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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 with the @code{\tuplet}
193 command, multiplying the speed of the music expression by a
197 \tuplet @var{fraction} @{ @var{music} @}
201 The fraction's numerator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplets are triplets: 3@tie{}notes sound within the duration
204 normally allowed for@tie{}2:
206 @lilypond[quote,verbatim,relative=2]
207 a2 \tuplet 3/2 { b4 b b }
208 c4 c \tuplet 3/2 { b4 a g }
211 @cindex tuplet grouping
213 When entering long passages of tuplets, having to write a separate
214 @code{\tuplet} command for each group is inconvenient. It is
215 possible to specify the duration of one tuplet group directly
216 before the music in order to have the tuplets grouped
219 @lilypond[quote,verbatim,relative=2]
220 g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
223 @cindex tuplet bracket placement
227 @funindex \tupletDown
229 @funindex \tupletNeutral
230 @funindex tupletNeutral
232 Tuplet brackets may be manually placed above or below the staff;
233 see @ref{Direction and placement}.
235 Tuplets may be nested:
237 @lilypond[quote,verbatim,relative=2]
239 c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
242 Modifying nested tuplets which begin at the same musical moment
243 must be done with @code{\tweak}.
245 To modify the duration of notes without printing a tuplet bracket,
246 see @ref{Scaling durations}.
252 @code{\tupletNeutral}.
258 @cindex tuplet formatting
259 @cindex triplet formatting
261 @funindex tupletNumberFormatFunction
262 @funindex tupletSpannerDuration
264 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
265 {entering-several-tuplets-using-only-one--times-command.ly}
267 @cindex Tuplet number changes
269 @funindex TupletNumber
271 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
272 {changing-the-tuplet-number.ly}
274 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
275 {non-default-tuplet-numbers.ly}
277 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
278 {controlling-tuplet-bracket-visibility.ly}
280 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
281 {permitting-line-breaks-within-beamed-tuplets.ly}
290 @rlearning{Tweaking methods}.
293 @ref{Time administration},
294 @ref{Scaling durations},
295 @ref{The tweak command},
296 @ref{Polymetric notation}.
302 @rinternals{TupletBracket},
303 @rinternals{TupletNumber},
304 @rinternals{TimeScaledMusic}.
306 @cindex grace notes within tuplet brackets
309 Grace notes may be placed within tuplet brackets, @emph{except}
310 when a staff begins with a grace note followed by a tuplet. In this
311 particular case, the grace note must be placed before the @code{\tuplet}
312 command to avoid errors.
314 @cindex tempo marks within tuplet brackets
316 When using a tuplet at the beginning of a piece with a @code{\tempo}
317 mark, the music must be explicitly entered in a @code{\new Voice}
318 block, as discussed in @rlearning{Voices contain music}.
321 @node Scaling durations
322 @unnumberedsubsubsec Scaling durations
324 @cindex scaling durations
325 @cindex durations, scaling
327 The duration of single notes, rests or chords may be multiplied by a
328 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
329 is 1) to the duration. This will not affect the appearance of the
330 notes or rests produced, but the altered duration will be used in
331 calculating the position within the measure and setting the duration
332 in the MIDI output. Multiplying factors may be combined like
333 @code{*L*M/N}. Factors are part of the duration: if a duration is
334 not specified for subsequent notes, the default duration taken from
335 the preceding note will include any scaling factor.
337 In the following example, the first three notes take up exactly
338 two beats, but no triplet bracket is printed.
340 @lilypond[quote,relative=2,verbatim]
342 % Alter durations to triplets
346 % Double the duration of chord
348 % Duration of quarter, appears like sixteenth
352 The duration of spacer rests may also be modified by
353 a multiplier. This is useful for skipping many measures, e.g.,
356 @cindex compressing music
357 @cindex expanding music
359 @funindex \scaleDurations
360 @funindex scaleDurations
362 Longer stretches of music may be compressed by a fraction in the
363 same way, as if every note, chord or rest had the fraction as a
364 multiplier. This leaves the appearance of the music unchanged but
365 the internal duration of the notes will be multiplied by the
366 fraction @emph{num}/@emph{den}. Here is an example showing how music
367 can be compressed and expanded:
369 @lilypond[quote,relative=2,verbatim]
373 % Scale music by *2/3
374 \scaleDurations 2/3 {
378 \scaleDurations 2/1 {
383 One application of this command is in polymetric
384 notation, see @ref{Polymetric notation}.
389 @ref{Invisible rests},
390 @ref{Polymetric notation}.
396 The calculation of the position within a measure must take into
397 account all the scaling factors applied to the notes within that
398 measure and any fractional carry-out from earlier measures. This
399 calculation is carried out using rational numbers. If an intermediate
400 numerator or denominator in that calculation exceeds 2^30 the
401 execution and typesetting will stop at that point without indicating
406 @unnumberedsubsubsec Ties
412 A tie connects two adjacent note heads of the same pitch. The tie
413 in effect extends the duration of a note.
415 @warning{Ties should not be confused with @emph{slurs}, which
416 indicate articulation, or @emph{phrasing slurs}, which indicate
417 musical phrasing. A tie is just a way of extending a note
418 duration, similar to the augmentation dot.}
420 A tie is entered using the tilde symbol (@code{~}).
422 @lilypond[quote,verbatim,relative=2]
426 Ties are used either when the note crosses a bar line, or when
427 dots cannot be used to denote the rhythm. Ties should also be
428 used when note values cross larger subdivisions of the measure:
430 @lilypond[verbatim,quote]
437 If you need to tie many notes across bar lines, it may be
438 easier to use automatic note splitting, see @ref{Automatic note
439 splitting}. This mechanism automatically splits long notes, and
440 ties them across bar lines.
442 @cindex ties and chords
443 @cindex chords and ties
445 When a tie is applied to a chord, all note heads whose pitches
446 match are connected. When no note heads match, no ties will be
447 created. Chords may be partially tied by placing the tie inside
450 @lilypond[quote,verbatim,relative=1]
452 <c~ e g~ b> <c e g b>
455 @cindex repeating ties
456 @cindex ties, repeating
457 @cindex volta brackets and ties
458 @cindex ties and volta brackets
463 When a second alternative of a repeat starts with a tied note, you
464 have to specify the repeated tie as follows:
466 @lilypond[quote,relative=2,verbatim]
467 \repeat volta 2 { c g <c e>2 ~ }
469 % First alternative: following note is tied normally
471 % Second alternative: following note has a repeated tie
472 { <c e>2\repeatTie d4 c } }
475 @cindex laissez vibrer
476 @cindex ties, laissez vibrer
478 @funindex \laissezVibrer
479 @funindex laissezVibrer
481 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
482 notes must not be damped at the end. It is used in notation for
483 piano, harp and other string and percussion instruments. They can
484 be entered as follows:
486 @lilypond[quote,verbatim,relative=1]
487 <c f g>1\laissezVibrer
490 @cindex ties, placement
496 @funindex \tieNeutral
499 Ties may be manually placed above or below the staff; see
500 @ref{Direction and placement}.
502 @cindex ties, appearance
515 Ties may be made dashed, dotted, or a combination of solid and
518 @lilypond[quote, verbatim, relative=1]
531 Custom dash patterns can be specified:
533 @lilypond[quote, verbatim, relative=1]
534 \tieDashPattern #0.3 #0.75
536 \tieDashPattern #0.7 #1.5
542 Dash pattern definitions for ties have the same structure as dash
543 pattern definitions for slurs. For more information about complex dash
544 patterns, see @ref{Slurs}.
546 Override @var{whiteout} and @var{layer} layout properties for ties that
547 collide with other objects in a staff.
549 @lilypond[verbatim,quote,ragged-right,relative=2]
550 \override Tie.layer = #-2
551 \override Staff.TimeSignature.layer = #-1
552 \override Staff.KeySignature.layer = #-1
553 \override Staff.TimeSignature.whiteout = ##t
554 \override Staff.KeySignature.whiteout = ##t
567 @code{\tieDashPattern},
568 @code{\tieHalfDashed},
569 @code{\tieHalfSolid},
575 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
576 {using-ties-with-arpeggios.ly}
578 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
579 {engraving-ties-manually.ly}
584 @rglos{laissez vibrer}.
588 @ref{Automatic note splitting}.
591 @rlsr{Expressive marks},
595 @rinternals{LaissezVibrerTie},
596 @rinternals{LaissezVibrerTieColumn},
597 @rinternals{TieColumn},
601 Switching staves when a tie is active will not produce a slanted tie.
603 Changing clefs or ottavations during a tie is not really well-defined.
604 In these cases, a slur may be preferable.
608 @subsection Writing rests
610 Rests are entered as part of the music in music expressions.
615 * Full measure rests::
619 @unnumberedsubsubsec Rests
622 @cindex rest, entering durations
637 Rests are entered like notes with the note name @code{r}.
638 Durations longer than a whole rest use the following predefined
641 @c \time 16/1 is used to avoid spurious bar lines
642 @c and long tracts of empty measures
643 @lilypond[quote,verbatim,relative=2]
645 % These two lines are just to prettify this example
647 \override Staff.TimeSignature.stencil = ##f
648 % Print a maxima rest, equal to four breves
650 % Print a longa rest, equal to two breves
654 r1 r2 r4 r8 r16 r32 r64 r128
658 @cindex rest, multi-measure
659 @cindex rest, whole-measure
661 Whole measure rests, centered in the middle of the measure, must be
662 entered as multi-measure rests. They can be used for a single
663 measure as well as many measures and are discussed in
664 @ref{Full measure rests}.
666 @cindex rest, specifying vertical position
668 To explicitly specify a rest's vertical position, write a note
669 followed by @code{\rest}. A rest of the duration of the note will
670 be placed at the staff position where the note would appear. This
671 allows for precise manual formatting of polyphonic music, since the
672 automatic rest collision formatter will not move these rests.
674 @lilypond[quote,verbatim,relative=2]
680 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
690 @ref{Full measure rests}.
699 @c Deliberately duplicated in Durations and Rests. -gp
700 There is no fundamental limit to rest durations (both in terms of
701 longest and shortest), but the number of glyphs is limited: there
702 are rests from 128th to maxima (8 x whole).
705 @node Invisible rests
706 @unnumberedsubsubsec Invisible rests
709 @cindex invisible rest
710 @cindex rest, invisible
718 An invisible rest (also called a @q{spacer rest}) can be entered
719 like a note with the note name@tie{}@code{s}:
721 @lilypond[verbatim,quote,relative=2]
728 Spacer rests are available only in note mode and chord mode. In
729 other situations, for example, when entering lyrics, the
730 command @code{\skip} is used to skip a musical moment.
731 @code{\skip} requires an explicit duration, but this is ignored if
732 the lyrics derive their durations from the notes in an associated
733 melody through @code{\addlyrics} or @code{\lyricsto}.
735 @lilypond[quote,verbatim,relative=2]
748 Because @code{\skip} is a command, it does not affect the default
749 durations of following notes, unlike@tie{}@code{s}.
751 @lilypond[quote,verbatim,relative=2]
754 \repeat unfold 8 { a4 }
764 A spacer rest implicitly causes @code{Staff} and @code{Voice}
765 contexts to be created if none exist, just like notes and rests
768 @lilypond[quote,verbatim,relative=2]
772 @code{\skip} simply skips musical time; it creates no output of
775 @lilypond[quote,verbatim,relative=2]
776 % This is valid input, but does nothing
777 \skip 1 \skip1 \skip 1
782 @rlearning{Visibility and color of objects}.
786 @ref{Visibility of objects}.
792 @rinternals{SkipMusic}.
795 @node Full measure rests
796 @unnumberedsubsubsec Full measure rests
798 @cindex multi-measure rests
799 @cindex full-measure rests
800 @cindex rest, multi-measure
801 @cindex rest, full-measure
802 @cindex whole rest for a full measure
803 @cindex rest, whole for a full measure
807 Rests for one or more full measures are entered like notes with
808 the note name uppercase @code{R}:
810 @lilypond[quote,verbatim,relative=2]
811 % Rest measures contracted to single measure
812 \compressFullBarRests
819 The duration of full-measure rests is identical to the duration
820 notation used for notes. The duration in a multi-measure rest must
821 always be an integral number of measure-lengths, so augmentation dots
822 or fractions must often be used:
824 @lilypond[quote,verbatim,relative=2]
825 \compressFullBarRests
831 R1*13/8 | R1*13/8*12 |
836 A full-measure rest is printed as either a whole or breve rest,
837 centered in the measure, depending on the time signature.
839 @lilypond[quote,verbatim,relative=2]
848 @cindex multi-measure rest, expanding
849 @cindex multi-measure rest, contracting
851 @funindex \expandFullBarRests
852 @funindex expandFullBarRests
853 @funindex \compressFullBarRests
854 @funindex compressFullBarRests
856 By default a multi-measure rest is expanded in the printed score to
857 show all the rest measures explicitly. Alternatively, a multi-measure
858 rest can be shown as a single measure containing a multi-measure rest
859 symbol, with the number of measures of rest printed above the measure:
861 @lilypond[quote,verbatim,relative=2]
863 \time 3/4 r2. | R2.*2 |
866 % Rest measures contracted to single measure
867 \compressFullBarRests
869 % Rest measures expanded
876 @cindex text on multi-measure rest
877 @cindex multi-measure rest, attaching text
878 @cindex script on multi-measure rest
879 @cindex multi-measure rest, script
880 @cindex fermata on multi-measure rest
881 @cindex multi-measure rest, attaching fermata
882 @cindex markup on multi-measure rest
883 @cindex multi-measure rest with markup
885 @funindex \fermataMarkup
886 @funindex fermataMarkup
887 @funindex MultiMeasureRestText
889 Markups can be added to multi-measure rests.
890 The predefined command @code{\fermataMarkup}
891 is provided for adding fermatas.
893 @lilypond[quote,verbatim,relative=2]
894 \compressFullBarRests
896 R2.*10^\markup { \italic "ad lib." }
900 @warning{Markups attached to a multi-measure rest are objects of type
901 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
902 be directed to the correct object, or they will be ignored. See the
905 @lilypond[quote,verbatim,relative=2]
906 % This fails, as the wrong object name is specified
907 \override TextScript.padding = #5
909 % This is the correct object name to be specified
910 \override MultiMeasureRestText.padding = #5
914 When a multi-measure rest immediately follows a @code{\partial}
915 setting, resulting bar-check warnings may not be displayed.
918 @funindex \textLengthOn
919 @funindex textLengthOn
920 @funindex \textLengthOff
921 @funindex textLengthOff
922 @funindex \fermataMarkup
923 @funindex fermataMarkup
924 @funindex \compressFullBarRests
925 @funindex compressFullBarRests
926 @funindex \expandFullBarRests
927 @funindex expandFullBarRests
930 @code{\textLengthOn},
931 @code{\textLengthOff},
932 @code{\fermataMarkup},
933 @code{\compressFullBarRests},
934 @code{\expandFullBarRests}.
942 @cindex kirchenpausen
944 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
945 {changing-form-of-multi-measure-rests.ly}
947 @cindex multi-measure rests, positioning
948 @cindex positioning multi-measure rests
950 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
951 {positioning-multi-measure-rests.ly}
953 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
954 {multi-measure-rest-markup.ly}
958 @rglos{multi-measure rest}.
963 @ref{Formatting text},
970 @rinternals{MultiMeasureRest},
971 @rinternals{MultiMeasureRestNumber},
972 @rinternals{MultiMeasureRestText}.
974 @cindex fingerings and multi-measure rests
975 @cindex multi-measure rests and fingerings
978 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
979 in the fingering numeral colliding with the bar counter
982 @cindex condensing rests
983 @cindex rest, condensing ordinary
985 There is no way to automatically condense multiple ordinary rests
986 into a single multi-measure rest.
988 @cindex rest, collisions of
990 Multi-measure rests do not take part in rest collisions.
993 @node Displaying rhythms
994 @subsection Displaying rhythms
1001 * Polymetric notation::
1002 * Automatic note splitting::
1003 * Showing melody rhythms::
1006 @node Time signature
1007 @unnumberedsubsubsec Time signature
1009 @cindex time signature
1015 The time signature is set as follows:
1017 @lilypond[quote,verbatim,relative=2]
1022 @cindex time signature, visibility of
1024 Time signatures are printed at the beginning of a piece
1025 and whenever the time signature changes. If a change takes place
1026 at the end of a line a warning time signature sign is printed
1027 there. This default behavior may be changed, see
1028 @ref{Visibility of objects}.
1030 @lilypond[quote,verbatim,relative=2]
1040 @cindex time signature style
1043 @funindex \numericTimeSignature
1044 @funindex numericTimeSignature
1045 @funindex \defaultTimeSignature
1046 @funindex defaultTimeSignature
1048 The time signature symbol that is used in 2/2 and 4/4 time can be
1049 changed to a numeric style:
1051 @lilypond[quote,verbatim,relative=2]
1055 % Change to numeric style
1056 \numericTimeSignature
1059 % Revert to default style
1060 \defaultTimeSignature
1066 Mensural time signatures are covered in
1067 @ref{Mensural time signatures}.
1069 @cindex time signature default settings
1070 @cindex autobeaming properties for time signatures
1071 @cindex beaming, time signature default properties
1072 @funindex \overrideTimeSignatureSettings
1074 In addition to setting the printed time signature, the @code{\time}
1075 command also sets the values of the time-signature-based properties
1076 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
1077 The predefined default values for these properties can be found in
1078 @file{scm/time-signature-settings.scm}.
1080 The default value of @code{beatStructure} can be overridden in the
1081 @code{\time} command itself by supplying it as the optional first
1084 @lilypond[quote,verbatim]
1089 \repeat unfold 7 { c8 } |
1091 \repeat unfold 7 { c8 } |
1097 Alternatively, the default values of all these time-signature-based
1098 variables, including @code{baseMoment} and @code{beamExceptions},
1099 can be set together. The values can be set independently for several
1100 different time signatures. The new values take effect when a
1101 subsequent @code{\time} command with the same value of the time
1102 signature is executed:
1104 @lilypond[quote,verbatim]
1108 \overrideTimeSignatureSettings
1109 4/4 % timeSignatureFraction
1110 1/4 % baseMomentFraction
1111 #'(3 1) % beatStructure
1112 #'() % beamExceptions
1114 \repeat unfold 8 { c8 } |
1120 @code{\overrideTimeSignatureSettings} takes four arguments:
1125 @code{@var{timeSignatureFraction}}, a fraction describing the
1126 time signature to which these values apply.
1129 @code{@var{baseMomentFraction}}, a fraction containing the numerator
1130 and denominator of the basic timing unit for the time signature.
1133 @code{@var{beatStructure}}, a Scheme list indicating the structure
1134 of the beats in the measure, in units of the base moment.
1137 @code{@var{beamExceptions}}, an alist containing any beaming rules
1138 for the time signature that go beyond ending at every beat, as
1139 described in @ref{Setting automatic beam behavior}.
1142 The context containing @code{\overrideTimeSignatureSettings} must
1143 be instantiated before the @code{\overrideTimeSignatureSettings}
1144 call is executed. That means it must either be explicitly
1145 instantiated or there must be music in the context before the
1146 @code{\overrideTimeSignatureSettings} call:
1148 @lilypond[quote,verbatim]
1151 % This call will fail because the context isn't yet instantiated
1152 \overrideTimeSignatureSettings
1153 4/4 % timeSignatureFraction
1154 1/4 % baseMomentFraction
1155 #'(3 1) % beatStructure
1156 #'() % beamExceptions
1158 c8^\markup {"Beamed (2 2)"}
1159 \repeat unfold 7 { c8 } |
1160 % This call will succeed
1161 \overrideTimeSignatureSettings
1162 4/4 % timeSignatureFraction
1163 1/4 % baseMomentFraction
1164 #'(3 1) % beatStructure
1165 #'() % beamExceptions
1167 c8^\markup {"Beamed (3 1)"}
1168 \repeat unfold 7 { c8 } |
1174 @cindex time signature properties, restoring default values
1175 @cindex restoring default properties for time signatures
1176 @funindex \revertTimeSignatureSettings
1178 Changed values of default time signature properties can be restored
1179 to the original values:
1181 @lilypond[quote,verbatim]
1184 \repeat unfold 8 { c8 } |
1185 \overrideTimeSignatureSettings
1186 4/4 % timeSignatureFraction
1187 1/4 % baseMomentFraction
1188 #'(3 1) % beatStructure
1189 #'() % beamExceptions
1191 \repeat unfold 8 { c8 } |
1192 \revertTimeSignatureSettings 4/4
1194 \repeat unfold 8 { c8 } |
1199 Different values of default time signature properties can be established
1200 for different staves by moving the @code{Timing_translator} and the
1201 @code{Default_bar_line_engraver} from the @code{Score} context to the
1202 @code{Staff} context.
1204 @lilypond[quote, verbatim]
1208 \overrideTimeSignatureSettings
1209 4/4 % timeSignatureFraction
1210 1/4 % baseMomentFraction
1211 #'(3 1) % beatStructure
1212 #'() % beamExceptions
1214 \repeat unfold 8 {c''8}
1217 \overrideTimeSignatureSettings
1218 4/4 % timeSignatureFraction
1219 1/4 % baseMomentFraction
1220 #'(1 3) % beatStructure
1221 #'() % beamExceptions
1223 \repeat unfold 8 {c''8}
1229 \remove "Timing_translator"
1230 \remove "Default_bar_line_engraver"
1234 \consists "Timing_translator"
1235 \consists "Default_bar_line_engraver"
1241 A further method of changing these time-signature-related variables,
1242 which avoids reprinting the time signature at the time of the change,
1243 is shown in @ref{Setting automatic beam behavior}.
1246 @code{\numericTimeSignature},
1247 @code{\defaultTimeSignature}.
1252 @lilypondfile[verbatim,quote,texidoc,doctitle]
1253 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1257 @rglos{time signature}
1260 @ref{Mensural time signatures},
1261 @ref{Setting automatic beam behavior},
1262 @ref{Time administration}.
1265 @file{scm/time-signature-settings.scm}.
1270 Internals Reference:
1271 @rinternals{TimeSignature},
1272 @rinternals{Timing_translator}.
1275 @node Metronome marks
1276 @unnumberedsubsubsec Metronome marks
1279 @cindex beats per minute
1280 @cindex metronome mark
1281 @cindex metronome marking with text
1286 A basic metronome mark is simple to write:
1288 @lilypond[verbatim,quote,relative=1]
1294 Metronome marks may also be printed as a range of two numbers:
1296 @lilypond[verbatim,quote,relative=1]
1302 Tempo indications with text can be used instead:
1304 @lilypond[verbatim,quote,relative=2]
1310 Combining a metronome mark and text will automatically place the
1311 metronome mark within parentheses:
1313 @lilypond[verbatim,quote,relative=2]
1314 \tempo "Allegro" 4 = 160
1319 In general, the text can be any markup object:
1321 @lilypond[verbatim,quote,relative=2]
1322 \tempo \markup { \italic Faster } 4 = 132
1323 a8-. r8 b-. r gis-. r a-. r
1326 A parenthesized metronome mark with no textual indication may be
1327 written by including an empty string in the input:
1329 @lilypond[verbatim,quote,relative=2]
1337 @lilypondfile[verbatim,quote,texidoc,doctitle]
1338 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1340 @c perhaps also an example of how to move it horizontally?
1342 @lilypondfile[verbatim,quote,texidoc,doctitle]
1343 {changing-the-tempo-without-a-metronome-mark.ly}
1345 @lilypondfile[verbatim,quote,texidoc,doctitle]
1346 {creating-metronome-marks-in-markup-mode.ly}
1348 For more details, see @ref{Formatting text}.
1353 @rglos{metronomic indication},
1354 @rglos{tempo indication},
1355 @rglos{metronome mark}.
1358 @ref{Formatting text},
1362 @rlsr{Staff notation}.
1364 Internals Reference:
1365 @rinternals{MetronomeMark}.
1369 @unnumberedsubsubsec Upbeats
1373 @cindex partial measure
1374 @cindex measure, partial
1375 @cindex measure, pickup
1376 @cindex pickup measure
1378 @funindex measurePosition
1382 Partial or pick-up measures, such as an @emph{anacrusis} or an
1383 @emph{upbeat}, are entered using the @code{\partial} command,
1386 \partial @var{duration}
1390 where @code{@var{duration}} is the @emph{remaining} length of the
1391 partial measure @emph{before} the start of the next full measure.
1393 @lilypond[quote,verbatim,relative=1]
1399 The @var{duration} can be any value less than a full measure:
1401 @lilypond[quote,verbatim,relative=1]
1404 r4 e8 | a4 c8 b c4 |
1407 @code{\partial @var{duration}} can also be written as:
1410 \set Timing.measurePosition -@var{duration}
1413 So the first example above could be written:
1415 @lilypond[quote,verbatim,relative=1]
1417 \set Timing.measurePosition = #(ly:make-moment -1/8)
1421 The property @code{measurePosition} contains a rational number, which
1422 is usually positive and indicates how much of the measure has passed
1423 at this point. The @code{\partial @var{duration}} command sets it to
1424 a negative number, when it has a different meaning: it then says that
1425 the current (first) bar will be @emph{preceded} by a bar 0 (the partial
1426 bar) with a duration given by @var{duration}.
1439 @rinternals{Timing_translator}.
1442 The @code{\partial} command should be used only at the beginning of a
1443 piece. If you use it after the beginning, warnings or problems may
1444 occur, so use @code{\set Timing.measurePosition} instead.
1446 @lilypond[quote,verbatim,relative=1]
1449 e8 | a4 c8 b[ c b] |
1450 \set Timing.measurePosition = #(ly:make-moment -1/4)
1451 r8 e,8 | a4 c8 b[ c b] |
1455 @node Unmetered music
1456 @unnumberedsubsubsec Unmetered music
1459 @cindex cadenza, beams
1460 @cindex cadenza, accidentals
1461 @cindex cadenza, bar lines
1462 @cindex cadenza, bar numbers
1463 @cindex unmetered music
1464 @cindex unmetered music, beams
1465 @cindex unmetered music, accidentals
1466 @cindex unmetered music, bar lines
1467 @cindex unmetered music, bar numbers
1468 @cindex accidentals, cadenzas
1469 @cindex accidentals, unmetered music
1470 @cindex bar lines, cadenzas
1471 @cindex bar lines, unmetered music
1472 @cindex bar numbers, cadenzas
1473 @cindex bar numbers, unmetered music
1474 @cindex beams, cadenzas
1475 @cindex beams, unmetered music
1477 @funindex \cadenzaOn
1479 @funindex \cadenzaOff
1480 @funindex cadenzaOff
1482 In metered music bar lines are inserted and bar numbers are calculated
1483 automatically. In unmetered music (i.e. cadenzas), this is not
1484 desirable and can be @q{switched off} using the command
1485 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
1486 using @code{\cadenzaOff}.
1488 @lilypond[verbatim,relative=2,quote]
1491 c4 c d8[ d d] f4 g4.
1497 Bar numbering is resumed at the end of the cadenza.
1499 @lilypond[verbatim,relative=2,quote]
1500 % Show all bar numbers
1501 \override Score.BarNumber.break-visibility = #all-visible
1504 c4 c d8[ d d] f4 g4.
1510 A new bar is never started within a cadenza, even if one or more
1511 @code{\bar} commands are inserted within it. Therefore, reminder
1512 accidentals will need to be added manually. See @ref{Accidentals}.
1514 @lilypond[verbatim,relative=2,quote]
1524 Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
1525 beaming in cadenzas must be entered manually. See @ref{Manual beams}.
1527 @lilypond[verbatim,relative=2,quote]
1528 \repeat unfold 8 { c8 }
1534 \repeat unfold 8 { c8 }
1537 These predefined commands affect all staves in the score, even when
1538 placed in just one @code{Voice} context. To change this, move the
1539 @code{Timing_translator} from the @code{Score} context to the
1540 @code{Staff} context. See @ref{Polymetric notation}.
1552 @ref{Visibility of objects},
1553 @ref{Polymetric notation},
1560 @cindex cadenza, line breaks
1561 @cindex cadenza, page breaks
1562 @cindex unmetered music, line breaks
1563 @cindex unmetered music, page breaks
1564 @cindex breaks in unmetered music
1565 @cindex line breaks, cadenzas
1566 @cindex page breaks, cadenzas
1567 @cindex line breaks, unmetered music
1568 @cindex page breaks, unmetered music
1571 Automatic line and page breaks are inserted only at bar lines, so
1572 @q{invisible} bar lines will need to be inserted manually in long
1573 stretches of unmetered music to permit breaking:
1579 Explicitly create a @code{Voice} context when starting a piece with
1580 @code{\cadenzaOn}, else unexpected errors may occur.
1586 c16[^"Solo Free Time" d e f] g2.
1594 @node Polymetric notation
1595 @unnumberedsubsubsec Polymetric notation
1597 @c This section necessarily uses \set
1598 @c This is acceptable -td
1600 @cindex double time signatures
1601 @cindex signatures, polymetric
1602 @cindex time signatures, polymetric
1603 @cindex time signatures, double
1604 @cindex polymetric signatures
1605 @cindex meter, polymetric
1607 @funindex timeSignatureFraction
1608 @funindex \scaleDurations
1609 @funindex scaleDurations
1613 Polymetric notation is supported explicitly or by manually modifying the
1614 visible time signature symbol and/or scaling note durations.
1616 @subsubsubheading Different time signatures with equal-length measures
1618 Set a common time signature for each staff, and set the
1619 @code{timeSignatureFraction} to the desired fraction. Then use the
1620 @code{\scaleDurations} function to scale the durations of the notes in
1621 each staff to the common time signature.
1623 @cindex beams, with polymetric meters
1624 @cindex polymetric meters, with beams
1626 In the following example, music with the time signatures of 3/4, 9/8 and
1627 10/8 are used in parallel. In the second staff, shown durations are
1628 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1629 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1630 may be necessary to insert beams manually, as the duration scaling will
1631 affect the autobeaming rules.
1633 @lilypond[quote,verbatim]
1642 \set Staff.timeSignatureFraction = 9/8
1644 \repeat unfold 6 { c8[ c c] }
1648 \set Staff.timeSignatureFraction = 10/8
1649 \scaleDurations 3/5 {
1650 \repeat unfold 2 { c8[ c c] }
1651 \repeat unfold 2 { c8[ c] } |
1652 c4. c \tuplet 3/2 { c8[ c c] } c4
1658 @subsubsubheading Different time signatures with unequal-length measures
1660 Each staff can be given its own independent time signature by
1661 moving the @code{Timing_translator} and the
1662 @code{Default_bar_line_engraver} to the @code{Staff} context.
1664 @lilypond[quote,verbatim]
1668 \remove "Timing_translator"
1669 \remove "Default_bar_line_engraver"
1673 \consists "Timing_translator"
1674 \consists "Default_bar_line_engraver"
1678 % Now each staff has its own time signature.
1702 @funindex \compoundMeter
1703 @cindex compound time signatures
1704 @cindex time signature, compound
1706 @subsubsubheading Compound time signatures
1708 These are created using the @code{\compoundMeter} function. The syntax
1712 \compoundMeter #'@code{(list of lists)}
1715 The simplest construction is a single list, where the @emph{last} number
1716 indicates the bottom number of the time signature and those that come
1717 before it, the top numbers.
1719 @lilypond[quote,verbatim]
1721 \compoundMeter #'((2 2 2 8))
1722 \repeat unfold 6 c8 \repeat unfold 12 c16
1726 More complex meters can be constructed using additional lists. Also,
1727 automatic beaming settings will be adjusted depending on the values.
1729 @lilypond[quote,verbatim]
1731 \compoundMeter #'((1 4) (3 8))
1732 \repeat unfold 5 c8 \repeat unfold 10 c16
1736 \compoundMeter #'((1 2 3 8) (3 4))
1737 \repeat unfold 12 c8
1744 @rglos{polymetric time signature},
1748 @ref{Automatic beams},
1750 @ref{Time signature},
1751 @ref{Scaling durations}.
1756 Internals Reference:
1757 @rinternals{TimeSignature},
1758 @rinternals{Timing_translator},
1759 @rinternals{Default_bar_line_engraver},
1763 When using different time signatures in parallel, notes at the same
1764 moment will be placed at the same horizontal location. However, the bar
1765 lines in the different staves will cause the note spacing to be less
1766 regular in each of the individual staves than would be normal without
1767 the different time signatures.
1770 @node Automatic note splitting
1771 @unnumberedsubsubsec Automatic note splitting
1773 @cindex notes, splitting
1774 @cindex splitting notes
1775 @cindex rests, splitting
1776 @cindex splitting rests
1778 @funindex Note_heads_engraver
1779 @funindex Completion_heads_engraver
1780 @funindex Completion_rest_engraver
1782 Long notes which overrun bar lines can be converted automatically to
1783 tied notes. This is done by replacing the @code{Note_heads_engraver}
1784 with the @code{Completion_heads_engraver}. Similarly, long rests which
1785 overrun bar lines are split automatically by replacing the
1786 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1787 following example, notes and rests crossing the bar lines are split,
1788 notes are also tied.
1790 @lilypond[quote,verbatim,relative=1]
1792 \remove "Note_heads_engraver"
1793 \consists "Completion_heads_engraver"
1794 \remove "Rest_engraver"
1795 \consists "Completion_rest_engraver"
1798 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1801 These engravers split all running notes and rests at the bar line, and
1802 inserts ties for notes. One of its uses is to debug complex scores: if
1803 the measures are not entirely filled, then the ties show exactly how
1804 much each measure is off.
1811 @rlearning{Engravers explained},
1812 @rlearning{Adding and removing engravers}.
1817 Internals Reference:
1818 @rinternals{Note_heads_engraver},
1819 @rinternals{Completion_heads_engraver},
1820 @rinternals{Rest_engraver},
1821 @rinternals{Completion_rest_engraver},
1822 @rinternals{Forbid_line_break_engraver}.
1825 Not all durations (especially those containing tuplets) can be
1826 represented exactly with normal notes and dots, but the
1827 @code{Completion_heads_engraver} will not insert tuplets.
1829 The @code{Completion_heads_engraver} only affects notes; it does not
1833 @node Showing melody rhythms
1834 @unnumberedsubsubsec Showing melody rhythms
1836 @cindex melody rhythms, showing
1837 @cindex rhythms, showing melody
1839 Sometimes you might want to show only the rhythm of a melody. This
1840 can be done with the rhythmic staff. All pitches of notes on such a
1841 staff are squashed, and the staff itself has a single line
1843 @lilypond[quote,relative=1,verbatim]
1845 \new RhythmicStaff {
1846 \new Voice = "myRhythm" {
1854 \lyricsto "myRhythm" {
1862 @cindex guitar chord charts
1863 @cindex strumming rhythms, showing
1864 @cindex guitar strumming rhythms, showing
1866 @funindex Pitch_squash_engraver
1867 @funindex \improvisationOn
1868 @funindex improvisationOn
1869 @funindex \improvisationOff
1870 @funindex improvisationOff
1872 Guitar chord charts often show the strumming rhythms. This can
1873 be done with the @code{Pitch_squash_engraver} and
1874 @code{\improvisationOn}.
1877 @lilypond[quote,verbatim]
1885 \consists "Pitch_squash_engraver"
1898 @code{\improvisationOn},
1899 @code{\improvisationOff}.
1905 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1906 {guitar-strum-rhythms.ly}
1912 Internals Reference:
1913 @rinternals{RhythmicStaff},
1914 @rinternals{Pitch_squash_engraver}.
1922 * Setting automatic beam behavior::
1927 @node Automatic beams
1928 @unnumberedsubsubsec Automatic beams
1930 By default, beams are inserted automatically:
1932 @cindex beams, manual
1933 @cindex manual beams
1934 @cindex beams, customizing rules
1936 @funindex \autoBeamOn
1937 @funindex autoBeamOn
1938 @funindex \autoBeamOff
1939 @funindex autoBeamOff
1941 @lilypond[quote,verbatim,relative=2]
1943 \time 6/8 c8 c c c8. c16 c8
1946 If these automatic decisions are not satisfactory, beaming can be
1947 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1948 entered manually if beams are to be extended over rests.
1950 If automatic beaming is not required, it may be turned off with
1951 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1953 @lilypond[quote,relative=1,verbatim]
1954 c4 c8 c8. c16 c8. c16 c8
1961 @cindex melismata, with beams
1962 @cindex beams, with melismata
1964 @warning{If beams are used to indicate melismata in songs, then
1965 automatic beaming should be switched off with @code{@bs{}autoBeamOff}
1966 and the beams indicated manually. Using @code{@bs{}partcombine} with
1967 @code{@bs{}autoBeamOff} can produce unintended results. See the
1968 snippets for more information.}
1970 Beaming patterns that differ from the automatic defaults can be
1971 created; see @ref{Setting automatic beam behavior}.
1974 @code{\autoBeamOff},
1978 @cindex beams, line breaks
1979 @cindex line breaks, beams
1980 @cindex beams, with knee gap
1981 @cindex knee gap, with beams
1985 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1986 {beams-across-line-breaks.ly}
1988 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1989 {changing-beam-knee-gap.ly}
1991 @cindex beams, \partcombine with \autoBeamOff
1992 @cindex voices, \partcombine with \autoBeamOff
1994 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1995 {partcombine-and-autobeamoff.ly}
2000 @ref{Setting automatic beam behavior}.
2003 @file{scm/auto-beam.scm}.
2008 Internals Reference:
2009 @rinternals{Auto_beam_engraver},
2010 @rinternals{Beam_engraver},
2012 @rinternals{BeamEvent},
2013 @rinternals{BeamForbidEvent},
2014 @rinternals{beam-interface},
2015 @rinternals{unbreakable-spanner-interface}.
2018 The properties of a beam are determined at the @emph{start} of its
2019 construction and any additional beam-property changes that occur before
2020 the beam has been completed will not take effect until the @emph{next},
2024 @node Setting automatic beam behavior
2025 @unnumberedsubsubsec Setting automatic beam behavior
2027 @cindex beams, with lyrics
2028 @cindex lyrics, with beams
2030 @funindex autoBeaming
2031 @funindex baseMoment
2032 @funindex beamExceptions
2033 @funindex beatStructure
2034 @funindex measureLength
2040 When automatic beaming is enabled, the placement of automatic beams
2041 is determined by three context properties:
2042 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2043 The default values of these variables may be overridden as described
2044 below, or alternatively the default values themselves may be changed
2045 as explained in @ref{Time signature}.
2047 If a @code{beamExceptions} rule is defined for the time signature in
2048 force, that rule alone is used to determine the beam placement; the
2049 values of @code{baseMoment} and @code{beatStructure} are ignored.
2051 If no @code{beamExceptions} rule is defined for the time signature
2052 in force, the beam placement is determined by the values of
2053 @code{baseMoment} and @code{beatStructure}.
2056 @subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
2058 By default, @code{beamExceptions} rules are defined for most common
2059 time signatures, so the @code{beamExceptions} rules must be disabled
2060 if automatic beaming is to be based on @code{baseMoment} and
2061 @code{beatStructure}. The @code{beamExceptions} rules are disabled
2065 \set Timing.beamExceptions = #'()
2068 When @code{beamExceptions} is set to @code{#'()}, either due to an
2069 explicit setting or because no @code{beamExceptions} rules are defined
2070 internally for the time signature in force, the ending points for
2071 beams are on beats as specified by the context properties
2072 @code{baseMoment} and @code{beatStructure}. @code{beatStructure} is
2073 a scheme list that defines the length of each beat in the measure in
2074 units of @code{baseMoment}. By default, @code{baseMoment} is one
2075 over the denominator of the time signature. By default, each unit of
2076 length @code{baseMoment} is a single beat.
2078 @lilypond[quote,relative=2,verbatim]
2080 c16^"default" c c c c |
2081 % beamExceptions are unlikely to be defined for 5/16 time,
2082 % but let's disable them anyway to be sure
2083 \set Timing.beamExceptions = #'()
2084 \set Timing.beatStructure = #'(2 3)
2085 c16^"(2+3)" c c c c |
2086 \set Timing.beatStructure = #'(3 2)
2087 c16^"(3+2)" c c c c |
2090 @lilypond[quote,relative=2,verbatim]
2092 a8^"default" a a a a a a a
2093 % Disable beamExceptions because they are definitely
2094 % defined for 4/4 time
2095 \set Timing.beamExceptions = #'()
2096 \set Timing.baseMoment = #(ly:make-moment 1/4)
2097 \set Timing.beatStructure = #'(1 1 1 1)
2098 a8^"changed" a a a a a a a
2101 Beam setting changes can be limited to specific contexts. If no
2102 setting is included in a lower-level context, the setting of the
2103 enclosing context will apply.
2105 @lilypond[quote, verbatim,relative=1]
2108 % No need to disable beamExceptions as they are not defined for 7/8 time
2109 \set Staff.beatStructure = #'(2 3 2)
2119 \set Voice.beatStructure = #'(1 3 3)
2127 When multiple voices are used the @code{Staff} context must be
2128 specified if the beaming is to be applied to all voices in the
2131 @lilypond[quote,verbatim,relative=2]
2134 % Change applied to Voice by default -- does not work correctly
2135 % Because of autogenerated voices, all beating will
2136 % be at baseMoment (1 . 8)
2137 \set beatStructure = #'(3 1 1 2)
2138 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2140 % Works correctly with context Staff specified
2141 \set Staff.beatStructure = #'(3 1 1 2)
2142 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2145 The value of @code{baseMoment} can be adjusted to change
2146 the beaming behavior, if desired. When this is done,
2147 the value of @code{beatStructure} must be set to be
2148 compatible with the new value of @code{baseMoment}.
2150 @lilypond[quote,verbatim,relative=2]
2152 % No need to disable beamExceptions as they are not defined for 5/8 time
2153 \set Timing.baseMoment = #(ly:make-moment 1/16)
2154 \set Timing.beatStructure = #'(7 3)
2155 \repeat unfold 10 { a16 }
2158 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2159 quantity of type @i{moment} is created by the scheme function
2160 @code{ly:make-moment}. For more information about this function,
2161 see @ref{Time administration}.
2163 By default @code{baseMoment} is set to one over the denominator of
2164 the time signature. Any exceptions to this default can be found in
2165 @file{scm/time-signature-settings.scm}.
2167 @subsubsubheading Beaming based on @code{beamExceptions}
2169 Special autobeaming rules (other than ending a beam on a beat)
2170 are defined in the @code{beamExceptions} property.
2172 @lilypond[quote,relative=2,verbatim]
2174 \set Timing.beatStructure = #'(2 1)
2175 \set Timing.beamExceptions =
2177 (end . ;entry for end of beams
2178 ( ;start of alist of end points
2179 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2180 ))) %close all entries
2182 \repeat unfold 6 { c32 } |
2185 @code{beamExceptions} is an alist with a key of rule-type and a value
2188 At this time the only available value of rule-type is
2189 @code{'end} for beam ending.
2191 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2192 beam type and the grouping to be applied to beams containing notes with
2193 a shortest duration of that beam type.
2196 #'((beam-type1 . grouping-1)
2197 (beam-type2 . grouping-2)
2198 (beam-type3 . grouping-3))
2201 Beam type is a scheme pair indicating the duration of the beam,
2202 e.g., @code{(1 . 16)}.
2204 Grouping is a scheme list indicating the grouping to be applied to
2205 the beam. The grouping is in units of the beam type.
2207 @warning{ A @code{beamExceptions} value must be @emph{complete}
2208 exceptions list. That is, every exception that should be applied
2209 must be included in the setting. It is not possible to add, remove,
2210 or change only one of the exceptions. While this may seem cumbersome,
2211 it means that the current beaming settings need not be known in order
2212 to specify a new beaming pattern.}
2214 When the time signature is changed, default values of
2215 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2216 and @code{Timing.beamExceptions} are set. Setting the time signature
2217 will reset the automatic beaming settings for the @code{Timing}
2218 context to the default behavior.
2220 @lilypond[quote,verbatim,relative=2]
2222 \repeat unfold 6 { a8 }
2224 \set Timing.beatStructure = #'(4 2)
2225 \repeat unfold 6 { a8 }
2226 % go back to default behavior
2228 \repeat unfold 6 { a8 }
2231 The default automatic beaming settings for a time signature
2232 are determined in @file{scm/time-signature-settings.scm}.
2233 Changing the default automatic beaming settings
2234 for a time signature is described in @ref{Time signature}.
2236 Many automatic beaming settings for a time signature contain an
2237 entry for @code{beamExceptions}. For example, 4/4 time tries to
2238 beam the measure in two if there are only eighth notes. The
2239 @code{beamExceptions} rule can override the @code{beatStructure} setting
2240 if @code{beamExceptions} is not reset.
2242 @lilypond[quote,verbatim,relative=2]
2244 \set Timing.baseMoment = #(ly:make-moment 1/8)
2245 \set Timing.beatStructure = #'(3 3 2)
2246 % This won't beam (3 3 2) because of beamExceptions
2247 \repeat unfold 8 {c8} |
2248 % This will beam (3 3 2) because we clear beamExceptions
2249 \set Timing.beamExceptions = #'()
2250 \repeat unfold 8 {c8}
2253 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2254 measure by default. To beam eighth notes in 3/4 time on the beat,
2255 reset @code{beamExceptions}.
2257 @lilypond[quote,verbatim,relative=2]
2259 % by default we beam in (6) due to beamExceptions
2260 \repeat unfold 6 {a8} |
2261 % This will beam (1 1 1) due to default baseMoment and beatStructure
2262 \set Timing.beamExceptions = #'()
2263 \repeat unfold 6 {a8}
2266 In engraving from the Romantic and Classical periods,
2267 beams often begin midway through the measure in 3/4 time,
2268 but modern practice is to avoid the false impression of 6/8 time
2269 (see Gould, p. 153). Similar situations arise in 3/8 time.
2270 This behavior is controlled by the context property @code{beamHalfMeasure},
2271 which has effect only in time signatures with 3 in the numerator:
2273 @lilypond[quote,verbatim,relative=2]
2276 \set Timing.beamHalfMeasure = ##f
2280 @subsubsubheading How automatic beaming works
2282 When automatic beaming is enabled, the placement of automatic beams
2283 is determined by the context properties
2284 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2286 The following rules, in order of priority, apply when determining
2287 the appearance of beams:
2291 If a manual beam is specified with @code{[..]} set the beam
2292 as specified, otherwise
2295 if a beam-ending rule is defined in @code{beamExceptions}
2296 for the beam-type, use it to determine the valid places where
2297 beams may end, otherwise
2300 if a beam-ending rule is defined in @code{beamExceptions}
2301 for a longer beam-type, use it to determine the valid places
2302 where beams may end, otherwise
2305 use the values of @code{baseMoment} and @code{beatStructure} to
2306 determine the ends of the beats in the measure, and
2307 end beams at the end of beats.
2311 In the rules above, the @emph{beam-type} is the duration of the
2312 shortest note in the beamed group.
2314 The default beaming rules can be found in
2315 @file{scm/time-signature-settings.scm}.
2319 @cindex beams, subdividing
2321 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2322 {subdividing-beams.ly}
2324 @cindex beamlets, orienting
2326 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2327 {strict-beat-beaming.ly}
2329 @cindex measure groupings
2330 @cindex beats, grouping
2331 @cindex grouping beats
2332 @cindex measure sub-grouping
2334 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2335 {conducting-signs,-measure-grouping-signs.ly}
2337 @cindex beam, endings in a score
2338 @cindex beam, endings with multiple voices
2340 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2341 {beam-endings-in-score-context.ly}
2345 @ref{Time signature}.
2348 @file{scm/time-signature-settings.scm}.
2353 Internals Reference:
2354 @rinternals{Auto_beam_engraver},
2356 @rinternals{BeamForbidEvent},
2357 @rinternals{beam-interface}.
2360 If a score ends while an automatic beam has not been ended and is
2361 still accepting notes, this last beam will not be typeset at all.
2362 The same holds for polyphonic voices, entered with
2363 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2364 automatic beam is still accepting notes, it is not typeset.
2365 The workaround for these problems is to manually beam the last
2366 beam in the voice or score.
2368 By default, the @code{Timing} translator is aliased to the
2369 @code{Score} context. This means that setting the time signature
2370 in one staff will affect the beaming of the other staves as well.
2371 Thus, a time signature setting in a later staff will reset custom
2372 beaming that was set in an earlier staff.
2373 One way to avoid this problem is to set the time signature
2376 @lilypond[quote,verbatim,relative=2]
2380 \set Timing.baseMoment = #(ly:make-moment 1/8)
2381 \set Timing.beatStructure = #'(1 5)
2382 \repeat unfold 6 { a8 }
2385 \repeat unfold 6 { a8 }
2390 The default beam settings for the time signature can also be changed, so
2391 that the desired beaming will always be used. Changes in automatic
2392 beaming settings for a time signature are described in
2393 @ref{Time signature}.
2395 @lilypond[quote,verbatim,relative=2]
2398 \overrideTimeSignatureSettings
2399 3/4 % timeSignatureFraction
2400 1/8 % baseMomentFraction
2401 #'(1 5) % beatStructure
2402 #'() % beamExceptions
2404 \repeat unfold 6 { a8 }
2408 \repeat unfold 6 { a8 }
2415 @unnumberedsubsubsec Manual beams
2417 @cindex beams, manual
2418 @cindex manual beams
2423 In some cases it may be necessary to override the automatic
2424 beaming algorithm. For example, the autobeamer will not put beams
2425 over rests or bar lines, and in choral scores the beaming is
2426 often set to follow the meter of the lyrics rather than the
2427 notes. Such beams can be specified manually by
2428 marking the begin and end point with @code{[} and @code{]}.
2430 @lilypond[quote,relative=1,verbatim]
2431 r4 r8[ g' a r] r g[ | a] r
2434 @cindex manual beams, direction shorthand for
2435 @cindex manual beams, grace notes
2437 Beaming direction can be set manually using direction indicators:
2439 @lilypond[quote,relative=2,verbatim]
2440 c8^[ d e] c,_[ d e f g]
2446 Individual notes may be marked with @code{\noBeam} to prevent them
2449 @lilypond[quote,verbatim,relative=2]
2454 Grace note beams and normal note beams can occur simultaneously.
2455 Unbeamed grace notes are not put into normal note beams.
2457 @lilypond[quote,verbatim,relative=2]
2459 \grace { e32[ d c d] }
2465 @funindex stemLeftBeamCount
2466 @funindex stemRightBeamCount
2468 Even more strict manual control with the beams can be achieved by
2469 setting the properties @code{stemLeftBeamCount} and
2470 @code{stemRightBeamCount}. They specify the number of beams to
2471 draw on the left and right side, respectively, of the next note.
2472 If either property is set, its value will be used only once, and
2473 then it is erased. In this example, the last @code{f} is printed
2474 with only one beam on the left side, i.e., the eighth-note beam of
2475 the group as a whole.
2477 @lilypond[quote,relative=2,verbatim]
2480 \set stemLeftBeamCount = #2
2481 \set stemRightBeamCount = #1
2483 \set stemLeftBeamCount = #1
2495 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2496 {flat-flags-and-beam-nibs.ly}
2500 @ref{Direction and placement},
2506 Internals Reference:
2508 @rinternals{BeamEvent},
2509 @rinternals{Beam_engraver},
2510 @rinternals{beam-interface},
2511 @rinternals{Stem_engraver}.
2514 @node Feathered beams
2515 @unnumberedsubsubsec Feathered beams
2517 @cindex beams, feathered
2518 @cindex feathered beams
2520 @funindex \featherDurations
2521 @funindex featherDurations
2522 @funindex grow-direction
2524 Feathered beams are used to indicate that a small group of notes
2525 should be played at an increasing (or decreasing) tempo, without
2526 changing the overall tempo of the piece. The extent of the
2527 feathered beam must be indicated manually using @code{[} and
2528 @code{]}, and the beam feathering is turned on by specifying a
2529 direction to the @code{Beam} property @code{grow-direction}.
2531 If the placement of the notes and the sound in the MIDI output is to
2532 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2533 feathered beam the notes must be grouped as a music expression delimited
2534 by braces and preceded by a @code{featherDurations} command which specifies
2535 the ratio between the durations of the first and last notes in the
2538 The square brackets show the extent of the beam and the braces show
2539 which notes are to have their durations modified. Normally these
2540 would delimit the same group of notes, but this is not required: the
2541 two commands are independent.
2543 In the following example the eight 16th notes occupy exactly the
2544 same time as a half note, but the first note is one half as long
2545 as the last one, with the intermediate notes gradually
2546 lengthening. The first four 32nd notes gradually speed up, while
2547 the last four 32nd notes are at a constant tempo.
2549 @lilypond[relative=1,verbatim,quote]
2550 \override Beam.grow-direction = #LEFT
2551 \featherDurations #(ly:make-moment 2/1)
2552 { c16[ c c c c c c c] }
2553 \override Beam.grow-direction = #RIGHT
2554 \featherDurations #(ly:make-moment 2/3)
2556 % revert to non-feathered beams
2557 \override Beam.grow-direction = #'()
2562 The spacing in the printed output represents the
2563 note durations only approximately, but the MIDI output is exact.
2566 @code{\featherDurations}.
2574 The @code{\featherDurations} command only works with very short
2575 music snippets, and when numbers in the fraction are small.
2584 * Bar and bar number checks::
2589 @unnumberedsubsubsec Bar lines
2592 @cindex measure lines
2593 @cindex closing bar lines
2594 @cindex bar lines, closing
2595 @cindex double bar lines
2596 @cindex bar lines, double
2602 Bar lines delimit measures, and are also used to indicate
2603 repeats. Normally, simple bar lines are automatically inserted
2604 into the printed output at places based on the current time
2607 The simple bar lines inserted automatically can be changed to
2608 other types with the @code{\bar} command. For example, a closing
2609 double bar line is usually placed at the end of a piece:
2611 @lilypond[quote,relative=1,verbatim]
2615 It is not invalid if the final note in a measure does not
2616 end on the automatically entered bar line: the note is assumed
2617 to carry over into the next measure. But if a long sequence
2618 of such carry-over measures appears the music can appear compressed
2619 or even flowing off the page. This is because automatic line
2620 breaks happen only at the end of complete measures, i.e., where
2621 all notes end before the end of a measure.
2623 @warning{An incorrect duration can cause line breaks to be
2624 inhibited, leading to a line of highly compressed music or
2625 music which flows off the page.}
2628 @cindex bar lines, invisible
2629 @cindex measure lines, invisible
2631 Line breaks are also permitted at manually inserted bar lines
2632 even within incomplete measures. To allow a line break without
2633 printing a bar line, use the following:
2640 This will insert an invisible bar line and allow (but not
2641 force) a line break to occur at this point. The bar number
2642 counter is not increased. To force a line break see
2643 @ref{Line breaking}.
2645 @cindex manual bar lines
2646 @cindex manual measure lines
2647 @cindex bar lines, manual
2648 @cindex measure lines, manual
2650 This and other special bar lines may be inserted manually at any
2651 point. When they coincide with the end of a measure they replace
2652 the simple bar line which would have been inserted there
2653 automatically. When they do not coincide with the end of a measure
2654 the specified bar line is inserted at that point in the printed
2657 Note that manual bar lines are purely visual. They do not affect
2658 any of the properties that a normal bar line would affect, such as
2659 measure numbers, accidentals, line breaks, etc. They do not affect
2660 the calculation and placement of subsequent automatic bar lines.
2661 When a manual bar line is placed where a normal bar line already
2662 exists, the effects of the original bar line are not altered.
2664 Two types of simple bar lines and five types of double bar lines are
2665 available for manual insertion:
2667 @lilypond[quote,relative=1,verbatim]
2679 together with dotted and dashed bar lines:
2681 @lilypond[quote,relative=1,verbatim]
2688 and nine types of repeat bar lines:
2690 @lilypond[quote,relative=1,verbatim]
2703 Additionally, a bar line can be printed as a simple tick:
2704 @lilypond[quote,relative=1,verbatim]
2707 However, as such ticks are typically used in Gregorian chant, it is
2708 preferable to use @code{\divisioMinima} there instead, described in
2709 the section @ref{Divisiones} in Gregorian chant.
2711 Lilypond supports kievan notation and provides a special kievan
2713 @lilypond[quote,relative=1,verbatim]
2716 Further details of this notation are explained in
2717 @ref{Typesetting Kievan square notation}.
2721 For in-line segno signs, there are three types of bar lines which
2722 differ in their behavior at line breaks:
2724 @lilypond[quote,relative=2,verbatim]
2742 Although the bar line types signifying repeats may be inserted
2743 manually they do not in themselves cause LilyPond to recognize
2744 a repeated section. Such repeated sections are better entered
2745 using the various repeat commands (see @ref{Repeats}), which
2746 automatically print the appropriate bar lines.
2748 In addition, you can specify @code{".|:-||"}, which is equivalent to
2749 @code{".|:"} except at line breaks, where it gives a double bar
2750 line at the end of the line and a start repeat at the beginning of
2753 @lilypond[quote,relative=2,verbatim]
2761 For combinations of repeats with the segno sign, there are six different
2764 @lilypond[quote,relative=2,verbatim]
2792 Additionally there is an @code{\inStaffSegno} command which
2793 creates a segno bar, placed in cooperation
2794 with the @code{\repeat volta} command.
2796 @funindex \defineBarLine
2797 @funindex defineBarLine
2798 @cindex bar lines, defining
2799 @cindex defining bar lines
2801 New bar line types can be defined with @code{\defineBarLine}:
2804 \defineBarLine @var{bartype} #'(@var{end} @var{begin} @var{span})
2807 The @code{\defineBarline} variables can include the
2808 @q{empty} string @code{""}, which is equivalent to an invisible
2809 bar line being printed. Or they can be set to @code{#f} which
2810 prints no bar line at all.
2812 After the definiton, the new bar line can be used by
2813 @code{\bar} @var{bartype}.
2815 There are currently ten bar line elements available:
2817 @lilypond[quote,verbatim]
2818 \defineBarLine ":" #'("" ":" "")
2819 \defineBarLine "=" #'("=" "" "")
2820 \defineBarLine "[" #'("" "[" "")
2821 \defineBarLine "]" #'("]" "" "")
2838 The @code{"="} bar line provides the double span bar line, used
2839 in combination with the segno sign. Do not use it as a standalone
2840 double thin bar line; here, @code{\bar} @var{"||"} is
2843 The @code{"-"} sign starts annotations to bar lines which
2844 are useful to distinguish those with identical appearance
2845 but different behavior at line breaks and/or different span bars.
2846 The part following the @code{"-"} sign is not used for building up
2849 @lilypond[quote,relative=2,verbatim]
2850 \defineBarLine "||-dashedSpan" #'("||" "" "!!")
2855 c1 \bar "||-dashedSpan"
2866 Furthermore, the space character @code{" "} serves as a placeholder
2867 for defining span bars correctly aligned to the main bar lines:
2869 @lilypond[quote,relative=2,verbatim]
2870 \defineBarLine ":|.-wrong" #'(":|." "" "|.")
2871 \defineBarLine ":|.-right" #'(":|." "" " |.")
2887 If additional elements are needed, LilyPond provides a simple
2888 way to define them. For more informations on modifying or adding
2889 bar lines, see file @file{scm/bar-line.scm}.
2891 In scores with many staves, a @code{\bar} command in one staff is
2892 automatically applied to all staves. The resulting bar lines are
2893 connected between different staves of a @code{StaffGroup},
2894 @code{PianoStaff}, or @code{GrandStaff}.
2896 @lilypond[quote,relative=1,verbatim]
2904 \new Staff { \clef bass c4 g e g }
2906 \new Staff { \clef bass c2 c2 }
2911 @cindex default bar lines, changing
2912 @cindex bar lines, default, changing
2915 @funindex defaultBarType
2920 The command @samp{\bar @var{bartype}} is a shortcut for
2921 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2922 created whenever the @code{whichBar} property is set.
2924 The default bar type used for automatically inserted bar lines is
2925 @code{"|"}. This may be changed at any time with
2926 @samp{\set Timing.defaultBarType = @var{bartype}}.
2930 @ref{Line breaking},
2932 @ref{Grouping staves}.
2935 @file{scm/bar-line.scm}.
2940 Internals Reference:
2941 @rinternals{BarLine} (created at @code{Staff} level),
2942 @rinternals{SpanBar} (across staves),
2943 @rinternals{Timing_translator} (for Timing properties).
2947 @unnumberedsubsubsec Bar numbers
2950 @cindex measure numbers
2951 @cindex numbers, bar
2952 @cindex numbers, measure
2954 @funindex currentBarNumber
2956 Bar numbers are typeset by default at the start of every line except
2957 the first line. The number itself is stored in the
2958 @code{currentBarNumber} property, which is normally updated
2959 automatically for every measure. It may also be set manually:
2961 @lilypond[verbatim,quote,relative=1]
2964 \set Score.currentBarNumber = #50
2968 @cindex bar numbers, regular spacing
2970 @funindex barNumberVisibility
2973 Bar numbers can be typeset at regular intervals instead of just at
2974 the beginning of every line. To do this the default behavior
2975 must be overridden to permit bar numbers to be printed at places
2976 other than the start of a line. This is controlled by the
2977 @code{break-visibility} property of @code{BarNumber}. This takes
2978 three values which may be set to @code{#t} or @code{#f} to specify
2979 whether the corresponding bar number is visible or not. The order
2980 of the three values is @code{end of line visible}, @code{middle of
2981 line visible}, @code{beginning of line visible}. In the following
2982 example bar numbers are printed at all possible places:
2984 @lilypond[verbatim,quote,relative=1]
2985 \override Score.BarNumber.break-visibility = ##(#t #t #t)
2986 \set Score.currentBarNumber = #11
2987 % Permit first bar number to be printed
2995 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2996 {printing-the-bar-number-for-the-first-measure.ly}
2998 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2999 {printing-bar-numbers-at-regular-intervals.ly}
3001 @cindex measure number, format
3002 @cindex bar number, format
3004 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3005 {printing-bar-numbers-inside-boxes-or-circles.ly}
3007 @cindex bar numbers, with letters
3008 @cindex bar numbers, with repeats
3010 @lilypondfile[verbatim,quote,texidoc,doctitle]
3011 {alternative-bar-numbering.ly}
3013 @cindex bar number alignment
3015 @lilypondfile[verbatim,quote,texidoc,doctitle]
3016 {aligning-bar-numbers.ly}
3018 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3019 {removing-bar-numbers-from-a-score.ly}
3025 Internals Reference:
3026 @rinternals{BarNumber},
3027 @rinternals{Bar_number_engraver}.
3029 @cindex bar number collision
3030 @cindex collision, bar number
3033 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
3034 if there is one. To solve this, the @code{padding} property of
3035 @code{BarNumber} can be used to position the number correctly. See
3036 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
3039 @node Bar and bar number checks
3040 @unnumberedsubsubsec Bar and bar number checks
3043 @cindex bar number check
3044 @cindex measure check
3045 @cindex measure number check
3047 @funindex barCheckSynchronize
3050 Bar checks help detect errors in the entered durations. A bar check
3051 may be entered using the bar symbol, @code{|}, at any place where a
3052 bar line is expected to fall. If bar check lines are encountered at
3053 other places, a list of warnings is printed in the log file, showing
3054 the line numbers and lines in which the bar checks failed. In the
3055 next example, the second bar check will signal an error.
3058 \time 3/4 c2 e4 | g2 |
3061 Bar checks can also be used in lyrics:
3066 Twin -- kle | Twin -- kle |
3070 An incorrect duration can result in a completely garbled score,
3071 especially if the score is polyphonic, so a good place to start
3072 correcting input is by scanning for failed bar checks and
3073 incorrect durations.
3075 If successive bar checks are off by the same musical interval,
3076 only the first warning message is displayed. This allows the
3077 warning to focus on the source of the timing error.
3081 @funindex pipeSymbol
3083 It is also possible to redefine the action taken when a bar check
3084 or pipe symbol, @code{|}, is encountered in the input, so that
3085 it does something other than a bar check. This is done by
3086 assigning a music expression to @code{pipeSymbol}.
3087 In the following example @code{|} is set to insert a double bar
3088 line wherever it appears in the input, rather than checking
3091 @lilypond[quote,verbatim]
3092 pipeSymbol = \bar "||"
3101 @funindex \barNumberCheck
3102 @funindex barNumberCheck
3104 When copying large pieces of music, it can be helpful to check that
3105 the LilyPond bar number corresponds to the original that you are
3106 entering from. This can be checked with @code{\barNumberCheck}, for
3110 \barNumberCheck #123
3114 will print a warning if the @code{currentBarNumber} is not 123
3115 when it is processed.
3122 @node Rehearsal marks
3123 @unnumberedsubsubsec Rehearsal marks
3125 @cindex rehearsal marks
3126 @cindex mark, rehearsal
3131 To print a rehearsal mark, use the @code{\mark} command.
3133 @lilypond[quote,verbatim,relative=2]
3141 The mark is incremented automatically if you use @code{\mark
3142 \default}, but you can also use an integer argument to set the
3143 mark manually. The value to use is stored in the property
3144 @code{rehearsalMark}.
3146 @lilypond[quote,verbatim,relative=2]
3155 The letter@tie{}@q{I} is skipped in accordance with engraving
3156 traditions. If you wish to include the letter @q{I}, then use one
3157 of the following commands, depending on which style of rehearsal mark
3158 you want (letters only, letters in a hollow box, or letters in a
3162 \set Score.markFormatter = #format-mark-alphabet
3163 \set Score.markFormatter = #format-mark-box-alphabet
3164 \set Score.markFormatter = #format-mark-circle-alphabet
3167 @lilypond[quote,verbatim,relative=2]
3168 \set Score.markFormatter = #format-mark-box-alphabet
3176 @cindex rehearsal mark format
3177 @cindex rehearsal mark style
3178 @cindex style, rehearsal mark
3179 @cindex format, rehearsal mark
3180 @cindex mark, rehearsal, style
3181 @cindex mark, rehearsal, format
3182 @cindex rehearsal mark, manual
3183 @cindex mark, rehearsal, manual
3184 @cindex custom rehearsal mark
3185 @cindex manual rehearsal mark
3187 The style is defined by the property @code{markFormatter}. It is
3188 a function taking the current mark (an integer) and the current
3189 context as argument. It should return a markup object. In the
3190 following example, @code{markFormatter} is set to a pre-defined
3191 procedure. After a few measures, it is set to a procedure that
3192 produces a boxed number.
3194 @lilypond[quote,verbatim,relative=2]
3195 \set Score.markFormatter = #format-mark-numbers
3198 \set Score.markFormatter = #format-mark-box-numbers
3200 \set Score.markFormatter = #format-mark-circle-numbers
3202 \set Score.markFormatter = #format-mark-circle-letters
3206 The file @file{scm/translation-functions.scm} contains the
3207 definitions of @code{format-mark-numbers} (the default format),
3208 @code{format-mark-box-numbers}, @code{format-mark-letters} and
3209 @code{format-mark-box-letters}. These can be used as inspiration
3210 for other formatting functions.
3212 You may use @code{format-mark-barnumbers},
3213 @code{format-mark-box-barnumbers}, and
3214 @code{format-mark-circle-barnumbers} to get bar numbers instead of
3215 incremented numbers or letters.
3217 Other styles of rehearsal mark can be specified manually:
3224 Note that @code{Score.markFormatter} does not affect marks specified
3225 in this manner. However, it is possible to apply a @code{\markup} to the
3229 \mark \markup@{ \box A1 @}
3234 @cindex D.S. al Fine
3236 @cindex music glyphs
3237 @cindex glyphs, music
3239 @funindex \musicglyph
3240 @funindex musicglyph
3242 Music glyphs (such as the segno sign) may be printed inside a
3245 @lilypond[quote,verbatim,relative=1]
3246 c1 \mark \markup { \musicglyph #"scripts.segno" }
3247 c1 \mark \markup { \musicglyph #"scripts.coda" }
3248 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3253 See @ref{The Feta font}, for a list of symbols which may be
3254 printed with @code{\musicglyph}.
3256 For common tweaks to the positioning of rehearsal marks, see
3257 @ref{Formatting text}. For more precise control, see
3258 @code{break-alignable-interface} in @ref{Aligning objects}.
3260 The file @file{scm/translation-functions.scm} contains
3261 the definitions of @code{format-mark-numbers} and
3262 @code{format-mark-letters}. They can be used as inspiration for
3263 other formatting functions.
3267 @ref{The Feta font},
3268 @ref{Formatting text},
3269 @ref{Aligning objects}.
3272 @file{scm/translation-functions.scm}.
3277 Internals Reference:
3278 @rinternals{MarkEvent},
3279 @rinternals{Mark_engraver},
3280 @rinternals{RehearsalMark}.
3283 @node Special rhythmic concerns
3284 @subsection Special rhythmic concerns
3289 * Aligning to cadenzas::
3290 * Time administration::
3294 @unnumberedsubsubsec Grace notes
3298 @cindex appoggiatura
3299 @cindex acciaccatura
3302 @funindex \slashedGrace
3303 @funindex \acciaccatura
3304 @funindex \appoggiatura
3306 Grace notes are musical ornaments, printed in a smaller font, that take
3307 up no additional logical time in a measure.
3309 @lilypond[quote,relative=2,verbatim]
3311 \grace { b16[ c16] } a2)
3314 There are three other types of grace notes possible; the
3315 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3316 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3317 fixed fraction of the main note it is attached to and prints without the
3318 slash. It is also possible to write a grace note with a slashed stem,
3319 like the @emph{acciaccatura} but without the slur, so as to place it
3320 between notes that are slurred themselves, using the
3321 @code{\slashedGrace} function.
3323 @lilypond[quote,relative=2,verbatim]
3326 \acciaccatura { g16[ f] } e2
3327 \slashedGrace a,8 g4
3328 \slashedGrace b16 a4(
3329 \slashedGrace b8 a2)
3332 The placement of grace notes is synchronized between different staves.
3333 In the following example, there are two sixteenth grace notes for every
3336 @lilypond[quote,relative=2,verbatim]
3338 \new Staff { e2 \grace { c16[ d e f] } e2 }
3339 \new Staff { c2 \grace { g8[ b] } c2 }
3343 @cindex grace notes, following
3345 @funindex \afterGrace
3346 @funindex afterGrace
3348 If you want to end a note with a grace, use the @code{\afterGrace}
3349 command. It takes two arguments: the main note, and the grace
3350 notes following the main note.
3352 @lilypond[quote,verbatim,relative=2]
3353 c1 \afterGrace d1 { c16[ d] } c1
3356 This will put the grace notes after a space lasting 3/4 of the
3357 length of the main note. The default fraction 3/4 can be changed by
3358 setting @code{afterGraceFraction}. The following example shows
3359 the results from setting the space at the default, at 15/16, and
3360 finally at 1/2 of the main note.
3362 @lilypond[quote,verbatim,relative=2]
3365 c1 \afterGrace d1 { c16[ d] } c1
3368 #(define afterGraceFraction (cons 15 16))
3369 c1 \afterGrace d1 { c16[ d] } c1
3372 #(define afterGraceFraction (cons 1 2))
3373 c1 \afterGrace d1 { c16[ d] } c1
3378 The space between the main note and the grace note may also be
3379 specified using spacers. The following example places the grace
3380 note after a space lasting 7/8 of the main note.
3382 @lilypond[quote,verbatim,relative=2]
3386 { s2 s4. \grace { c16[ d] } }
3392 @cindex tweaking grace notes
3393 @cindex grace notes, tweaking
3394 @cindex grace notes, changing layout settings
3396 A @code{\grace} music expression will introduce special
3397 typesetting settings, for example, to produce smaller type, and
3398 set directions. Hence, when introducing layout tweaks to
3399 override the special settings, they should be placed inside
3400 the grace expression. The overrides should also be reverted
3401 inside the grace expression. Here, the grace note's default stem
3402 direction is overridden and then reverted.
3404 @lilypond[quote,verbatim,relative=2]
3416 @cindex stem, with slash
3421 @lilypondfile[verbatim,quote,texidoc,doctitle]
3422 {using-grace-note-slashes-with-normal-heads.ly}
3424 @lilypondfile[verbatim,quote,texidoc,doctitle]
3425 {tweaking-grace-layout-within-music.ly}
3427 @lilypondfile[verbatim,quote,texidoc,doctitle]
3428 {redefining-grace-note-global-defaults.ly}
3430 @lilypondfile[verbatim,quote,texidoc,doctitle]
3431 {positioning-grace-notes-with-floating-space.ly}
3435 @rglos{grace notes},
3436 @rglos{acciaccatura},
3437 @rglos{appoggiatura}.
3440 @ref{Scaling durations},
3444 @file{ly/grace-init.ly}.
3449 Internals Reference:
3450 @rinternals{GraceMusic},
3451 @rinternals{Grace_beam_engraver},
3452 @rinternals{Grace_engraver},
3453 @rinternals{Grace_spacing_engraver}.
3457 @cindex acciaccatura, multi-note
3458 @cindex multi-note acciaccatura
3459 @cindex grace-note synchronization
3461 A multi-note beamed @i{acciaccatura} is printed without a slash,
3462 and looks exactly the same as a multi-note beamed
3465 @c TODO Add link to LSR snippet to add slash when available
3467 Grace note synchronization can also lead to surprises. Staff
3468 notation, such as key signatures, bar lines, etc., are also
3469 synchronized. Take care when you mix staves with grace notes and
3470 staves without, for example,
3472 @lilypond[quote,relative=2,verbatim]
3474 \new Staff { e4 \bar ".|:" \grace c16 d2. }
3475 \new Staff { c4 \bar ".|:" d2. }
3480 This can be remedied by inserting grace skips of the corresponding
3481 durations in the other staves. For the above example
3483 @lilypond[quote,relative=2,verbatim]
3485 \new Staff { e4 \bar ".|:" \grace c16 d2. }
3486 \new Staff { c4 \bar ".|:" \grace s16 d2. }
3490 The use of grace notes within voice contexts confuses the way the voice
3491 is typeset. This can be overcome by inserting a rest or note between the
3492 voice command and the grace note.
3494 @lilypond[quote,verbatim]
3496 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3503 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3504 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3509 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3510 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3517 Grace sections should only be used within sequential music expressions.
3518 Nesting or juxtaposing grace sections is not supported, and might
3519 produce crashes or other errors.
3521 Each grace note in MIDI output has a length of 1/4 of its actual
3522 duration. If the combined length of the grace notes is greater than the
3523 length of the preceding note a @qq{@code{Going back in MIDI time}}
3524 error will be generated. Either make the grace notes shorter in
3525 duration, for example:
3528 c'8 \acciaccatura @{ c'8[ d' e' f' g'] @}
3534 c'8 \acciaccatura @{ c'16[ d' e' f' g'] @}
3537 Or explicitly change the musical duration:
3540 c'8 \acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
3543 See @ref{Scaling durations}.
3546 @node Aligning to cadenzas
3547 @unnumberedsubsubsec Aligning to cadenzas
3550 @cindex cadenza, aligning to
3551 @cindex aligning to cadenza
3553 In an orchestral context, cadenzas present a special problem: when
3554 constructing a score that includes a measured cadenza or other solo
3555 passage, all other instruments should skip just as many notes as the
3556 length of the cadenza, otherwise they will start too soon or too late.
3558 One solution to this problem is to use the functions
3559 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3560 functions take a defined piece of music as an argument and generate a
3561 multi-measure rest or @code{\skip} exactly as long as the piece.
3563 @lilypond[verbatim,quote]
3564 MyCadenza = \relative c' {
3575 #(mmrest-of-length MyCadenza)
3577 #(skip-of-length MyCadenza)
3591 @node Time administration
3592 @unnumberedsubsubsec Time administration
3594 @cindex time administration
3595 @cindex timing (within the score)
3596 @cindex music, unmetered
3597 @cindex unmetered music
3599 @funindex currentBarNumber
3600 @funindex measurePosition
3601 @funindex measureLength
3603 Time is administered by the @code{Timing_translator}, which by
3604 default is to be found in the @code{Score} context. An alias,
3605 @code{Timing}, is added to the context in which the
3606 @code{Timing_translator} is placed. To ensure that the
3607 @code{Timing} alias is available, you may need to explicitly
3608 instantiate the containing context (such as @code{Voice} or
3611 The following properties of @code{Timing} are used
3612 to keep track of timing within the score.
3615 @cindex measure number
3618 @item currentBarNumber
3619 The current measure number. For an example showing the
3620 use of this property see @ref{Bar numbers}.
3623 The length of the measures in the current time signature. For a
3624 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3625 determines when bar lines are inserted and how automatic beams
3626 should be generated.
3628 @item measurePosition
3629 The point within the measure where we currently are. This
3630 quantity is reset by subtracting @code{measureLength} whenever
3631 @code{measureLength} is reached or exceeded. When that happens,
3632 @code{currentBarNumber} is incremented.
3635 If set to true, the above variables are updated for every time
3636 step. When set to false, the engraver stays in the current
3637 measure indefinitely.
3641 Timing can be changed by setting any of these variables
3642 explicitly. In the next example, the default 4/4 time
3643 signature is printed, but @code{measureLength} is set to 5/4.
3644 At 4/8 through the third measure, the @code{measurePosition} is
3645 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3646 The next bar line then falls at 9/8 rather than 5/4.
3648 @lilypond[quote,verbatim]
3649 \new Voice \relative c' {
3650 \set Timing.measureLength = #(ly:make-moment 5/4)
3654 \set Timing.measurePosition = #(ly:make-moment 5/8)
3661 As the example illustrates, @code{ly:make-moment n m} constructs a
3662 duration of n/m of a whole note. For example,
3663 @code{ly:make-moment 1 8} is an eighth note duration and
3664 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3670 @ref{Unmetered music}.
3675 Internals Reference:
3676 @rinternals{Timing_translator},