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,quote,ragged-right,texidoc,doctitle]
146 {alternative-breve-note.ly}
148 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
149 {changing-the-number-of-augmentation-dots-per-note.ly}
158 @rglos{Duration names notes and rests}.
161 @ref{Automatic beams},
164 @ref{Writing rhythms},
167 @ref{Ancient notation},
168 @ref{Proportional notation}.
175 @rinternals{DotColumn}.
180 @c Deliberately duplicated in Durations and Rests. -gp
181 There is no fundamental limit to rest durations (both in terms of
182 longest and shortest), but the number of glyphs is limited:
183 rests from 128th to maxima (8 x whole) may be printed.
187 @unnumberedsubsubsec Tuplets
195 Tuplets are made from a music expression by multiplying all the
196 durations with a fraction:
199 \times @var{fraction} @{ @var{music} @}
203 The duration of @code{@var{music}} will be multiplied by the
204 fraction. The fraction's denominator will be printed over or
205 under the notes, optionally with a bracket. The most common
206 tuplet is the triplet in which 3 notes have the duration of 2, so
207 the notes are 2/3 of their written length.
209 @lilypond[quote,verbatim,relative=2]
210 a2 \times 2/3 { b4 b b }
211 c4 c \times 2/3 { b4 a g }
214 @cindex tuplet bracket placement
218 @funindex \tupletDown
220 @funindex \tupletNeutral
221 @funindex tupletNeutral
223 Tuplet brackets may be manually placed above or below the staff;
224 see @ref{Direction and placement}.
226 Tuplets may be nested:
228 @lilypond[quote,verbatim,relative=2]
230 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
233 Modifying nested tuplets which begin at the same musical moment
234 must be done with @code{\tweak}.
236 To modify the duration of notes without printing a tuplet bracket,
237 see @ref{Scaling durations}.
243 @code{\tupletNeutral}.
249 @cindex tuplet formatting
250 @cindex triplet formatting
252 @funindex tupletNumberFormatFunction
253 @funindex tupletSpannerDuration
255 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
256 {entering-several-tuplets-using-only-one--times-command.ly}
258 @cindex Tuplet number changes
260 @funindex TupletNumber
262 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
263 {changing-the-tuplet-number.ly}
265 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
266 {non-default-tuplet-numbers.ly}
268 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
269 {controlling-tuplet-bracket-visibility.ly}
271 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
272 {permitting-line-breaks-within-beamed-tuplets.ly}
282 @rlearning{Tweaking methods}.
285 @ref{Time administration},
286 @ref{Scaling durations},
287 @ref{The tweak command},
288 @ref{Polymetric notation}.
294 @rinternals{TupletBracket},
295 @rinternals{TupletNumber},
296 @rinternals{TimeScaledMusic}.
299 @cindex grace notes within tuplet brackets
302 Grace notes may be placed within tuplet brackets, @emph{except}
303 when a staff begins with a grace note followed by a tuplet. In this
304 particular case, the grace note must be placed before the @code{\times}
305 command to avoid errors.
307 @cindex tempo marks within tuplet brackets
309 When using a tuplet at the beginning of a piece with a @code{\tempo}
310 mark, the music must be explicitly entered in a @code{\new Voice}
311 block, as discussed in @rlearning{Voices contain music}.
314 @node Scaling durations
315 @unnumberedsubsubsec Scaling durations
317 @cindex scaling durations
318 @cindex durations, scaling
320 You can alter the duration of single notes, rests or chords by a
321 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
322 is 1) to the duration. This will not affect the appearance of the
323 notes or rests produced, but the altered duration will be used in
324 calculating the position within the measure and setting the duration
325 in the MIDI output. Multiplying factors may be combined such as
328 In the following example, the first three notes take up exactly
329 two beats, but no triplet bracket is printed.
331 @lilypond[quote,relative=2,verbatim]
333 % Alter durations to triplets
334 a4*2/3 gis4*2/3 a4*2/3
337 % Double the duration of chord
339 % Duration of quarter, appears like sixteenth
343 The duration of spacing notes may also be modified by
344 a multiplier. This is useful for skipping many measures, e.g.,
347 @cindex compressing music
348 @cindex expanding music
350 @funindex \scaleDurations
351 @funindex scaleDurations
353 Longer stretches of music may be compressed by a fraction in the
354 same way, as if every note, chord or rest had the fraction as a
355 multiplier. This leaves the appearance of the music unchanged but
356 the internal duration of the notes will be multiplied by the
357 fraction @emph{num}/@emph{den}. The spaces around the dot are
358 required. Here is an example showing how music can be compressed
361 @lilypond[quote,relative=2,verbatim]
365 % Scale music by *2/3
366 \scaleDurations #'(2 . 3) {
370 \scaleDurations #'(2 . 1) {
375 One application of this command is in polymetric
376 notation, see @ref{Polymetric notation}.
382 @ref{Invisible rests},
383 @ref{Polymetric notation}.
390 @unnumberedsubsubsec Ties
396 A tie connects two adjacent note heads of the same pitch. The tie
397 in effect extends the duration of a note.
399 @warning{Ties should not be confused with @emph{slurs}, which
400 indicate articulation, or @emph{phrasing slurs}, which indicate
401 musical phrasing. A tie is just a way of extending a note
402 duration, similar to the augmentation dot.}
404 A tie is entered using the tilde symbol (@code{~}).
406 @lilypond[quote,verbatim,relative=2]
410 Ties are used either when the note crosses a bar line, or when
411 dots cannot be used to denote the rhythm. Ties should also be
412 used when note values cross larger subdivisions of the measure:
414 @lilypond[verbatim,quote]
421 If you need to tie many notes across bar lines, it may be
422 easier to use automatic note splitting, see @ref{Automatic note
423 splitting}. This mechanism automatically splits long notes, and
424 ties them across bar lines.
426 @cindex ties and chords
427 @cindex chords and ties
429 When a tie is applied to a chord, all note heads whose pitches
430 match are connected. When no note heads match, no ties will be
431 created. Chords may be partially tied by placing the tie inside
434 @lilypond[quote,verbatim,relative=1]
436 <c~ e g~ b> <c e g b>
439 @cindex repeating ties
440 @cindex ties, repeating
441 @cindex volta brackets and ties
442 @cindex ties and volta brackets
447 When a second alternative of a repeat starts with a tied note, you
448 have to specify the repeated tie as follows:
450 @lilypond[quote,relative=2,verbatim]
451 \repeat volta 2 { c g <c e>2 ~ }
453 % First alternative: following note is tied normally
455 % Second alternative: following note has a repeated tie
456 { <c e>2\repeatTie d4 c } }
459 @cindex laissez vibrer
460 @cindex ties, laissez vibrer
462 @funindex \laissezVibrer
463 @funindex laissezVibrer
465 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
466 notes must not be damped at the end. It is used in notation for
467 piano, harp and other string and percussion instruments. They can
468 be entered as follows:
470 @lilypond[quote,verbatim,relative=1]
471 <c f g>1\laissezVibrer
474 @cindex ties, placement
480 @funindex \tieNeutral
483 Ties may be manually placed above or below the staff; see
484 @ref{Direction and placement}.
486 @cindex ties, appearance
499 Ties may be made dashed, dotted, or a combination of solid and
502 @lilypond[quote, verbatim, relative=1]
515 Custom dash patterns can be specified:
517 @lilypond[quote, verbatim, relative=1]
518 \tieDashPattern #0.3 #0.75
520 \tieDashPattern #0.7 #1.5
526 Dash pattern definitions for ties have the same structure as dash
527 pattern definitions for slurs. For more information about complex dash
528 patterns, see @ref{Slurs}.
530 Override @var{whiteout} and @var{layer} layout properties for ties that
531 collide with other objects in a staff.
533 @lilypond[verbatim,quote,ragged-right,relative=2]
534 \override Tie #'layer = #-2
535 \override Staff.TimeSignature #'layer = #-1
536 \override Staff.KeySignature #'layer = #-1
537 \override Staff.TimeSignature #'whiteout = ##t
538 \override Staff.KeySignature #'whiteout = ##t
551 @code{\tieDashPattern},
552 @code{\tieHalfDashed},
553 @code{\tieHalfSolid},
559 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
560 {using-ties-with-arpeggios.ly}
562 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
563 {engraving-ties-manually.ly}
568 @rglos{laissez vibrer}.
572 @ref{Automatic note splitting}.
575 @rlsr{Expressive marks},
579 @rinternals{LaissezVibrerTie},
580 @rinternals{LaissezVibrerTieColumn},
581 @rinternals{TieColumn},
585 Switching staves when a tie is active will not produce a slanted tie.
587 Changing clefs or ottavations during a tie is not really well-defined.
588 In these cases, a slur may be preferable.
592 @subsection Writing rests
594 Rests are entered as part of the music in music expressions.
599 * Full measure rests::
603 @unnumberedsubsubsec Rests
606 @cindex rest, entering durations
621 Rests are entered like notes with the note name @code{r}.
622 Durations longer than a whole rest use the following predefined
625 @c \time 16/1 is used to avoid spurious bar lines
626 @c and long tracts of empty measures
627 @lilypond[quote,verbatim,relative=2]
629 % These two lines are just to prettify this example
631 \override Staff.TimeSignature #'stencil = ##f
632 % Print a maxima rest, equal to four breves
634 % Print a longa rest, equal to two breves
638 r1 r2 r4 r8 r16 r32 r64 r128
642 @cindex rest, multi-measure
643 @cindex rest, whole-measure
645 Whole measure rests, centered in the middle of the measure, must be
646 entered as multi-measure rests. They can be used for a single
647 measure as well as many measures and are discussed in
648 @ref{Full measure rests}.
650 @cindex rest, specifying vertical position
652 To explicitly specify a rest's vertical position, write a note
653 followed by @code{\rest}. A rest of the duration of the note will
654 be placed at the staff position where the note would appear. This
655 allows for precise manual formatting of polyphonic music, since the
656 automatic rest collision formatter will not move these rests.
658 @lilypond[quote,verbatim,relative=2]
664 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
675 @ref{Full measure rests}.
686 @c Deliberately duplicated in Durations and Rests. -gp
687 There is no fundamental limit to rest durations (both in terms of
688 longest and shortest), but the number of glyphs is limited: there
689 are rests from 128th to maxima (8 x whole).
692 @node Invisible rests
693 @unnumberedsubsubsec Invisible rests
696 @cindex invisible rest
697 @cindex rest, invisible
705 An invisible rest (also called a @q{spacer rest}) can be entered
706 like a note with the note name@tie{}@code{s}:
708 @lilypond[verbatim,quote,relative=2]
715 Spacer rests are available only in note mode and chord mode. In
716 other situations, for example, when entering lyrics, the
717 command @code{\skip} is used to skip a musical moment.
718 @code{\skip} requires an explicit duration, but this is ignored if
719 the lyrics derive their durations from the notes in an associated
720 melody through @code{\addlyrics} or @code{\lyricsto}.
722 @lilypond[quote,verbatim,relative=2]
735 Because @code{\skip} is a command, it does not affect the default
736 durations of following notes, unlike@tie{}@code{s}.
738 @lilypond[quote,verbatim,relative=2]
741 \repeat unfold 8 { a4 }
751 A spacer rest implicitly causes @code{Staff} and @code{Voice}
752 contexts to be created if none exist, just like notes and rests
755 @lilypond[quote,verbatim,relative=2]
759 @code{\skip} simply skips musical time; it creates no output of
762 @lilypond[quote,verbatim,relative=2]
763 % This is valid input, but does nothing
764 \skip 1 \skip1 \skip 1
770 @rlearning{Visibility and color of objects}.
774 @ref{Visibility of objects}.
780 @rinternals{SkipMusic}.
783 @node Full measure rests
784 @unnumberedsubsubsec Full measure rests
786 @cindex multi-measure rests
787 @cindex full-measure rests
788 @cindex rest, multi-measure
789 @cindex rest, full-measure
790 @cindex whole rest for a full measure
791 @cindex rest, whole for a full measure
795 Rests for one or more full measures are entered like notes with
796 the note name uppercase @code{R}:
798 @lilypond[quote,verbatim,relative=2]
799 % Rest measures contracted to single measure
800 \compressFullBarRests
807 The duration of full-measure rests is identical to the duration
808 notation used for notes. The duration in a multi-measure rest must
809 always be an integral number of measure-lengths, so augmentation dots
810 or fractions must often be used:
812 @lilypond[quote,verbatim,relative=2]
813 \compressFullBarRests
819 R1*13/8 | R1*13/8*12 |
824 A full-measure rest is printed as either a whole or breve rest,
825 centered in the measure, depending on the time signature.
827 @lilypond[quote,verbatim,relative=2]
836 @cindex multi-measure rest, expanding
837 @cindex multi-measure rest, contracting
839 @funindex \expandFullBarRests
840 @funindex expandFullBarRests
841 @funindex \compressFullBarRests
842 @funindex compressFullBarRests
844 By default a multi-measure rest is expanded in the printed score to
845 show all the rest measures explicitly. Alternatively, a multi-measure
846 rest can be shown as a single measure containing a multi-measure rest
847 symbol, with the number of measures of rest printed above the measure:
849 @lilypond[quote,verbatim,relative=2]
851 \time 3/4 r2. | R2.*2 |
854 % Rest measures contracted to single measure
855 \compressFullBarRests
857 % Rest measures expanded
864 @cindex text on multi-measure rest
865 @cindex multi-measure rest, attaching text
866 @cindex script on multi-measure rest
867 @cindex multi-measure rest, script
868 @cindex fermata on multi-measure rest
869 @cindex multi-measure rest, attaching fermata
870 @cindex markup on multi-measure rest
871 @cindex multi-measure rest with markup
873 @funindex \fermataMarkup
874 @funindex fermataMarkup
875 @funindex MultiMeasureRestText
877 Markups can be added to multi-measure rests.
878 The predefined command @code{\fermataMarkup}
879 is provided for adding fermatas.
881 @lilypond[quote,verbatim,relative=2]
882 \compressFullBarRests
884 R2.*10^\markup { \italic "ad lib." }
888 @warning{Markups attached to a multi-measure rest are objects of type
889 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
890 be directed to the correct object, or they will be ignored. See the
893 @lilypond[quote,verbatim,relative=2]
894 % This fails, as the wrong object name is specified
895 \override TextScript #'padding = #5
897 % This is the correct object name to be specified
898 \override MultiMeasureRestText #'padding = #5
902 When a multi-measure rest immediately follows a @code{\partial}
903 setting, resulting bar-check warnings may not be displayed.
906 @funindex \textLengthOn
907 @funindex textLengthOn
908 @funindex \textLengthOff
909 @funindex textLengthOff
910 @funindex \fermataMarkup
911 @funindex fermataMarkup
912 @funindex \compressFullBarRests
913 @funindex compressFullBarRests
914 @funindex \expandFullBarRests
915 @funindex expandFullBarRests
918 @code{\textLengthOn},
919 @code{\textLengthOff},
920 @code{\fermataMarkup},
921 @code{\compressFullBarRests},
922 @code{\expandFullBarRests}.
930 @cindex kirchenpausen
932 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
933 {changing-form-of-multi-measure-rests.ly}
935 @cindex multi-measure rests, positioning
936 @cindex positioning multi-measure rests
938 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
939 {positioning-multi-measure-rests.ly}
941 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
942 {multi-measure-rest-markup.ly}
947 @rglos{multi-measure rest}.
952 @ref{Formatting text},
959 @rinternals{MultiMeasureRest},
960 @rinternals{MultiMeasureRestNumber},
961 @rinternals{MultiMeasureRestText}.
964 @cindex fingerings and multi-measure rests
965 @cindex multi-measure rests and fingerings
968 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
969 in the fingering numeral colliding with the bar counter
972 @cindex condensing rests
973 @cindex rest, condensing ordinary
975 There is no way to automatically condense multiple ordinary rests
976 into a single multi-measure rest.
978 @cindex rest, collisions of
980 Multi-measure rests do not take part in rest collisions.
982 @node Displaying rhythms
983 @subsection Displaying rhythms
990 * Polymetric notation::
991 * Automatic note splitting::
992 * Showing melody rhythms::
996 @unnumberedsubsubsec Time signature
998 @cindex time signature
1004 The time signature is set as follows:
1006 @lilypond[quote,verbatim,relative=2]
1011 @cindex time signature, visibility of
1013 Time signatures are printed at the beginning of a piece
1014 and whenever the time signature changes. If a change takes place
1015 at the end of a line a warning time signature sign is printed
1016 there. This default behavior may be changed, see
1017 @ref{Visibility of objects}.
1019 @lilypond[quote,verbatim,relative=2]
1029 @cindex time signature style
1032 @funindex \numericTimeSignature
1033 @funindex numericTimeSignature
1034 @funindex \defaultTimeSignature
1035 @funindex defaultTimeSignature
1037 The time signature symbol that is used in 2/2 and 4/4 time can be
1038 changed to a numeric style:
1040 @lilypond[quote,verbatim,relative=2]
1044 % Change to numeric style
1045 \numericTimeSignature
1048 % Revert to default style
1049 \defaultTimeSignature
1055 Mensural time signatures are covered in
1056 @ref{Mensural time signatures}.
1058 @cindex time signature default settings
1059 @cindex autobeaming properties for time signatures
1060 @cindex beaming, time signature default properties
1061 @funindex \overrideTimeSignatureSettings
1063 In addition to setting the printed time signature, the @code{\time}
1064 command also sets time-signature-based default values for the properties
1065 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1066 predefined default values for these properties can be found in
1067 @file{scm/time-signature-settings.scm}. The existing default values can
1068 be changed, or new default values can be added:
1070 @lilypond[quote,verbatim]
1074 \overrideTimeSignatureSettings
1075 #'(4 . 4) % timeSignatureFraction
1076 #'(1 . 4) % baseMomentFraction
1077 #'(3 1) % beatStructure
1078 #'() % beamExceptions
1080 \repeat unfold 8 { c8 } |
1086 @code{\overrideTimeSignatureSettings} takes four arguments:
1091 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1095 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1096 and denominator of the basic timing unit for the time signature.
1099 @code{@var{beatStructure}}, a Scheme list indicating the structure
1100 of the beats in the measure, in units of the base moment.
1103 @code{@var{beamExceptions}}, an alist containing any beaming rules
1104 for the time signature that go beyond ending at every beat, as
1105 described in @ref{Setting automatic beam behavior}.
1108 The context containing @code{\overrideTimeSignatureSettings} must
1109 be instantiated before the @code{\overrideTimeSignatureSettings}
1110 call is executed. That means it must either be explicitly
1111 instantiated or there must be music in the context before the
1112 @code{\overrideTimeSignatureSettings} call:
1114 @lilypond[quote,verbatim]
1117 % This call will fail because the context isn't yet instantiated
1118 \overrideTimeSignatureSettings
1119 #'(4 . 4) % timeSignatureFraction
1120 #'(1 . 4) % baseMomentFraction
1121 #'(3 1) % beatStructure
1122 #'() % beamExceptions
1124 c8^\markup {"Beamed (2 2)"}
1125 \repeat unfold 7 { c8 } |
1126 % This call will succeed
1127 \overrideTimeSignatureSettings
1128 #'(4 . 4) % timeSignatureFraction
1129 #'(1 . 4) % baseMomentFraction
1130 #'(3 1) % beatStructure
1131 #'() % beamExceptions
1133 c8^\markup {"Beamed (3 1)"}
1134 \repeat unfold 7 { c8 } |
1140 @cindex time signature properties, restoring default values
1141 @cindex restoring default properties for time signatures
1142 @funindex \revertTimeSignatureSettings
1144 Changed values of default time signature properties can be restored
1145 to the original values:
1147 @lilypond[quote,verbatim]
1150 \repeat unfold 8 { c8 } |
1151 \overrideTimeSignatureSettings
1152 #'(4 . 4) % timeSignatureFraction
1153 #'(1 . 4) % baseMomentFraction
1154 #'(3 1) % beatStructure
1155 #'() % beamExceptions
1157 \repeat unfold 8 { c8 } |
1158 \revertTimeSignatureSettings #'(4 . 4)
1160 \repeat unfold 8 { c8 } |
1165 Different values of default time signature properties can be established
1166 for different staves by moving the @code{Timing_translator} and the
1167 @code{Default_bar_line_engraver} from the @code{Score} context to the
1168 @code{Staff} context.
1170 @lilypond[quote, verbatim]
1174 \overrideTimeSignatureSettings
1175 #'(4 . 4) % timeSignatureFraction
1176 #'(1 . 4) % baseMomentFraction
1177 #'(3 1) % beatStructure
1178 #'() % beamExceptions
1180 \repeat unfold 8 {c''8}
1183 \overrideTimeSignatureSettings
1184 #'(4 . 4) % timeSignatureFraction
1185 #'(1 . 4) % baseMomentFraction
1186 #'(1 3) % beatStructure
1187 #'() % beamExceptions
1189 \repeat unfold 8 {c''8}
1195 \remove "Timing_translator"
1196 \remove "Default_bar_line_engraver"
1200 \consists "Timing_translator"
1201 \consists "Default_bar_line_engraver"
1208 @code{\numericTimeSignature},
1209 @code{\defaultTimeSignature}.
1214 @lilypondfile[verbatim,quote,texidoc,doctitle]
1215 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1220 @rglos{time signature}
1223 @ref{Mensural time signatures},
1224 @ref{Time administration}.
1229 Internals Reference:
1230 @rinternals{TimeSignature},
1231 @rinternals{Timing_translator}.
1233 @node Metronome marks
1234 @unnumberedsubsubsec Metronome marks
1237 @cindex beats per minute
1238 @cindex metronome mark
1239 @cindex metronome marking with text
1244 A basic metronome mark is simple to write:
1246 @lilypond[verbatim,quote,relative=1]
1252 Metronome marks may also be printed as a range of two numbers:
1254 @lilypond[verbatim,quote,relative=1]
1260 Tempo indications with text can be used instead:
1262 @lilypond[verbatim,quote,relative=2]
1268 Combining a metronome mark and text will automatically place the
1269 metronome mark within parentheses:
1271 @lilypond[verbatim,quote,relative=2]
1272 \tempo "Allegro" 4 = 160
1277 In general, the text can be any markup object:
1279 @lilypond[verbatim,quote,relative=2]
1280 \tempo \markup { \italic Faster } 4 = 132
1281 a8-. r8 b-. r gis-. r a-. r
1284 A parenthesized metronome mark with no textual indication may be
1285 written by including an empty string in the input:
1287 @lilypond[verbatim,quote,relative=2]
1295 @lilypondfile[verbatim,quote,texidoc,doctitle]
1296 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1298 @c perhaps also an example of how to move it horizontally?
1300 @lilypondfile[verbatim,quote,texidoc,doctitle]
1301 {changing-the-tempo-without-a-metronome-mark.ly}
1303 @lilypondfile[verbatim,quote,texidoc,doctitle]
1304 {creating-metronome-marks-in-markup-mode.ly}
1306 For more details, see @ref{Formatting text}.
1312 @rglos{metronomic indication},
1313 @rglos{tempo indication},
1314 @rglos{metronome mark}.
1317 @ref{Formatting text},
1321 @rlsr{Staff notation}.
1323 Internals Reference:
1324 @rinternals{MetronomeMark}.
1328 @unnumberedsubsubsec Upbeats
1332 @cindex partial measure
1333 @cindex measure, partial
1334 @cindex measure, pickup
1335 @cindex pickup measure
1337 @funindex measurePosition
1341 Partial or pick-up measures, such as an @emph{anacrusis} or an
1342 @emph{upbeat}, are entered using the @code{\partial} command,
1345 \partial @var{duration}
1349 where @code{@var{duration}} is the @emph{remaining} length of the
1350 partial measure @emph{before} the start of the next full measure.
1352 @lilypond[quote,verbatim,relative=1]
1358 The @var{duration} can be any value less than a full measure:
1360 @lilypond[quote,verbatim,relative=1]
1363 r4 e8 | a4 c8 b c4 |
1366 The @code{\partial @var{duration}} can also be written as;
1369 \set Timing.measurePosition -@var{duration}
1372 So @code{\partial 8} becomes:
1374 @lilypond[quote,verbatim,relative=1]
1376 \set Timing.measurePosition = #(ly:make-moment -1 8)
1380 The property @code{measurePosition} contains a rational number
1381 indicating how much of the measure has passed at this point. Note
1382 that this is set to a negative number by the @code{\partial} command:
1383 i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
1384 meaning @qq{there is a quarter note left in the measure.}
1397 @rinternals{Timing_translator}.
1400 The @code{\partial} command should be used only at the beginning of a
1401 piece. If you use it after the beginning, warnings or problems may
1402 occur, so use @code{\set Timing.measurePosition} instead.
1404 @lilypond[quote,verbatim,relative=1]
1407 e8 | a4 c8 b[ c b] |
1408 \set Timing.measurePosition = #(ly:make-moment -1 4)
1409 r8 e,8 | a4 c8 b[ c b] |
1412 @node Unmetered music
1413 @unnumberedsubsubsec Unmetered music
1415 @cindex bar lines, turning off
1416 @cindex bar numbering, turning off
1418 @cindex unmetered music
1420 @funindex \cadenzaOn
1422 @funindex \cadenzaOff
1423 @funindex cadenzaOff
1425 Bar lines and bar numbers are calculated automatically. For
1426 unmetered music (some cadenzas, for example), this is not desirable.
1427 To turn off automatic calculation of bar lines and bar numbers,
1428 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1429 to turn them on again.
1431 @lilypond[verbatim,relative=2,quote]
1434 c4 c d8[ d d] f4 g4.
1440 Bar numbering is resumed at the end of the cadenza as if the
1441 cadenza were not there:
1443 @lilypond[verbatim,relative=2,quote]
1444 % Show all bar numbers
1445 \override Score.BarNumber #'break-visibility = #all-visible
1448 c4 c d8[ d d] f4 g4.
1454 @cindex beams, in cadenzas
1455 @cindex beams, in unmetered music
1456 @cindex cadenza, with beams
1457 @cindex unmetered music, with beams
1459 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1460 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1461 must be entered manually (@ref{Manual beams}).
1463 @lilypond[verbatim,relative=2,quote]
1464 \repeat unfold 8 { c8 }
1466 \repeat unfold 5 { c8 }
1469 \repeat unfold 8 { c8 }
1472 Note that these predefined commands affect all staves in the
1473 score, even when they are placed in just one @code{Voice}
1474 context. To change this, move the @code{Timing_translator}
1475 from the @code{Score} context to the @code{Staff} context, as
1476 shown in @ref{Polymetric notation}.
1489 @ref{Visibility of objects},
1490 @ref{Polymetric notation},
1497 @cindex cadenza line breaks
1498 @cindex cadenza page breaks
1499 @cindex unmetered music, line breaks
1500 @cindex unmetered music, page breaks
1501 @cindex breaks in unmetered music
1502 @cindex line breaks in cadenzas
1503 @cindex page breaks in cadenzas
1504 @cindex line breaks in unmetered music
1505 @cindex page breaks in unmetered music
1509 LilyPond will insert line breaks and page breaks only at a
1510 bar line. Unless the unmetered music ends before the end of the
1511 staff line, you will need to insert invisible bar lines with
1518 to indicate where breaks can occur.
1520 You should explicitly create a @code{Voice} context when starting a
1521 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1527 c16[^"Solo Free Time" d e f] g2.
1535 @node Polymetric notation
1536 @unnumberedsubsubsec Polymetric notation
1538 @c This section necessarily uses \set
1539 @c This is acceptable -td
1541 @cindex double time signatures
1542 @cindex signatures, polymetric
1543 @cindex time signatures, polymetric
1544 @cindex time signatures, double
1545 @cindex polymetric signatures
1546 @cindex meter, polymetric
1548 @funindex timeSignatureFraction
1549 @funindex \scaleDurations
1550 @funindex scaleDurations
1554 Polymetric notation is supported explicitly or by manually modifying the
1555 visible time signature symbol and/or scaling note durations.
1557 @subsubheading Different time signatures with equal-length measures
1559 Set a common time signature for each staff, and set the
1560 @code{timeSignatureFraction} to the desired fraction. Then use the
1561 @code{\scaleDurations} function to scale the durations of the notes in
1562 each staff to the common time signature.
1564 @cindex beams, with polymetric meters
1565 @cindex polymetric meters, with beams
1567 In the following example, music with the time signatures of 3/4, 9/8 and
1568 10/8 are used in parallel. In the second staff, shown durations are
1569 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1570 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1571 may be necessary to insert beams manually, as the duration scaling will
1572 affect the autobeaming rules.
1574 @lilypond[quote,verbatim]
1583 \set Staff.timeSignatureFraction = #'(9 . 8)
1584 \scaleDurations #'(2 . 3)
1585 \repeat unfold 6 { c8[ c c] }
1589 \set Staff.timeSignatureFraction = #'(10 . 8)
1590 \scaleDurations #'(3 . 5) {
1591 \repeat unfold 2 { c8[ c c] }
1592 \repeat unfold 2 { c8[ c] } |
1593 c4. c \times 2/3 { c8[ c c] } c4
1599 @subsubheading Different time signatures with unequal-length measures
1601 Each staff can be given its own independent time signature by
1602 moving the @code{Timing_translator} and the
1603 @code{Default_bar_line_engraver} to the @code{Staff} context.
1605 @lilypond[quote,verbatim]
1609 \remove "Timing_translator"
1610 \remove "Default_bar_line_engraver"
1614 \consists "Timing_translator"
1615 \consists "Default_bar_line_engraver"
1619 % Now each staff has its own time signature.
1643 @funindex \compoundMeter
1644 @cindex compound time signatures
1645 @cindex time signature, compound
1647 @subsubheading Compound time signatures
1649 These are created using the @code{\compoundMeter} function. The syntax
1653 \compoundMeter #'@code{(list of lists)}
1656 The simplest construction is a single list, where the @emph{last} number
1657 indicates the bottom number of the time signature and those that come
1658 before it, the top numbers.
1660 @lilypond[quote,verbatim]
1662 \compoundMeter #'((2 2 2 8))
1663 \repeat unfold 6 c8 \repeat unfold 12 c16
1667 More complex meters can be constructed using additional lists. Also,
1668 automatic beaming settings will be adjusted depending on the values.
1670 @lilypond[quote,verbatim]
1672 \compoundMeter #'((1 4) (3 8))
1673 \repeat unfold 5 c8 \repeat unfold 10 c16
1677 \compoundMeter #'((1 2 3 8) (3 4))
1678 \repeat unfold 12 c8
1685 @rglos{polymetric time signature},
1689 @ref{Automatic beams},
1691 @ref{Time signature},
1692 @ref{Scaling durations}.
1697 Internals Reference:
1698 @rinternals{TimeSignature},
1699 @rinternals{Timing_translator},
1700 @rinternals{Default_bar_line_engraver},
1705 When using different time signatures in parallel, notes at the same
1706 moment will be placed at the same horizontal location. However, the bar
1707 lines in the different staves will cause the note spacing to be less
1708 regular in each of the individual staves than would be normal without
1709 the different time signatures.
1711 @node Automatic note splitting
1712 @unnumberedsubsubsec Automatic note splitting
1714 @cindex notes, splitting
1715 @cindex splitting notes
1716 @cindex rests, splitting
1717 @cindex splitting rests
1719 @funindex Note_heads_engraver
1720 @funindex Completion_heads_engraver
1721 @funindex Completion_rest_engraver
1723 Long notes which overrun bar lines can be converted automatically to
1724 tied notes. This is done by replacing the @code{Note_heads_engraver}
1725 with the @code{Completion_heads_engraver}. Similarly, long rests which
1726 overrun bar lines are split automatically by replacing the
1727 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1728 following example, notes and rests crossing the bar lines are split,
1729 notes are also tied.
1731 @lilypond[quote,verbatim,relative=1]
1733 \remove "Note_heads_engraver"
1734 \consists "Completion_heads_engraver"
1735 \remove "Rest_engraver"
1736 \consists "Completion_rest_engraver"
1739 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1742 These engravers split all running notes and rests at the bar line, and
1743 inserts ties for notes. One of its uses is to debug complex scores: if
1744 the measures are not entirely filled, then the ties show exactly how
1745 much each measure is off.
1753 @rlearning{Engravers explained},
1754 @rlearning{Adding and removing engravers}.
1759 Internals Reference:
1760 @rinternals{Note_heads_engraver},
1761 @rinternals{Completion_heads_engraver},
1762 @rinternals{Rest_engraver},
1763 @rinternals{Completion_rest_engraver},
1764 @rinternals{Forbid_line_break_engraver}.
1769 Not all durations (especially those containing tuplets) can be
1770 represented exactly with normal notes and dots, but the
1771 @code{Completion_heads_engraver} will not insert tuplets.
1773 The @code{Completion_heads_engraver} only affects notes; it does not
1777 @node Showing melody rhythms
1778 @unnumberedsubsubsec Showing melody rhythms
1780 @cindex melody rhythms, showing
1781 @cindex rhythms, showing melody
1783 Sometimes you might want to show only the rhythm of a melody. This
1784 can be done with the rhythmic staff. All pitches of notes on such a
1785 staff are squashed, and the staff itself has a single line
1787 @lilypond[quote,relative=1,verbatim]
1789 \new RhythmicStaff {
1790 \new Voice = "myRhythm" {
1798 \lyricsto "myRhythm" {
1806 @cindex guitar chord charts
1807 @cindex strumming rhythms, showing
1808 @cindex guitar strumming rhythms, showing
1810 @funindex Pitch_squash_engraver
1811 @funindex \improvisationOn
1812 @funindex improvisationOn
1813 @funindex \improvisationOff
1814 @funindex improvisationOff
1816 Guitar chord charts often show the strumming rhythms. This can
1817 be done with the @code{Pitch_squash_engraver} and
1818 @code{\improvisationOn}.
1821 @lilypond[quote,verbatim]
1829 \consists Pitch_squash_engraver
1842 @code{\improvisationOn},
1843 @code{\improvisationOff}.
1849 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1850 {guitar-strum-rhythms.ly}
1857 Internals Reference:
1858 @rinternals{RhythmicStaff},
1859 @rinternals{Pitch_squash_engraver}.
1867 * Setting automatic beam behavior::
1872 @node Automatic beams
1873 @unnumberedsubsubsec Automatic beams
1875 By default, beams are inserted automatically:
1877 @cindex beams, manual
1878 @cindex manual beams
1879 @cindex beams, customizing rules
1881 @funindex \autoBeamOn
1882 @funindex autoBeamOn
1883 @funindex \autoBeamOff
1884 @funindex autoBeamOff
1886 @lilypond[quote,verbatim,relative=2]
1888 \time 6/8 c8 c c c8. c16 c8
1891 If these automatic decisions are not satisfactory, beaming can be
1892 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1893 entered manually if beams are to be extended over rests.
1895 If automatic beaming is not required, it may be turned off with
1896 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1898 @lilypond[quote,relative=1,verbatim]
1899 c4 c8 c8. c16 c8. c16 c8
1906 @cindex melismata, with beams
1907 @cindex beams, with melismata
1909 @warning{If beams are used to indicate melismata in songs, then
1910 automatic beaming should be switched off with @code{\autoBeamOff}
1911 and the beams indicated manually. Using @code{@bs{}partcombine} with
1912 @code{@bs{}autoBeamOff} can produce unintended results. See the
1913 snippets for more information.}
1915 Beaming patterns that differ from the automatic defaults can be
1916 created; see @ref{Setting automatic beam behavior}.
1919 @code{\autoBeamOff},
1923 @cindex beams, line breaks
1924 @cindex line breaks, beams
1925 @cindex beams, with knee gap
1926 @cindex knee gap, with beams
1930 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1931 {beams-across-line-breaks.ly}
1933 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1934 {changing-beam-knee-gap.ly}
1936 @cindex beams, \partcombine with \autoBeamOff
1937 @cindex voices, \partcombine with \autoBeamOff
1939 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1940 {partcombine-and-autobeamoff.ly}
1945 @ref{Setting automatic beam behavior}.
1948 @file{scm/auto-beam.scm}.
1953 Internals Reference:
1954 @rinternals{Auto_beam_engraver},
1955 @rinternals{Beam_engraver},
1957 @rinternals{BeamEvent},
1958 @rinternals{BeamForbidEvent},
1959 @rinternals{beam-interface},
1960 @rinternals{unbreakable-spanner-interface}.
1963 The properties of a beam are determined at the @emph{start} of its
1964 construction and any additional beam-property changes that occur before
1965 the beam has been completed will not take effect until the @emph{next},
1969 @node Setting automatic beam behavior
1970 @unnumberedsubsubsec Setting automatic beam behavior
1972 @cindex beams, with lyrics
1973 @cindex lyrics, with beams
1975 @funindex autoBeaming
1976 @funindex baseMoment
1977 @funindex beamExceptions
1978 @funindex beatStructure
1979 @funindex measureLength
1985 In most instances, automatic beams will end at the end of a beat.
1986 The ending points for beats are determined by the context properties
1987 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1988 is a scheme list that defines the length of each beat in the measure
1989 in units of @code{baseMoment}. By default, @code{baseMoment} is
1990 the one over numerator of the time signature. By default,
1991 each unit of length @code{baseMoment} is a single beat.
1993 @lilypond[quote,relative=2,verbatim]
1995 c16^"default" c c c c |
1996 \set Timing.beatStructure = #'(2 3)
1997 c16^"(2+3)" c c c c |
1998 \set Timing.beatStructure = #'(3 2)
1999 c16^"(3+2)" c c c c |
2002 Beam setting changes can be limited to specific contexts. If no
2003 setting is included in a lower-level context, the setting of the
2004 enclosing context will apply.
2006 @lilypond[quote, verbatim,relative=1]
2009 \set Staff.beatStructure = #'(2 3 2)
2019 \set Voice.beatStructure = #'(1 3 3)
2027 When multiple voices are used the @code{Staff} context must be
2028 specified if the beaming is to be applied to all voices in the
2031 @lilypond[quote,verbatim,relative=2]
2034 % Change applied to Voice by default -- does not work correctly
2035 % Because of autogenerated voices, all beating will
2036 % be at baseMoment (1 . 8)
2037 \set beatStructure = #'(3 1 1 2)
2038 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2040 % Works correctly with context Staff specified
2041 \set Staff.beatStructure = #'(3 1 1 2)
2042 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2045 The value of @code{baseMoment} can be adjusted to change
2046 the beaming behavior, if desired. When this is done,
2047 the value of @code{beatStructure} must be set to be
2048 compatible with the new value of @code{baseMoment}.
2050 @lilypond[quote,verbatim,relative=2]
2052 \set Timing.baseMoment = #(ly:make-moment 1 16)
2053 \set Timing.beatStructure = #'(7 3)
2054 \repeat unfold 10 { a16 }
2057 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2058 quantity of type @i{moment} is created by the scheme function
2059 @code{ly:make-moment}. For more information about this function,
2060 see @ref{Time administration}.
2062 By default @code{baseMoment} is set to one over the denominator of
2063 the time signature. Any exceptions to this default can be found in
2064 @file{scm/time-signature-settings.scm}.
2066 Special autobeaming rules (other than ending a beam on a beat)
2067 are defined in the @code{beamExceptions} property.
2069 @lilypond[quote,relative=2,verbatim]
2071 \set Timing.beatStructure = #'(2 1)
2072 \set Timing.beamExceptions =
2074 (end . ;entry for end of beams
2075 ( ;start of alist of end points
2076 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2077 ))) %close all entries
2079 \repeat unfold 6 { c32 } |
2082 @code{beamExceptions} is an alist with a key of rule-type and a value
2085 At this time the only available value of rule-type is
2086 @code{'end} for beam ending.
2088 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2089 beam type and the grouping to be applied to beams containing notes with
2090 a shortest duration of that beam type.
2093 #'((beam-type1 . grouping-1)
2094 (beam-type2 . grouping-2)
2095 (beam-type3 . grouping-3))
2098 Beam type is a scheme pair indicating the duration of the beam,
2099 e.g., @code{(1 . 16)}.
2101 Grouping is a scheme list indicating the grouping to be applied to
2102 the beam. The grouping is in units of the beam type.
2104 @warning{ A @code{beamExceptions} value must be @emph{complete}
2105 exceptions list. That is, every exception that should be applied
2106 must be included in the setting. It is not possible to add, remove,
2107 or change only one of the exceptions. While this may seem cumbersome,
2108 it means that the current beaming settings need not be known in order
2109 to specify a new beaming pattern.}
2111 When the time signature is changed, default values of
2112 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2113 and @code{Timing.beamExceptions} are set. Setting the time signature
2114 will reset the automatic beaming settings for the @code{Timing}
2115 context to the default behavior.
2117 @lilypond[quote,verbatim,relative=2]
2119 \repeat unfold 6 { a8 }
2121 \set Timing.beatStructure = #'(4 2)
2122 \repeat unfold 6 { a8 }
2123 % go back to default behavior
2125 \repeat unfold 6 { a8 }
2128 The default automatic beaming settings for a time signature
2129 are determined in @file{scm/time-signature-settings.scm}.
2130 Changing the default automatic beaming settings
2131 for a time signature is described in @ref{Time signature}.
2133 Many automatic beaming settings for a time signature contain an
2134 entry for @code{beamExceptions}. For example, 4/4 time tries to
2135 beam the measure in two if there are only eighth notes. The
2136 @code{beamExceptions} rule can override the @code{beatStructure} setting
2137 if @code{beamExceptions} is not reset.
2139 @lilypond[quote,verbatim,relative=2]
2141 \set Timing.baseMoment = #(ly:make-moment 1 8)
2142 \set Timing.beatStructure = #'(3 3 2)
2143 % This won't beam (3 3 2) because of beamExceptions
2144 \repeat unfold 8 {c8} |
2145 % This will beam (3 3 2) because we clear beamExceptions
2146 \set Timing.beamExceptions = #'()
2147 \repeat unfold 8 {c8}
2150 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2151 measure by default. To beam eighth notes in 3/4 time on the beat,
2152 reset @code{beamExceptions}.
2154 @lilypond[quote,verbatim,relative=2]
2156 % by default we beam in (3) due to beamExceptions
2157 \repeat unfold 6 {a8} |
2158 % This will beam (1 1 1) due to beatLength
2159 \set Timing.beamExceptions = #'()
2160 \repeat unfold 6 {a8}
2163 @i{@strong{How automatic beaming works}}
2165 When automatic beaming is enabled, the placement of automatic beams
2166 is determined by the context properties
2167 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2169 The following rules, in order of priority, apply when determining
2170 the appearance of beams:
2174 If a manual beam is specified with @code{[..]} set the beam
2175 as specified, otherwise
2178 if a beam-ending rule is defined in @code{beamExceptions}
2179 for the beam-type, use it to determine the valid places where
2180 beams may end, otherwise
2183 if a beam-ending rule is defined in @code{beamExceptions}
2184 for a longer beam-type, use it to determined the valid places
2185 where beams may end, otherwise
2188 use the values of @code{baseMoment} and @code{beatStructure} to
2189 determine the ends of the beats in the measure, and
2190 end beams at the end of beats.
2194 In the rules above, the @emph{beam-type} is the duration of the
2195 shortest note in the beamed group.
2197 The default beaming rules can be found in
2198 @file{scm/time-signature-settings.scm}.
2202 @cindex beams, subdividing
2204 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2205 {subdividing-beams.ly}
2207 @cindex beamlets, orienting
2209 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2210 {strict-beat-beaming.ly}
2212 @cindex measure groupings
2213 @cindex beats, grouping
2214 @cindex grouping beats
2215 @cindex measure sub-grouping
2217 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2218 {conducting-signs,-measure-grouping-signs.ly}
2220 @cindex beam, endings in a score
2221 @cindex beam, endings with multiple voices
2223 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2224 {beam-endings-in-score-context.ly}
2229 @file{scm/beam-settings.scm}.
2234 Internals Reference:
2235 @rinternals{Auto_beam_engraver},
2237 @rinternals{BeamForbidEvent},
2238 @rinternals{beam-interface}.
2242 If a score ends while an automatic beam has not been ended and is
2243 still accepting notes, this last beam will not be typeset at all.
2244 The same holds for polyphonic voices, entered with
2245 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2246 automatic beam is still accepting notes, it is not typeset.
2247 The workaround for these problems is to manually beam the last
2248 beam in the voice or score.
2250 By default, the @code{Timing} translator is aliased to the
2251 @code{Score} context. This means that setting the time signature
2252 in one staff will affect the beaming of the other staves as well.
2253 Thus, a time signature setting in a later staff will reset custom
2254 beaming that was set in an earlier staff.
2255 One way to avoid this problem is to set the time signature
2258 @lilypond[quote,verbatim,relative=2]
2262 \set Timing.baseMoment = #(ly:make-moment 1 8)
2263 \set Timing.beatStructure = #'(1 5)
2264 \repeat unfold 6 { a8 }
2267 \repeat unfold 6 { a8 }
2272 The default beam settings for the time signature can also be changed, so
2273 that the desired beaming will always be used. Changes in automatic
2274 beaming settings for a time signature are described in
2275 @ref{Time signature}.
2277 @lilypond[quote,verbatim,relative=2]
2280 \overrideTimeSignatureSettings
2281 #'(3 . 4) % timeSignatureFraction
2282 #'(1 . 8) % baseMomentFraction
2283 #'(1 5) % beatStructure
2284 #'() % beamExceptions
2286 \repeat unfold 6 { a8 }
2290 \repeat unfold 6 { a8 }
2296 @unnumberedsubsubsec Manual beams
2298 @cindex beams, manual
2299 @cindex manual beams
2304 In some cases it may be necessary to override the automatic
2305 beaming algorithm. For example, the autobeamer will not put beams
2306 over rests or bar lines, and in choral scores the beaming is
2307 often set to follow the meter of the lyrics rather than the
2308 notes. Such beams can be specified manually by
2309 marking the begin and end point with @code{[} and @code{]}.
2311 @lilypond[quote,relative=1,verbatim]
2312 r4 r8[ g' a r] r g[ | a] r
2315 @cindex manual beams, direction shorthand for
2316 @cindex manual beams, grace notes
2318 Beaming direction can be set manually using direction indicators:
2320 @lilypond[quote,relative=2,verbatim]
2321 c8^[ d e] c,_[ d e f g]
2327 Individual notes may be marked with @code{\noBeam} to prevent them
2330 @lilypond[quote,verbatim,relative=2]
2335 Grace note beams and normal note beams can occur simultaneously.
2336 Unbeamed grace notes are not put into normal note beams.
2338 @lilypond[quote,verbatim,relative=2]
2340 \grace { e32[ d c d] }
2346 @funindex stemLeftBeamCount
2347 @funindex stemRightBeamCount
2349 Even more strict manual control with the beams can be achieved by
2350 setting the properties @code{stemLeftBeamCount} and
2351 @code{stemRightBeamCount}. They specify the number of beams to
2352 draw on the left and right side, respectively, of the next note.
2353 If either property is set, its value will be used only once, and
2354 then it is erased. In this example, the last @code{f} is printed
2355 with only one beam on the left side, i.e., the eighth-note beam of
2356 the group as a whole.
2358 @lilypond[quote,relative=2,verbatim]
2361 \set stemLeftBeamCount = #2
2362 \set stemRightBeamCount = #1
2364 \set stemLeftBeamCount = #1
2376 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2377 {flat-flags-and-beam-nibs.ly}
2382 @ref{Direction and placement},
2388 Internals Reference:
2390 @rinternals{BeamEvent},
2391 @rinternals{Beam_engraver},
2392 @rinternals{beam-interface},
2393 @rinternals{Stem_engraver}.
2396 @node Feathered beams
2397 @unnumberedsubsubsec Feathered beams
2399 @cindex beams, feathered
2400 @cindex feathered beams
2402 @funindex \featherDurations
2403 @funindex featherDurations
2404 @funindex grow-direction
2406 Feathered beams are used to indicate that a small group of notes
2407 should be played at an increasing (or decreasing) tempo, without
2408 changing the overall tempo of the piece. The extent of the
2409 feathered beam must be indicated manually using @code{[} and
2410 @code{]}, and the beam feathering is turned on by specifying a
2411 direction to the @code{Beam} property @code{grow-direction}.
2413 If the placement of the notes and the sound in the MIDI output is to
2414 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2415 feathered beam the notes must be grouped as a music expression delimited
2416 by braces and preceded by a @code{featherDurations} command which specifies
2417 the ratio between the durations of the first and last notes in the
2420 The square brackets show the extent of the beam and the braces show
2421 which notes are to have their durations modified. Normally these
2422 would delimit the same group of notes, but this is not required: the
2423 two commands are independent.
2425 In the following example the eight 16th notes occupy exactly the
2426 same time as a half note, but the first note is one half as long
2427 as the last one, with the intermediate notes gradually
2428 lengthening. The first four 32nd notes gradually speed up, while
2429 the last four 32nd notes are at a constant tempo.
2431 @lilypond[relative=1,verbatim,quote]
2432 \override Beam #'grow-direction = #LEFT
2433 \featherDurations #(ly:make-moment 2 1)
2434 { c16[ c c c c c c c] }
2435 \override Beam #'grow-direction = #RIGHT
2436 \featherDurations #(ly:make-moment 2 3)
2438 % revert to non-feathered beams
2439 \override Beam #'grow-direction = #'()
2444 The spacing in the printed output represents the
2445 note durations only approximately, but the MIDI output is exact.
2449 @code{\featherDurations}.
2459 The @code{\featherDurations} command only works with very short
2460 music snippets, and when numbers in the fraction are small.
2470 * Bar and bar number checks::
2475 @unnumberedsubsubsec Bar lines
2478 @cindex measure lines
2479 @cindex closing bar lines
2480 @cindex bar lines, closing
2481 @cindex double bar lines
2482 @cindex bar lines, double
2488 Bar lines delimit measures, and are also used to indicate
2489 repeats. Normally, simple bar lines are automatically inserted
2490 into the printed output at places based on the current time
2493 The simple bar lines inserted automatically can be changed to
2494 other types with the @code{\bar} command. For example, a closing
2495 double bar line is usually placed at the end of a piece:
2497 @lilypond[quote,relative=1,verbatim]
2501 It is not invalid if the final note in a measure does not
2502 end on the automatically entered bar line: the note is assumed
2503 to carry over into the next measure. But if a long sequence
2504 of such carry-over measures appears the music can appear compressed
2505 or even flowing off the page. This is because automatic line
2506 breaks happen only at the end of complete measures, i.e., where
2507 all notes end before the end of a measure.
2509 @warning{An incorrect duration can cause line breaks to be
2510 inhibited, leading to a line of highly compressed music or
2511 music which flows off the page.}
2514 @cindex bar lines, invisible
2515 @cindex measure lines, invisible
2517 Line breaks are also permitted at manually inserted bar lines
2518 even within incomplete measures. To allow a line break without
2519 printing a bar line, use the following:
2526 This will insert an invisible bar line and allow (but not
2527 force) a line break to occur at this point. The bar number
2528 counter is not increased. To force a line break see
2529 @ref{Line breaking}.
2531 @cindex manual bar lines
2532 @cindex manual measure lines
2533 @cindex bar lines, manual
2534 @cindex measure lines, manual
2536 This and other special bar lines may be inserted manually at any
2537 point. When they coincide with the end of a measure they replace
2538 the simple bar line which would have been inserted there
2539 automatically. When they do not coincide with the end of a measure
2540 the specified bar line is inserted at that point in the printed
2543 Note that manual bar lines are purely visual. They do not affect
2544 any of the properties that a normal bar line would affect, such as
2545 measure numbers, accidentals, line breaks, etc. They do not affect
2546 the calculation and placement of subsequent automatic bar lines.
2547 When a manual bar line is placed where a normal bar line already
2548 exists, the effects of the original bar line are not altered.
2550 Two types of simple bar lines and five types of double bar lines are
2551 available for manual insertion:
2553 @lilypond[quote,relative=1,verbatim]
2565 together with dotted and dashed bar lines:
2567 @lilypond[quote,relative=1,verbatim]
2574 and five types of repeat bar line:
2576 @lilypond[quote,relative=1,verbatim]
2585 Additionally, a bar line can be printed as a simple tick:
2586 @lilypond[quote,relative=1,verbatim]
2589 However, as such ticks are typically used in Gregorian chant, it is
2590 preferable to use @code{\divisioMinima} there instead, described in
2591 the section @ref{Divisiones} in Gregorian chant.
2595 For in-line segno signs, there are three types of bar lines which
2596 differ in their behavior at line breaks:
2598 @lilypond[quote,relative=2,verbatim]
2616 Although the bar line types signifying repeats may be inserted
2617 manually they do not in themselves cause LilyPond to recognize
2618 a repeated section. Such repeated sections are better entered
2619 using the various repeat commands (see @ref{Repeats}), which
2620 automatically print the appropriate bar lines.
2622 In addition, you can specify @code{"||:"}, which is equivalent to
2623 @code{"|:"} except at line breaks, where it gives a double bar
2624 line at the end of the line and a start repeat at the beginning of
2627 @lilypond[quote,relative=2,verbatim]
2635 For combinations of repeats with the segno sign, there are six different
2638 @lilypond[quote,relative=2,verbatim]
2667 In scores with many staves, a @code{\bar} command in one staff is
2668 automatically applied to all staves. The resulting bar lines are
2669 connected between different staves of a @code{StaffGroup},
2670 @code{PianoStaff}, or @code{GrandStaff}.
2672 @lilypond[quote,relative=1,verbatim]
2680 \new Staff { \clef bass c4 g e g }
2682 \new Staff { \clef bass c2 c2 }
2687 @cindex default bar lines, changing
2688 @cindex bar lines, default, changing
2693 @funindex defaultBarType
2698 The command @samp{\bar @var{bartype}} is a shortcut for
2699 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2700 created whenever the @code{whichBar} property is set.
2702 The default bar type used for automatically inserted bar lines is
2703 @code{"|"}. This may be changed at any time with
2704 @samp{\set Timing.defaultBarType = @var{bartype}}.
2709 @ref{Line breaking},
2711 @ref{Grouping staves}.
2716 Internals Reference:
2717 @rinternals{BarLine} (created at @code{Staff} level),
2718 @rinternals{SpanBar} (across staves),
2719 @rinternals{Timing_translator} (for Timing properties).
2723 @unnumberedsubsubsec Bar numbers
2726 @cindex measure numbers
2727 @cindex numbers, bar
2728 @cindex numbers, measure
2730 @funindex currentBarNumber
2732 Bar numbers are typeset by default at the start of every line except
2733 the first line. The number itself is stored in the
2734 @code{currentBarNumber} property, which is normally updated
2735 automatically for every measure. It may also be set manually:
2737 @lilypond[verbatim,quote,relative=1]
2740 \set Score.currentBarNumber = #50
2744 @cindex bar numbers, regular spacing
2746 @funindex barNumberVisibility
2749 Bar numbers can be typeset at regular intervals instead of just at
2750 the beginning of every line. To do this the default behavior
2751 must be overridden to permit bar numbers to be printed at places
2752 other than the start of a line. This is controlled by the
2753 @code{break-visibility} property of @code{BarNumber}. This takes
2754 three values which may be set to @code{#t} or @code{#f} to specify
2755 whether the corresponding bar number is visible or not. The order
2756 of the three values is @code{end of line visible}, @code{middle of
2757 line visible}, @code{beginning of line visible}. In the following
2758 example bar numbers are printed at all possible places:
2760 @lilypond[verbatim,quote,relative=1]
2761 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2762 \set Score.currentBarNumber = #11
2763 % Permit first bar number to be printed
2771 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2772 {printing-the-bar-number-for-the-first-measure.ly}
2774 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2775 {printing-bar-numbers-at-regular-intervals.ly}
2777 @cindex measure number, format
2778 @cindex bar number, format
2780 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2781 {printing-bar-numbers-inside-boxes-or-circles.ly}
2783 @cindex bar numbers, with letters
2784 @cindex bar numbers, with repeats
2786 @lilypondfile[verbatim,quote,texidoc,doctitle]
2787 {alternative-bar-numbering.ly}
2789 @cindex bar number alignment
2791 @lilypondfile[verbatim,quote,texidoc,doctitle]
2792 {aligning-bar-numbers.ly}
2794 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2795 {removing-bar-numbers-from-a-score.ly}
2801 Internals Reference:
2802 @rinternals{BarNumber},
2803 @rinternals{Bar_number_engraver}.
2805 @cindex bar number collision
2806 @cindex collision, bar number
2809 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2810 if there is one. To solve this, the @code{padding} property of
2811 @code{BarNumber} can be used to position the number correctly. See
2812 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2815 @node Bar and bar number checks
2816 @unnumberedsubsubsec Bar and bar number checks
2819 @cindex bar number check
2820 @cindex measure check
2821 @cindex measure number check
2823 @funindex barCheckSynchronize
2826 Bar checks help detect errors in the entered durations. A bar check
2827 may be entered using the bar symbol, @code{|}, at any place where a
2828 bar line is expected to fall. If bar check lines are encountered at
2829 other places, a list of warnings is printed in the log file, showing
2830 the line numbers and lines in which the bar checks failed. In the
2831 next example, the second bar check will signal an error.
2834 \time 3/4 c2 e4 | g2 |
2837 Bar checks can also be used in lyrics:
2842 Twin -- kle | Twin -- kle |
2846 An incorrect duration can result in a completely garbled score,
2847 especially if the score is polyphonic, so a good place to start
2848 correcting input is by scanning for failed bar checks and
2849 incorrect durations.
2851 If successive bar checks are off by the same musical interval,
2852 only the first warning message is displayed. This allows the
2853 warning to focus on the source of the timing error.
2857 @funindex pipeSymbol
2859 It is also possible to redefine the action taken when a bar check
2860 or pipe symbol, @code{|}, is encountered in the input, so that
2861 it does something other than a bar check. This is done by
2862 assigning a music expression to @code{pipeSymbol}.
2863 In the following example @code{|} is set to insert a double bar
2864 line wherever it appears in the input, rather than checking
2867 @lilypond[quote,verbatim]
2868 pipeSymbol = \bar "||"
2877 @funindex \barNumberCheck
2878 @funindex barNumberCheck
2880 When copying large pieces of music, it can be helpful to check that
2881 the LilyPond bar number corresponds to the original that you are
2882 entering from. This can be checked with @code{\barNumberCheck}, for
2886 \barNumberCheck #123
2890 will print a warning if the @code{currentBarNumber} is not 123
2891 when it is processed.
2899 @node Rehearsal marks
2900 @unnumberedsubsubsec Rehearsal marks
2902 @cindex rehearsal marks
2903 @cindex mark, rehearsal
2908 To print a rehearsal mark, use the @code{\mark} command.
2910 @lilypond[quote,verbatim,relative=2]
2918 The mark is incremented automatically if you use @code{\mark
2919 \default}, but you can also use an integer argument to set the
2920 mark manually. The value to use is stored in the property
2921 @code{rehearsalMark}.
2923 @lilypond[quote,verbatim,relative=2]
2932 The letter@tie{}@q{I} is skipped in accordance with engraving
2933 traditions. If you wish to include the letter @q{I}, then use one
2934 of the following commands, depending on which style of rehearsal mark
2935 you want (letters only, letters in a hollow box, or letters in a
2939 \set Score.markFormatter = #format-mark-alphabet
2940 \set Score.markFormatter = #format-mark-box-alphabet
2941 \set Score.markFormatter = #format-mark-circle-alphabet
2944 @lilypond[quote,verbatim,relative=2]
2945 \set Score.markFormatter = #format-mark-box-alphabet
2953 @cindex rehearsal mark format
2954 @cindex rehearsal mark style
2955 @cindex style, rehearsal mark
2956 @cindex format, rehearsal mark
2957 @cindex mark, rehearsal, style
2958 @cindex mark, rehearsal, format
2959 @cindex rehearsal mark, manual
2960 @cindex mark, rehearsal, manual
2961 @cindex custom rehearsal mark
2962 @cindex manual rehearsal mark
2964 The style is defined by the property @code{markFormatter}. It is
2965 a function taking the current mark (an integer) and the current
2966 context as argument. It should return a markup object. In the
2967 following example, @code{markFormatter} is set to a pre-defined
2968 procedure. After a few measures, it is set to a procedure that
2969 produces a boxed number.
2971 @lilypond[quote,verbatim,relative=2]
2972 \set Score.markFormatter = #format-mark-numbers
2975 \set Score.markFormatter = #format-mark-box-numbers
2977 \set Score.markFormatter = #format-mark-circle-numbers
2979 \set Score.markFormatter = #format-mark-circle-letters
2983 The file @file{scm/translation-functions.scm} contains the
2984 definitions of @code{format-mark-numbers} (the default format),
2985 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2986 @code{format-mark-box-letters}. These can be used as inspiration
2987 for other formatting functions.
2989 You may use @code{format-mark-barnumbers},
2990 @code{format-mark-box-barnumbers}, and
2991 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2992 incremented numbers or letters.
2994 Other styles of rehearsal mark can be specified manually:
3001 Note that @code{Score.markFormatter} does not affect marks specified
3002 in this manner. However, it is possible to apply a @code{\markup} to the
3006 \mark \markup@{ \box A1 @}
3011 @cindex D.S. al Fine
3013 @cindex music glyphs
3014 @cindex glyphs, music
3016 @funindex \musicglyph
3017 @funindex musicglyph
3019 Music glyphs (such as the segno sign) may be printed inside a
3022 @lilypond[quote,verbatim,relative=1]
3023 c1 \mark \markup { \musicglyph #"scripts.segno" }
3024 c1 \mark \markup { \musicglyph #"scripts.coda" }
3025 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3030 See @ref{The Feta font}, for a list of symbols which may be
3031 printed with @code{\musicglyph}.
3033 For common tweaks to the positioning of rehearsal marks, see
3034 @ref{Formatting text}. For more precise control, see
3035 @code{break-alignable-interface} in @ref{Aligning objects}.
3040 @ref{The Feta font},
3041 @ref{Formatting text},
3042 @ref{Aligning objects}.
3045 @file{scm/translation-functions.scm} contains
3046 the definitions of @code{format-mark-numbers} and
3047 @code{format-mark-letters}. They can be used as inspiration for
3048 other formatting functions.
3053 Internals Reference:
3054 @rinternals{MarkEvent},
3055 @rinternals{Mark_engraver},
3056 @rinternals{RehearsalMark}.
3059 @node Special rhythmic concerns
3060 @subsection Special rhythmic concerns
3065 * Aligning to cadenzas::
3066 * Time administration::
3070 @unnumberedsubsubsec Grace notes
3074 @cindex appoggiatura
3075 @cindex acciaccatura
3078 @funindex \slashedGrace
3079 @funindex \acciaccatura
3080 @funindex \appoggiatura
3082 Grace notes are musical ornaments, printed in a smaller font, that take
3083 up no additional logical time in a measure.
3085 @lilypond[quote,relative=2,verbatim]
3087 \grace { b16[ c16] } a2)
3090 There are three other types of grace notes possible; the
3091 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3092 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3093 fixed fraction of the main note it is attached to and prints without the
3094 slash. It is also possible to write a grace note with a slashed stem,
3095 like the @emph{acciaccatura} but without the slur, so as to place it
3096 between notes that are slurred themselves, using the
3097 @code{\slashedGrace} function.
3099 @lilypond[quote,relative=2,verbatim]
3102 \acciaccatura { g16[ f] } e2
3103 \slashedGrace a,8 g4
3104 \slashedGrace b16 a4(
3105 \slashedGrace b8 a2)
3108 The placement of grace notes is synchronized between different staves.
3109 In the following example, there are two sixteenth grace notes for every
3112 @lilypond[quote,relative=2,verbatim]
3114 \new Staff { e2 \grace { c16[ d e f] } e2 }
3115 \new Staff { c2 \grace { g8[ b] } c2 }
3119 @cindex grace notes, following
3121 @funindex \afterGrace
3122 @funindex afterGrace
3124 If you want to end a note with a grace, use the @code{\afterGrace}
3125 command. It takes two arguments: the main note, and the grace
3126 notes following the main note.
3128 @lilypond[quote,verbatim,relative=2]
3129 c1 \afterGrace d1 { c16[ d] } c1
3132 This will put the grace notes after a space lasting 3/4 of the
3133 length of the main note. The default fraction 3/4 can be changed by
3134 setting @code{afterGraceFraction}. The following example shows
3135 the results from setting the space at the default, at 15/16, and
3136 finally at 1/2 of the main note.
3138 @lilypond[quote,verbatim,relative=2]
3141 c1 \afterGrace d1 { c16[ d] } c1
3144 #(define afterGraceFraction (cons 15 16))
3145 c1 \afterGrace d1 { c16[ d] } c1
3148 #(define afterGraceFraction (cons 1 2))
3149 c1 \afterGrace d1 { c16[ d] } c1
3154 The space between the main note and the grace note may also be
3155 specified using spacers. The following example places the grace
3156 note after a space lasting 7/8 of the main note.
3158 @lilypond[quote,verbatim,relative=2]
3162 { s2 s4. \grace { c16[ d] } }
3168 @cindex tweaking grace notes
3169 @cindex grace notes, tweaking
3170 @cindex grace notes, changing layout settings
3172 A @code{\grace} music expression will introduce special
3173 typesetting settings, for example, to produce smaller type, and
3174 set directions. Hence, when introducing layout tweaks to
3175 override the special settings, they should be placed inside
3176 the grace expression. The overrides should also be reverted
3177 inside the grace expression. Here, the grace note's default stem
3178 direction is overridden and then reverted.
3180 @lilypond[quote,verbatim,relative=2]
3192 @cindex stem, with slash
3197 @lilypondfile[verbatim,quote,texidoc,doctitle]
3198 {using-grace-note-slashes-with-normal-heads.ly}
3200 @lilypondfile[verbatim,quote,texidoc,doctitle]
3201 {tweaking-grace-layout-within-music.ly}
3203 @lilypondfile[verbatim,quote,texidoc,doctitle]
3204 {redefining-grace-note-global-defaults.ly}
3206 @lilypondfile[verbatim,quote,texidoc,doctitle]
3207 {positioning-grace-notes-with-floating-space.ly}
3212 @rglos{grace notes},
3213 @rglos{acciaccatura},
3214 @rglos{appoggiatura}.
3220 @file{ly/grace-init.ly}.
3225 Internals Reference:
3226 @rinternals{GraceMusic},
3227 @rinternals{Grace_beam_engraver},
3228 @rinternals{Grace_engraver},
3229 @rinternals{Grace_spacing_engraver}.
3234 @cindex acciaccatura, multi-note
3235 @cindex multi-note acciaccatura
3236 @cindex grace-note synchronization
3238 A multi-note beamed @i{acciaccatura} is printed without a slash,
3239 and looks exactly the same as a multi-note beamed
3242 @c TODO Add link to LSR snippet to add slash when available
3244 Grace note synchronization can also lead to surprises. Staff
3245 notation, such as key signatures, bar lines, etc., are also
3246 synchronized. Take care when you mix staves with grace notes and
3247 staves without, for example,
3249 @lilypond[quote,relative=2,verbatim]
3251 \new Staff { e4 \bar "|:" \grace c16 d2. }
3252 \new Staff { c4 \bar "|:" d2. }
3257 This can be remedied by inserting grace skips of the corresponding
3258 durations in the other staves. For the above example
3260 @lilypond[quote,relative=2,verbatim]
3262 \new Staff { e4 \bar "|:" \grace c16 d2. }
3263 \new Staff { c4 \bar "|:" \grace s16 d2. }
3267 The use of grace notes within voice contexts confuses the way the voice
3268 is typeset. This can be overcome by inserting a rest or note between the
3269 voice command and the grace note.
3271 @lilypond[quote,verbatim]
3273 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3280 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3281 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3286 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3287 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3294 Grace sections should only be used within sequential music expressions.
3295 Nesting or juxtaposing grace sections is not supported, and might
3296 produce crashes or other errors.
3298 Each grace note in MIDI output has a length of 1/4 of its actual
3299 duration. If the combined length of the grace notes is greater than the
3300 length of the preceding note a @qq{@code{Going back in MIDI time}}
3301 error will be generated. Either make the grace notes shorter in
3302 duration, for example:
3305 \acciaccatura @{ c'8[ d' e' f' g'] @}
3311 \acciaccatura @{ c'16[ d' e' f' g'] @}
3314 Or explicitly change the musical duration:
3317 \acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
3320 See @ref{Scaling durations}.
3323 @node Aligning to cadenzas
3324 @unnumberedsubsubsec Aligning to cadenzas
3327 @cindex cadenza, aligning to
3328 @cindex aligning to cadenza
3330 In an orchestral context, cadenzas present a special problem: when
3331 constructing a score that includes a measured cadenza or other solo
3332 passage, all other instruments should skip just as many notes as the
3333 length of the cadenza, otherwise they will start too soon or too late.
3335 One solution to this problem is to use the functions
3336 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3337 functions take a defined piece of music as an argument and generate a
3338 multi-measure rest or @code{\skip} exactly as long as the piece.
3340 @lilypond[verbatim,quote]
3341 MyCadenza = \relative c' {
3352 $(mmrest-of-length MyCadenza)
3354 $(skip-of-length MyCadenza)
3369 @node Time administration
3370 @unnumberedsubsubsec Time administration
3372 @cindex time administration
3373 @cindex timing (within the score)
3374 @cindex music, unmetered
3375 @cindex unmetered music
3377 @funindex currentBarNumber
3378 @funindex measurePosition
3379 @funindex measureLength
3381 Time is administered by the @code{Timing_translator}, which by
3382 default is to be found in the @code{Score} context. An alias,
3383 @code{Timing}, is added to the context in which the
3384 @code{Timing_translator} is placed. To ensure that the
3385 @code{Timing} alias is available, you may need to explicitly
3386 instantiate the containing context (such as @code{Voice} or
3389 The following properties of @code{Timing} are used
3390 to keep track of timing within the score.
3393 @cindex measure number
3396 @item currentBarNumber
3397 The current measure number. For an example showing the
3398 use of this property see @ref{Bar numbers}.
3401 The length of the measures in the current time signature. For a
3402 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3403 determines when bar lines are inserted and how automatic beams
3404 should be generated.
3406 @item measurePosition
3407 The point within the measure where we currently are. This
3408 quantity is reset by subtracting @code{measureLength} whenever
3409 @code{measureLength} is reached or exceeded. When that happens,
3410 @code{currentBarNumber} is incremented.
3413 If set to true, the above variables are updated for every time
3414 step. When set to false, the engraver stays in the current
3415 measure indefinitely.
3419 Timing can be changed by setting any of these variables
3420 explicitly. In the next example, the default 4/4 time
3421 signature is printed, but @code{measureLength} is set to 5/4.
3422 At 4/8 through the third measure, the @code{measurePosition} is
3423 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3424 The next bar line then falls at 9/8 rather than 5/4.
3426 @lilypond[quote,verbatim]
3427 \new Voice \relative c' {
3428 \set Timing.measureLength = #(ly:make-moment 5 4)
3432 \set Timing.measurePosition = #(ly:make-moment 5 8)
3439 As the example illustrates, @code{ly:make-moment n m} constructs a
3440 duration of n/m of a whole note. For example,
3441 @code{ly:make-moment 1 8} is an eighth note duration and
3442 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3449 @ref{Unmetered music}.
3454 Internals Reference:
3455 @rinternals{Timing_translator},