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
527 dash pattern definitions for slurs.
528 For more information about complex dash patterns,
529 see the snippets under @ref{Slurs}.
537 @code{\tieDashPattern},
538 @code{\tieHalfDashed},
539 @code{\tieHalfSolid},
546 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
547 {using-ties-with-arpeggios.ly}
549 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
550 {engraving-ties-manually.ly}
556 @rglos{laissez vibrer}.
560 @ref{Automatic note splitting}.
566 @rinternals{LaissezVibrerTie},
567 @rinternals{LaissezVibrerTieColumn},
568 @rinternals{TieColumn},
573 Switching staves when a tie is active will not produce a slanted
576 Changing clefs or ottavations during a tie is not really
577 well-defined. In these cases, a slur may be preferable.
582 @subsection Writing rests
584 Rests are entered as part of the music in music expressions.
589 * Full measure rests::
593 @unnumberedsubsubsec Rests
596 @cindex rest, entering durations
611 Rests are entered like notes with the note name @code{r}.
612 Durations longer than a whole rest use the following predefined
615 @c \time 16/1 is used to avoid spurious bar lines
616 @c and long tracts of empty measures
617 @lilypond[quote,verbatim,relative=2]
619 % These two lines are just to prettify this example
621 \override Staff.TimeSignature #'stencil = ##f
622 % Print a maxima rest, equal to four breves
624 % Print a longa rest, equal to two breves
628 r1 r2 r4 r8 r16 r32 r64 r128
632 @cindex rest, multi-measure
633 @cindex rest, whole-measure
635 Whole measure rests, centered in the middle of the measure, must be
636 entered as multi-measure rests. They can be used for a single
637 measure as well as many measures and are discussed in
638 @ref{Full measure rests}.
640 @cindex rest, specifying vertical position
642 To explicitly specify a rest's vertical position, write a note
643 followed by @code{\rest}. A rest of the duration of the note will
644 be placed at the staff position where the note would appear. This
645 allows for precise manual formatting of polyphonic music, since the
646 automatic rest collision formatter will not move these rests.
648 @lilypond[quote,verbatim,relative=2]
654 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
665 @ref{Full measure rests}.
676 @c Deliberately duplicated in Durations and Rests. -gp
677 There is no fundamental limit to rest durations (both in terms of
678 longest and shortest), but the number of glyphs is limited: there
679 are rests from 128th to maxima (8 x whole).
682 @node Invisible rests
683 @unnumberedsubsubsec Invisible rests
686 @cindex invisible rest
687 @cindex rest, invisible
695 An invisible rest (also called a @q{spacer rest}) can be entered
696 like a note with the note name@tie{}@code{s}:
698 @lilypond[verbatim,quote,relative=2]
705 Spacer rests are available only in note mode and chord mode. In
706 other situations, for example, when entering lyrics, the
707 command @code{\skip} is used to skip a musical moment.
708 @code{\skip} requires an explicit duration, but this is ignored if
709 the lyrics derive their durations from the notes in an associated
710 melody through @code{\addlyrics} or @code{\lyricsto}.
712 @lilypond[quote,verbatim,relative=2]
725 Because @code{\skip} is a command, it does not affect the default
726 durations of following notes, unlike@tie{}@code{s}.
728 @lilypond[quote,verbatim,relative=2]
731 \repeat unfold 8 { a4 }
741 A spacer rest implicitly causes @code{Staff} and @code{Voice}
742 contexts to be created if none exist, just like notes and rests
745 @lilypond[quote,verbatim,relative=2]
749 @code{\skip} simply skips musical time; it creates no output of
752 @lilypond[quote,verbatim,relative=2]
753 % This is valid input, but does nothing
754 \skip 1 \skip1 \skip 1
760 @rlearning{Visibility and color of objects}.
764 @ref{Visibility of objects}.
770 @rinternals{SkipMusic}.
773 @node Full measure rests
774 @unnumberedsubsubsec Full measure rests
776 @cindex multi-measure rests
777 @cindex full-measure rests
778 @cindex rest, multi-measure
779 @cindex rest, full-measure
780 @cindex whole rest for a full measure
781 @cindex rest, whole for a full measure
785 Rests for one or more full measures are entered like notes with
786 the note name uppercase @code{R}:
788 @lilypond[quote,verbatim,relative=2]
789 % Rest measures contracted to single measure
790 \compressFullBarRests
797 The duration of full-measure rests is identical to the duration
798 notation used for notes. The duration in a multi-measure rest must
799 always be an integral number of measure-lengths, so augmentation dots
800 or fractions must often be used:
802 @lilypond[quote,verbatim,relative=2]
803 \compressFullBarRests
809 R1*13/8 | R1*13/8*12 |
814 A full-measure rest is printed as either a whole or breve rest,
815 centered in the measure, depending on the time signature.
817 @lilypond[quote,verbatim,relative=2]
826 @cindex multi-measure rest, expanding
827 @cindex multi-measure rest, contracting
829 @funindex \expandFullBarRests
830 @funindex expandFullBarRests
831 @funindex \compressFullBarRests
832 @funindex compressFullBarRests
834 By default a multi-measure rest is expanded in the printed score to
835 show all the rest measures explicitly. Alternatively, a multi-measure
836 rest can be shown as a single measure containing a multi-measure rest
837 symbol, with the number of measures of rest printed above the measure:
839 @lilypond[quote,verbatim,relative=2]
841 \time 3/4 r2. | R2.*2 |
844 % Rest measures contracted to single measure
845 \compressFullBarRests
847 % Rest measures expanded
854 @cindex text on multi-measure rest
855 @cindex multi-measure rest, attaching text
856 @cindex script on multi-measure rest
857 @cindex multi-measure rest, script
858 @cindex fermata on multi-measure rest
859 @cindex multi-measure rest, attaching fermata
860 @cindex markup on multi-measure rest
861 @cindex multi-measure rest with markup
863 @funindex \fermataMarkup
864 @funindex fermataMarkup
865 @funindex MultiMeasureRestText
867 Markups can be added to multi-measure rests.
868 The predefined command @code{\fermataMarkup}
869 is provided for adding fermatas.
871 @lilypond[quote,verbatim,relative=2]
872 \compressFullBarRests
874 R2.*10^\markup { \italic "ad lib." }
878 @warning{Markups attached to a multi-measure rest are objects of type
879 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
880 be directed to the correct object, or they will be ignored. See the
883 @lilypond[quote,verbatim,relative=2]
884 % This fails, as the wrong object name is specified
885 \override TextScript #'padding = #5
887 % This is the correct object name to be specified
888 \override MultiMeasureRestText #'padding = #5
892 When a multi-measure rest immediately follows a @code{\partial}
893 setting, resulting bar-check warnings may not be displayed.
896 @funindex \textLengthOn
897 @funindex textLengthOn
898 @funindex \textLengthOff
899 @funindex textLengthOff
900 @funindex \fermataMarkup
901 @funindex fermataMarkup
902 @funindex \compressFullBarRests
903 @funindex compressFullBarRests
904 @funindex \expandFullBarRests
905 @funindex expandFullBarRests
908 @code{\textLengthOn},
909 @code{\textLengthOff},
910 @code{\fermataMarkup},
911 @code{\compressFullBarRests},
912 @code{\expandFullBarRests}.
920 @cindex kirchenpausen
922 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
923 {changing-form-of-multi-measure-rests.ly}
925 @cindex multi-measure rests, positioning
926 @cindex positioning multi-measure rests
928 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
929 {positioning-multi-measure-rests.ly}
931 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
932 {multi-measure-rest-markup.ly}
937 @rglos{multi-measure rest}.
942 @ref{Formatting text},
949 @rinternals{MultiMeasureRest},
950 @rinternals{MultiMeasureRestNumber},
951 @rinternals{MultiMeasureRestText}.
954 @cindex fingerings and multi-measure rests
955 @cindex multi-measure rests and fingerings
958 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
959 in the fingering numeral colliding with the bar counter
962 @cindex condensing rests
963 @cindex rest, condensing ordinary
965 There is no way to automatically condense multiple ordinary rests
966 into a single multi-measure rest.
968 @cindex rest, collisions of
970 Multi-measure rests do not take part in rest collisions.
972 @node Displaying rhythms
973 @subsection Displaying rhythms
980 * Polymetric notation::
981 * Automatic note splitting::
982 * Showing melody rhythms::
986 @unnumberedsubsubsec Time signature
988 @cindex time signature
994 The time signature is set as follows:
996 @lilypond[quote,verbatim,relative=2]
1001 @cindex time signature, visibility of
1003 Time signatures are printed at the beginning of a piece
1004 and whenever the time signature changes. If a change takes place
1005 at the end of a line a warning time signature sign is printed
1006 there. This default behavior may be changed, see
1007 @ref{Visibility of objects}.
1009 @lilypond[quote,verbatim,relative=2]
1019 @cindex time signature style
1022 @funindex \numericTimeSignature
1023 @funindex numericTimeSignature
1024 @funindex \defaultTimeSignature
1025 @funindex defaultTimeSignature
1027 The time signature symbol that is used in 2/2 and 4/4 time can be
1028 changed to a numeric style:
1030 @lilypond[quote,verbatim,relative=2]
1034 % Change to numeric style
1035 \numericTimeSignature
1038 % Revert to default style
1039 \defaultTimeSignature
1045 Mensural time signatures are covered in
1046 @ref{Mensural time signatures}.
1048 @cindex time signature default settings
1049 @cindex autobeaming properties for time signatures
1050 @cindex beaming, time signature default properties
1051 @funindex \overrideTimeSignatureSettings
1053 In addition to setting the printed time signature, the @code{\time}
1054 command also sets time-signature-based default values for the properties
1055 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1056 predefined default values for these properties can be found in
1057 @file{scm/time-signature-settings.scm}. The existing default values can
1058 be changed, or new default values can be added:
1060 @lilypond[quote,verbatim]
1064 \overrideTimeSignatureSettings
1065 #'(4 . 4) % timeSignatureFraction
1066 #'(1 . 4) % baseMomentFraction
1067 #'(3 1) % beatStructure
1068 #'() % beamExceptions
1070 \repeat unfold 8 { c8 } |
1076 @code{\overrideTimeSignatureSettings} takes four arguments:
1081 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1085 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1086 and denominator of the basic timing unit for the time signature.
1089 @code{@var{beatStructure}}, a Scheme list indicating the structure
1090 of the beats in the measure, in units of the base moment.
1093 @code{@var{beamExceptions}}, an alist containing any beaming rules
1094 for the time signature that go beyond ending at every beat, as
1095 described in @ref{Setting automatic beam behavior}.
1098 The context containing @code{\overrideTimeSignatureSettings} must
1099 be instantiated before the @code{\overrideTimeSignatureSettings}
1100 call is executed. That means it must either be explicitly
1101 instantiated or there must be music in the context before the
1102 @code{\overrideTimeSignatureSettings} call:
1104 @lilypond[quote,verbatim]
1107 % This call will fail because the context isn't yet instantiated
1108 \overrideTimeSignatureSettings
1109 #'(4 . 4) % timeSignatureFraction
1110 #'(1 . 4) % baseMomentFraction
1111 #'(3 1) % beatStructure
1112 #'() % beamExceptions
1114 c8^\markup {"Beamed (2 2)"}
1115 \repeat unfold 7 { c8 } |
1116 % This call will succeed
1117 \overrideTimeSignatureSettings
1118 #'(4 . 4) % timeSignatureFraction
1119 #'(1 . 4) % baseMomentFraction
1120 #'(3 1) % beatStructure
1121 #'() % beamExceptions
1123 c8^\markup {"Beamed (3 1)"}
1124 \repeat unfold 7 { c8 } |
1130 @cindex time signature properties, restoring default values
1131 @cindex restoring default properties for time signatures
1132 @funindex \revertTimeSignatureSettings
1134 Changed values of default time signature properties can be restored
1135 to the original values:
1137 @lilypond[quote,verbatim]
1140 \repeat unfold 8 { c8 } |
1141 \overrideTimeSignatureSettings
1142 #'(4 . 4) % timeSignatureFraction
1143 #'(1 . 4) % baseMomentFraction
1144 #'(3 1) % beatStructure
1145 #'() % beamExceptions
1147 \repeat unfold 8 { c8 } |
1148 \revertTimeSignatureSettings #'(4 . 4)
1150 \repeat unfold 8 { c8 } |
1155 Different values of default time signature properties can be established
1156 for different staves by moving the @code{Timing_translator} and the
1157 @code{Default_bar_line_engraver} from the @code{Score} context to the
1158 @code{Staff} context.
1160 @lilypond[quote, verbatim]
1164 \overrideTimeSignatureSettings
1165 #'(4 . 4) % timeSignatureFraction
1166 #'(1 . 4) % baseMomentFraction
1167 #'(3 1) % beatStructure
1168 #'() % beamExceptions
1170 \repeat unfold 8 {c''8}
1173 \overrideTimeSignatureSettings
1174 #'(4 . 4) % timeSignatureFraction
1175 #'(1 . 4) % baseMomentFraction
1176 #'(1 3) % beatStructure
1177 #'() % beamExceptions
1179 \repeat unfold 8 {c''8}
1185 \remove "Timing_translator"
1186 \remove "Default_bar_line_engraver"
1190 \consists "Timing_translator"
1191 \consists "Default_bar_line_engraver"
1198 @code{\numericTimeSignature},
1199 @code{\defaultTimeSignature}.
1205 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1206 {changing-the-time-signature-without-affecting-the-beaming.ly}
1208 @cindex compound time signatures
1209 @cindex time signature, compound
1211 @lilypondfile[verbatim,quote,texidoc,doctitle]
1212 {compound-time-signatures.ly}
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 pickup measure
1335 @cindex measure, change length
1337 @funindex measurePosition
1341 Partial or pick-up measures, such as an anacrusis or upbeat, are
1342 entered using the @code{\partial} command, with the syntax
1345 \partial @var{duration}
1349 where @code{@var{duration}} is the rhythmic length of the
1350 remaining interval of the current measure before the start of the
1353 @lilypond[quote,verbatim,relative=2]
1358 The partial measure can be any duration less than the full measure:
1360 @lilypond[quote,verbatim,relative=2]
1361 \partial 8*3 c8 d e |
1365 Internally, @code{\partial @var{duration}} is translated into:
1368 \set Timing.measurePosition -@var{duration}
1371 For example, @code{\partial 8*3} becomes:
1374 \set Timing.measurePosition = #(ly:make-moment -3 8)
1377 The property @code{measurePosition} contains a rational number
1378 indicating how much of the measure has passed at this point. Note
1379 that this is set to a negative number by the @code{\partial} command:
1380 i.e., @code{\partial 4} is internally translated to @w{@code{-4}}, meaning
1381 @qq{there is a quarter note left in the measure.}
1394 @rinternals{Timing_translator}.
1398 The @code{\partial} command is intended to be used only at the
1399 beginning of a piece. If you use it after the beginning, some
1400 odd warnings or effects may occur, in this case use
1401 @code{\set Timing.measurePosition} instead.
1403 @node Unmetered music
1404 @unnumberedsubsubsec Unmetered music
1406 @cindex bar lines, turning off
1407 @cindex bar numbering, turning off
1409 @cindex unmetered music
1411 @funindex \cadenzaOn
1413 @funindex \cadenzaOff
1414 @funindex cadenzaOff
1416 Bar lines and bar numbers are calculated automatically. For
1417 unmetered music (some cadenzas, for example), this is not desirable.
1418 To turn off automatic calculation of bar lines and bar numbers,
1419 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1420 to turn them on again.
1422 @lilypond[verbatim,relative=2,quote]
1425 c4 c d8[ d d] f4 g4.
1431 Bar numbering is resumed at the end of the cadenza as if the
1432 cadenza were not there:
1434 @lilypond[verbatim,relative=2,quote]
1435 % Show all bar numbers
1436 \override Score.BarNumber #'break-visibility = #all-visible
1439 c4 c d8[ d d] f4 g4.
1445 @cindex beams, in cadenzas
1446 @cindex beams, in unmetered music
1447 @cindex cadenza, with beams
1448 @cindex unmetered music, with beams
1450 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1451 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1452 must be entered manually (@ref{Manual beams}).
1454 @lilypond[verbatim,relative=2,quote]
1455 \repeat unfold 8 { c8 }
1457 \repeat unfold 5 { c8 }
1460 \repeat unfold 8 { c8 }
1463 Note that these predefined commands affect all staves in the
1464 score, even when they are placed in just one @code{Voice}
1465 context. To change this, move the @code{Timing_translator}
1466 from the @code{Score} context to the @code{Staff} context, as
1467 shown in @ref{Polymetric notation}.
1480 @ref{Visibility of objects},
1481 @ref{Polymetric notation},
1488 @cindex cadenza line breaks
1489 @cindex cadenza page breaks
1490 @cindex unmetered music, line breaks
1491 @cindex unmetered music, page breaks
1492 @cindex breaks in unmetered music
1493 @cindex line breaks in cadenzas
1494 @cindex page breaks in cadenzas
1495 @cindex line breaks in unmetered music
1496 @cindex page breaks in unmetered music
1500 LilyPond will insert line breaks and page breaks only at a
1501 bar line. Unless the unmetered music ends before the end of the
1502 staff line, you will need to insert invisible bar lines with
1509 to indicate where breaks can occur.
1511 You should explicitly create a @code{Voice} context when starting a
1512 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1518 c16[^"Solo Free Time" d e f] g2.
1526 @node Polymetric notation
1527 @unnumberedsubsubsec Polymetric notation
1529 @c This section necessarily uses \set
1530 @c This is acceptable -td
1532 @cindex double time signatures
1533 @cindex signatures, polymetric
1534 @cindex time signatures, polymetric
1535 @cindex time signatures, double
1536 @cindex polymetric signatures
1537 @cindex meter, polymetric
1539 @funindex timeSignatureFraction
1540 @funindex \scaleDurations
1541 @funindex scaleDurations
1545 Polymetric notation is supported, either explicitly or by modifying
1546 the visible time signature symbol and scaling the note durations.
1548 @strong{@i{Staves with different time signatures, equal measure lengths}}
1550 This notation can be created by setting a common time signature
1551 for each staff but replacing the symbol manually by setting
1552 @code{timeSignatureFraction} to the desired fraction and scaling
1553 the printed durations in each staff to the common time
1554 signature; see @ref{Time signature}. The scaling is done with
1555 @code{\scaleDurations}, which is used in a similar way to
1556 @code{\times}, but does not create a tuplet bracket; see
1557 @ref{Scaling durations}.
1559 @cindex beams, with polymetric meters
1560 @cindex polymetric meters, with beams
1562 In this example, music with the time signatures of 3/4, 9/8, and
1563 10/8 are used in parallel. In the second staff, shown durations
1564 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1565 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1566 It will often be necessary to insert beams manually, as the
1567 duration scaling affects the autobeaming rules.
1569 @lilypond[quote,verbatim]
1578 \set Staff.timeSignatureFraction = #'(9 . 8)
1579 \scaleDurations #'(2 . 3)
1580 \repeat unfold 6 { c8[ c c] }
1584 \set Staff.timeSignatureFraction = #'(10 . 8)
1585 \scaleDurations #'(3 . 5) {
1586 \repeat unfold 2 { c8[ c c] }
1587 \repeat unfold 2 { c8[ c] } |
1588 c4. c4. \times 2/3 { c8[ c c] } c4
1594 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1596 Each staff can be given its own independent time signature by
1597 moving the @code{Timing_translator} and the
1598 @code{Default_bar_line_engraver} to the @code{Staff} context.
1600 @lilypond[quote,verbatim]
1604 \remove "Timing_translator"
1605 \remove "Default_bar_line_engraver"
1609 \consists "Timing_translator"
1610 \consists "Default_bar_line_engraver"
1614 % Now each staff has its own time signature.
1640 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1641 {compound-time-signatures.ly}
1647 @rglos{polymetric time signature},
1651 @ref{Time signature},
1652 @ref{Scaling durations}.
1657 Internals Reference:
1658 @rinternals{TimeSignature},
1659 @rinternals{Timing_translator},
1660 @rinternals{Default_bar_line_engraver},
1666 When using different time signatures in parallel, notes
1667 at the same moment will be placed at the same horizontal
1668 location. However, the bar lines in the different staves
1669 will cause the note spacing to be less regular in each of the
1670 individual staves than would be normal without the different
1673 @node Automatic note splitting
1674 @unnumberedsubsubsec Automatic note splitting
1676 @cindex notes, splitting
1677 @cindex splitting notes
1678 @cindex rests, splitting
1679 @cindex splitting rests
1681 @funindex Note_heads_engraver
1682 @funindex Completion_heads_engraver
1683 @funindex Completion_rest_engraver
1685 Long notes which overrun bar lines can be converted automatically to
1686 tied notes. This is done by replacing the @code{Note_heads_engraver}
1687 with the @code{Completion_heads_engraver}. Similarly, long rests which
1688 overrun bar lines are split automatically by replacing the
1689 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1690 following example, notes and rests crossing the bar lines are split,
1691 notes are also tied.
1693 @lilypond[quote,verbatim,relative=1]
1695 \remove "Note_heads_engraver"
1696 \consists "Completion_heads_engraver"
1697 \remove "Rest_engraver"
1698 \consists "Completion_rest_engraver"
1701 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1704 These engravers split all running notes and rests at the bar line, and
1705 inserts ties for notes. One of its uses is to debug complex scores: if
1706 the measures are not entirely filled, then the ties show exactly how
1707 much each measure is off.
1715 @rlearning{Engravers explained},
1716 @rlearning{Adding and removing engravers}.
1721 Internals Reference:
1722 @rinternals{Note_heads_engraver},
1723 @rinternals{Completion_heads_engraver},
1724 @rinternals{Rest_engraver},
1725 @rinternals{Completion_rest_engraver},
1726 @rinternals{Forbid_line_break_engraver}.
1731 Not all durations (especially those containing tuplets) can be
1732 represented exactly with normal notes and dots, but the
1733 @code{Completion_heads_engraver} will not insert tuplets.
1735 The @code{Completion_heads_engraver} only affects notes; it does not
1739 @node Showing melody rhythms
1740 @unnumberedsubsubsec Showing melody rhythms
1742 @cindex melody rhythms, showing
1743 @cindex rhythms, showing melody
1745 Sometimes you might want to show only the rhythm of a melody. This
1746 can be done with the rhythmic staff. All pitches of notes on such a
1747 staff are squashed, and the staff itself has a single line
1749 @lilypond[quote,relative=1,verbatim]
1751 \new RhythmicStaff {
1752 \new Voice = "myRhythm" {
1760 \lyricsto "myRhythm" {
1768 @cindex guitar chord charts
1769 @cindex strumming rhythms, showing
1770 @cindex guitar strumming rhythms, showing
1772 @funindex Pitch_squash_engraver
1773 @funindex \improvisationOn
1774 @funindex improvisationOn
1775 @funindex \improvisationOff
1776 @funindex improvisationOff
1778 Guitar chord charts often show the strumming rhythms. This can
1779 be done with the @code{Pitch_squash_engraver} and
1780 @code{\improvisationOn}.
1783 @lilypond[quote,verbatim]
1791 \consists Pitch_squash_engraver
1804 @code{\improvisationOn},
1805 @code{\improvisationOff}.
1811 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1812 {guitar-strum-rhythms.ly}
1819 Internals Reference:
1820 @rinternals{RhythmicStaff},
1821 @rinternals{Pitch_squash_engraver}.
1829 * Setting automatic beam behavior::
1834 @node Automatic beams
1835 @unnumberedsubsubsec Automatic beams
1837 By default, beams are inserted automatically:
1839 @cindex beams, manual
1840 @cindex manual beams
1841 @cindex beams, customizing rules
1843 @funindex \autoBeamOn
1844 @funindex autoBeamOn
1845 @funindex \autoBeamOff
1846 @funindex autoBeamOff
1848 @lilypond[quote,verbatim,relative=2]
1850 \time 6/8 c8 c c c8. c16 c8
1853 If these automatic decisions are not satisfactory, beaming can be
1854 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1855 entered manually if beams are to be extended over rests.
1857 If automatic beaming is not required, it may be turned off with
1858 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1860 @lilypond[quote,relative=1,verbatim]
1861 c4 c8 c8. c16 c8. c16 c8
1868 @cindex melismata, with beams
1869 @cindex beams, with melismata
1871 @warning{If beams are used to indicate melismata in songs, then
1872 automatic beaming should be switched off with @code{\autoBeamOff}
1873 and the beams indicated manually.}
1875 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1876 produce unintended results. See the snippet below for more information.}
1878 Beaming patterns that differ from the automatic defaults can be
1879 created; see @ref{Setting automatic beam behavior}.
1882 @code{\autoBeamOff},
1886 @cindex beams, line breaks
1887 @cindex line breaks, beams
1888 @cindex beams, with knee gap
1889 @cindex knee gap, with beams
1893 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1894 {beams-across-line-breaks.ly}
1896 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1897 {changing-beam-knee-gap.ly}
1899 @cindex beams, \partcombine with \autoBeamOff
1900 @cindex voices, \partcombine with \autoBeamOff
1902 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1903 {partcombine-and-autobeamoff.ly}
1908 @ref{Setting automatic beam behavior}.
1911 @file{scm/auto-beam.scm}.
1916 Internals Reference:
1917 @rinternals{Auto_beam_engraver},
1918 @rinternals{Beam_engraver},
1920 @rinternals{BeamEvent},
1921 @rinternals{BeamForbidEvent},
1922 @rinternals{beam-interface},
1923 @rinternals{unbreakable-spanner-interface}.
1925 @node Setting automatic beam behavior
1926 @unnumberedsubsubsec Setting automatic beam behavior
1928 @cindex beams, with lyrics
1929 @cindex lyrics, with beams
1931 @funindex autoBeaming
1932 @funindex baseMoment
1933 @funindex beamExceptions
1934 @funindex beatStructure
1935 @funindex measureLength
1941 In most instances, automatic beams will end at the end of a beat.
1942 The ending points for beats are determined by the context properties
1943 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1944 is a scheme list that defines the length of each beat in the measure
1945 in units of @code{baseMoment}. By default, @code{baseMoment} is
1946 the one over numerator of the time signature. By default,
1947 each unit of length @code{baseMoment} is a single beat.
1949 @lilypond[quote,relative=2,verbatim]
1951 c16^"default" c c c c |
1952 \set Timing.beatStructure = #'(2 3)
1953 c16^"(2+3)" c c c c |
1954 \set Timing.beatStructure = #'(3 2)
1955 c16^"(3+2)" c c c c |
1958 Beam setting changes can be limited to specific contexts. If no
1959 setting is included in a lower-level context, the setting of the
1960 enclosing context will apply.
1962 @lilypond[quote, verbatim,relative=1]
1965 \set Staff.beatStructure = #'(2 3 2)
1975 \set Voice.beatStructure = #'(1 3 3)
1983 When multiple voices are used the @code{Staff} context must be
1984 specified if the beaming is to be applied to all voices in the
1987 @lilypond[quote,verbatim,relative=2]
1990 % Change applied to Voice by default -- does not work correctly
1991 % Because of autogenerated voices, all beating will
1992 % be at baseMoment (1 . 8)
1993 \set beatStructure = #'(3 1 1 2)
1994 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1996 % Works correctly with context Staff specified
1997 \set Staff.beatStructure = #'(3 1 1 2)
1998 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2001 The value of @code{baseMoment} can be adjusted to change
2002 the beaming behavior, if desired. When this is done,
2003 the value of @code{beatStructure} must be set to be
2004 compatible with the new value of @code{baseMoment}.
2006 @lilypond[quote,verbatim,relative=2]
2008 \set Timing.baseMoment = #(ly:make-moment 1 16)
2009 \set Timing.beatStructure = #'(7 3)
2010 \repeat unfold 10 { a16 }
2013 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2014 quantity of type @i{moment} is created by the scheme function
2015 @code{ly:make-moment}. For more information about this function,
2016 see @ref{Time administration}.
2018 By default @code{baseMoment} is set to one over the denominator of
2019 the time signature. Any exceptions to this default can be found in
2020 @file{scm/time-signature-settings.scm}.
2022 Special autobeaming rules (other than ending a beam on a beat)
2023 are defined in the @code{beamExceptions} property.
2025 @lilypond[quote,relative=2,verbatim]
2027 \set Timing.beatStructure = #'(2 1)
2028 \set Timing.beamExceptions =
2030 (end . ;entry for end of beams
2031 ( ;start of alist of end points
2032 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2033 ))) %close all entries
2035 \repeat unfold 6 { c32 } |
2038 @code{beamExceptions} is an alist with a key of rule-type and a value
2041 At this time the only available value of rule-type is
2042 @code{'end} for beam ending.
2044 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2045 beam type and the grouping to be applied to beams containing notes with
2046 a shortest duration of that beam type.
2049 #'((beam-type1 . grouping-1)
2050 (beam-type2 . grouping-2)
2051 (beam-type3 . grouping-3))
2054 Beam type is a scheme pair indicating the duration of the beam,
2055 e.g., @code{(1 . 16)}.
2057 Grouping is a scheme list indicating the grouping to be applied to
2058 the beam. The grouping is in units of the beam type.
2060 @warning{ A @code{beamExceptions} value must be @emph{complete}
2061 exceptions list. That is, every exception that should be applied
2062 must be included in the setting. It is not possible to add, remove,
2063 or change only one of the exceptions. While this may seem cumbersome,
2064 it means that the current beaming settings need not be known in order
2065 to specify a new beaming pattern.}
2067 When the time signature is changed, default values of
2068 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2069 and @code{Timing.beamExceptions} are set. Setting the time signature
2070 will reset the automatic beaming settings for the @code{Timing}
2071 context to the default behavior.
2073 @lilypond[quote,verbatim,relative=2]
2075 \repeat unfold 6 { a8 }
2077 \set Timing.beatStructure = #'(4 2)
2078 \repeat unfold 6 { a8 }
2079 % go back to default behavior
2081 \repeat unfold 6 { a8 }
2084 The default automatic beaming settings for a time signature
2085 are determined in @file{scm/time-signature-settings.scm}.
2086 Changing the default automatic beaming settings
2087 for a time signature is described in @ref{Time signature}.
2089 Many automatic beaming settings for a time signature contain an
2090 entry for @code{beamExceptions}. For example, 4/4 time tries to
2091 beam the measure in two if there are only eighth notes. The
2092 @code{beamExceptions} rule can override the @code{beatStructure} setting
2093 if @code{beamExceptions} is not reset.
2095 @lilypond[quote,verbatim,relative=2]
2097 \set Timing.baseMoment = #(ly:make-moment 1 8)
2098 \set Timing.beatStructure = #'(3 3 2)
2099 % This won't beam (3 3 2) because of beamExceptions
2100 \repeat unfold 8 {c8} |
2101 % This will beam (3 3 2) because we clear beamExceptions
2102 \set Timing.beamExceptions = #'()
2103 \repeat unfold 8 {c8}
2106 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2107 measure by default. To beam eighth notes in 3/4 time on the beat,
2108 reset @code{beamExceptions}.
2110 @lilypond[quote,verbatim,relative=2]
2112 % by default we beam in (3) due to beamExceptions
2113 \repeat unfold 6 {a8} |
2114 % This will beam (1 1 1) due to beatLength
2115 \set Timing.beamExceptions = #'()
2116 \repeat unfold 6 {a8}
2119 @i{@strong{How automatic beaming works}}
2121 When automatic beaming is enabled, the placement of automatic beams
2122 is determined by the context properties
2123 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2125 The following rules, in order of priority, apply when determining
2126 the appearance of beams:
2130 If a manual beam is specified with @code{[..]} set the beam
2131 as specified, otherwise
2134 if a beam-ending rule is defined in @code{beamExceptions}
2135 for the beam-type, use it to determine the valid places where
2136 beams may end, otherwise
2139 if a beam-ending rule is defined in @code{beamExceptions}
2140 for a longer beam-type, use it to determined the valid places
2141 where beams may end, otherwise
2144 use the values of @code{baseMoment} and @code{beatStructure} to
2145 determine the ends of the beats in the measure, and
2146 end beams at the end of beats.
2150 In the rules above, the @emph{beam-type} is the duration of the
2151 shortest note in the beamed group.
2153 The default beaming rules can be found in
2154 @file{scm/time-signature-settings.scm}.
2158 @cindex beams, subdividing
2160 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2161 {subdividing-beams.ly}
2163 @cindex measure groupings
2164 @cindex beats, grouping
2165 @cindex grouping beats
2166 @cindex measure sub-grouping
2168 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2169 {conducting-signs,-measure-grouping-signs.ly}
2171 @cindex beam, endings in a score
2172 @cindex beam, endings with multiple voices
2174 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2175 {beam-endings-in-score-context.ly}
2180 @file{scm/beam-settings.scm}.
2185 Internals Reference:
2186 @rinternals{Auto_beam_engraver},
2188 @rinternals{BeamForbidEvent},
2189 @rinternals{beam-interface}.
2193 If a score ends while an automatic beam has not been ended and is
2194 still accepting notes, this last beam will not be typeset at all.
2195 The same holds for polyphonic voices, entered with
2196 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2197 automatic beam is still accepting notes, it is not typeset.
2198 The workaround for these problems is to manually beam the last
2199 beam in the voice or score.
2201 By default, the @code{Timing} translator is aliased to the
2202 @code{Score} context. This means that setting the time signature
2203 in one staff will affect the beaming of the other staves as well.
2204 Thus, a time signature setting in a later staff will reset custom
2205 beaming that was set in an earlier staff.
2206 One way to avoid this problem is to set the time signature
2209 @lilypond[quote,verbatim,relative=2]
2213 \set Timing.baseMoment = #(ly:make-moment 1 8)
2214 \set Timing.beatStructure = #'(1 5)
2215 \repeat unfold 6 { a8 }
2218 \repeat unfold 6 { a8 }
2223 The default beam settings for the time signature can also be changed, so
2224 that the desired beaming will always be used. Changes in automatic
2225 beaming settings for a time signature are described in
2226 @ref{Time signature}.
2228 @lilypond[quote,verbatim,relative=2]
2231 \overrideTimeSignatureSettings
2232 #'(3 . 4) % timeSignatureFraction
2233 #'(1 . 8) % baseMomentFraction
2234 #'(1 5) % beatStructure
2235 #'() % beamExceptions
2237 \repeat unfold 6 { a8 }
2241 \repeat unfold 6 { a8 }
2247 @unnumberedsubsubsec Manual beams
2249 @cindex beams, manual
2250 @cindex manual beams
2255 In some cases it may be necessary to override the automatic
2256 beaming algorithm. For example, the autobeamer will not put beams
2257 over rests or bar lines, and in choral scores the beaming is
2258 often set to follow the meter of the lyrics rather than the
2259 notes. Such beams can be specified manually by
2260 marking the begin and end point with @code{[} and @code{]}.
2262 @lilypond[quote,relative=1,verbatim]
2263 r4 r8[ g' a r] r g[ | a] r
2266 @cindex manual beams, direction shorthand for
2267 @cindex manual beams, grace notes
2269 Beaming direction can be set manually using direction indicators:
2271 @lilypond[quote,relative=2,verbatim]
2272 c8^[ d e] c,_[ d e f g]
2278 Individual notes may be marked with @code{\noBeam} to prevent them
2281 @lilypond[quote,verbatim,relative=2]
2286 Grace note beams and normal note beams can occur simultaneously.
2287 Unbeamed grace notes are not put into normal note beams.
2289 @lilypond[quote,verbatim,relative=2]
2291 \grace { e32[ d c d] }
2297 @funindex stemLeftBeamCount
2298 @funindex stemRightBeamCount
2300 Even more strict manual control with the beams can be achieved by
2301 setting the properties @code{stemLeftBeamCount} and
2302 @code{stemRightBeamCount}. They specify the number of beams to
2303 draw on the left and right side, respectively, of the next note.
2304 If either property is set, its value will be used only once, and
2305 then it is erased. In this example, the last @code{f} is printed
2306 with only one beam on the left side, i.e., the eighth-note beam of
2307 the group as a whole.
2309 @lilypond[quote,relative=2,verbatim]
2312 \set stemLeftBeamCount = #2
2313 \set stemRightBeamCount = #1
2315 \set stemLeftBeamCount = #1
2327 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2328 {flat-flags-and-beam-nibs.ly}
2333 @ref{Direction and placement},
2339 Internals Reference:
2341 @rinternals{BeamEvent},
2342 @rinternals{Beam_engraver},
2343 @rinternals{beam-interface},
2344 @rinternals{Stem_engraver}.
2347 @node Feathered beams
2348 @unnumberedsubsubsec Feathered beams
2350 @cindex beams, feathered
2351 @cindex feathered beams
2353 @funindex \featherDurations
2354 @funindex featherDurations
2355 @funindex grow-direction
2357 Feathered beams are used to indicate that a small group of notes
2358 should be played at an increasing (or decreasing) tempo, without
2359 changing the overall tempo of the piece. The extent of the
2360 feathered beam must be indicated manually using @code{[} and
2361 @code{]}, and the beam feathering is turned on by specifying a
2362 direction to the @code{Beam} property @code{grow-direction}.
2364 If the placement of the notes and the sound in the MIDI output is to
2365 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2366 feathered beam the notes must be grouped as a music expression delimited
2367 by braces and preceded by a @code{featherDurations} command which specifies
2368 the ratio between the durations of the first and last notes in the
2371 The square brackets show the extent of the beam and the braces show
2372 which notes are to have their durations modified. Normally these
2373 would delimit the same group of notes, but this is not required: the
2374 two commands are independent.
2376 In the following example the eight 16th notes occupy exactly the
2377 same time as a half note, but the first note is one half as long
2378 as the last one, with the intermediate notes gradually
2379 lengthening. The first four 32nd notes gradually speed up, while
2380 the last four 32nd notes are at a constant tempo.
2382 @lilypond[relative=1,verbatim,quote]
2383 \override Beam #'grow-direction = #LEFT
2384 \featherDurations #(ly:make-moment 2 1)
2385 { c16[ c c c c c c c] }
2386 \override Beam #'grow-direction = #RIGHT
2387 \featherDurations #(ly:make-moment 2 3)
2389 % revert to non-feathered beams
2390 \override Beam #'grow-direction = #'()
2395 The spacing in the printed output represents the
2396 note durations only approximately, but the MIDI output is exact.
2400 @code{\featherDurations}.
2410 The @code{\featherDurations} command only works with very short
2411 music snippets, and when numbers in the fraction are small.
2421 * Bar and bar number checks::
2426 @unnumberedsubsubsec Bar lines
2429 @cindex measure lines
2430 @cindex closing bar lines
2431 @cindex bar lines, closing
2432 @cindex double bar lines
2433 @cindex bar lines, double
2439 Bar lines delimit measures, and are also used to indicate
2440 repeats. Normally, simple bar lines are automatically inserted
2441 into the printed output at places based on the current time
2444 The simple bar lines inserted automatically can be changed to
2445 other types with the @code{\bar} command. For example, a closing
2446 double bar line is usually placed at the end of a piece:
2448 @lilypond[quote,relative=1,verbatim]
2452 It is not invalid if the final note in a measure does not
2453 end on the automatically entered bar line: the note is assumed
2454 to carry over into the next measure. But if a long sequence
2455 of such carry-over measures appears the music can appear compressed
2456 or even flowing off the page. This is because automatic line
2457 breaks happen only at the end of complete measures, i.e., where
2458 all notes end before the end of a measure.
2460 @warning{An incorrect duration can cause line breaks to be
2461 inhibited, leading to a line of highly compressed music or
2462 music which flows off the page.}
2465 @cindex bar lines, invisible
2466 @cindex measure lines, invisible
2468 Line breaks are also permitted at manually inserted bar lines
2469 even within incomplete measures. To allow a line break without
2470 printing a bar line, use the following:
2477 This will insert an invisible bar line and allow (but not
2478 force) a line break to occur at this point. The bar number
2479 counter is not increased. To force a line break see
2480 @ref{Line breaking}.
2482 @cindex manual bar lines
2483 @cindex manual measure lines
2484 @cindex bar lines, manual
2485 @cindex measure lines, manual
2487 This and other special bar lines may be inserted manually at any
2488 point. When they coincide with the end of a measure they replace
2489 the simple bar line which would have been inserted there
2490 automatically. When they do not coincide with the end of a measure
2491 the specified bar line is inserted at that point in the printed
2494 Note that manual bar lines are purely visual. They do not affect
2495 any of the properties that a normal bar line would affect, such as
2496 measure numbers, accidentals, line breaks, etc. They do not affect
2497 the calculation and placement of subsequent automatic bar lines.
2498 When a manual bar line is placed where a normal bar line already
2499 exists, the effects of the original bar line are not altered.
2501 Two types of simple bar lines and five types of double bar lines are
2502 available for manual insertion:
2504 @lilypond[quote,relative=1,verbatim]
2516 together with dotted and dashed bar lines:
2518 @lilypond[quote,relative=1,verbatim]
2525 and five types of repeat bar line:
2527 @lilypond[quote,relative=1,verbatim]
2536 Additionally, a bar line can be printed as a simple tick:
2537 @lilypond[quote,relative=1,verbatim]
2540 However, as such ticks are typically used in Gregorian chant, it is
2541 preferable to use @code{\divisioMinima} there instead, described in
2542 the section @ref{Divisiones} in Gregorian chant.
2546 For in-line segno signs, there are three types of bar lines which
2547 differ in their behavior at line breaks:
2549 @lilypond[quote,relative=2,verbatim]
2567 Although the bar line types signifying repeats may be inserted
2568 manually they do not in themselves cause LilyPond to recognize
2569 a repeated section. Such repeated sections are better entered
2570 using the various repeat commands (see @ref{Repeats}), which
2571 automatically print the appropriate bar lines.
2573 In addition, you can specify @code{"||:"}, which is equivalent to
2574 @code{"|:"} except at line breaks, where it gives a double bar
2575 line at the end of the line and a start repeat at the beginning of
2578 @lilypond[quote,relative=2,verbatim]
2586 For combinations of repeats with the segno sign, there are six different
2589 @lilypond[quote,relative=2,verbatim]
2618 In scores with many staves, a @code{\bar} command in one staff is
2619 automatically applied to all staves. The resulting bar lines are
2620 connected between different staves of a @code{StaffGroup},
2621 @code{PianoStaff}, or @code{GrandStaff}.
2623 @lilypond[quote,relative=1,verbatim]
2631 \new Staff { \clef bass c4 g e g }
2633 \new Staff { \clef bass c2 c2 }
2638 @cindex default bar lines, changing
2639 @cindex bar lines, default, changing
2644 @funindex defaultBarType
2649 The command @samp{\bar @var{bartype}} is a shortcut for
2650 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2651 created whenever the @code{whichBar} property is set.
2653 The default bar type used for automatically inserted bar lines is
2654 @code{"|"}. This may be changed at any time with
2655 @samp{\set Timing.defaultBarType = @var{bartype}}.
2660 @ref{Line breaking},
2662 @ref{Grouping staves}.
2667 Internals Reference:
2668 @rinternals{BarLine} (created at @code{Staff} level),
2669 @rinternals{SpanBar} (across staves),
2670 @rinternals{Timing_translator} (for Timing properties).
2674 @unnumberedsubsubsec Bar numbers
2677 @cindex measure numbers
2678 @cindex numbers, bar
2679 @cindex numbers, measure
2681 @funindex currentBarNumber
2683 Bar numbers are typeset by default at the start of every line except
2684 the first line. The number itself is stored in the
2685 @code{currentBarNumber} property, which is normally updated
2686 automatically for every measure. It may also be set manually:
2688 @lilypond[verbatim,quote,relative=1]
2691 \set Score.currentBarNumber = #50
2695 @cindex bar numbers, regular spacing
2697 @funindex barNumberVisibility
2700 Bar numbers can be typeset at regular intervals instead of just at
2701 the beginning of every line. To do this the default behavior
2702 must be overridden to permit bar numbers to be printed at places
2703 other than the start of a line. This is controlled by the
2704 @code{break-visibility} property of @code{BarNumber}. This takes
2705 three values which may be set to @code{#t} or @code{#f} to specify
2706 whether the corresponding bar number is visible or not. The order
2707 of the three values is @code{end of line visible}, @code{middle of
2708 line visible}, @code{beginning of line visible}. In the following
2709 example bar numbers are printed at all possible places:
2711 @lilypond[verbatim,quote,relative=1]
2712 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2713 \set Score.currentBarNumber = #11
2714 % Permit first bar number to be printed
2724 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2725 {printing-the-bar-number-for-the-first-measure.ly}
2727 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2728 {printing-bar-numbers-at-regular-intervals.ly}
2730 @cindex measure number, format
2731 @cindex bar number, format
2733 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2734 {printing-bar-numbers-inside-boxes-or-circles.ly}
2736 @cindex bar number alignment
2738 @lilypondfile[verbatim,quote,texidoc,doctitle]
2739 {aligning-bar-numbers.ly}
2741 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2742 {removing-bar-numbers-from-a-score.ly}
2749 Internals Reference:
2750 @rinternals{BarNumber},
2751 @rinternals{Bar_number_engraver}.
2754 @cindex bar number collision
2755 @cindex collision, bar number
2758 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2759 if there is one. To solve this, the @code{padding} property of
2760 @code{BarNumber} can be used to position the number correctly. See
2761 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2764 @node Bar and bar number checks
2765 @unnumberedsubsubsec Bar and bar number checks
2768 @cindex bar number check
2769 @cindex measure check
2770 @cindex measure number check
2772 @funindex barCheckSynchronize
2775 Bar checks help detect errors in the entered durations. A bar check
2776 may be entered using the bar symbol, @code{|}, at any place where a
2777 bar line is expected to fall. If bar check lines are encountered at
2778 other places, a list of warnings is printed in the log file, showing
2779 the line numbers and lines in which the bar checks failed. In the
2780 next example, the second bar check will signal an error.
2783 \time 3/4 c2 e4 | g2 |
2786 Bar checks can also be used in lyrics:
2791 Twin -- kle | Twin -- kle |
2795 An incorrect duration can result in a completely garbled score,
2796 especially if the score is polyphonic, so a good place to start
2797 correcting input is by scanning for failed bar checks and
2798 incorrect durations.
2800 If successive bar checks are off by the same musical interval,
2801 only the first warning message is displayed. This allows the
2802 warning to focus on the source of the timing error.
2806 @funindex pipeSymbol
2808 It is also possible to redefine the action taken when a bar check
2809 or pipe symbol, @code{|}, is encountered in the input, so that
2810 it does something other than a bar check. This is done by
2811 assigning a music expression to @code{pipeSymbol}.
2812 In the following example @code{|} is set to insert a double bar
2813 line wherever it appears in the input, rather than checking
2816 @lilypond[quote,verbatim]
2817 pipeSymbol = \bar "||"
2826 @funindex \barNumberCheck
2827 @funindex barNumberCheck
2829 When copying large pieces of music, it can be helpful to check that
2830 the LilyPond bar number corresponds to the original that you are
2831 entering from. This can be checked with @code{\barNumberCheck}, for
2835 \barNumberCheck #123
2839 will print a warning if the @code{currentBarNumber} is not 123
2840 when it is processed.
2848 @node Rehearsal marks
2849 @unnumberedsubsubsec Rehearsal marks
2851 @cindex rehearsal marks
2852 @cindex mark, rehearsal
2857 To print a rehearsal mark, use the @code{\mark} command.
2859 @lilypond[quote,verbatim,relative=2]
2867 The mark is incremented automatically if you use @code{\mark
2868 \default}, but you can also use an integer argument to set the
2869 mark manually. The value to use is stored in the property
2870 @code{rehearsalMark}.
2872 @lilypond[quote,verbatim,relative=2]
2881 The letter@tie{}@q{I} is skipped in accordance with engraving
2882 traditions. If you wish to include the letter @q{I}, then use one
2883 of the following commands, depending on which style of rehearsal mark
2884 you want (letters only, letters in a hollow box, or letters in a
2888 \set Score.markFormatter = #format-mark-alphabet
2889 \set Score.markFormatter = #format-mark-box-alphabet
2890 \set Score.markFormatter = #format-mark-circle-alphabet
2893 @lilypond[quote,verbatim,relative=2]
2894 \set Score.markFormatter = #format-mark-box-alphabet
2902 @cindex rehearsal mark format
2903 @cindex rehearsal mark style
2904 @cindex style, rehearsal mark
2905 @cindex format, rehearsal mark
2906 @cindex mark, rehearsal, style
2907 @cindex mark, rehearsal, format
2908 @cindex rehearsal mark, manual
2909 @cindex mark, rehearsal, manual
2910 @cindex custom rehearsal mark
2911 @cindex manual rehearsal mark
2913 The style is defined by the property @code{markFormatter}. It is
2914 a function taking the current mark (an integer) and the current
2915 context as argument. It should return a markup object. In the
2916 following example, @code{markFormatter} is set to a pre-defined
2917 procedure. After a few measures, it is set to a procedure that
2918 produces a boxed number.
2920 @lilypond[quote,verbatim,relative=2]
2921 \set Score.markFormatter = #format-mark-numbers
2924 \set Score.markFormatter = #format-mark-box-numbers
2926 \set Score.markFormatter = #format-mark-circle-numbers
2928 \set Score.markFormatter = #format-mark-circle-letters
2932 The file @file{scm/translation-functions.scm} contains the
2933 definitions of @code{format-mark-numbers} (the default format),
2934 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2935 @code{format-mark-box-letters}. These can be used as inspiration
2936 for other formatting functions.
2938 You may use @code{format-mark-barnumbers},
2939 @code{format-mark-box-barnumbers}, and
2940 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2941 incremented numbers or letters.
2943 Other styles of rehearsal mark can be specified manually:
2950 Note that @code{Score.markFormatter} does not affect marks specified
2951 in this manner. However, it is possible to apply a @code{\markup} to the
2955 \mark \markup@{ \box A1 @}
2960 @cindex D.S. al Fine
2962 @cindex music glyphs
2963 @cindex glyphs, music
2965 @funindex \musicglyph
2966 @funindex musicglyph
2968 Music glyphs (such as the segno sign) may be printed inside a
2971 @lilypond[quote,verbatim,relative=1]
2972 c1 \mark \markup { \musicglyph #"scripts.segno" }
2973 c1 \mark \markup { \musicglyph #"scripts.coda" }
2974 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2979 See @ref{The Feta font}, for a list of symbols which may be
2980 printed with @code{\musicglyph}.
2982 For common tweaks to the positioning of rehearsal marks, see
2983 @ref{Formatting text}. For more precise control, see
2984 @code{break-alignable-interface} in @ref{Aligning objects}.
2989 @ref{The Feta font},
2990 @ref{Formatting text},
2991 @ref{Aligning objects}.
2994 @file{scm/translation-functions.scm} contains
2995 the definitions of @code{format-mark-numbers} and
2996 @code{format-mark-letters}. They can be used as inspiration for
2997 other formatting functions.
3002 Internals Reference:
3003 @rinternals{MarkEvent},
3004 @rinternals{Mark_engraver},
3005 @rinternals{RehearsalMark}.
3008 @node Special rhythmic concerns
3009 @subsection Special rhythmic concerns
3014 * Aligning to cadenzas::
3015 * Time administration::
3019 @unnumberedsubsubsec Grace notes
3023 @cindex appoggiatura
3024 @cindex acciaccatura
3029 Grace notes are ornaments that are written out. Grace notes
3030 are printed in a smaller font and take up no logical time
3033 @lilypond[quote,relative=2,verbatim]
3035 \grace { c16[ d16] } c2
3038 LilyPond also supports two special types of grace notes, the
3039 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3040 small note with a slashed stem -- and the @emph{appoggiatura}, which
3041 takes a fixed fraction of the main note and appears in small print
3044 @lilypond[quote,relative=2,verbatim]
3048 \acciaccatura { g16[ f] } e4
3051 The placement of grace notes is synchronized between different
3052 staves. In the following example, there are two sixteenth grace
3053 notes for every eighth grace note
3055 @lilypond[quote,relative=2,verbatim]
3057 \new Staff { e2 \grace { c16[ d e f] } e2 }
3058 \new Staff { c2 \grace { g8[ b] } c2 }
3062 @cindex grace notes, following
3064 @funindex \afterGrace
3065 @funindex afterGrace
3067 If you want to end a note with a grace, use the @code{\afterGrace}
3068 command. It takes two arguments: the main note, and the grace
3069 notes following the main note.
3071 @lilypond[quote,verbatim,relative=2]
3072 c1 \afterGrace d1 { c16[ d] } c1
3075 This will put the grace notes after a space lasting 3/4 of the
3076 length of the main note. The default fraction 3/4 can be changed by
3077 setting @code{afterGraceFraction}. The following example shows
3078 the results from setting the space at the default, at 15/16, and
3079 finally at 1/2 of the main note.
3081 @lilypond[quote,verbatim,relative=2]
3084 c1 \afterGrace d1 { c16[ d] } c1
3087 #(define afterGraceFraction (cons 15 16))
3088 c1 \afterGrace d1 { c16[ d] } c1
3091 #(define afterGraceFraction (cons 1 2))
3092 c1 \afterGrace d1 { c16[ d] } c1
3097 The space between the main note and the grace note may also be
3098 specified using spacers. The following example places the grace
3099 note after a space lasting 7/8 of the main note.
3101 @lilypond[quote,verbatim,relative=2]
3105 { s2 s4. \grace { c16[ d] } }
3111 @cindex tweaking grace notes
3112 @cindex grace notes, tweaking
3113 @cindex grace notes, changing layout settings
3115 A @code{\grace} music expression will introduce special
3116 typesetting settings, for example, to produce smaller type, and
3117 set directions. Hence, when introducing layout tweaks to
3118 override the special settings, they should be placed inside
3119 the grace expression. The overrides should also be reverted
3120 inside the grace expression. Here, the grace note's default stem
3121 direction is overridden and then reverted.
3123 @lilypond[quote,verbatim,relative=2]
3135 @cindex stem, with slash
3140 @lilypondfile[verbatim,quote,texidoc,doctitle]
3141 {using-grace-note-slashes-with-normal-heads.ly}
3143 @lilypondfile[verbatim,quote,texidoc,doctitle]
3144 {tweaking-grace-layout-within-music.ly}
3146 @lilypondfile[verbatim,quote,texidoc,doctitle]
3147 {redefining-grace-note-global-defaults.ly}
3149 @lilypondfile[verbatim,quote,texidoc,doctitle]
3150 {positioning-grace-notes-with-floating-space.ly}
3155 @rglos{grace notes},
3156 @rglos{acciaccatura},
3157 @rglos{appoggiatura}.
3163 @file{ly/grace-init.ly}.
3168 Internals Reference:
3169 @rinternals{GraceMusic},
3170 @rinternals{Grace_beam_engraver},
3171 @rinternals{Grace_engraver},
3172 @rinternals{Grace_spacing_engraver}.
3177 @cindex acciaccatura, multi-note
3178 @cindex multi-note acciaccatura
3179 @cindex grace-note synchronization
3181 A multi-note beamed @i{acciaccatura} is printed without a slash,
3182 and looks exactly the same as a multi-note beamed
3185 @c TODO Add link to LSR snippet to add slash when available
3187 Grace note synchronization can also lead to surprises. Staff
3188 notation, such as key signatures, bar lines, etc., are also
3189 synchronized. Take care when you mix staves with grace notes and
3190 staves without, for example,
3192 @lilypond[quote,relative=2,verbatim]
3194 \new Staff { e4 \bar "|:" \grace c16 d2. }
3195 \new Staff { c4 \bar "|:" d2. }
3200 This can be remedied by inserting grace skips of the corresponding
3201 durations in the other staves. For the above example
3203 @lilypond[quote,relative=2,verbatim]
3205 \new Staff { e4 \bar "|:" \grace c16 d2. }
3206 \new Staff { c4 \bar "|:" \grace s16 d2. }
3210 The use of grace notes within voice contexts confuses the way the voice
3211 is typeset. This can be overcome by inserting a rest or note between the
3212 voice command and the grace note.
3214 @lilypond[quote,verbatim]
3216 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3223 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3224 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3229 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3230 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3237 Grace sections should only be used within sequential music expressions.
3238 Nesting or juxtaposing grace sections is not supported, and might
3239 produce crashes or other errors.
3241 Each grace note in MIDI output has a length of 1/4 of its actual
3242 duration. If the combined length of the grace notes is greater than the
3243 length of the preceding note a @qq{@code{Going back in MIDI time}}
3244 error will be generated. Either make the grace notes shorter in
3245 duration, for example:
3248 \acciaccatura @{ c'8[ d' e' f' g'] @}
3254 \acciaccatura @{ c'16[ d' e' f' g'] @}
3257 Or explicitly change the musical duration:
3260 \acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
3263 See @ref{Scaling durations}.
3266 @node Aligning to cadenzas
3267 @unnumberedsubsubsec Aligning to cadenzas
3270 @cindex cadenza, aligning to
3271 @cindex aligning to cadenza
3273 In an orchestral context, cadenzas present a special problem: when
3274 constructing a score that includes a measured cadenza or other solo
3275 passage, all other instruments should skip just as many notes as the
3276 length of the cadenza, otherwise they will start too soon or too late.
3278 One solution to this problem is to use the functions
3279 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3280 functions take a defined piece of music as an argument and generate a
3281 multi-measure rest or @code{\skip} exactly as long as the piece.
3283 @lilypond[verbatim,quote]
3284 MyCadenza = \relative c' {
3295 #(ly:export (mmrest-of-length MyCadenza))
3297 #(ly:export (skip-of-length MyCadenza))
3312 @node Time administration
3313 @unnumberedsubsubsec Time administration
3315 @cindex time administration
3316 @cindex timing (within the score)
3317 @cindex music, unmetered
3318 @cindex unmetered music
3320 @funindex currentBarNumber
3321 @funindex measurePosition
3322 @funindex measureLength
3324 Time is administered by the @code{Timing_translator}, which by
3325 default is to be found in the @code{Score} context. An alias,
3326 @code{Timing}, is added to the context in which the
3327 @code{Timing_translator} is placed. To ensure that the
3328 @code{Timing} alias is available, you may need to explicitly
3329 instantiate the containing context (such as @code{Voice} or
3332 The following properties of @code{Timing} are used
3333 to keep track of timing within the score.
3336 @cindex measure number
3339 @item currentBarNumber
3340 The current measure number. For an example showing the
3341 use of this property see @ref{Bar numbers}.
3344 The length of the measures in the current time signature. For a
3345 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3346 determines when bar lines are inserted and how automatic beams
3347 should be generated.
3349 @item measurePosition
3350 The point within the measure where we currently are. This
3351 quantity is reset by subtracting @code{measureLength} whenever
3352 @code{measureLength} is reached or exceeded. When that happens,
3353 @code{currentBarNumber} is incremented.
3356 If set to true, the above variables are updated for every time
3357 step. When set to false, the engraver stays in the current
3358 measure indefinitely.
3362 Timing can be changed by setting any of these variables
3363 explicitly. In the next example, the default 4/4 time
3364 signature is printed, but @code{measureLength} is set to 5/4.
3365 At 4/8 through the third measure, the @code{measurePosition} is
3366 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3367 The next bar line then falls at 9/8 rather than 5/4.
3369 @lilypond[quote,verbatim]
3370 \new Voice \relative c' {
3371 \set Timing.measureLength = #(ly:make-moment 5 4)
3375 \set Timing.measurePosition = #(ly:make-moment 5 8)
3382 As the example illustrates, @code{ly:make-moment n m} constructs a
3383 duration of n/m of a whole note. For example,
3384 @code{ly:make-moment 1 8} is an eighth note duration and
3385 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3392 @ref{Unmetered music}.
3397 Internals Reference:
3398 @rinternals{Timing_translator},