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}
157 @rglos{Duration names notes and rests}.
160 @ref{Automatic beams},
163 @ref{Writing rhythms},
166 @ref{Ancient notation},
167 @ref{Proportional notation}.
174 @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,quote,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,quote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
278 @rlearning{Tweaking methods}.
281 @ref{Time administration},
282 @ref{Scaling durations},
283 @ref{The tweak command},
284 @ref{Polymetric notation}.
290 @rinternals{TupletBracket},
291 @rinternals{TupletNumber},
292 @rinternals{TimeScaledMusic}.
294 @cindex grace notes within tuplet brackets
297 Grace notes may be placed within tuplet brackets, @emph{except}
298 when a staff begins with a grace note followed by a tuplet. In this
299 particular case, the grace note must be placed before the @code{\times}
300 command to avoid errors.
302 @cindex tempo marks within tuplet brackets
304 When using a tuplet at the beginning of a piece with a @code{\tempo}
305 mark, the music must be explicitly entered in a @code{\new Voice}
306 block, as discussed in @rlearning{Voices contain music}.
309 @node Scaling durations
310 @unnumberedsubsubsec Scaling durations
312 @cindex scaling durations
313 @cindex durations, scaling
315 The duration of single notes, rests or chords may be multiplied by a
316 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
317 is 1) to the duration. This will not affect the appearance of the
318 notes or rests produced, but the altered duration will be used in
319 calculating the position within the measure and setting the duration
320 in the MIDI output. Multiplying factors may be combined like
321 @code{*L*M/N}. Factors are part of the duration: if a duration is
322 not specified for subsequent notes, the default duration taken from
323 the preceding note will include any scaling factor.
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
334 % Double the duration of chord
336 % Duration of quarter, appears like sixteenth
340 The duration of spacer rests 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}. Here is an example showing how music
355 can be compressed and expanded:
357 @lilypond[quote,relative=2,verbatim]
361 % Scale music by *2/3
362 \scaleDurations 2/3 {
366 \scaleDurations 2/1 {
371 One application of this command is in polymetric
372 notation, see @ref{Polymetric notation}.
377 @ref{Invisible rests},
378 @ref{Polymetric notation}.
385 @unnumberedsubsubsec Ties
391 A tie connects two adjacent note heads of the same pitch. The tie
392 in effect extends the duration of a note.
394 @warning{Ties should not be confused with @emph{slurs}, which
395 indicate articulation, or @emph{phrasing slurs}, which indicate
396 musical phrasing. A tie is just a way of extending a note
397 duration, similar to the augmentation dot.}
399 A tie is entered using the tilde symbol (@code{~}).
401 @lilypond[quote,verbatim,relative=2]
405 Ties are used either when the note crosses a bar line, or when
406 dots cannot be used to denote the rhythm. Ties should also be
407 used when note values cross larger subdivisions of the measure:
409 @lilypond[verbatim,quote]
416 If you need to tie many notes across bar lines, it may be
417 easier to use automatic note splitting, see @ref{Automatic note
418 splitting}. This mechanism automatically splits long notes, and
419 ties them across bar lines.
421 @cindex ties and chords
422 @cindex chords and ties
424 When a tie is applied to a chord, all note heads whose pitches
425 match are connected. When no note heads match, no ties will be
426 created. Chords may be partially tied by placing the tie inside
429 @lilypond[quote,verbatim,relative=1]
431 <c~ e g~ b> <c e g b>
434 @cindex repeating ties
435 @cindex ties, repeating
436 @cindex volta brackets and ties
437 @cindex ties and volta brackets
442 When a second alternative of a repeat starts with a tied note, you
443 have to specify the repeated tie as follows:
445 @lilypond[quote,relative=2,verbatim]
446 \repeat volta 2 { c g <c e>2 ~ }
448 % First alternative: following note is tied normally
450 % Second alternative: following note has a repeated tie
451 { <c e>2\repeatTie d4 c } }
454 @cindex laissez vibrer
455 @cindex ties, laissez vibrer
457 @funindex \laissezVibrer
458 @funindex laissezVibrer
460 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
461 notes must not be damped at the end. It is used in notation for
462 piano, harp and other string and percussion instruments. They can
463 be entered as follows:
465 @lilypond[quote,verbatim,relative=1]
466 <c f g>1\laissezVibrer
469 @cindex ties, placement
475 @funindex \tieNeutral
478 Ties may be manually placed above or below the staff; see
479 @ref{Direction and placement}.
481 @cindex ties, appearance
494 Ties may be made dashed, dotted, or a combination of solid and
497 @lilypond[quote, verbatim, relative=1]
510 Custom dash patterns can be specified:
512 @lilypond[quote, verbatim, relative=1]
513 \tieDashPattern #0.3 #0.75
515 \tieDashPattern #0.7 #1.5
521 Dash pattern definitions for ties have the same structure as dash
522 pattern definitions for slurs. For more information about complex dash
523 patterns, see @ref{Slurs}.
525 Override @var{whiteout} and @var{layer} layout properties for ties that
526 collide with other objects in a staff.
528 @lilypond[verbatim,quote,ragged-right,relative=2]
529 \override Tie #'layer = #-2
530 \override Staff.TimeSignature #'layer = #-1
531 \override Staff.KeySignature #'layer = #-1
532 \override Staff.TimeSignature #'whiteout = ##t
533 \override Staff.KeySignature #'whiteout = ##t
546 @code{\tieDashPattern},
547 @code{\tieHalfDashed},
548 @code{\tieHalfSolid},
554 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
555 {using-ties-with-arpeggios.ly}
557 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
558 {engraving-ties-manually.ly}
563 @rglos{laissez vibrer}.
567 @ref{Automatic note splitting}.
570 @rlsr{Expressive marks},
574 @rinternals{LaissezVibrerTie},
575 @rinternals{LaissezVibrerTieColumn},
576 @rinternals{TieColumn},
580 Switching staves when a tie is active will not produce a slanted tie.
582 Changing clefs or ottavations during a tie is not really well-defined.
583 In these cases, a slur may be preferable.
587 @subsection Writing rests
589 Rests are entered as part of the music in music expressions.
594 * Full measure rests::
598 @unnumberedsubsubsec Rests
601 @cindex rest, entering durations
616 Rests are entered like notes with the note name @code{r}.
617 Durations longer than a whole rest use the following predefined
620 @c \time 16/1 is used to avoid spurious bar lines
621 @c and long tracts of empty measures
622 @lilypond[quote,verbatim,relative=2]
624 % These two lines are just to prettify this example
626 \override Staff.TimeSignature #'stencil = ##f
627 % Print a maxima rest, equal to four breves
629 % Print a longa rest, equal to two breves
633 r1 r2 r4 r8 r16 r32 r64 r128
637 @cindex rest, multi-measure
638 @cindex rest, whole-measure
640 Whole measure rests, centered in the middle of the measure, must be
641 entered as multi-measure rests. They can be used for a single
642 measure as well as many measures and are discussed in
643 @ref{Full measure rests}.
645 @cindex rest, specifying vertical position
647 To explicitly specify a rest's vertical position, write a note
648 followed by @code{\rest}. A rest of the duration of the note will
649 be placed at the staff position where the note would appear. This
650 allows for precise manual formatting of polyphonic music, since the
651 automatic rest collision formatter will not move these rests.
653 @lilypond[quote,verbatim,relative=2]
659 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
669 @ref{Full measure rests}.
678 @c Deliberately duplicated in Durations and Rests. -gp
679 There is no fundamental limit to rest durations (both in terms of
680 longest and shortest), but the number of glyphs is limited: there
681 are rests from 128th to maxima (8 x whole).
684 @node Invisible rests
685 @unnumberedsubsubsec Invisible rests
688 @cindex invisible rest
689 @cindex rest, invisible
697 An invisible rest (also called a @q{spacer rest}) can be entered
698 like a note with the note name@tie{}@code{s}:
700 @lilypond[verbatim,quote,relative=2]
707 Spacer rests are available only in note mode and chord mode. In
708 other situations, for example, when entering lyrics, the
709 command @code{\skip} is used to skip a musical moment.
710 @code{\skip} requires an explicit duration, but this is ignored if
711 the lyrics derive their durations from the notes in an associated
712 melody through @code{\addlyrics} or @code{\lyricsto}.
714 @lilypond[quote,verbatim,relative=2]
727 Because @code{\skip} is a command, it does not affect the default
728 durations of following notes, unlike@tie{}@code{s}.
730 @lilypond[quote,verbatim,relative=2]
733 \repeat unfold 8 { a4 }
743 A spacer rest implicitly causes @code{Staff} and @code{Voice}
744 contexts to be created if none exist, just like notes and rests
747 @lilypond[quote,verbatim,relative=2]
751 @code{\skip} simply skips musical time; it creates no output of
754 @lilypond[quote,verbatim,relative=2]
755 % This is valid input, but does nothing
756 \skip 1 \skip1 \skip 1
761 @rlearning{Visibility and color of objects}.
765 @ref{Visibility of objects}.
771 @rinternals{SkipMusic}.
774 @node Full measure rests
775 @unnumberedsubsubsec Full measure rests
777 @cindex multi-measure rests
778 @cindex full-measure rests
779 @cindex rest, multi-measure
780 @cindex rest, full-measure
781 @cindex whole rest for a full measure
782 @cindex rest, whole for a full measure
786 Rests for one or more full measures are entered like notes with
787 the note name uppercase @code{R}:
789 @lilypond[quote,verbatim,relative=2]
790 % Rest measures contracted to single measure
791 \compressFullBarRests
798 The duration of full-measure rests is identical to the duration
799 notation used for notes. The duration in a multi-measure rest must
800 always be an integral number of measure-lengths, so augmentation dots
801 or fractions must often be used:
803 @lilypond[quote,verbatim,relative=2]
804 \compressFullBarRests
810 R1*13/8 | R1*13/8*12 |
815 A full-measure rest is printed as either a whole or breve rest,
816 centered in the measure, depending on the time signature.
818 @lilypond[quote,verbatim,relative=2]
827 @cindex multi-measure rest, expanding
828 @cindex multi-measure rest, contracting
830 @funindex \expandFullBarRests
831 @funindex expandFullBarRests
832 @funindex \compressFullBarRests
833 @funindex compressFullBarRests
835 By default a multi-measure rest is expanded in the printed score to
836 show all the rest measures explicitly. Alternatively, a multi-measure
837 rest can be shown as a single measure containing a multi-measure rest
838 symbol, with the number of measures of rest printed above the measure:
840 @lilypond[quote,verbatim,relative=2]
842 \time 3/4 r2. | R2.*2 |
845 % Rest measures contracted to single measure
846 \compressFullBarRests
848 % Rest measures expanded
855 @cindex text on multi-measure rest
856 @cindex multi-measure rest, attaching text
857 @cindex script on multi-measure rest
858 @cindex multi-measure rest, script
859 @cindex fermata on multi-measure rest
860 @cindex multi-measure rest, attaching fermata
861 @cindex markup on multi-measure rest
862 @cindex multi-measure rest with markup
864 @funindex \fermataMarkup
865 @funindex fermataMarkup
866 @funindex MultiMeasureRestText
868 Markups can be added to multi-measure rests.
869 The predefined command @code{\fermataMarkup}
870 is provided for adding fermatas.
872 @lilypond[quote,verbatim,relative=2]
873 \compressFullBarRests
875 R2.*10^\markup { \italic "ad lib." }
879 @warning{Markups attached to a multi-measure rest are objects of type
880 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
881 be directed to the correct object, or they will be ignored. See the
884 @lilypond[quote,verbatim,relative=2]
885 % This fails, as the wrong object name is specified
886 \override TextScript #'padding = #5
888 % This is the correct object name to be specified
889 \override MultiMeasureRestText #'padding = #5
893 When a multi-measure rest immediately follows a @code{\partial}
894 setting, resulting bar-check warnings may not be displayed.
897 @funindex \textLengthOn
898 @funindex textLengthOn
899 @funindex \textLengthOff
900 @funindex textLengthOff
901 @funindex \fermataMarkup
902 @funindex fermataMarkup
903 @funindex \compressFullBarRests
904 @funindex compressFullBarRests
905 @funindex \expandFullBarRests
906 @funindex expandFullBarRests
909 @code{\textLengthOn},
910 @code{\textLengthOff},
911 @code{\fermataMarkup},
912 @code{\compressFullBarRests},
913 @code{\expandFullBarRests}.
921 @cindex kirchenpausen
923 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
924 {changing-form-of-multi-measure-rests.ly}
926 @cindex multi-measure rests, positioning
927 @cindex positioning multi-measure rests
929 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
930 {positioning-multi-measure-rests.ly}
932 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
933 {multi-measure-rest-markup.ly}
937 @rglos{multi-measure rest}.
942 @ref{Formatting text},
949 @rinternals{MultiMeasureRest},
950 @rinternals{MultiMeasureRestNumber},
951 @rinternals{MultiMeasureRestText}.
953 @cindex fingerings and multi-measure rests
954 @cindex multi-measure rests and fingerings
957 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
958 in the fingering numeral colliding with the bar counter
961 @cindex condensing rests
962 @cindex rest, condensing ordinary
964 There is no way to automatically condense multiple ordinary rests
965 into a single multi-measure rest.
967 @cindex rest, collisions of
969 Multi-measure rests do not take part in rest collisions.
972 @node Displaying rhythms
973 @subsection Displaying rhythms
980 * Polymetric notation::
981 * Automatic note splitting::
982 * Showing melody rhythms::
986 @unnumberedsubsubsec Time signature
988 @cindex time signature
994 The time signature is set as follows:
996 @lilypond[quote,verbatim,relative=2]
1001 @cindex time signature, visibility of
1003 Time signatures are printed at the beginning of a piece
1004 and whenever the time signature changes. If a change takes place
1005 at the end of a line a warning time signature sign is printed
1006 there. This default behavior may be changed, see
1007 @ref{Visibility of objects}.
1009 @lilypond[quote,verbatim,relative=2]
1019 @cindex time signature style
1022 @funindex \numericTimeSignature
1023 @funindex numericTimeSignature
1024 @funindex \defaultTimeSignature
1025 @funindex defaultTimeSignature
1027 The time signature symbol that is used in 2/2 and 4/4 time can be
1028 changed to a numeric style:
1030 @lilypond[quote,verbatim,relative=2]
1034 % Change to numeric style
1035 \numericTimeSignature
1038 % Revert to default style
1039 \defaultTimeSignature
1045 Mensural time signatures are covered in
1046 @ref{Mensural time signatures}.
1048 @cindex time signature default settings
1049 @cindex autobeaming properties for time signatures
1050 @cindex beaming, time signature default properties
1051 @funindex \overrideTimeSignatureSettings
1053 In addition to setting the printed time signature, the @code{\time}
1054 command also sets the values of the time-signature-based properties
1055 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
1056 The predefined default values for these properties can be found in
1057 @file{scm/time-signature-settings.scm}.
1059 The default value of @code{beatStructure} can be overridden in the
1060 @code{\time} command itself by supplying it as the optional first
1063 @lilypond[quote,verbatim]
1068 \repeat unfold 7 { c8 } |
1070 \repeat unfold 7 { c8 } |
1076 Alternatively, the default values of all these time-signature-based
1077 variables, including @code{baseMoment} and @code{beamExceptions},
1078 can be set together. The values can be set independently for several
1079 different time signatures. The new values take effect when a
1080 subsequent @code{\time} command with the same value of the time
1081 signature is executed:
1083 @lilypond[quote,verbatim]
1087 \overrideTimeSignatureSettings
1088 4/4 % timeSignatureFraction
1089 1/4 % baseMomentFraction
1090 #'(3 1) % beatStructure
1091 #'() % beamExceptions
1093 \repeat unfold 8 { c8 } |
1099 @code{\overrideTimeSignatureSettings} takes four arguments:
1104 @code{@var{timeSignatureFraction}}, a fraction describing the
1105 time signature to which these values apply.
1108 @code{@var{baseMomentFraction}}, a fraction containing the numerator
1109 and denominator of the basic timing unit for the time signature.
1112 @code{@var{beatStructure}}, a Scheme list indicating the structure
1113 of the beats in the measure, in units of the base moment.
1116 @code{@var{beamExceptions}}, an alist containing any beaming rules
1117 for the time signature that go beyond ending at every beat, as
1118 described in @ref{Setting automatic beam behavior}.
1121 The context containing @code{\overrideTimeSignatureSettings} must
1122 be instantiated before the @code{\overrideTimeSignatureSettings}
1123 call is executed. That means it must either be explicitly
1124 instantiated or there must be music in the context before the
1125 @code{\overrideTimeSignatureSettings} call:
1127 @lilypond[quote,verbatim]
1130 % This call will fail because the context isn't yet instantiated
1131 \overrideTimeSignatureSettings
1132 4/4 % timeSignatureFraction
1133 1/4 % baseMomentFraction
1134 #'(3 1) % beatStructure
1135 #'() % beamExceptions
1137 c8^\markup {"Beamed (2 2)"}
1138 \repeat unfold 7 { c8 } |
1139 % This call will succeed
1140 \overrideTimeSignatureSettings
1141 4/4 % timeSignatureFraction
1142 1/4 % baseMomentFraction
1143 #'(3 1) % beatStructure
1144 #'() % beamExceptions
1146 c8^\markup {"Beamed (3 1)"}
1147 \repeat unfold 7 { c8 } |
1153 @cindex time signature properties, restoring default values
1154 @cindex restoring default properties for time signatures
1155 @funindex \revertTimeSignatureSettings
1157 Changed values of default time signature properties can be restored
1158 to the original values:
1160 @lilypond[quote,verbatim]
1163 \repeat unfold 8 { c8 } |
1164 \overrideTimeSignatureSettings
1165 4/4 % timeSignatureFraction
1166 1/4 % baseMomentFraction
1167 #'(3 1) % beatStructure
1168 #'() % beamExceptions
1170 \repeat unfold 8 { c8 } |
1171 \revertTimeSignatureSettings 4/4
1173 \repeat unfold 8 { c8 } |
1178 Different values of default time signature properties can be established
1179 for different staves by moving the @code{Timing_translator} and the
1180 @code{Default_bar_line_engraver} from the @code{Score} context to the
1181 @code{Staff} context.
1183 @lilypond[quote, verbatim]
1187 \overrideTimeSignatureSettings
1188 4/4 % timeSignatureFraction
1189 1/4 % baseMomentFraction
1190 #'(3 1) % beatStructure
1191 #'() % beamExceptions
1193 \repeat unfold 8 {c''8}
1196 \overrideTimeSignatureSettings
1197 4/4 % timeSignatureFraction
1198 1/4 % baseMomentFraction
1199 #'(1 3) % beatStructure
1200 #'() % beamExceptions
1202 \repeat unfold 8 {c''8}
1208 \remove "Timing_translator"
1209 \remove "Default_bar_line_engraver"
1213 \consists "Timing_translator"
1214 \consists "Default_bar_line_engraver"
1220 A further method of changing these time-signature-related variables,
1221 which avoids reprinting the time signature at the time of the change,
1222 is shown in @ref{Setting automatic beam behavior}.
1225 @code{\numericTimeSignature},
1226 @code{\defaultTimeSignature}.
1231 @lilypondfile[verbatim,quote,texidoc,doctitle]
1232 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1236 @rglos{time signature}
1239 @ref{Mensural time signatures},
1240 @ref{Setting automatic beam behavior},
1241 @ref{Time administration}.
1244 @file{scm/time-signature-settings.scm}.
1249 Internals Reference:
1250 @rinternals{TimeSignature},
1251 @rinternals{Timing_translator}.
1254 @node Metronome marks
1255 @unnumberedsubsubsec Metronome marks
1258 @cindex beats per minute
1259 @cindex metronome mark
1260 @cindex metronome marking with text
1265 A basic metronome mark is simple to write:
1267 @lilypond[verbatim,quote,relative=1]
1273 Metronome marks may also be printed as a range of two numbers:
1275 @lilypond[verbatim,quote,relative=1]
1281 Tempo indications with text can be used instead:
1283 @lilypond[verbatim,quote,relative=2]
1289 Combining a metronome mark and text will automatically place the
1290 metronome mark within parentheses:
1292 @lilypond[verbatim,quote,relative=2]
1293 \tempo "Allegro" 4 = 160
1298 In general, the text can be any markup object:
1300 @lilypond[verbatim,quote,relative=2]
1301 \tempo \markup { \italic Faster } 4 = 132
1302 a8-. r8 b-. r gis-. r a-. r
1305 A parenthesized metronome mark with no textual indication may be
1306 written by including an empty string in the input:
1308 @lilypond[verbatim,quote,relative=2]
1316 @lilypondfile[verbatim,quote,texidoc,doctitle]
1317 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1319 @c perhaps also an example of how to move it horizontally?
1321 @lilypondfile[verbatim,quote,texidoc,doctitle]
1322 {changing-the-tempo-without-a-metronome-mark.ly}
1324 @lilypondfile[verbatim,quote,texidoc,doctitle]
1325 {creating-metronome-marks-in-markup-mode.ly}
1327 For more details, see @ref{Formatting text}.
1332 @rglos{metronomic indication},
1333 @rglos{tempo indication},
1334 @rglos{metronome mark}.
1337 @ref{Formatting text},
1341 @rlsr{Staff notation}.
1343 Internals Reference:
1344 @rinternals{MetronomeMark}.
1348 @unnumberedsubsubsec Upbeats
1352 @cindex partial measure
1353 @cindex measure, partial
1354 @cindex measure, pickup
1355 @cindex pickup measure
1357 @funindex measurePosition
1361 Partial or pick-up measures, such as an @emph{anacrusis} or an
1362 @emph{upbeat}, are entered using the @code{\partial} command,
1365 \partial @var{duration}
1369 where @code{@var{duration}} is the @emph{remaining} length of the
1370 partial measure @emph{before} the start of the next full measure.
1372 @lilypond[quote,verbatim,relative=1]
1378 The @var{duration} can be any value less than a full measure:
1380 @lilypond[quote,verbatim,relative=1]
1383 r4 e8 | a4 c8 b c4 |
1386 The @code{\partial @var{duration}} can also be written as;
1389 \set Timing.measurePosition -@var{duration}
1392 So @code{\partial 8} becomes:
1394 @lilypond[quote,verbatim,relative=1]
1396 \set Timing.measurePosition = #(ly:make-moment -1 8)
1400 The property @code{measurePosition} contains a rational number
1401 indicating how much of the measure has passed at this point. Note
1402 that this is set to a negative number by the @code{\partial} command:
1403 i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
1404 meaning @qq{there is a quarter note left in the measure.}
1417 @rinternals{Timing_translator}.
1420 The @code{\partial} command should be used only at the beginning of a
1421 piece. If you use it after the beginning, warnings or problems may
1422 occur, so use @code{\set Timing.measurePosition} instead.
1424 @lilypond[quote,verbatim,relative=1]
1427 e8 | a4 c8 b[ c b] |
1428 \set Timing.measurePosition = #(ly:make-moment -1 4)
1429 r8 e,8 | a4 c8 b[ c b] |
1433 @node Unmetered music
1434 @unnumberedsubsubsec Unmetered music
1437 @cindex cadenza, beams
1438 @cindex cadenza, accidentals
1439 @cindex cadenza, bar lines
1440 @cindex cadenza, bar numbers
1441 @cindex unmetered music
1442 @cindex unmetered music, beams
1443 @cindex unmetered music, accidentals
1444 @cindex unmetered music, bar lines
1445 @cindex unmetered music, bar numbers
1446 @cindex accidentals, cadenzas
1447 @cindex accidentals, unmetered music
1448 @cindex bar lines, cadenzas
1449 @cindex bar lines, unmetered music
1450 @cindex bar numbers, cadenzas
1451 @cindex bar numbers, unmetered music
1452 @cindex beams, cadenzas
1453 @cindex beams, unmetered music
1455 @funindex \cadenzaOn
1457 @funindex \cadenzaOff
1458 @funindex cadenzaOff
1460 In metered music bar lines are inserted and bar numbers are calculated
1461 automatically. In unmetered music (i.e. cadenzas), this is not
1462 desirable and can be @q{switched off} using the command
1463 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
1464 using @code{\cadenzaOff}.
1466 @lilypond[verbatim,relative=2,quote]
1469 c4 c d8[ d d] f4 g4.
1475 Bar numbering is resumed at the end of the cadenza.
1477 @lilypond[verbatim,relative=2,quote]
1478 % Show all bar numbers
1479 \override Score.BarNumber #'break-visibility = #all-visible
1482 c4 c d8[ d d] f4 g4.
1488 A new bar is never started within a cadenza, even if one or more
1489 @code{\bar} commands are inserted within it. Therefore, reminder
1490 accidentals will need to be added manually. See @ref{Accidentals}.
1492 @lilypond[verbatim,relative=2,quote]
1502 Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
1503 beaming in cadenzas must be entered manually. See @ref{Manual beams}.
1505 @lilypond[verbatim,relative=2,quote]
1506 \repeat unfold 8 { c8 }
1512 \repeat unfold 8 { c8 }
1515 These predefined commands affect all staves in the score, even when
1516 placed in just one @code{Voice} context. To change this, move the
1517 @code{Timing_translator} from the @code{Score} context to the
1518 @code{Staff} context. See @ref{Polymetric notation}.
1530 @ref{Visibility of objects},
1531 @ref{Polymetric notation},
1538 @cindex cadenza, line breaks
1539 @cindex cadenza, page breaks
1540 @cindex unmetered music, line breaks
1541 @cindex unmetered music, page breaks
1542 @cindex breaks in unmetered music
1543 @cindex line breaks, cadenzas
1544 @cindex page breaks, cadenzas
1545 @cindex line breaks, unmetered music
1546 @cindex page breaks, unmetered music
1549 Automatic line and page breaks are inserted only at bar lines, so
1550 @q{invisible} bar lines will need to be inserted manually in long
1551 stretches of unmetered music to permit breaking:
1557 Explicitly create a @code{Voice} context when starting a piece with
1558 @code{\cadenzaOn}, else unexpected errors may occur.
1564 c16[^"Solo Free Time" d e f] g2.
1572 @node Polymetric notation
1573 @unnumberedsubsubsec Polymetric notation
1575 @c This section necessarily uses \set
1576 @c This is acceptable -td
1578 @cindex double time signatures
1579 @cindex signatures, polymetric
1580 @cindex time signatures, polymetric
1581 @cindex time signatures, double
1582 @cindex polymetric signatures
1583 @cindex meter, polymetric
1585 @funindex timeSignatureFraction
1586 @funindex \scaleDurations
1587 @funindex scaleDurations
1591 Polymetric notation is supported explicitly or by manually modifying the
1592 visible time signature symbol and/or scaling note durations.
1594 @subsubsubheading Different time signatures with equal-length measures
1596 Set a common time signature for each staff, and set the
1597 @code{timeSignatureFraction} to the desired fraction. Then use the
1598 @code{\scaleDurations} function to scale the durations of the notes in
1599 each staff to the common time signature.
1601 @cindex beams, with polymetric meters
1602 @cindex polymetric meters, with beams
1604 In the following example, music with the time signatures of 3/4, 9/8 and
1605 10/8 are used in parallel. In the second staff, shown durations are
1606 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1607 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1608 may be necessary to insert beams manually, as the duration scaling will
1609 affect the autobeaming rules.
1611 @lilypond[quote,verbatim]
1620 \set Staff.timeSignatureFraction = 9/8
1622 \repeat unfold 6 { c8[ c c] }
1626 \set Staff.timeSignatureFraction = 10/8
1627 \scaleDurations 3/5 {
1628 \repeat unfold 2 { c8[ c c] }
1629 \repeat unfold 2 { c8[ c] } |
1630 c4. c \times 2/3 { c8[ c c] } c4
1636 @subsubsubheading Different time signatures with unequal-length measures
1638 Each staff can be given its own independent time signature by
1639 moving the @code{Timing_translator} and the
1640 @code{Default_bar_line_engraver} to the @code{Staff} context.
1642 @lilypond[quote,verbatim]
1646 \remove "Timing_translator"
1647 \remove "Default_bar_line_engraver"
1651 \consists "Timing_translator"
1652 \consists "Default_bar_line_engraver"
1656 % Now each staff has its own time signature.
1680 @funindex \compoundMeter
1681 @cindex compound time signatures
1682 @cindex time signature, compound
1684 @subsubsubheading Compound time signatures
1686 These are created using the @code{\compoundMeter} function. The syntax
1690 \compoundMeter #'@code{(list of lists)}
1693 The simplest construction is a single list, where the @emph{last} number
1694 indicates the bottom number of the time signature and those that come
1695 before it, the top numbers.
1697 @lilypond[quote,verbatim]
1699 \compoundMeter #'((2 2 2 8))
1700 \repeat unfold 6 c8 \repeat unfold 12 c16
1704 More complex meters can be constructed using additional lists. Also,
1705 automatic beaming settings will be adjusted depending on the values.
1707 @lilypond[quote,verbatim]
1709 \compoundMeter #'((1 4) (3 8))
1710 \repeat unfold 5 c8 \repeat unfold 10 c16
1714 \compoundMeter #'((1 2 3 8) (3 4))
1715 \repeat unfold 12 c8
1722 @rglos{polymetric time signature},
1726 @ref{Automatic beams},
1728 @ref{Time signature},
1729 @ref{Scaling durations}.
1734 Internals Reference:
1735 @rinternals{TimeSignature},
1736 @rinternals{Timing_translator},
1737 @rinternals{Default_bar_line_engraver},
1741 When using different time signatures in parallel, notes at the same
1742 moment will be placed at the same horizontal location. However, the bar
1743 lines in the different staves will cause the note spacing to be less
1744 regular in each of the individual staves than would be normal without
1745 the different time signatures.
1748 @node Automatic note splitting
1749 @unnumberedsubsubsec Automatic note splitting
1751 @cindex notes, splitting
1752 @cindex splitting notes
1753 @cindex rests, splitting
1754 @cindex splitting rests
1756 @funindex Note_heads_engraver
1757 @funindex Completion_heads_engraver
1758 @funindex Completion_rest_engraver
1760 Long notes which overrun bar lines can be converted automatically to
1761 tied notes. This is done by replacing the @code{Note_heads_engraver}
1762 with the @code{Completion_heads_engraver}. Similarly, long rests which
1763 overrun bar lines are split automatically by replacing the
1764 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1765 following example, notes and rests crossing the bar lines are split,
1766 notes are also tied.
1768 @lilypond[quote,verbatim,relative=1]
1770 \remove "Note_heads_engraver"
1771 \consists "Completion_heads_engraver"
1772 \remove "Rest_engraver"
1773 \consists "Completion_rest_engraver"
1776 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1779 These engravers split all running notes and rests at the bar line, and
1780 inserts ties for notes. One of its uses is to debug complex scores: if
1781 the measures are not entirely filled, then the ties show exactly how
1782 much each measure is off.
1789 @rlearning{Engravers explained},
1790 @rlearning{Adding and removing engravers}.
1795 Internals Reference:
1796 @rinternals{Note_heads_engraver},
1797 @rinternals{Completion_heads_engraver},
1798 @rinternals{Rest_engraver},
1799 @rinternals{Completion_rest_engraver},
1800 @rinternals{Forbid_line_break_engraver}.
1803 Not all durations (especially those containing tuplets) can be
1804 represented exactly with normal notes and dots, but the
1805 @code{Completion_heads_engraver} will not insert tuplets.
1807 The @code{Completion_heads_engraver} only affects notes; it does not
1811 @node Showing melody rhythms
1812 @unnumberedsubsubsec Showing melody rhythms
1814 @cindex melody rhythms, showing
1815 @cindex rhythms, showing melody
1817 Sometimes you might want to show only the rhythm of a melody. This
1818 can be done with the rhythmic staff. All pitches of notes on such a
1819 staff are squashed, and the staff itself has a single line
1821 @lilypond[quote,relative=1,verbatim]
1823 \new RhythmicStaff {
1824 \new Voice = "myRhythm" {
1832 \lyricsto "myRhythm" {
1840 @cindex guitar chord charts
1841 @cindex strumming rhythms, showing
1842 @cindex guitar strumming rhythms, showing
1844 @funindex Pitch_squash_engraver
1845 @funindex \improvisationOn
1846 @funindex improvisationOn
1847 @funindex \improvisationOff
1848 @funindex improvisationOff
1850 Guitar chord charts often show the strumming rhythms. This can
1851 be done with the @code{Pitch_squash_engraver} and
1852 @code{\improvisationOn}.
1855 @lilypond[quote,verbatim]
1863 \consists "Pitch_squash_engraver"
1876 @code{\improvisationOn},
1877 @code{\improvisationOff}.
1883 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1884 {guitar-strum-rhythms.ly}
1890 Internals Reference:
1891 @rinternals{RhythmicStaff},
1892 @rinternals{Pitch_squash_engraver}.
1900 * Setting automatic beam behavior::
1905 @node Automatic beams
1906 @unnumberedsubsubsec Automatic beams
1908 By default, beams are inserted automatically:
1910 @cindex beams, manual
1911 @cindex manual beams
1912 @cindex beams, customizing rules
1914 @funindex \autoBeamOn
1915 @funindex autoBeamOn
1916 @funindex \autoBeamOff
1917 @funindex autoBeamOff
1919 @lilypond[quote,verbatim,relative=2]
1921 \time 6/8 c8 c c c8. c16 c8
1924 If these automatic decisions are not satisfactory, beaming can be
1925 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1926 entered manually if beams are to be extended over rests.
1928 If automatic beaming is not required, it may be turned off with
1929 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1931 @lilypond[quote,relative=1,verbatim]
1932 c4 c8 c8. c16 c8. c16 c8
1939 @cindex melismata, with beams
1940 @cindex beams, with melismata
1942 @warning{If beams are used to indicate melismata in songs, then
1943 automatic beaming should be switched off with @code{\autoBeamOff}
1944 and the beams indicated manually. Using @code{@bs{}partcombine} with
1945 @code{@bs{}autoBeamOff} can produce unintended results. See the
1946 snippets for more information.}
1948 Beaming patterns that differ from the automatic defaults can be
1949 created; see @ref{Setting automatic beam behavior}.
1952 @code{\autoBeamOff},
1956 @cindex beams, line breaks
1957 @cindex line breaks, beams
1958 @cindex beams, with knee gap
1959 @cindex knee gap, with beams
1963 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1964 {beams-across-line-breaks.ly}
1966 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1967 {changing-beam-knee-gap.ly}
1969 @cindex beams, \partcombine with \autoBeamOff
1970 @cindex voices, \partcombine with \autoBeamOff
1972 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1973 {partcombine-and-autobeamoff.ly}
1978 @ref{Setting automatic beam behavior}.
1981 @file{scm/auto-beam.scm}.
1986 Internals Reference:
1987 @rinternals{Auto_beam_engraver},
1988 @rinternals{Beam_engraver},
1990 @rinternals{BeamEvent},
1991 @rinternals{BeamForbidEvent},
1992 @rinternals{beam-interface},
1993 @rinternals{unbreakable-spanner-interface}.
1996 The properties of a beam are determined at the @emph{start} of its
1997 construction and any additional beam-property changes that occur before
1998 the beam has been completed will not take effect until the @emph{next},
2002 @node Setting automatic beam behavior
2003 @unnumberedsubsubsec Setting automatic beam behavior
2005 @cindex beams, with lyrics
2006 @cindex lyrics, with beams
2008 @funindex autoBeaming
2009 @funindex baseMoment
2010 @funindex beamExceptions
2011 @funindex beatStructure
2012 @funindex measureLength
2018 When automatic beaming is enabled, the placement of automatic beams
2019 is determined by three context properties:
2020 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2021 The default values of these variables may be overridden as described
2022 below, or alternatively the default values themselves may be changed
2023 as explained in @ref{Time signature}.
2025 If a @code{beamExceptions} rule is defined for the time signature in
2026 force, that rule is used to determine the beam placement. If no
2027 @code{beamExceptions} rule is defined for the time signature in force,
2028 the beam placement is determined by the settings of @code{baseMoment}
2029 and @code{beatStructure}.
2031 By default, @code{beamExceptions} rules are defined for most common
2032 time signatures, so the @code{beamException} rules must be disabled
2033 if automatic beaming is to be based on @code{baseMoment} and
2034 @code{beatStructure}. The @code{beamExceptions} rules are disabled
2038 \set Timing.beamExceptions = #'()
2042 @subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
2044 In most instances, automatic beams will end at the end of a beat.
2045 The ending points for beats are determined by the context properties
2046 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
2047 is a scheme list that defines the length of each beat in the measure
2048 in units of @code{baseMoment}. By default, @code{baseMoment} is
2049 one over the denominator of the time signature. By default,
2050 each unit of length @code{baseMoment} is a single beat.
2052 @lilypond[quote,relative=2,verbatim]
2054 c16^"default" c c c c |
2055 \set Timing.beatStructure = #'(2 3)
2056 c16^"(2+3)" c c c c |
2057 \set Timing.beatStructure = #'(3 2)
2058 c16^"(3+2)" c c c c |
2061 If a common time signature is being used, @code{beamExceptions}
2062 @emph{must} be disabled to enable @code{beatStructure} to work.
2063 The @code{\set Timing.beamExceptions = #'()} command can always
2064 be included if beaming is being determined by @code{beatStructure}.
2066 @lilypond[quote,relative=2,verbatim]
2068 a8^"default" a a a a a a a
2070 \set Timing.baseMoment = #(ly:make-moment 1 4)
2071 \set Timing.beatStructure = #'(1 1 1 1)
2072 a8^"no change" a a a a a a a
2074 \set Timing.beamExceptions = #'()
2075 \set Timing.baseMoment = #(ly:make-moment 1 4)
2076 \set Timing.beatStructure = #'(1 1 1 1)
2077 a8^"changed" a a a a a a a
2080 Beam setting changes can be limited to specific contexts. If no
2081 setting is included in a lower-level context, the setting of the
2082 enclosing context will apply.
2084 @lilypond[quote, verbatim,relative=1]
2087 \set Staff.beatStructure = #'(2 3 2)
2097 \set Voice.beatStructure = #'(1 3 3)
2105 When multiple voices are used the @code{Staff} context must be
2106 specified if the beaming is to be applied to all voices in the
2109 @lilypond[quote,verbatim,relative=2]
2112 % Change applied to Voice by default -- does not work correctly
2113 % Because of autogenerated voices, all beating will
2114 % be at baseMoment (1 . 8)
2115 \set beatStructure = #'(3 1 1 2)
2116 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2118 % Works correctly with context Staff specified
2119 \set Staff.beatStructure = #'(3 1 1 2)
2120 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2123 The value of @code{baseMoment} can be adjusted to change
2124 the beaming behavior, if desired. When this is done,
2125 the value of @code{beatStructure} must be set to be
2126 compatible with the new value of @code{baseMoment}.
2128 @lilypond[quote,verbatim,relative=2]
2130 \set Timing.baseMoment = #(ly:make-moment 1 16)
2131 \set Timing.beatStructure = #'(7 3)
2132 \repeat unfold 10 { a16 }
2135 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2136 quantity of type @i{moment} is created by the scheme function
2137 @code{ly:make-moment}. For more information about this function,
2138 see @ref{Time administration}.
2140 By default @code{baseMoment} is set to one over the denominator of
2141 the time signature. Any exceptions to this default can be found in
2142 @file{scm/time-signature-settings.scm}.
2144 @subsubsubheading Beaming based on @code{beamExceptions}
2146 Special autobeaming rules (other than ending a beam on a beat)
2147 are defined in the @code{beamExceptions} property.
2149 @lilypond[quote,relative=2,verbatim]
2151 \set Timing.beatStructure = #'(2 1)
2152 \set Timing.beamExceptions =
2154 (end . ;entry for end of beams
2155 ( ;start of alist of end points
2156 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2157 ))) %close all entries
2159 \repeat unfold 6 { c32 } |
2162 @code{beamExceptions} is an alist with a key of rule-type and a value
2165 At this time the only available value of rule-type is
2166 @code{'end} for beam ending.
2168 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2169 beam type and the grouping to be applied to beams containing notes with
2170 a shortest duration of that beam type.
2173 #'((beam-type1 . grouping-1)
2174 (beam-type2 . grouping-2)
2175 (beam-type3 . grouping-3))
2178 Beam type is a scheme pair indicating the duration of the beam,
2179 e.g., @code{(1 . 16)}.
2181 Grouping is a scheme list indicating the grouping to be applied to
2182 the beam. The grouping is in units of the beam type.
2184 @warning{ A @code{beamExceptions} value must be @emph{complete}
2185 exceptions list. That is, every exception that should be applied
2186 must be included in the setting. It is not possible to add, remove,
2187 or change only one of the exceptions. While this may seem cumbersome,
2188 it means that the current beaming settings need not be known in order
2189 to specify a new beaming pattern.}
2191 When the time signature is changed, default values of
2192 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2193 and @code{Timing.beamExceptions} are set. Setting the time signature
2194 will reset the automatic beaming settings for the @code{Timing}
2195 context to the default behavior.
2197 @lilypond[quote,verbatim,relative=2]
2199 \repeat unfold 6 { a8 }
2201 \set Timing.beatStructure = #'(4 2)
2202 \repeat unfold 6 { a8 }
2203 % go back to default behavior
2205 \repeat unfold 6 { a8 }
2208 The default automatic beaming settings for a time signature
2209 are determined in @file{scm/time-signature-settings.scm}.
2210 Changing the default automatic beaming settings
2211 for a time signature is described in @ref{Time signature}.
2213 Many automatic beaming settings for a time signature contain an
2214 entry for @code{beamExceptions}. For example, 4/4 time tries to
2215 beam the measure in two if there are only eighth notes. The
2216 @code{beamExceptions} rule can override the @code{beatStructure} setting
2217 if @code{beamExceptions} is not reset.
2219 @lilypond[quote,verbatim,relative=2]
2221 \set Timing.baseMoment = #(ly:make-moment 1 8)
2222 \set Timing.beatStructure = #'(3 3 2)
2223 % This won't beam (3 3 2) because of beamExceptions
2224 \repeat unfold 8 {c8} |
2225 % This will beam (3 3 2) because we clear beamExceptions
2226 \set Timing.beamExceptions = #'()
2227 \repeat unfold 8 {c8}
2230 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2231 measure by default. To beam eighth notes in 3/4 time on the beat,
2232 reset @code{beamExceptions}.
2234 @lilypond[quote,verbatim,relative=2]
2236 % by default we beam in (6) due to beamExceptions
2237 \repeat unfold 6 {a8} |
2238 % This will beam (1 1 1) due to beatLength
2239 \set Timing.beamExceptions = #'()
2240 \repeat unfold 6 {a8}
2243 In engraving from the Romantic and Classical periods,
2244 beams often begin midway through the measure in 3/4 time,
2245 but modern practice is to avoid the false impression of 6/8 time
2246 (see Gould, p. 153). Similar situations arise in 3/8 time.
2247 This behavior is controlled by the context property @code{beamHalfMeasure},
2248 which has effect only in time signatures with 3 in the numerator:
2250 @lilypond[quote,verbatim,relative=2]
2253 \set Timing.beamHalfMeasure = ##f
2257 @subsubsubheading How automatic beaming works
2259 When automatic beaming is enabled, the placement of automatic beams
2260 is determined by the context properties
2261 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2263 The following rules, in order of priority, apply when determining
2264 the appearance of beams:
2268 If a manual beam is specified with @code{[..]} set the beam
2269 as specified, otherwise
2272 if a beam-ending rule is defined in @code{beamExceptions}
2273 for the beam-type, use it to determine the valid places where
2274 beams may end, otherwise
2277 if a beam-ending rule is defined in @code{beamExceptions}
2278 for a longer beam-type, use it to determined the valid places
2279 where beams may end, otherwise
2282 use the values of @code{baseMoment} and @code{beatStructure} to
2283 determine the ends of the beats in the measure, and
2284 end beams at the end of beats.
2288 In the rules above, the @emph{beam-type} is the duration of the
2289 shortest note in the beamed group.
2291 The default beaming rules can be found in
2292 @file{scm/time-signature-settings.scm}.
2296 @cindex beams, subdividing
2298 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2299 {subdividing-beams.ly}
2301 @cindex beamlets, orienting
2303 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2304 {strict-beat-beaming.ly}
2306 @cindex measure groupings
2307 @cindex beats, grouping
2308 @cindex grouping beats
2309 @cindex measure sub-grouping
2311 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2312 {conducting-signs,-measure-grouping-signs.ly}
2314 @cindex beam, endings in a score
2315 @cindex beam, endings with multiple voices
2317 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2318 {beam-endings-in-score-context.ly}
2322 @ref{Time signature}.
2325 @file{scm/time-signature-settings.scm}.
2330 Internals Reference:
2331 @rinternals{Auto_beam_engraver},
2333 @rinternals{BeamForbidEvent},
2334 @rinternals{beam-interface}.
2337 If a score ends while an automatic beam has not been ended and is
2338 still accepting notes, this last beam will not be typeset at all.
2339 The same holds for polyphonic voices, entered with
2340 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2341 automatic beam is still accepting notes, it is not typeset.
2342 The workaround for these problems is to manually beam the last
2343 beam in the voice or score.
2345 By default, the @code{Timing} translator is aliased to the
2346 @code{Score} context. This means that setting the time signature
2347 in one staff will affect the beaming of the other staves as well.
2348 Thus, a time signature setting in a later staff will reset custom
2349 beaming that was set in an earlier staff.
2350 One way to avoid this problem is to set the time signature
2353 @lilypond[quote,verbatim,relative=2]
2357 \set Timing.baseMoment = #(ly:make-moment 1 8)
2358 \set Timing.beatStructure = #'(1 5)
2359 \repeat unfold 6 { a8 }
2362 \repeat unfold 6 { a8 }
2367 The default beam settings for the time signature can also be changed, so
2368 that the desired beaming will always be used. Changes in automatic
2369 beaming settings for a time signature are described in
2370 @ref{Time signature}.
2372 @lilypond[quote,verbatim,relative=2]
2375 \overrideTimeSignatureSettings
2376 3/4 % timeSignatureFraction
2377 1/8 % baseMomentFraction
2378 #'(1 5) % beatStructure
2379 #'() % beamExceptions
2381 \repeat unfold 6 { a8 }
2385 \repeat unfold 6 { a8 }
2392 @unnumberedsubsubsec Manual beams
2394 @cindex beams, manual
2395 @cindex manual beams
2400 In some cases it may be necessary to override the automatic
2401 beaming algorithm. For example, the autobeamer will not put beams
2402 over rests or bar lines, and in choral scores the beaming is
2403 often set to follow the meter of the lyrics rather than the
2404 notes. Such beams can be specified manually by
2405 marking the begin and end point with @code{[} and @code{]}.
2407 @lilypond[quote,relative=1,verbatim]
2408 r4 r8[ g' a r] r g[ | a] r
2411 @cindex manual beams, direction shorthand for
2412 @cindex manual beams, grace notes
2414 Beaming direction can be set manually using direction indicators:
2416 @lilypond[quote,relative=2,verbatim]
2417 c8^[ d e] c,_[ d e f g]
2423 Individual notes may be marked with @code{\noBeam} to prevent them
2426 @lilypond[quote,verbatim,relative=2]
2431 Grace note beams and normal note beams can occur simultaneously.
2432 Unbeamed grace notes are not put into normal note beams.
2434 @lilypond[quote,verbatim,relative=2]
2436 \grace { e32[ d c d] }
2442 @funindex stemLeftBeamCount
2443 @funindex stemRightBeamCount
2445 Even more strict manual control with the beams can be achieved by
2446 setting the properties @code{stemLeftBeamCount} and
2447 @code{stemRightBeamCount}. They specify the number of beams to
2448 draw on the left and right side, respectively, of the next note.
2449 If either property is set, its value will be used only once, and
2450 then it is erased. In this example, the last @code{f} is printed
2451 with only one beam on the left side, i.e., the eighth-note beam of
2452 the group as a whole.
2454 @lilypond[quote,relative=2,verbatim]
2457 \set stemLeftBeamCount = #2
2458 \set stemRightBeamCount = #1
2460 \set stemLeftBeamCount = #1
2472 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2473 {flat-flags-and-beam-nibs.ly}
2477 @ref{Direction and placement},
2483 Internals Reference:
2485 @rinternals{BeamEvent},
2486 @rinternals{Beam_engraver},
2487 @rinternals{beam-interface},
2488 @rinternals{Stem_engraver}.
2491 @node Feathered beams
2492 @unnumberedsubsubsec Feathered beams
2494 @cindex beams, feathered
2495 @cindex feathered beams
2497 @funindex \featherDurations
2498 @funindex featherDurations
2499 @funindex grow-direction
2501 Feathered beams are used to indicate that a small group of notes
2502 should be played at an increasing (or decreasing) tempo, without
2503 changing the overall tempo of the piece. The extent of the
2504 feathered beam must be indicated manually using @code{[} and
2505 @code{]}, and the beam feathering is turned on by specifying a
2506 direction to the @code{Beam} property @code{grow-direction}.
2508 If the placement of the notes and the sound in the MIDI output is to
2509 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2510 feathered beam the notes must be grouped as a music expression delimited
2511 by braces and preceded by a @code{featherDurations} command which specifies
2512 the ratio between the durations of the first and last notes in the
2515 The square brackets show the extent of the beam and the braces show
2516 which notes are to have their durations modified. Normally these
2517 would delimit the same group of notes, but this is not required: the
2518 two commands are independent.
2520 In the following example the eight 16th notes occupy exactly the
2521 same time as a half note, but the first note is one half as long
2522 as the last one, with the intermediate notes gradually
2523 lengthening. The first four 32nd notes gradually speed up, while
2524 the last four 32nd notes are at a constant tempo.
2526 @lilypond[relative=1,verbatim,quote]
2527 \override Beam #'grow-direction = #LEFT
2528 \featherDurations #(ly:make-moment 2 1)
2529 { c16[ c c c c c c c] }
2530 \override Beam #'grow-direction = #RIGHT
2531 \featherDurations #(ly:make-moment 2 3)
2533 % revert to non-feathered beams
2534 \override Beam #'grow-direction = #'()
2539 The spacing in the printed output represents the
2540 note durations only approximately, but the MIDI output is exact.
2543 @code{\featherDurations}.
2551 The @code{\featherDurations} command only works with very short
2552 music snippets, and when numbers in the fraction are small.
2561 * Bar and bar number checks::
2566 @unnumberedsubsubsec Bar lines
2569 @cindex measure lines
2570 @cindex closing bar lines
2571 @cindex bar lines, closing
2572 @cindex double bar lines
2573 @cindex bar lines, double
2579 Bar lines delimit measures, and are also used to indicate
2580 repeats. Normally, simple bar lines are automatically inserted
2581 into the printed output at places based on the current time
2584 The simple bar lines inserted automatically can be changed to
2585 other types with the @code{\bar} command. For example, a closing
2586 double bar line is usually placed at the end of a piece:
2588 @lilypond[quote,relative=1,verbatim]
2592 It is not invalid if the final note in a measure does not
2593 end on the automatically entered bar line: the note is assumed
2594 to carry over into the next measure. But if a long sequence
2595 of such carry-over measures appears the music can appear compressed
2596 or even flowing off the page. This is because automatic line
2597 breaks happen only at the end of complete measures, i.e., where
2598 all notes end before the end of a measure.
2600 @warning{An incorrect duration can cause line breaks to be
2601 inhibited, leading to a line of highly compressed music or
2602 music which flows off the page.}
2605 @cindex bar lines, invisible
2606 @cindex measure lines, invisible
2608 Line breaks are also permitted at manually inserted bar lines
2609 even within incomplete measures. To allow a line break without
2610 printing a bar line, use the following:
2617 This will insert an invisible bar line and allow (but not
2618 force) a line break to occur at this point. The bar number
2619 counter is not increased. To force a line break see
2620 @ref{Line breaking}.
2622 @cindex manual bar lines
2623 @cindex manual measure lines
2624 @cindex bar lines, manual
2625 @cindex measure lines, manual
2627 This and other special bar lines may be inserted manually at any
2628 point. When they coincide with the end of a measure they replace
2629 the simple bar line which would have been inserted there
2630 automatically. When they do not coincide with the end of a measure
2631 the specified bar line is inserted at that point in the printed
2634 Note that manual bar lines are purely visual. They do not affect
2635 any of the properties that a normal bar line would affect, such as
2636 measure numbers, accidentals, line breaks, etc. They do not affect
2637 the calculation and placement of subsequent automatic bar lines.
2638 When a manual bar line is placed where a normal bar line already
2639 exists, the effects of the original bar line are not altered.
2641 Two types of simple bar lines and five types of double bar lines are
2642 available for manual insertion:
2644 @lilypond[quote,relative=1,verbatim]
2656 together with dotted and dashed bar lines:
2658 @lilypond[quote,relative=1,verbatim]
2665 and five types of repeat bar line:
2667 @lilypond[quote,relative=1,verbatim]
2676 Additionally, a bar line can be printed as a simple tick:
2677 @lilypond[quote,relative=1,verbatim]
2680 However, as such ticks are typically used in Gregorian chant, it is
2681 preferable to use @code{\divisioMinima} there instead, described in
2682 the section @ref{Divisiones} in Gregorian chant.
2686 For in-line segno signs, there are three types of bar lines which
2687 differ in their behavior at line breaks:
2689 @lilypond[quote,relative=2,verbatim]
2707 Although the bar line types signifying repeats may be inserted
2708 manually they do not in themselves cause LilyPond to recognize
2709 a repeated section. Such repeated sections are better entered
2710 using the various repeat commands (see @ref{Repeats}), which
2711 automatically print the appropriate bar lines.
2713 In addition, you can specify @code{"||:"}, which is equivalent to
2714 @code{"|:"} except at line breaks, where it gives a double bar
2715 line at the end of the line and a start repeat at the beginning of
2718 @lilypond[quote,relative=2,verbatim]
2726 For combinations of repeats with the segno sign, there are six different
2729 @lilypond[quote,relative=2,verbatim]
2757 Additionally there is an @code{\inStaffSegno} command which
2758 creates a segno bar, placed in cooperation
2759 with the @code{\repeat volta} command.
2762 In scores with many staves, a @code{\bar} command in one staff is
2763 automatically applied to all staves. The resulting bar lines are
2764 connected between different staves of a @code{StaffGroup},
2765 @code{PianoStaff}, or @code{GrandStaff}.
2767 @lilypond[quote,relative=1,verbatim]
2775 \new Staff { \clef bass c4 g e g }
2777 \new Staff { \clef bass c2 c2 }
2782 @cindex default bar lines, changing
2783 @cindex bar lines, default, changing
2788 @funindex defaultBarType
2793 The command @samp{\bar @var{bartype}} is a shortcut for
2794 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2795 created whenever the @code{whichBar} property is set.
2797 The default bar type used for automatically inserted bar lines is
2798 @code{"|"}. This may be changed at any time with
2799 @samp{\set Timing.defaultBarType = @var{bartype}}.
2803 @ref{Line breaking},
2805 @ref{Grouping staves}.
2810 Internals Reference:
2811 @rinternals{BarLine} (created at @code{Staff} level),
2812 @rinternals{SpanBar} (across staves),
2813 @rinternals{Timing_translator} (for Timing properties).
2817 @unnumberedsubsubsec Bar numbers
2820 @cindex measure numbers
2821 @cindex numbers, bar
2822 @cindex numbers, measure
2824 @funindex currentBarNumber
2826 Bar numbers are typeset by default at the start of every line except
2827 the first line. The number itself is stored in the
2828 @code{currentBarNumber} property, which is normally updated
2829 automatically for every measure. It may also be set manually:
2831 @lilypond[verbatim,quote,relative=1]
2834 \set Score.currentBarNumber = #50
2838 @cindex bar numbers, regular spacing
2840 @funindex barNumberVisibility
2843 Bar numbers can be typeset at regular intervals instead of just at
2844 the beginning of every line. To do this the default behavior
2845 must be overridden to permit bar numbers to be printed at places
2846 other than the start of a line. This is controlled by the
2847 @code{break-visibility} property of @code{BarNumber}. This takes
2848 three values which may be set to @code{#t} or @code{#f} to specify
2849 whether the corresponding bar number is visible or not. The order
2850 of the three values is @code{end of line visible}, @code{middle of
2851 line visible}, @code{beginning of line visible}. In the following
2852 example bar numbers are printed at all possible places:
2854 @lilypond[verbatim,quote,relative=1]
2855 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2856 \set Score.currentBarNumber = #11
2857 % Permit first bar number to be printed
2865 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2866 {printing-the-bar-number-for-the-first-measure.ly}
2868 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2869 {printing-bar-numbers-at-regular-intervals.ly}
2871 @cindex measure number, format
2872 @cindex bar number, format
2874 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2875 {printing-bar-numbers-inside-boxes-or-circles.ly}
2877 @cindex bar numbers, with letters
2878 @cindex bar numbers, with repeats
2880 @lilypondfile[verbatim,quote,texidoc,doctitle]
2881 {alternative-bar-numbering.ly}
2883 @cindex bar number alignment
2885 @lilypondfile[verbatim,quote,texidoc,doctitle]
2886 {aligning-bar-numbers.ly}
2888 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2889 {removing-bar-numbers-from-a-score.ly}
2895 Internals Reference:
2896 @rinternals{BarNumber},
2897 @rinternals{Bar_number_engraver}.
2899 @cindex bar number collision
2900 @cindex collision, bar number
2903 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2904 if there is one. To solve this, the @code{padding} property of
2905 @code{BarNumber} can be used to position the number correctly. See
2906 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2909 @node Bar and bar number checks
2910 @unnumberedsubsubsec Bar and bar number checks
2913 @cindex bar number check
2914 @cindex measure check
2915 @cindex measure number check
2917 @funindex barCheckSynchronize
2920 Bar checks help detect errors in the entered durations. A bar check
2921 may be entered using the bar symbol, @code{|}, at any place where a
2922 bar line is expected to fall. If bar check lines are encountered at
2923 other places, a list of warnings is printed in the log file, showing
2924 the line numbers and lines in which the bar checks failed. In the
2925 next example, the second bar check will signal an error.
2928 \time 3/4 c2 e4 | g2 |
2931 Bar checks can also be used in lyrics:
2936 Twin -- kle | Twin -- kle |
2940 An incorrect duration can result in a completely garbled score,
2941 especially if the score is polyphonic, so a good place to start
2942 correcting input is by scanning for failed bar checks and
2943 incorrect durations.
2945 If successive bar checks are off by the same musical interval,
2946 only the first warning message is displayed. This allows the
2947 warning to focus on the source of the timing error.
2951 @funindex pipeSymbol
2953 It is also possible to redefine the action taken when a bar check
2954 or pipe symbol, @code{|}, is encountered in the input, so that
2955 it does something other than a bar check. This is done by
2956 assigning a music expression to @code{pipeSymbol}.
2957 In the following example @code{|} is set to insert a double bar
2958 line wherever it appears in the input, rather than checking
2961 @lilypond[quote,verbatim]
2962 pipeSymbol = \bar "||"
2971 @funindex \barNumberCheck
2972 @funindex barNumberCheck
2974 When copying large pieces of music, it can be helpful to check that
2975 the LilyPond bar number corresponds to the original that you are
2976 entering from. This can be checked with @code{\barNumberCheck}, for
2980 \barNumberCheck #123
2984 will print a warning if the @code{currentBarNumber} is not 123
2985 when it is processed.
2992 @node Rehearsal marks
2993 @unnumberedsubsubsec Rehearsal marks
2995 @cindex rehearsal marks
2996 @cindex mark, rehearsal
3001 To print a rehearsal mark, use the @code{\mark} command.
3003 @lilypond[quote,verbatim,relative=2]
3011 The mark is incremented automatically if you use @code{\mark
3012 \default}, but you can also use an integer argument to set the
3013 mark manually. The value to use is stored in the property
3014 @code{rehearsalMark}.
3016 @lilypond[quote,verbatim,relative=2]
3025 The letter@tie{}@q{I} is skipped in accordance with engraving
3026 traditions. If you wish to include the letter @q{I}, then use one
3027 of the following commands, depending on which style of rehearsal mark
3028 you want (letters only, letters in a hollow box, or letters in a
3032 \set Score.markFormatter = #format-mark-alphabet
3033 \set Score.markFormatter = #format-mark-box-alphabet
3034 \set Score.markFormatter = #format-mark-circle-alphabet
3037 @lilypond[quote,verbatim,relative=2]
3038 \set Score.markFormatter = #format-mark-box-alphabet
3046 @cindex rehearsal mark format
3047 @cindex rehearsal mark style
3048 @cindex style, rehearsal mark
3049 @cindex format, rehearsal mark
3050 @cindex mark, rehearsal, style
3051 @cindex mark, rehearsal, format
3052 @cindex rehearsal mark, manual
3053 @cindex mark, rehearsal, manual
3054 @cindex custom rehearsal mark
3055 @cindex manual rehearsal mark
3057 The style is defined by the property @code{markFormatter}. It is
3058 a function taking the current mark (an integer) and the current
3059 context as argument. It should return a markup object. In the
3060 following example, @code{markFormatter} is set to a pre-defined
3061 procedure. After a few measures, it is set to a procedure that
3062 produces a boxed number.
3064 @lilypond[quote,verbatim,relative=2]
3065 \set Score.markFormatter = #format-mark-numbers
3068 \set Score.markFormatter = #format-mark-box-numbers
3070 \set Score.markFormatter = #format-mark-circle-numbers
3072 \set Score.markFormatter = #format-mark-circle-letters
3076 The file @file{scm/translation-functions.scm} contains the
3077 definitions of @code{format-mark-numbers} (the default format),
3078 @code{format-mark-box-numbers}, @code{format-mark-letters} and
3079 @code{format-mark-box-letters}. These can be used as inspiration
3080 for other formatting functions.
3082 You may use @code{format-mark-barnumbers},
3083 @code{format-mark-box-barnumbers}, and
3084 @code{format-mark-circle-barnumbers} to get bar numbers instead of
3085 incremented numbers or letters.
3087 Other styles of rehearsal mark can be specified manually:
3094 Note that @code{Score.markFormatter} does not affect marks specified
3095 in this manner. However, it is possible to apply a @code{\markup} to the
3099 \mark \markup@{ \box A1 @}
3104 @cindex D.S. al Fine
3106 @cindex music glyphs
3107 @cindex glyphs, music
3109 @funindex \musicglyph
3110 @funindex musicglyph
3112 Music glyphs (such as the segno sign) may be printed inside a
3115 @lilypond[quote,verbatim,relative=1]
3116 c1 \mark \markup { \musicglyph #"scripts.segno" }
3117 c1 \mark \markup { \musicglyph #"scripts.coda" }
3118 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3123 See @ref{The Feta font}, for a list of symbols which may be
3124 printed with @code{\musicglyph}.
3126 For common tweaks to the positioning of rehearsal marks, see
3127 @ref{Formatting text}. For more precise control, see
3128 @code{break-alignable-interface} in @ref{Aligning objects}.
3130 The file @file{scm/translation-functions.scm} contains
3131 the definitions of @code{format-mark-numbers} and
3132 @code{format-mark-letters}. They can be used as inspiration for
3133 other formatting functions.
3137 @ref{The Feta font},
3138 @ref{Formatting text},
3139 @ref{Aligning objects}.
3142 @file{scm/translation-functions.scm}.
3147 Internals Reference:
3148 @rinternals{MarkEvent},
3149 @rinternals{Mark_engraver},
3150 @rinternals{RehearsalMark}.
3153 @node Special rhythmic concerns
3154 @subsection Special rhythmic concerns
3159 * Aligning to cadenzas::
3160 * Time administration::
3164 @unnumberedsubsubsec Grace notes
3168 @cindex appoggiatura
3169 @cindex acciaccatura
3172 @funindex \slashedGrace
3173 @funindex \acciaccatura
3174 @funindex \appoggiatura
3176 Grace notes are musical ornaments, printed in a smaller font, that take
3177 up no additional logical time in a measure.
3179 @lilypond[quote,relative=2,verbatim]
3181 \grace { b16[ c16] } a2)
3184 There are three other types of grace notes possible; the
3185 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3186 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3187 fixed fraction of the main note it is attached to and prints without the
3188 slash. It is also possible to write a grace note with a slashed stem,
3189 like the @emph{acciaccatura} but without the slur, so as to place it
3190 between notes that are slurred themselves, using the
3191 @code{\slashedGrace} function.
3193 @lilypond[quote,relative=2,verbatim]
3196 \acciaccatura { g16[ f] } e2
3197 \slashedGrace a,8 g4
3198 \slashedGrace b16 a4(
3199 \slashedGrace b8 a2)
3202 The placement of grace notes is synchronized between different staves.
3203 In the following example, there are two sixteenth grace notes for every
3206 @lilypond[quote,relative=2,verbatim]
3208 \new Staff { e2 \grace { c16[ d e f] } e2 }
3209 \new Staff { c2 \grace { g8[ b] } c2 }
3213 @cindex grace notes, following
3215 @funindex \afterGrace
3216 @funindex afterGrace
3218 If you want to end a note with a grace, use the @code{\afterGrace}
3219 command. It takes two arguments: the main note, and the grace
3220 notes following the main note.
3222 @lilypond[quote,verbatim,relative=2]
3223 c1 \afterGrace d1 { c16[ d] } c1
3226 This will put the grace notes after a space lasting 3/4 of the
3227 length of the main note. The default fraction 3/4 can be changed by
3228 setting @code{afterGraceFraction}. The following example shows
3229 the results from setting the space at the default, at 15/16, and
3230 finally at 1/2 of the main note.
3232 @lilypond[quote,verbatim,relative=2]
3235 c1 \afterGrace d1 { c16[ d] } c1
3238 #(define afterGraceFraction (cons 15 16))
3239 c1 \afterGrace d1 { c16[ d] } c1
3242 #(define afterGraceFraction (cons 1 2))
3243 c1 \afterGrace d1 { c16[ d] } c1
3248 The space between the main note and the grace note may also be
3249 specified using spacers. The following example places the grace
3250 note after a space lasting 7/8 of the main note.
3252 @lilypond[quote,verbatim,relative=2]
3256 { s2 s4. \grace { c16[ d] } }
3262 @cindex tweaking grace notes
3263 @cindex grace notes, tweaking
3264 @cindex grace notes, changing layout settings
3266 A @code{\grace} music expression will introduce special
3267 typesetting settings, for example, to produce smaller type, and
3268 set directions. Hence, when introducing layout tweaks to
3269 override the special settings, they should be placed inside
3270 the grace expression. The overrides should also be reverted
3271 inside the grace expression. Here, the grace note's default stem
3272 direction is overridden and then reverted.
3274 @lilypond[quote,verbatim,relative=2]
3286 @cindex stem, with slash
3291 @lilypondfile[verbatim,quote,texidoc,doctitle]
3292 {using-grace-note-slashes-with-normal-heads.ly}
3294 @lilypondfile[verbatim,quote,texidoc,doctitle]
3295 {tweaking-grace-layout-within-music.ly}
3297 @lilypondfile[verbatim,quote,texidoc,doctitle]
3298 {redefining-grace-note-global-defaults.ly}
3300 @lilypondfile[verbatim,quote,texidoc,doctitle]
3301 {positioning-grace-notes-with-floating-space.ly}
3305 @rglos{grace notes},
3306 @rglos{acciaccatura},
3307 @rglos{appoggiatura}.
3310 @ref{Scaling durations},
3314 @file{ly/grace-init.ly}.
3319 Internals Reference:
3320 @rinternals{GraceMusic},
3321 @rinternals{Grace_beam_engraver},
3322 @rinternals{Grace_engraver},
3323 @rinternals{Grace_spacing_engraver}.
3327 @cindex acciaccatura, multi-note
3328 @cindex multi-note acciaccatura
3329 @cindex grace-note synchronization
3331 A multi-note beamed @i{acciaccatura} is printed without a slash,
3332 and looks exactly the same as a multi-note beamed
3335 @c TODO Add link to LSR snippet to add slash when available
3337 Grace note synchronization can also lead to surprises. Staff
3338 notation, such as key signatures, bar lines, etc., are also
3339 synchronized. Take care when you mix staves with grace notes and
3340 staves without, for example,
3342 @lilypond[quote,relative=2,verbatim]
3344 \new Staff { e4 \bar "|:" \grace c16 d2. }
3345 \new Staff { c4 \bar "|:" d2. }
3350 This can be remedied by inserting grace skips of the corresponding
3351 durations in the other staves. For the above example
3353 @lilypond[quote,relative=2,verbatim]
3355 \new Staff { e4 \bar "|:" \grace c16 d2. }
3356 \new Staff { c4 \bar "|:" \grace s16 d2. }
3360 The use of grace notes within voice contexts confuses the way the voice
3361 is typeset. This can be overcome by inserting a rest or note between the
3362 voice command and the grace note.
3364 @lilypond[quote,verbatim]
3366 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3373 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3374 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3379 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3380 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3387 Grace sections should only be used within sequential music expressions.
3388 Nesting or juxtaposing grace sections is not supported, and might
3389 produce crashes or other errors.
3391 Each grace note in MIDI output has a length of 1/4 of its actual
3392 duration. If the combined length of the grace notes is greater than the
3393 length of the preceding note a @qq{@code{Going back in MIDI time}}
3394 error will be generated. Either make the grace notes shorter in
3395 duration, for example:
3398 \acciaccatura @{ c'8[ d' e' f' g'] @}
3404 \acciaccatura @{ c'16[ d' e' f' g'] @}
3407 Or explicitly change the musical duration:
3410 \acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
3413 See @ref{Scaling durations}.
3416 @node Aligning to cadenzas
3417 @unnumberedsubsubsec Aligning to cadenzas
3420 @cindex cadenza, aligning to
3421 @cindex aligning to cadenza
3423 In an orchestral context, cadenzas present a special problem: when
3424 constructing a score that includes a measured cadenza or other solo
3425 passage, all other instruments should skip just as many notes as the
3426 length of the cadenza, otherwise they will start too soon or too late.
3428 One solution to this problem is to use the functions
3429 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3430 functions take a defined piece of music as an argument and generate a
3431 multi-measure rest or @code{\skip} exactly as long as the piece.
3433 @lilypond[verbatim,quote]
3434 MyCadenza = \relative c' {
3445 #(mmrest-of-length MyCadenza)
3447 #(skip-of-length MyCadenza)
3461 @node Time administration
3462 @unnumberedsubsubsec Time administration
3464 @cindex time administration
3465 @cindex timing (within the score)
3466 @cindex music, unmetered
3467 @cindex unmetered music
3469 @funindex currentBarNumber
3470 @funindex measurePosition
3471 @funindex measureLength
3473 Time is administered by the @code{Timing_translator}, which by
3474 default is to be found in the @code{Score} context. An alias,
3475 @code{Timing}, is added to the context in which the
3476 @code{Timing_translator} is placed. To ensure that the
3477 @code{Timing} alias is available, you may need to explicitly
3478 instantiate the containing context (such as @code{Voice} or
3481 The following properties of @code{Timing} are used
3482 to keep track of timing within the score.
3485 @cindex measure number
3488 @item currentBarNumber
3489 The current measure number. For an example showing the
3490 use of this property see @ref{Bar numbers}.
3493 The length of the measures in the current time signature. For a
3494 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3495 determines when bar lines are inserted and how automatic beams
3496 should be generated.
3498 @item measurePosition
3499 The point within the measure where we currently are. This
3500 quantity is reset by subtracting @code{measureLength} whenever
3501 @code{measureLength} is reached or exceeded. When that happens,
3502 @code{currentBarNumber} is incremented.
3505 If set to true, the above variables are updated for every time
3506 step. When set to false, the engraver stays in the current
3507 measure indefinitely.
3511 Timing can be changed by setting any of these variables
3512 explicitly. In the next example, the default 4/4 time
3513 signature is printed, but @code{measureLength} is set to 5/4.
3514 At 4/8 through the third measure, the @code{measurePosition} is
3515 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3516 The next bar line then falls at 9/8 rather than 5/4.
3518 @lilypond[quote,verbatim]
3519 \new Voice \relative c' {
3520 \set Timing.measureLength = #(ly:make-moment 5 4)
3524 \set Timing.measurePosition = #(ly:make-moment 5 8)
3531 As the example illustrates, @code{ly:make-moment n m} constructs a
3532 duration of n/m of a whole note. For example,
3533 @code{ly:make-moment 1 8} is an eighth note duration and
3534 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3540 @ref{Unmetered music}.
3545 Internals Reference:
3546 @rinternals{Timing_translator},