible rests
680 @unnumberedsubsubsec Invisible rests
683 @cindex invisible rest
684 @cindex rest, invisible
692 An invisible rest (also called a @q{spacer rest}) can be entered
693 like a note with the note name@tie{}@code{s}:
695 @lilypond[verbatim,quote,relative=2]
702 Spacer rests are available only in note mode and chord mode. In
703 other situations, for example, when entering lyrics, the
704 command @code{\skip} is used to skip a musical moment.
705 @code{\skip} requires an explicit duration, but this is ignored if
706 the lyrics derive their durations from the notes in an associated
707 melody through @code{\addlyrics} or @code{\lyricsto}.
709 @lilypond[quote,verbatim,relative=2]
722 Because @code{\skip} is a command, it does not affect the default
723 durations of following notes, unlike@tie{}@code{s}.
725 @lilypond[quote,verbatim,relative=2]
728 \repeat unfold 8 { a4 }
738 A spacer rest implicitly causes @code{Staff} and @code{Voice}
739 contexts to be created if none exist, just like notes and rests
742 @lilypond[quote,verbatim,relative=2]
746 @code{\skip} simply skips musical time; it creates no output of
749 @lilypond[quote,verbatim,relative=2]
750 % This is valid input, but does nothing
751 \skip 1 \skip1 \skip 1
757 @rlearning{Visibility and color of objects}.
761 @ref{Visibility of objects}.
767 @rinternals{SkipMusic}.
770 @node Full measure rests
771 @unnumberedsubsubsec Full measure rests
773 @cindex multi-measure rests
774 @cindex full-measure rests
775 @cindex rest, multi-measure
776 @cindex rest, full-measure
777 @cindex whole rest for a full measure
778 @cindex rest, whole for a full measure
782 Rests for one or more full measures are entered like notes with
783 the note name uppercase @code{R}:
785 @lilypond[quote,verbatim,relative=2]
786 % Rest measures contracted to single measure
787 \compressFullBarRests
794 The duration of full-measure rests is identical to the duration
795 notation used for notes. The duration in a multi-measure rest must
796 always be an integral number of measure-lengths, so augmentation dots
797 or fractions must often be used:
799 @lilypond[quote,verbatim,relative=2]
800 \compressFullBarRests
806 R1*13/8 | R1*13/8*12 |
811 A full-measure rest is printed as either a whole or breve rest,
812 centered in the measure, depending on the time signature.
814 @lilypond[quote,verbatim,relative=2]
823 @cindex multi-measure rest, expanding
824 @cindex multi-measure rest, contracting
826 @funindex \expandFullBarRests
827 @funindex expandFullBarRests
828 @funindex \compressFullBarRests
829 @funindex compressFullBarRests
831 By default a multi-measure rest is expanded in the printed score to
832 show all the rest measures explicitly. Alternatively, a multi-measure
833 rest can be shown as a single measure containing a multi-measure rest
834 symbol, with the number of measures of rest printed above the measure:
836 @lilypond[quote,verbatim,relative=2]
838 \time 3/4 r2. | R2.*2 |
841 % Rest measures contracted to single measure
842 \compressFullBarRests
844 % Rest measures expanded
851 @cindex text on multi-measure rest
852 @cindex multi-measure rest, attaching text
853 @cindex script on multi-measure rest
854 @cindex multi-measure rest, script
855 @cindex fermata on multi-measure rest
856 @cindex multi-measure rest, attaching fermata
857 @cindex markup on multi-measure rest
858 @cindex multi-measure rest with markup
860 @funindex \fermataMarkup
861 @funindex fermataMarkup
862 @funindex MultiMeasureRestText
864 Markups can be added to multi-measure rests.
865 The predefined command @code{\fermataMarkup}
866 is provided for adding fermatas.
868 @lilypond[quote,verbatim,relative=2]
869 \compressFullBarRests
871 R2.*10^\markup { \italic "ad lib." }
875 @warning{Markups attached to a multi-measure rest are objects of type
876 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
877 be directed to the correct object, or they will be ignored. See the
880 @lilypond[quote,verbatim,relative=2]
881 % This fails, as the wrong object name is specified
882 \override TextScript #'padding = #5
884 % This is the correct object name to be specified
885 \override MultiMeasureRestText #'padding = #5
889 When a multi-measure rest immediately follows a @code{\partial}
890 setting, resulting bar-check warnings may not be displayed.
893 @funindex \textLengthOn
894 @funindex textLengthOn
895 @funindex \textLengthOff
896 @funindex textLengthOff
897 @funindex \fermataMarkup
898 @funindex fermataMarkup
899 @funindex \compressFullBarRests
900 @funindex compressFullBarRests
901 @funindex \expandFullBarRests
902 @funindex expandFullBarRests
905 @code{\textLengthOn},
906 @code{\textLengthOff},
907 @code{\fermataMarkup},
908 @code{\compressFullBarRests},
909 @code{\expandFullBarRests}.
917 @cindex kirchenpausen
919 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
920 {changing-form-of-multi-measure-rests.ly}
922 @cindex multi-measure rests, positioning
923 @cindex positioning multi-measure rests
925 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
926 {positioning-multi-measure-rests.ly}
928 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
929 {multi-measure-rest-markup.ly}
934 @rglos{multi-measure rest}.
939 @ref{Formatting text},
946 @rinternals{MultiMeasureRest},
947 @rinternals{MultiMeasureRestNumber},
948 @rinternals{MultiMeasureRestText}.
951 @cindex fingerings and multi-measure rests
952 @cindex multi-measure rests and fingerings
955 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
956 in the fingering numeral colliding with the bar counter
959 @cindex condensing rests
960 @cindex rest, condensing ordinary
962 There is no way to automatically condense multiple ordinary rests
963 into a single multi-measure rest.
965 @cindex rest, collisions of
967 Multi-measure rests do not take part in rest collisions.
969 @node Displaying rhythms
970 @subsection Displaying rhythms
977 * Polymetric notation::
978 * Automatic note splitting::
979 * Showing melody rhythms::
983 @unnumberedsubsubsec Time signature
985 @cindex time signature
991 The time signature is set as follows:
993 @lilypond[quote,verbatim,relative=2]
998 @cindex time signature, visibility of
1000 Time signatures are printed at the beginning of a piece
1001 and whenever the time signature changes. If a change takes place
1002 at the end of a line a warning time signature sign is printed
1003 there. This default behavior may be changed, see
1004 @ref{Visibility of objects}.
1006 @lilypond[quote,verbatim,relative=2]
1016 @cindex time signature style
1019 @funindex \numericTimeSignature
1020 @funindex numericTimeSignature
1021 @funindex \defaultTimeSignature
1022 @funindex defaultTimeSignature
1024 The time signature symbol that is used in 2/2 and 4/4 time can be
1025 changed to a numeric style:
1027 @lilypond[quote,verbatim,relative=2]
1031 % Change to numeric style
1032 \numericTimeSignature
1035 % Revert to default style
1036 \defaultTimeSignature
1042 Mensural time signatures are covered in
1043 @ref{Mensural time signatures}.
1045 @cindex time signature default settings
1046 @cindex autobeaming properties for time signatures
1047 @cindex beaming, time signature default properties
1048 @funindex \overrideTimeSignatureSettings
1050 In addition to setting the printed time signature, the @code{\time}
1051 command also sets time-signature-based default values for the properties
1052 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1053 predefined default values for these properties can be found in
1054 @file{scm/time-signature-settings.scm}. The existing default values can
1055 be changed, or new default values can be added:
1057 @lilypond[quote,verbatim]
1061 \overrideTimeSignatureSettings
1062 #'(4 . 4) % timeSignatureFraction
1063 #'(1 . 4) % baseMomentFraction
1064 #'(3 1) % beatStructure
1065 #'() % beamExceptions
1067 \repeat unfold 8 { c8 } |
1073 @code{\overrideTimeSignatureSettings} takes four arguments:
1078 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1082 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1083 and denominator of the basic timing unit for the time signature.
1086 @code{@var{beatStructure}}, a Scheme list indicating the structure
1087 of the beats in the measure, in units of the base moment.
1090 @code{@var{beamExceptions}}, an alist containing any beaming rules
1091 for the time signature that go beyond ending at every beat, as
1092 described in @ref{Setting automatic beam behavior}.
1095 The context containing @code{\overrideTimeSignatureSettings} must
1096 be instantiated before the @code{\overrideTimeSignatureSettings}
1097 call is executed. That means it must either be explicitly
1098 instantiated or there must be music in the context before the
1099 @code{\overrideTimeSignatureSettings} call:
1101 @lilypond[quote,verbatim]
1104 % This call will fail because the context isn't yet instantiated
1105 \overrideTimeSignatureSettings
1106 #'(4 . 4) % timeSignatureFraction
1107 #'(1 . 4) % baseMomentFraction
1108 #'(3 1) % beatStructure
1109 #'() % beamExceptions
1111 c8^\markup {"Beamed (2 2)"}
1112 \repeat unfold 7 { c8 } |
1113 % This call will succeed
1114 \overrideTimeSignatureSettings
1115 #'(4 . 4) % timeSignatureFraction
1116 #'(1 . 4) % baseMomentFraction
1117 #'(3 1) % beatStructure
1118 #'() % beamExceptions
1120 c8^\markup {"Beamed (3 1)"}
1121 \repeat unfold 7 { c8 } |
1127 @cindex time signature properties, restoring default values
1128 @cindex restoring default properties for time signatures
1129 @funindex \revertTimeSignatureSettings
1131 Changed values of default time signature properties can be restored
1132 to the original values:
1134 @lilypond[quote,verbatim]
1137 \repeat unfold 8 { c8 } |
1138 \overrideTimeSignatureSettings
1139 #'(4 . 4) % timeSignatureFraction
1140 #'(1 . 4) % baseMomentFraction
1141 #'(3 1) % beatStructure
1142 #'() % beamExceptions
1144 \repeat unfold 8 { c8 } |
1145 \revertTimeSignatureSettings #'(4 . 4)
1147 \repeat unfold 8 { c8 } |
1152 Different values of default time signature properties can be established
1153 for different staves by moving the @code{Timing_translator} and the
1154 @code{Default_bar_line_engraver} from the @code{Score} context to the
1155 @code{Staff} context.
1157 @lilypond[quote, verbatim]
1161 \overrideTimeSignatureSettings
1162 #'(4 . 4) % timeSignatureFraction
1163 #'(1 . 4) % baseMomentFraction
1164 #'(3 1) % beatStructure
1165 #'() % beamExceptions
1167 \repeat unfold 8 {c''8}
1170 \overrideTimeSignatureSettings
1171 #'(4 . 4) % timeSignatureFraction
1172 #'(1 . 4) % baseMomentFraction
1173 #'(1 3) % beatStructure
1174 #'() % beamExceptions
1176 \repeat unfold 8 {c''8}
1182 \remove "Timing_translator"
1183 \remove "Default_bar_line_engraver"
1187 \consists "Timing_translator"
1188 \consists "Default_bar_line_engraver"
1195 @code{\numericTimeSignature},
1196 @code{\defaultTimeSignature}.
1202 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1203 {changing-the-time-signature-without-affecting-the-beaming.ly}
1205 @cindex compound time signatures
1206 @cindex time signature, compound
1208 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1209 {compound-time-signatures.ly}
1211 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1212 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1217 @rglos{time signature}
1220 @ref{Mensural time signatures},
1221 @ref{Time administration}.
1226 Internals Reference:
1227 @rinternals{TimeSignature},
1228 @rinternals{Timing_translator}.
1230 @node Metronome marks
1231 @unnumberedsubsubsec Metronome marks
1234 @cindex beats per minute
1235 @cindex metronome mark
1236 @cindex metronome marking with text
1241 A basic metronome mark is simple to write:
1243 @lilypond[verbatim,quote,relative=1]
1249 Metronome marks may also be printed as a range of two numbers:
1251 @lilypond[verbatim,quote,relative=1]
1258 Tempo indications with text can be used instead:
1260 @lilypond[verbatim,quote,relative=2]
1266 Combining a metronome mark and text will automatically place the
1267 metronome mark within parentheses:
1269 @lilypond[verbatim,quote,relative=2]
1270 \tempo "Allegro" 4 = 160
1275 In general, the text can be any markup object:
1277 @lilypond[verbatim,quote,relative=2]
1278 \tempo \markup { \italic Faster } 4 = 132
1279 a8-. r8 b-. r gis-. r a-. r
1282 A parenthesized metronome mark with no textual indication may be
1283 written by including an empty string in the input:
1285 @lilypond[verbatim,quote,relative=2]
1293 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1294 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1296 @c perhaps also an example of how to move it horizontally?
1298 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1299 {changing-the-tempo-without-a-metronome-mark.ly}
1301 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1302 {creating-metronome-marks-in-markup-mode.ly}
1304 For more details, see @ref{Formatting text}.
1310 @rglos{metronomic indication},
1311 @rglos{tempo indication},
1312 @rglos{metronome mark}.
1315 @ref{Formatting text},
1319 @rlsr{Staff notation}.
1321 Internals Reference:
1322 @rinternals{MetronomeMark}.
1326 @unnumberedsubsubsec Upbeats
1330 @cindex partial measure
1331 @cindex measure, partial
1332 @cindex pickup measure
1333 @cindex measure, change length
1335 @funindex measurePosition
1339 Partial or pick-up measures, such as an anacrusis or upbeat, are
1340 entered using the @code{\partial} command, with the syntax
1343 \partial @var{duration}
1347 where @code{@var{duration}} is the rhythmic length of the
1348 remaining interval of the current measure before the start of the
1351 @lilypond[quote,verbatim,relative=2]
1356 The partial measure can be any duration less than the full measure:
1358 @lilypond[quote,verbatim,relative=2]
1359 \partial 8*3 c8 d e |
1363 Internally, @code{\partial @var{duration}} is translated into:
1366 \set Timing.measurePosition -@var{duration}
1369 For example, @code{\partial 8*3} becomes:
1372 \set Timing.measurePosition = #(ly:make-moment -3 8)
1375 The property @code{measurePosition} contains a rational number
1376 indicating how much of the measure has passed at this point. Note
1377 that this is set to a negative number by the @code{\partial} command:
1378 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1379 @qq{there is a quarter note left in the measure.}
1392 @rinternals{Timing_translator}.
1396 The @code{\partial} command is intended to be used only at the
1397 beginning of a piece. If you use it after the beginning, some
1398 odd warnings or effects may occur, in this case use
1399 @code{\set Timing.measurePosition} instead.
1401 @node Unmetered music
1402 @unnumberedsubsubsec Unmetered music
1404 @cindex bar lines, turning off
1405 @cindex bar numbering, turning off
1407 @cindex unmetered music
1409 @funindex \cadenzaOn
1411 @funindex \cadenzaOff
1412 @funindex cadenzaOff
1414 Bar lines and bar numbers are calculated automatically. For
1415 unmetered music (some cadenzas, for example), this is not desirable.
1416 To turn off automatic calculation of bar lines and bar numbers,
1417 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1418 to turn them on again.
1420 @lilypond[verbatim,relative=2,quote]
1423 c4 c d8[ d d] f4 g4.
1429 Bar numbering is resumed at the end of the cadenza as if the
1430 cadenza were not there:
1432 @lilypond[verbatim,relative=2,quote]
1433 % Show all bar numbers
1434 \override Score.BarNumber #'break-visibility = #all-visible
1437 c4 c d8[ d d] f4 g4.
1443 @cindex beaming in cadenzas
1444 @cindex beaming in unmetered music
1445 @cindex cadenza, beaming in
1446 @cindex unmetered music, beaming in
1448 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1449 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1450 must be entered manually (@ref{Manual beams}).
1452 @lilypond[verbatim,relative=2,quote]
1453 \repeat unfold 8 { c8 }
1455 \repeat unfold 5 { c8 }
1458 \repeat unfold 8 { c8 }
1461 Note that these predefined commands affect all staves in the
1462 score, even when they are placed in just one @code{Voice}
1463 context. To change this, move the @code{Timing_translator}
1464 from the @code{Score} context to the @code{Staff} context, as
1465 shown in @ref{Polymetric notation}.
1478 @ref{Visibility of objects},
1479 @ref{Polymetric notation},
1486 @cindex cadenza line breaks
1487 @cindex cadenza page breaks
1488 @cindex unmetered music, line breaks
1489 @cindex unmetered music, page breaks
1490 @cindex breaks in unmetered music
1491 @cindex line breaks in cadenzas
1492 @cindex page breaks in cadenzas
1493 @cindex line breaks in unmetered music
1494 @cindex page breaks in unmetered music
1498 LilyPond will insert line breaks and page breaks only at a
1499 bar line. Unless the unmetered music ends before the end of the
1500 staff line, you will need to insert invisible bar lines with
1507 to indicate where breaks can occur.
1509 You should explicitly create a @code{Voice} context when starting a
1510 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1516 c16[^"Solo Free Time" d e f] g2.
1524 @node Polymetric notation
1525 @unnumberedsubsubsec Polymetric notation
1527 @c This section necessarily uses \set
1528 @c This is acceptable -td
1530 @cindex double time signatures
1531 @cindex signatures, polymetric
1532 @cindex time signatures, polymetric
1533 @cindex time signatures, double
1534 @cindex polymetric signatures
1535 @cindex meter, polymetric
1537 @funindex timeSignatureFraction
1538 @funindex \scaleDurations
1539 @funindex scaleDurations
1543 Polymetric notation is supported, either explicitly or by modifying
1544 the visible time signature symbol and scaling the note durations.
1546 @strong{@i{Staves with different time signatures, equal measure lengths}}
1548 This notation can be created by setting a common time signature
1549 for each staff but replacing the symbol manually by setting
1550 @code{timeSignatureFraction} to the desired fraction and scaling
1551 the printed durations in each staff to the common time
1552 signature; see @ref{Time signature}. The scaling is done with
1553 @code{\scaleDurations}, which is used in a similar way to
1554 @code{\times}, but does not create a tuplet bracket; see
1555 @ref{Scaling durations}.
1557 @cindex beaming in polymetric music
1558 @cindex beaming in polymetric meter
1560 In this example, music with the time signatures of 3/4, 9/8, and
1561 10/8 are used in parallel. In the second staff, shown durations
1562 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1563 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1564 It will often be necessary to insert beams manually, as the
1565 duration scaling affects the autobeaming rules.
1567 @lilypond[quote,verbatim]
1576 \set Staff.timeSignatureFraction = #'(9 . 8)
1577 \scaleDurations #'(2 . 3)
1578 \repeat unfold 6 { c8[ c c] }
1582 \set Staff.timeSignatureFraction = #'(10 . 8)
1583 \scaleDurations #'(3 . 5) {
1584 \repeat unfold 2 { c8[ c c] }
1585 \repeat unfold 2 { c8[ c] } |
1586 c4. c4. \times 2/3 { c8[ c c] } c4
1592 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1594 Each staff can be given its own independent time signature by
1595 moving the @code{Timing_translator} and the
1596 @code{Default_bar_line_engraver} to the @code{Staff} context.
1598 @lilypond[quote,verbatim]
1602 \remove "Timing_translator"
1603 \remove "Default_bar_line_engraver"
1607 \consists "Timing_translator"
1608 \consists "Default_bar_line_engraver"
1612 % Now each staff has its own time signature.
1638 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1639 {compound-time-signatures.ly}
1645 @rglos{polymetric time signature},
1649 @ref{Time signature},
1650 @ref{Scaling durations}.
1655 Internals Reference:
1656 @rinternals{TimeSignature},
1657 @rinternals{Timing_translator},
1658 @rinternals{Default_bar_line_engraver},
1664 When using different time signatures in parallel, notes
1665 at the same moment will be placed at the same horizontal
1666 location. However, the bar lines in the different staves
1667 will cause the note spacing to be less regular in each of the
1668 individual staves than would be normal without the different
1671 @node Automatic note splitting
1672 @unnumberedsubsubsec Automatic note splitting
1674 @cindex notes, splitting
1675 @cindex splitting notes
1677 @funindex Note_heads_engraver
1678 @funindex Completion_heads_engraver
1680 Long notes which overrun bar lines can be converted automatically
1681 to tied notes. This is done by replacing the
1682 @code{Note_heads_engraver} with the
1683 @code{Completion_heads_engraver}. In the following
1684 example, notes crossing the bar lines are split and tied.
1686 @lilypond[quote,verbatim,relative=1]
1688 \remove "Note_heads_engraver"
1689 \consists "Completion_heads_engraver"
1692 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1695 This engraver splits all running notes at the bar line, and
1696 inserts ties. One of its uses is to debug complex scores: if the
1697 measures are not entirely filled, then the ties show exactly how
1698 much each measure is off.
1706 @rlearning{Engravers explained},
1707 @rlearning{Adding and removing engravers}.
1712 Internals Reference:
1713 @rinternals{Note_heads_engraver},
1714 @rinternals{Completion_heads_engraver},
1715 @rinternals{Forbid_line_break_engraver}.
1720 Not all durations (especially those containing tuplets) can be
1721 represented exactly with normal notes and dots, but the
1722 @code{Completion_heads_engraver} will not insert tuplets.
1724 The @code{Completion_heads_engraver} only affects notes; it does not
1728 @node Showing melody rhythms
1729 @unnumberedsubsubsec Showing melody rhythms
1731 @cindex melody rhythms, showing
1732 @cindex rhythms, showing melody
1734 Sometimes you might want to show only the rhythm of a melody. This
1735 can be done with the rhythmic staff. All pitches of notes on such a
1736 staff are squashed, and the staff itself has a single line
1738 @lilypond[quote,relative=1,verbatim]
1740 \new RhythmicStaff {
1741 \new Voice = "myRhythm" {
1749 \lyricsto "myRhythm" {
1757 @cindex guitar chord charts
1758 @cindex strumming rhythms, showing
1759 @cindex guitar strumming rhythms, showing
1761 @funindex Pitch_squash_engraver
1762 @funindex \improvisationOn
1763 @funindex improvisationOn
1764 @funindex \improvisationOff
1765 @funindex improvisationOff
1767 Guitar chord charts often show the strumming rhythms. This can
1768 be done with the @code{Pitch_squash_engraver} and
1769 @code{\improvisationOn}.
1772 @lilypond[quote,verbatim]
1780 \consists Pitch_squash_engraver
1793 @code{\improvisationOn},
1794 @code{\improvisationOff}.
1800 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1801 {guitar-strum-rhythms.ly}
1808 Internals Reference:
1809 @rinternals{RhythmicStaff},
1810 @rinternals{Pitch_squash_engraver}.
1818 * Setting automatic beam behavior::
1823 @node Automatic beams
1824 @unnumberedsubsubsec Automatic beams
1826 By default, beams are inserted automatically:
1828 @cindex beams, manual
1829 @cindex manual beams
1830 @cindex beams, setting rules for
1831 @cindex beams, custom rules for
1833 @funindex \autoBeamOn
1834 @funindex autoBeamOn
1835 @funindex \autoBeamOff
1836 @funindex autoBeamOff
1838 @lilypond[quote,verbatim,relative=2]
1840 \time 6/8 c8 c c c8. c16 c8
1843 If these automatic decisions are not satisfactory, beaming can be
1844 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1845 entered manually if beams are to be extended over rests.
1847 If automatic beaming is not required, it may be turned off with
1848 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1850 @lilypond[quote,relative=1,verbatim]
1851 c4 c8 c8. c16 c8. c16 c8
1858 @cindex melismata, beams
1859 @cindex beams and melismata
1861 @warning{If beams are used to indicate melismata in songs, then
1862 automatic beaming should be switched off with @code{\autoBeamOff}
1863 and the beams indicated manually.}
1865 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1866 produce unintended results. See the snippet below for more information.}
1868 Beaming patterns that differ from the automatic defaults can be
1869 created; see @ref{Setting automatic beam behavior}.
1873 @code{\autoBeamOff},
1881 @cindex line breaks and beams
1882 @cindex beams and line breaks
1886 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1887 {beams-across-line-breaks.ly}
1889 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1890 {changing-beam-knee-gap.ly}
1892 @cindex \partcombine and \autoBeamOff
1893 @cindex \autoBeamOff and \partcombine
1896 @lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
1897 {partcombine-and-autobeamoff.ly}
1903 @ref{Setting automatic beam behavior}.
1906 @file{scm/auto-beam.scm}.
1911 Internals Reference:
1912 @rinternals{Auto_beam_engraver},
1913 @rinternals{Beam_engraver},
1915 @rinternals{BeamEvent},
1916 @rinternals{BeamForbidEvent},
1917 @rinternals{beam-interface},
1918 @rinternals{unbreakable-spanner-interface}.
1923 Beams can collide with note heads and accidentals in other voices.
1926 @node Setting automatic beam behavior
1927 @unnumberedsubsubsec Setting automatic beam behavior
1930 @cindex automatic beams, tuning
1931 @cindex tuning automatic beaming
1932 @cindex automatic beam generation
1934 @cindex lyrics and beaming
1936 @funindex autoBeaming
1937 @funindex baseMoment
1938 @funindex beamExceptions
1939 @funindex beatStructure
1940 @funindex measureLength
1946 In most instances, automatic beams will end at the end of a beat.
1947 The ending points for beats are determined by the context properties
1948 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1949 is a scheme list that defines the length of each beat in the measure
1950 in units of @code{baseMoment}. By default, @code{baseMoment} is
1951 the one over numerator of the time signature. By default,
1952 each unit of length @code{baseMoment} is a single beat.
1954 @lilypond[quote,relative=2,verbatim]
1956 c16^"default" c c c c |
1957 \set Timing.beatStructure = #'(2 3)
1958 c16^"(2+3)" c c c c |
1959 \set Timing.beatStructure = #'(3 2)
1960 c16^"(3+2)" c c c c |
1963 Beam setting changes can be limited to specific contexts. If no
1964 setting is included in a lower-level context, the setting of the
1965 enclosing context will apply.
1967 @lilypond[quote, verbatim,relative=1]
1970 \set Staff.beatStructure = #'(2 3 2)
1980 \set Voice.beatStructure = #'(1 3 3)
1988 When multiple voices are used the @code{Staff} context must be
1989 specified if the beaming is to be applied to all voices in the
1992 @lilypond[quote,verbatim,relative=2]
1995 % Change applied to Voice by default -- does not work correctly
1996 % Because of autogenerated voices, all beating will
1997 % be at baseMoment (1 . 8)
1998 \set beatStructure = #'(3 1 1 2)
1999 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2001 % Works correctly with context Staff specified
2002 \set Staff.beatStructure = #'(3 1 1 2)
2003 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2006 The value of @code{baseMoment} can be adjusted to change
2007 the beaming behavior, if desired. When this is done,
2008 the value of @code{beatStructure} must be set to be
2009 compatible with the new value of @code{baseMoment}.
2011 @lilypond[quote,verbatim,relative=2]
2013 \set Timing.baseMoment = #(ly:make-moment 1 16)
2014 \set Timing.beatStructure = #'(7 3)
2015 \repeat unfold 10 { a16 }
2018 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2019 quantity of type @i{moment} is created by the scheme function
2020 @code{ly:make-moment}. For more information about this function,
2021 see @ref{Time administration}.
2023 By default @code{baseMoment} is set to one over the denominator of
2024 the time signature. Any exceptions to this default can be found in
2025 @file{scm/time-signature-settings.scm}.
2027 Special autobeaming rules (other than ending a beam on a beat)
2028 are defined in the @code{beamExceptions} property.
2030 @lilypond[quote,relative=2,verbatim]
2032 \set Timing.beatStructure = #'(2 1)
2033 \set Timing.beamExceptions =
2035 (end . ;entry for end of beams
2036 ( ;start of alist of end points
2037 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2038 ))) %close all entries
2040 \repeat unfold 6 { c32 } |
2043 @code{beamExceptions} is an alist with a key of rule-type and a value
2046 At this time the only available value of rule-type is
2047 @code{#'end} for beam ending.
2049 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2050 beam type and the grouping to be applied to beams containing notes with
2051 a shortest duration of that beam type.
2054 #'((beam-type1 . grouping-1)
2055 (beam-type2 . grouping-2)
2056 (beam-type3 . grouping-3))
2059 Beam type is a scheme pair indicating the duration of the beam,
2060 e.g., @code{(1 . 16)}.
2062 Grouping is a scheme list indicating the grouping to be applied to
2063 the beam. The grouping is in units of the beam type.
2065 @warning{ A @code{beamExceptions} value must be @emph{complete}
2066 exceptions list. That is, every exception that should be applied
2067 must be included in the setting. It is not possible to add, remove,
2068 or change only one of the exceptions. While this may seem cumbersome,
2069 it means that the current beaming settings need not be known in order
2070 to specify a new beaming pattern.}
2072 When the time signature is changed, default values of
2073 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2074 and @code{Timing.beamExceptions} are set. Setting the time signature
2075 will reset the automatic beaming settings for the @code{Timing}
2076 context to the default behavior.
2078 @lilypond[quote,verbatim,relative=2]
2080 \repeat unfold 6 { a8 }
2082 \set Timing.beatStructure = #'(4 2)
2083 \repeat unfold 6 { a8 }
2084 % go back to default behavior
2086 \repeat unfold 6 { a8 }
2089 These default automatic beaming settings for a time signature
2090 are determined in @file{scm/time-signature-settings.scm}.
2091 The automatic beaming settings for a time signature can be changed
2092 as described in @ref{Time signature}.
2094 Most automatic beaming settings for a time signature contain an
2095 entry for @code{beamExceptions}. For example, 4/4 time tries to
2096 beam the measure in two if there are only eighth notes. The
2097 @code{beamExceptions} rule can override the @code{beatStructure} setting
2098 if @code{beamExceptions} is not reset.
2100 @lilypond[quote,verbatim,relative=2]
2102 \set Timing.baseMoment = #(ly:make-moment 1 8)
2103 \set Timing.beatStructure = #'(3 3 2)
2104 % This won't beam (3 3 2) because of beamExceptions
2105 \repeat unfold 8 {c8} |
2106 % This will beam (3 3 2) because we clear beamExceptions
2107 \set Timing.beamExceptions = #'()
2108 \repeat unfold 8 {c8}
2111 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2112 measure by default. To beam eighth notes in 3/4 time on the beat,
2113 reset @code{beamExceptions}.
2115 @lilypond[quote,verbatim,relative=2]
2117 % by default we beam in (3) due to beamExceptions
2118 \repeat unfold 6 {a8} |
2119 % This will beam (1 1 1) due to beatLength
2120 \set Timing.beamExceptions = #'()
2121 \repeat unfold 6 {a8}
2124 @i{@strong{How automatic beaming works}}
2126 When automatic beaming is enabled, the placement of automatic beams
2127 is determined by the context properties
2128 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2130 The following rules, in order of priority, apply when determining
2131 the appearance of beams:
2135 If a manual beam is specified with @code{[..]} set the beam
2136 as specified, otherwise
2139 if a beam-ending rule is defined in @code{beamExceptions}
2140 for the beam-type, use it to determine the valid places where
2141 beams may end, otherwise
2144 if a beam-ending rule is defined in @code{beamExceptions}
2145 for a longer beam-type, use it to determined the valid places
2146 where beams may end, otherwise
2149 use the values of @code{baseMoment} and @code{beatStructure} to
2150 determine the ends of the beats in the measure, and
2151 end beams at the end of beats.
2155 In the rules above, the beam-type is the duration of the
2156 shortest note in the beamed group.
2158 For reference, the default beaming rules are found in
2159 @file{scm/time-signature-settings.scm}.
2163 @cindex beams, subdividing
2165 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2166 {subdividing-beams.ly}
2168 @cindex measure groupings
2169 @cindex beats, grouping
2170 @cindex grouping beats
2171 @cindex measure sub-grouping
2173 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2174 {conducting-signs,-measure-grouping-signs.ly}
2176 @cindex beam, last in score
2177 @cindex beam, last in polyphonic voice
2179 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2180 {beam-endings-in-score-context.ly}
2185 @file{scm/beam-settings.scm}.
2190 Internals Reference:
2191 @rinternals{Auto_beam_engraver},
2193 @rinternals{BeamForbidEvent},
2194 @rinternals{beam-interface}.
2198 If a score ends while an automatic beam has not been ended and is
2199 still accepting notes, this last beam will not be typeset at all.
2200 The same holds for polyphonic voices, entered with
2201 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2202 automatic beam is still accepting notes, it is not typeset.
2203 The workaround for these problems is to manually beam the last
2204 beam in the voice or score.
2207 @unnumberedsubsubsec Manual beams
2209 @cindex beams, manual
2210 @cindex manual beams
2215 In some cases it may be necessary to override the automatic
2216 beaming algorithm. For example, the autobeamer will not put beams
2217 over rests or bar lines, and in choral scores the beaming is
2218 often set to follow the meter of the lyrics rather than the
2219 notes. Such beams can be specified manually by
2220 marking the begin and end point with @code{[} and @code{]}.
2222 @lilypond[quote,relative=1,verbatim]
2223 r4 r8[ g' a r] r g[ | a] r
2226 @cindex manual beams, direction shorthand for
2227 @cindex manual beams, grace notes
2229 Beaming direction can be set manually using direction indicators:
2231 @lilypond[quote,relative=2,verbatim]
2232 c8^[ d e] c,_[ d e f g]
2238 Individual notes may be marked with @code{\noBeam} to prevent them
2241 @lilypond[quote,verbatim,relative=2]
2246 Grace note beams and normal note beams can occur simultaneously.
2247 Unbeamed grace notes are not put into normal note beams.
2249 @lilypond[quote,verbatim,relative=2]
2251 \grace { e32[ d c d] }
2257 @funindex stemLeftBeamCount
2258 @funindex stemRightBeamCount
2260 Even more strict manual control with the beams can be achieved by
2261 setting the properties @code{stemLeftBeamCount} and
2262 @code{stemRightBeamCount}. They specify the number of beams to
2263 draw on the left and right side, respectively, of the next note.
2264 If either property is set, its value will be used only once, and
2265 then it is erased. In this example, the last @code{f} is printed
2266 with only one beam on the left side, i.e., the eighth-note beam of
2267 the group as a whole.
2269 @lilypond[quote,relative=2,verbatim]
2272 \set stemLeftBeamCount = #2
2273 \set stemRightBeamCount = #1
2275 \set stemLeftBeamCount = #1
2287 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2288 {flat-flags-and-beam-nibs.ly}
2293 @ref{Direction and placement},
2299 Internals Reference:
2301 @rinternals{BeamEvent},
2302 @rinternals{Beam_engraver},
2303 @rinternals{beam-interface},
2304 @rinternals{Stem_engraver}.
2307 @node Feathered beams
2308 @unnumberedsubsubsec Feathered beams
2310 @cindex beams, feathered
2311 @cindex feathered beams
2313 @funindex \featherDurations
2314 @funindex featherDurations
2315 @funindex grow-direction
2317 Feathered beams are used to indicate that a small group of notes
2318 should be played at an increasing (or decreasing) tempo, without
2319 changing the overall tempo of the piece. The extent of the
2320 feathered beam must be indicated manually using @code{[} and
2321 @code{]}, and the beam feathering is turned on by specifying a
2322 direction to the @code{Beam} property @code{grow-direction}.
2324 If the placement of the notes and the sound in the MIDI output is to
2325 reflect the ritardando or accelerando indicated by the feathered beam
2326 the notes must be grouped as a music expression delimited by braces
2327 and preceded by a @code{featherDurations} command which specifies
2328 the ratio between the durations of the first and last notes in the
2331 The square brackets show the extent of the beam and the braces show
2332 which notes are to have their durations modified. Normally these
2333 would delimit the same group of notes, but this is not required: the
2334 two commands are independent.
2336 In the following example the eight 16th notes occupy exactly the
2337 same time as a half note, but the first note is one half as long
2338 as the last one, with the intermediate notes gradually
2339 lengthening. The first four 32nd notes gradually speed up, while
2340 the last four 32nd notes are at a constant tempo.
2342 @lilypond[relative=1,verbatim,quote]
2343 \override Beam #'grow-direction = #LEFT
2344 \featherDurations #(ly:make-moment 2 1)
2345 { c16[ c c c c c c c] }
2346 \override Beam #'grow-direction = #RIGHT
2347 \featherDurations #(ly:make-moment 2 3)
2349 % revert to non-feathered beams
2350 \override Beam #'grow-direction = #'()
2355 The spacing in the printed output represents the
2356 note durations only approximately, but the MIDI output is exact.
2360 @code{\featherDurations}.
2370 The @code{\featherDurations} command only works with very short
2371 music snippets, and when numbers in the fraction are small.
2381 * Bar and bar number checks::
2386 @unnumberedsubsubsec Bar lines
2389 @cindex measure lines
2390 @cindex closing bar lines
2391 @cindex bar lines, closing
2392 @cindex double bar lines
2393 @cindex bar lines, double
2399 Bar lines delimit measures, and are also used to indicate
2400 repeats. Normally, simple bar lines are automatically inserted
2401 into the printed output at places based on the current time
2404 The simple bar lines inserted automatically can be changed to
2405 other types with the @code{\bar} command. For example, a closing
2406 double bar line is usually placed at the end of a piece:
2408 @lilypond[quote,relative=1,verbatim]
2412 It is not invalid if the final note in a measure does not
2413 end on the automatically entered bar line: the note is assumed
2414 to carry over into the next measure. But if a long sequence
2415 of such carry-over measures appears the music can appear compressed
2416 or even flowing off the page. This is because automatic line
2417 breaks happen only at the end of complete measures, i.e., where
2418 all notes end before the end of a measure.
2420 @warning{An incorrect duration can cause line breaks to be
2421 inhibited, leading to a line of highly compressed music or
2422 music which flows off the page.}
2425 @cindex bar lines, invisible
2426 @cindex measure lines, invisible
2428 Line breaks are also permitted at manually inserted bar lines
2429 even within incomplete measures. To allow a line break without
2430 printing a bar line, use the following:
2437 This will insert an invisible bar line and allow (but not
2438 force) a line break to occur at this point. The bar number
2439 counter is not increased. To force a line break see
2440 @ref{Line breaking}.
2442 @cindex manual bar lines
2443 @cindex manual measure lines
2444 @cindex bar lines, manual
2445 @cindex measure lines, manual
2447 This and other special bar lines may be inserted manually at any
2448 point. When they coincide with the end of a measure they replace
2449 the simple bar line which would have been inserted there
2450 automatically. When they do not coincide with the end of a measure
2451 the specified bar line is inserted at that point in the printed
2454 Note that manual bar lines are purely visual. They do not affect
2455 any of the properties that a normal bar line would affect, such as
2456 measure numbers, accidentals, line breaks, etc. They do not affect
2457 the calculation and placement of subsequent automatic bar lines.
2458 When a manual bar line is placed where a normal bar line already
2459 exists, the effects of the original bar line are not altered.
2461 Two types of simple bar lines and five types of double bar lines are
2462 available for manual insertion:
2464 @lilypond[quote,relative=1,verbatim]
2476 together with dotted and dashed bar lines:
2478 @lilypond[quote,relative=1,verbatim]
2485 and five types of repeat bar line:
2487 @lilypond[quote,relative=1,verbatim]
2496 Additionally, a bar line can be printed as a simple tick:
2497 @lilypond[quote,relative=1,verbatim]
2500 However, as such ticks are typically used in Gregorian chant, it is
2501 preferable to use @code{\divisioMinima} there instead, described in
2502 the section @ref{Divisiones} in Gregorian chant.
2506 For in-line segno signs, there are three types of bar lines which
2507 differ in their behavior at line breaks:
2509 @lilypond[quote,relative=2,verbatim]
2527 Although the bar line types signifying repeats may be inserted
2528 manually they do not in themselves cause LilyPond to recognize
2529 a repeated section. Such repeated sections are better entered
2530 using the various repeat commands (see @ref{Repeats}), which
2531 automatically print the appropriate bar lines.
2533 In addition, you can specify @code{"||:"}, which is equivalent to
2534 @code{"|:"} except at line breaks, where it gives a double bar
2535 line at the end of the line and a start repeat at the beginning of
2538 @lilypond[quote,relative=2,verbatim]
2546 For combinations of repeats with the segno sign, there are six different
2549 @lilypond[quote,relative=2,verbatim]
2578 In scores with many staves, a @code{\bar} command in one staff is
2579 automatically applied to all staves. The resulting bar lines are
2580 connected between different staves of a @code{StaffGroup},
2581 @code{PianoStaff}, or @code{GrandStaff}.
2583 @lilypond[quote,relative=1,verbatim]
2591 \new Staff { \clef bass c4 g e g }
2593 \new Staff { \clef bass c2 c2 }
2598 @cindex default bar lines, changing
2599 @cindex bar lines, default, changing
2604 @funindex defaultBarType
2609 The command @samp{\bar @var{bartype}} is a shortcut for
2610 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2611 created whenever the @code{whichBar} property is set.
2613 The default bar type used for automatically inserted bar lines is
2614 @code{"|"}. This may be changed at any time with
2615 @samp{\set Timing.defaultBarType = @var{bartype}}.
2620 @ref{Line breaking},
2622 @ref{Grouping staves}.
2627 Internals Reference:
2628 @rinternals{BarLine} (created at @code{Staff} level),
2629 @rinternals{SpanBar} (across staves),
2630 @rinternals{Timing_translator} (for Timing properties).
2634 @unnumberedsubsubsec Bar numbers
2637 @cindex measure numbers
2638 @cindex numbers, bar
2639 @cindex numbers, measure
2641 @funindex currentBarNumber
2643 Bar numbers are typeset by default at the start of every line except
2644 the first line. The number itself is stored in the
2645 @code{currentBarNumber} property, which is normally updated
2646 automatically for every measure. It may also be set manually:
2648 @lilypond[verbatim,quote,relative=1]
2651 \set Score.currentBarNumber = #50
2655 @cindex bar numbers, regular spacing
2657 @funindex barNumberVisibility
2660 Bar numbers can be typeset at regular intervals instead of just at
2661 the beginning of every line. To do this the default behavior
2662 must be overridden to permit bar numbers to be printed at places
2663 other than the start of a line. This is controlled by the
2664 @code{break-visibility} property of @code{BarNumber}. This takes
2665 three values which may be set to @code{#t} or @code{#f} to specify
2666 whether the corresponding bar number is visible or not. The order
2667 of the three values is @code{end of line visible}, @code{middle of
2668 line visible}, @code{beginning of line visible}. In the following
2669 example bar numbers are printed at all possible places:
2671 @lilypond[verbatim,quote,relative=1]
2672 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2673 \set Score.currentBarNumber = #11
2674 % Permit first bar number to be printed
2684 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2685 {printing-the-bar-number-for-the-first-measure.ly}
2687 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2688 {printing-bar-numbers-at-regular-intervals.ly}
2690 @cindex measure number, format
2691 @cindex bar number, format
2693 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2694 {printing-bar-numbers-inside-boxes-or-circles.ly}
2696 @cindex bar number alignment
2698 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2699 {aligning-bar-numbers.ly}
2701 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2702 {removing-bar-numbers-from-a-score.ly}
2709 Internals Reference:
2710 @rinternals{BarNumber},
2711 @rinternals{Bar_number_engraver}.
2714 @cindex bar number collision
2715 @cindex collision, bar number
2718 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2719 if there is one. To solve this, the @code{padding} property of
2720 @code{BarNumber} can be used to position the number correctly. See
2721 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2724 @node Bar and bar number checks
2725 @unnumberedsubsubsec Bar and bar number checks
2728 @cindex bar number check
2729 @cindex measure check
2730 @cindex measure number check
2732 @funindex barCheckSynchronize
2735 Bar checks help detect errors in the entered durations. A bar check
2736 may be entered using the bar symbol, @code{|}, at any place where a
2737 bar line is expected to fall. If bar check lines are encountered at
2738 other places, a list of warnings is printed in the log file, showing
2739 the line numbers and lines in which the bar checks failed. In the
2740 next example, the second bar check will signal an error.
2743 \time 3/4 c2 e4 | g2 |
2746 Bar checks can also be used in lyrics:
2751 Twin -- kle | Twin -- kle |
2755 An incorrect duration can result in a completely garbled score,
2756 especially if the score is polyphonic, so a good place to start
2757 correcting input is by scanning for failed bar checks and
2758 incorrect durations.
2760 If successive bar checks are off by the same musical interval,
2761 only the first warning message is displayed. This allows the
2762 warning to focus on the source of the timing error.
2766 @funindex pipeSymbol
2768 It is also possible to redefine the action taken when a bar check
2769 or pipe symbol, @code{|}, is encountered in the input, so that
2770 it does something other than a bar check. This is done by
2771 assigning a music expression to @code{pipeSymbol}.
2772 In the following example @code{|} is set to insert a double bar
2773 line wherever it appears in the input, rather than checking
2776 @lilypond[quote,verbatim]
2777 pipeSymbol = \bar "||"
2786 @funindex \barNumberCheck
2787 @funindex barNumberCheck
2789 When copying large pieces of music, it can be helpful to check that
2790 the LilyPond bar number corresponds to the original that you are
2791 entering from. This can be checked with @code{\barNumberCheck}, for
2795 \barNumberCheck #123
2799 will print a warning if the @code{currentBarNumber} is not 123
2800 when it is processed.
2808 @node Rehearsal marks
2809 @unnumberedsubsubsec Rehearsal marks
2811 @cindex rehearsal marks
2812 @cindex mark, rehearsal
2817 To print a rehearsal mark, use the @code{\mark} command.
2819 @lilypond[quote,verbatim,relative=2]
2827 The mark is incremented automatically if you use @code{\mark
2828 \default}, but you can also use an integer argument to set the
2829 mark manually. The value to use is stored in the property
2830 @code{rehearsalMark}.
2832 @lilypond[quote,verbatim,relative=2]
2841 The letter@tie{}@q{I} is skipped in accordance with engraving
2842 traditions. If you wish to include the letter @q{I}, then use one
2843 of the following commands, depending on which style of rehearsal mark
2844 you want (letters only, letters in a hollow box, or letters in a
2848 \set Score.markFormatter = #format-mark-alphabet
2849 \set Score.markFormatter = #format-mark-box-alphabet
2850 \set Score.markFormatter = #format-mark-circle-alphabet
2853 @lilypond[quote,verbatim,relative=2]
2854 \set Score.markFormatter = #format-mark-box-alphabet
2862 @cindex rehearsal mark format
2863 @cindex rehearsal mark style
2864 @cindex style, rehearsal mark
2865 @cindex format, rehearsal mark
2866 @cindex mark, rehearsal, style
2867 @cindex mark, rehearsal, format
2868 @cindex rehearsal mark, manual
2869 @cindex mark, rehearsal, manual
2870 @cindex custom rehearsal mark
2871 @cindex manual rehearsal mark
2873 The style is defined by the property @code{markFormatter}. It is
2874 a function taking the current mark (an integer) and the current
2875 context as argument. It should return a markup object. In the
2876 following example, @code{markFormatter} is set to a pre-defined
2877 procedure. After a few measures, it is set to a procedure that
2878 produces a boxed number.
2880 @lilypond[quote,verbatim,relative=2]
2881 \set Score.markFormatter = #format-mark-numbers
2884 \set Score.markFormatter = #format-mark-box-numbers
2886 \set Score.markFormatter = #format-mark-circle-numbers
2888 \set Score.markFormatter = #format-mark-circle-letters
2892 The file @file{scm/translation-functions.scm} contains the
2893 definitions of @code{format-mark-numbers} (the default format),
2894 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2895 @code{format-mark-box-letters}. These can be used as inspiration
2896 for other formatting functions.
2898 You may use @code{format-mark-barnumbers},
2899 @code{format-mark-box-barnumbers}, and
2900 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2901 incremented numbers or letters.
2903 Other styles of rehearsal mark can be specified manually:
2910 Note that @code{Score.markFormatter} does not affect marks specified
2911 in this manner. However, it is possible to apply a @code{\markup} to the
2915 \mark \markup@{ \box A1 @}
2920 @cindex D.S. al Fine
2922 @cindex music glyphs
2923 @cindex glyphs, music
2925 @funindex \musicglyph
2926 @funindex musicglyph
2928 Music glyphs (such as the segno sign) may be printed inside a
2931 @lilypond[quote,verbatim,relative=1]
2932 c1 \mark \markup { \musicglyph #"scripts.segno" }
2933 c1 \mark \markup { \musicglyph #"scripts.coda" }
2934 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2939 See @ref{The Feta font}, for a list of symbols which may be
2940 printed with @code{\musicglyph}.
2942 For common tweaks to the positioning of rehearsal marks, see
2943 @ref{Formatting text}. For more precise control, see
2944 @code{break-alignable-interface} in @ref{Aligning objects}.
2949 @ref{The Feta font},
2950 @ref{Formatting text},
2951 @ref{Aligning objects}.
2954 @file{scm/translation-functions.scm} contains
2955 the definitions of @code{format-mark-numbers} and
2956 @code{format-mark-letters}. They can be used as inspiration for
2957 other formatting functions.
2962 Internals Reference:
2963 @rinternals{MarkEvent},
2964 @rinternals{Mark_engraver},
2965 @rinternals{RehearsalMark}.
2968 @node Special rhythmic concerns
2969 @subsection Special rhythmic concerns
2974 * Aligning to cadenzas::
2975 * Time administration::
2979 @unnumberedsubsubsec Grace notes
2983 @cindex appoggiatura
2984 @cindex acciaccatura
2989 Grace notes are ornaments that are written out. Grace notes
2990 are printed in a smaller font and take up no logical time
2993 @lilypond[quote,relative=2,verbatim]
2995 \grace { c16[ d16] } c2
2998 LilyPond also supports two special types of grace notes, the
2999 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3000 small note with a slashed stem -- and the @emph{appoggiatura}, which
3001 takes a fixed fraction of the main note and appears in small print
3004 @lilypond[quote,relative=2,verbatim]
3008 \acciaccatura { g16[ f] } e4
3011 The placement of grace notes is synchronized between different
3012 staves. In the following example, there are two sixteenth grace
3013 notes for every eighth grace note
3015 @lilypond[quote,relative=2,verbatim]
3017 \new Staff { e2 \grace { c16[ d e f] } e2 }
3018 \new Staff { c2 \grace { g8[ b] } c2 }
3022 @cindex grace notes, following
3024 @funindex \afterGrace
3025 @funindex afterGrace
3027 If you want to end a note with a grace, use the @code{\afterGrace}
3028 command. It takes two arguments: the main note, and the grace
3029 notes following the main note.
3031 @lilypond[quote,verbatim,relative=2]
3032 c1 \afterGrace d1 { c16[ d] } c1
3035 This will put the grace notes after a space lasting 3/4 of the
3036 length of the main note. The default fraction 3/4 can be changed by
3037 setting @code{afterGraceFraction}. The following example shows
3038 the results from setting the space at the default, at 15/16, and
3039 finally at 1/2 of the main note.
3041 @lilypond[quote,verbatim,relative=2]
3044 c1 \afterGrace d1 { c16[ d] } c1
3047 #(define afterGraceFraction (cons 15 16))
3048 c1 \afterGrace d1 { c16[ d] } c1
3051 #(define afterGraceFraction (cons 1 2))
3052 c1 \afterGrace d1 { c16[ d] } c1
3057 The space between the main note and the grace note may also be
3058 specified using spacers. The following example places the grace
3059 note after a space lasting 7/8 of the main note.
3061 @lilypond[quote,verbatim,relative=2]
3065 { s2 s4. \grace { c16[ d] } }
3071 @cindex tweaking grace notes
3072 @cindex grace notes, tweaking
3073 @cindex grace notes, changing layout settings
3075 A @code{\grace} music expression will introduce special
3076 typesetting settings, for example, to produce smaller type, and
3077 set directions. Hence, when introducing layout tweaks to
3078 override the special settings, they should be placed inside
3079 the grace expression. The overrides should also be reverted
3080 inside the grace expression. Here, the grace note's default stem
3081 direction is overridden and then reverted.
3083 @lilypond[quote,verbatim,relative=2]
3095 @cindex stem, with slash
3100 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3101 {using-grace-note-slashes-with-normal-heads.ly}
3103 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3104 {tweaking-grace-layout-within-music.ly}
3106 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3107 {redefining-grace-note-global-defaults.ly}
3109 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3110 {positioning-grace-notes-with-floating-space.ly}
3115 @rglos{grace notes},
3116 @rglos{acciaccatura},
3117 @rglos{appoggiatura}.
3123 @file{ly/grace-init.ly}.
3128 Internals Reference:
3129 @rinternals{GraceMusic},
3130 @rinternals{Grace_beam_engraver},
3131 @rinternals{Grace_engraver},
3132 @rinternals{Grace_spacing_engraver}.
3137 @cindex acciaccatura, multi-note
3138 @cindex multi-note acciaccatura
3139 @cindex grace-note synchronization
3141 A multi-note beamed @i{acciaccatura} is printed without a slash,
3142 and looks exactly the same as a multi-note beamed
3145 @c TODO Add link to LSR snippet to add slash when available
3147 Grace note synchronization can also lead to surprises. Staff
3148 notation, such as key signatures, bar lines, etc., are also
3149 synchronized. Take care when you mix staves with grace notes and
3150 staves without, for example,
3152 @lilypond[quote,relative=2,verbatim]
3154 \new Staff { e4 \bar "|:" \grace c16 d2. }
3155 \new Staff { c4 \bar "|:" d2. }
3160 This can be remedied by inserting grace skips of the corresponding
3161 durations in the other staves. For the above example
3163 @lilypond[quote,relative=2,verbatim]
3165 \new Staff { e4 \bar "|:" \grace c16 d2. }
3166 \new Staff { c4 \bar "|:" \grace s16 d2. }
3170 Grace sections should only be used within sequential music
3171 expressions. Nesting or juxtaposing grace sections is not
3172 supported, and might produce crashes or other errors.
3174 @node Aligning to cadenzas
3175 @unnumberedsubsubsec Aligning to cadenzas
3178 @cindex cadenza, aligning to
3179 @cindex aligning to cadenza
3181 In an orchestral context, cadenzas present a special problem: when
3182 constructing a score that includes a measured cadenza or other solo
3183 passage, all other instruments should skip just as many notes as the
3184 length of the cadenza, otherwise they will start too soon or too late.
3186 One solution to this problem is to use the functions
3187 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3188 functions take a defined piece of music as an argument and generate a
3189 multi-measure rest or @code{\skip} exactly as long as the piece.
3191 @lilypond[verbatim,quote]
3192 MyCadenza = \relative c' {
3203 #(ly:export (mmrest-of-length MyCadenza))
3205 #(ly:export (skip-of-length MyCadenza))
3220 @node Time administration
3221 @unnumberedsubsubsec Time administration
3223 @cindex time administration
3224 @cindex timing (within the score)
3225 @cindex music, unmetered
3226 @cindex unmetered music
3228 @funindex currentBarNumber
3229 @funindex measurePosition
3230 @funindex measureLength
3232 Time is administered by the @code{Timing_translator}, which by
3233 default is to be found in the @code{Score} context. An alias,
3234 @code{Timing}, is added to the context in which the
3235 @code{Timing_translator} is placed. To ensure that the
3236 @code{Timing} alias is available, you may need to explicitly
3237 instantiate the containing context (such as @code{Voice} or
3240 The following properties of @code{Timing} are used
3241 to keep track of timing within the score.
3244 @cindex measure number
3247 @item currentBarNumber
3248 The current measure number. For an example showing the
3249 use of this property see @ref{Bar numbers}.
3252 The length of the measures in the current time signature. For a
3253 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3254 determines when bar lines are inserted and how automatic beams
3255 should be generated.
3257 @item measurePosition
3258 The point within the measure where we currently are. This
3259 quantity is reset by subtracting @code{measureLength} whenever
3260 @code{measureLength} is reached or exceeded. When that happens,
3261 @code{currentBarNumber} is incremented.
3264 If set to true, the above variables are updated for every time
3265 step. When set to false, the engraver stays in the current
3266 measure indefinitely.
3270 Timing can be changed by setting any of these variables
3271 explicitly. In the next example, the default 4/4 time
3272 signature is printed, but @code{measureLength} is set to 5/4.
3273 At 4/8 through the third measure, the @code{measurePosition} is
3274 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3275 The next bar line then falls at 9/8 rather than 5/4.
3277 @lilypond[quote,verbatim]
3278 \new Voice \relative c' {
3279 \set Timing.measureLength = #(ly:make-moment 5 4)
3283 \set Timing.measurePosition = #(ly:make-moment 5 8)
3290 As the example illustrates, @code{ly:make-moment n m} constructs a
3291 duration of n/m of a whole note. For example,
3292 @code{ly:make-moment 1 8} is an eighth note duration and
3293 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3300 @ref{Unmetered music}.
3305 Internals Reference:
3306 @rinternals{Timing_translator},