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]
96 Durations occuring on their own within a music sequence will take
97 their pitches from the preceding note or chord.
99 @lilypond[quote,verbatim,relative=2]
105 @cindex notes, dotted
107 @cindex notes, double-dotted
108 @cindex double-dotted notes
112 To obtain dotted note lengths, place a dot (@code{.}) after the
113 duration. Double-dotted notes are specified by appending two
116 @lilypond[quote,verbatim,relative=2]
117 a4 b c4. b8 a4. b4.. c8.
120 Some durations cannot be represented with just binary durations
121 and dots; they can be represented only by tying two or more
122 notes together. For details, see @ref{Ties}.
124 For ways of specifying durations for the syllables of lyrics and
125 ways of aligning lyrics to notes, see @ref{Vocal music}.
127 Optionally, notes can be spaced strictly proportionately to their
128 duration. For details of this and other settings which control
129 proportional notation, see @ref{Proportional notation}.
135 @funindex \dotsNeutral
136 @funindex dotsNeutral
138 Dots are normally moved up to avoid staff lines, except in
139 polyphonic situations. Dots may be manually placed above or below
140 the staff; see @ref{Direction and placement}.
154 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
155 {alternative-breve-notes.ly}
157 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
158 {changing-the-number-of-augmentation-dots-per-note.ly}
166 @rglos{Duration names notes and rests}.
169 @ref{Automatic beams},
172 @ref{Writing rhythms},
175 @ref{Ancient notation},
176 @ref{Proportional notation}.
183 @rinternals{DotColumn}.
186 @c Deliberately duplicated in Durations and Rests. -gp
187 There is no fundamental limit to rest durations (both in terms of
188 longest and shortest), but the number of glyphs is limited:
189 rests from 128th to maxima (8 x whole) may be printed.
193 @unnumberedsubsubsec Tuplets
201 Tuplets are made from a music expression with the @code{\tuplet}
202 command, multiplying the speed of the music expression by a
206 \tuplet @var{fraction} @{ @var{music} @}
210 The fraction's numerator will be printed over or
211 under the notes, optionally with a bracket. The most common
212 tuplets are triplets: 3@tie{}notes sound within the duration
213 normally allowed for@tie{}2:
215 @lilypond[quote,verbatim,relative=2]
216 a2 \tuplet 3/2 { b4 4 4 }
217 c4 c \tuplet 3/2 { b4 a g }
220 @cindex tuplet grouping
222 When entering long passages of tuplets, having to write a separate
223 @code{\tuplet} command for each group is inconvenient. It is
224 possible to specify the duration of one tuplet group directly
225 before the music in order to have the tuplets grouped
228 @lilypond[quote,verbatim,relative=2]
229 g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
232 @cindex tuplet bracket placement
236 @funindex \tupletDown
238 @funindex \tupletNeutral
239 @funindex tupletNeutral
241 Tuplet brackets may be manually placed above or below the staff;
242 see @ref{Direction and placement}.
244 Tuplets may be nested:
246 @lilypond[quote,verbatim,relative=2]
248 c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
251 Modifying nested tuplets which begin at the same musical moment
252 must be done with @code{\tweak}.
254 To modify the duration of notes without printing a tuplet bracket,
255 see @ref{Scaling durations}.
261 @code{\tupletNeutral}.
267 @cindex tuplet formatting
268 @cindex triplet formatting
270 @funindex tupletNumberFormatFunction
271 @funindex tupletSpannerDuration
273 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
274 {entering-several-tuplets-using-only-one--times-command.ly}
276 @cindex Tuplet number changes
278 @funindex TupletNumber
280 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
281 {changing-the-tuplet-number.ly}
283 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
284 {non-default-tuplet-numbers.ly}
286 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
287 {controlling-tuplet-bracket-visibility.ly}
289 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
290 {permitting-line-breaks-within-beamed-tuplets.ly}
299 @rlearning{Tweaking methods}.
302 @ref{Time administration},
303 @ref{Scaling durations},
304 @ref{The tweak command},
305 @ref{Polymetric notation}.
311 @rinternals{TupletBracket},
312 @rinternals{TupletNumber},
313 @rinternals{TimeScaledMusic}.
315 @cindex grace notes within tuplet brackets
318 Grace notes may be placed within tuplet brackets, @emph{except}
319 when a staff begins with a grace note followed by a tuplet. In this
320 particular case, the grace note must be placed before the @code{\tuplet}
321 command to avoid errors.
323 @cindex tempo marks within tuplet brackets
325 When using a tuplet at the beginning of a piece with a @code{\tempo}
326 mark, the music must be explicitly entered in a @code{\new Voice}
327 block, as discussed in @rlearning{Voices contain music}.
330 @node Scaling durations
331 @unnumberedsubsubsec Scaling durations
333 @cindex scaling durations
334 @cindex durations, scaling
336 The duration of single notes, rests or chords may be multiplied by a
337 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
338 is 1) to the duration. This will not affect the appearance of the
339 notes or rests produced, but the altered duration will be used in
340 calculating the position within the measure and setting the duration
341 in the MIDI output. Multiplying factors may be combined like
342 @code{*L*M/N}. Factors are part of the duration: if a duration is
343 not specified for subsequent notes, the default duration taken from
344 the preceding note will include any scaling factor.
346 In the following example, the first three notes take up exactly
347 two beats, but no triplet bracket is printed.
349 @lilypond[quote,relative=2,verbatim]
351 % Alter durations to triplets
355 % Double the duration of chord
357 % Duration of quarter, appears like sixteenth
361 The duration of spacer rests may also be modified by
362 a multiplier. This is useful for skipping many measures, e.g.,
365 @cindex compressing music
366 @cindex expanding music
368 @funindex \scaleDurations
369 @funindex scaleDurations
371 Longer stretches of music may be compressed by a fraction in the
372 same way, as if every note, chord or rest had the fraction as a
373 multiplier. This leaves the appearance of the music unchanged but
374 the internal duration of the notes will be multiplied by the
375 fraction @emph{num}/@emph{den}. Here is an example showing how music
376 can be compressed and expanded:
378 @lilypond[quote,relative=2,verbatim]
382 % Scale music by *2/3
383 \scaleDurations 2/3 {
387 \scaleDurations 2/1 {
392 One application of this command is in polymetric
393 notation, see @ref{Polymetric notation}.
398 @ref{Invisible rests},
399 @ref{Polymetric notation}.
405 The calculation of the position within a measure must take into
406 account all the scaling factors applied to the notes within that
407 measure and any fractional carry-out from earlier measures. This
408 calculation is carried out using rational numbers. If an intermediate
409 numerator or denominator in that calculation exceeds 2^30 the
410 execution and typesetting will stop at that point without indicating
415 @unnumberedsubsubsec Ties
421 A tie connects two adjacent note heads of the same pitch. The tie
422 in effect extends the duration of a note.
424 @warning{Ties should not be confused with @emph{slurs}, which
425 indicate articulation, or @emph{phrasing slurs}, which indicate
426 musical phrasing. A tie is just a way of extending a note
427 duration, similar to the augmentation dot.}
429 A tie is entered by appending a tilde symbol (@code{~}) to the first
430 of each pair of notes being tied. This indicates that the note
431 should be tied to the following note, which must be at the same pitch.
433 @lilypond[quote,verbatim,relative=2]
437 Ties can make use of the @q{last explicit pitch} interpretation of
440 @lilypond[quote,verbatim,relative=2]
444 Ties are used either when the note crosses a bar line, or when
445 dots cannot be used to denote the rhythm. Ties should also be
446 used when note values cross larger subdivisions of the measure:
448 @lilypond[verbatim,quote]
455 If you need to tie many notes across bar lines, it may be
456 easier to use automatic note splitting, see @ref{Automatic note
457 splitting}. This mechanism automatically splits long notes, and
458 ties them across bar lines.
460 @cindex ties and chords
461 @cindex chords and ties
463 When a tie is applied to a chord, all note heads whose pitches
464 match are connected. When no note heads match, no ties will be
465 created. Chords may be partially tied by placing the ties inside
468 @lilypond[quote,verbatim,relative=1]
471 <c~ e g~ b> <c e g b>
474 @cindex repeating ties
475 @cindex ties, repeating
476 @cindex volta brackets and ties
477 @cindex ties and volta brackets
482 When a second alternative of a repeat starts with a tied note, you
483 have to specify the repeated tie as follows:
485 @lilypond[quote,relative=2,verbatim]
486 \repeat volta 2 { c g <c e>2~ }
488 % First alternative: following note is tied normally
490 % Second alternative: following note has a repeated tie
491 { <c e>2\repeatTie d4 c } }
494 @cindex laissez vibrer
495 @cindex ties, laissez vibrer
497 @funindex \laissezVibrer
498 @funindex laissezVibrer
500 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
501 notes must not be damped at the end. It is used in notation for
502 piano, harp and other string and percussion instruments. They can
503 be entered as follows:
505 @lilypond[quote,verbatim,relative=1]
506 <c f g>1\laissezVibrer
509 @cindex ties, placement
515 @funindex \tieNeutral
518 Ties may be made to curve up or down manually; see
519 @ref{Direction and placement}.
521 @cindex ties, appearance
534 Ties may be made dashed, dotted, or a combination of solid and
537 @lilypond[quote, verbatim, relative=1]
550 Custom dash patterns can be specified:
552 @lilypond[quote, verbatim, relative=1]
553 \tieDashPattern #0.3 #0.75
555 \tieDashPattern #0.7 #1.5
561 Dash pattern definitions for ties have the same structure as dash
562 pattern definitions for slurs. For more information about complex dash
563 patterns, see @ref{Slurs}.
565 Override @var{whiteout} and @var{layer} layout properties for ties that
566 collide with other objects in a staff.
568 @lilypond[verbatim,quote,ragged-right,relative=2]
569 \override Tie.layer = #-2
570 \override Staff.TimeSignature.layer = #-1
571 \override Staff.KeySignature.layer = #-1
572 \override Staff.TimeSignature.whiteout = ##t
573 \override Staff.KeySignature.whiteout = ##t
586 @code{\tieDashPattern},
587 @code{\tieHalfDashed},
588 @code{\tieHalfSolid},
594 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
595 {using-ties-with-arpeggios.ly}
597 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
598 {engraving-ties-manually.ly}
603 @rglos{laissez vibrer}.
607 @ref{Automatic note splitting}.
610 @rlsr{Expressive marks},
614 @rinternals{LaissezVibrerTie},
615 @rinternals{LaissezVibrerTieColumn},
616 @rinternals{TieColumn},
620 Switching staves when a tie is active will not produce a slanted tie.
622 Changing clefs or ottavations during a tie is not really well-defined.
623 In these cases, a slur may be preferable.
627 @subsection Writing rests
629 Rests are entered as part of the music in music expressions.
634 * Full measure rests::
638 @unnumberedsubsubsec Rests
641 @cindex rest, entering durations
656 Rests are entered like notes with the note name @code{r}.
657 Durations longer than a whole rest use the following predefined
660 @c \time 16/1 is used to avoid spurious bar lines
661 @c and long tracts of empty measures
662 @lilypond[quote,verbatim,relative=2]
664 % These two lines are just to prettify this example
666 \omit Staff.TimeSignature
667 % Print a maxima rest, equal to four breves
669 % Print a longa rest, equal to two breves
673 r1 r2 r4 r8 r16 r32 r64 r128
677 @cindex rest, multi-measure
678 @cindex rest, whole-measure
680 Whole measure rests, centered in the middle of the measure, must be
681 entered as multi-measure rests. They can be used for a single
682 measure as well as many measures and are discussed in
683 @ref{Full measure rests}.
685 @cindex rest, specifying vertical position
687 To explicitly specify a rest's vertical position, write a note
688 followed by @code{\rest}. A rest of the duration of the note will
689 be placed at the staff position where the note would appear. This
690 allows for precise manual formatting of polyphonic music, since the
691 automatic rest collision formatter will not move these rests.
693 @lilypond[quote,verbatim,relative=2]
699 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
709 @ref{Full measure rests}.
718 @c Deliberately duplicated in Durations and Rests. -gp
719 There is no fundamental limit to rest durations (both in terms of
720 longest and shortest), but the number of glyphs is limited: there
721 are rests from 128th to maxima (8 x whole).
724 @node Invisible rests
725 @unnumberedsubsubsec Invisible rests
728 @cindex invisible rest
729 @cindex rest, invisible
737 An invisible rest (also called a @q{spacer rest}) can be entered
738 like a note with the note name@tie{}@code{s}:
740 @lilypond[verbatim,quote,relative=2]
747 Spacer rests are available only in note mode and chord mode. In
748 other situations, for example, when entering lyrics, the
749 command @code{\skip} is used to skip a musical moment.
750 @code{\skip} requires an explicit duration, but this is ignored if
751 the lyrics derive their durations from the notes in an associated
752 melody through @code{\addlyrics} or @code{\lyricsto}.
754 @lilypond[quote,verbatim,relative=2]
767 Because @code{\skip} is a command, it does not affect the default
768 durations of following notes, unlike@tie{}@code{s}.
770 @lilypond[quote,verbatim,relative=2]
773 \repeat unfold 8 { a4 }
783 A spacer rest implicitly causes @code{Staff} and @code{Voice}
784 contexts to be created if none exist, just like notes and rests
787 @lilypond[quote,verbatim,relative=2]
791 @code{\skip} simply skips musical time; it creates no output of
794 @lilypond[quote,verbatim,relative=2]
795 % This is valid input, but does nothing
796 \skip 1 \skip1 \skip 1
801 @rlearning{Visibility and color of objects}.
805 @ref{Visibility of objects}.
811 @rinternals{SkipMusic}.
814 @node Full measure rests
815 @unnumberedsubsubsec Full measure rests
817 @cindex multi-measure rests
818 @cindex full-measure rests
819 @cindex rest, multi-measure
820 @cindex rest, full-measure
821 @cindex whole rest for a full measure
822 @cindex rest, whole for a full measure
826 Rests for one or more full measures are entered like notes with
827 the note name uppercase @code{R}:
829 @lilypond[quote,verbatim,relative=2]
830 % Rest measures contracted to single measure
831 \compressFullBarRests
838 The duration of full-measure rests is identical to the duration
839 notation used for notes. The duration in a multi-measure rest must
840 always be an integral number of measure-lengths, so augmentation dots
841 or fractions must often be used:
843 @lilypond[quote,verbatim,relative=2]
844 \compressFullBarRests
850 R1*13/8 | R1*13/8*12 |
855 A full-measure rest is printed as either a whole or breve rest,
856 centered in the measure, depending on the time signature.
858 @lilypond[quote,verbatim,relative=2]
867 @cindex multi-measure rest, expanding
868 @cindex multi-measure rest, contracting
870 @funindex \expandFullBarRests
871 @funindex expandFullBarRests
872 @funindex \compressFullBarRests
873 @funindex compressFullBarRests
875 By default a multi-measure rest is expanded in the printed score to
876 show all the rest measures explicitly. Alternatively, a multi-measure
877 rest can be shown as a single measure containing a multi-measure rest
878 symbol, with the number of measures of rest printed above the measure:
880 @lilypond[quote,verbatim,relative=2]
882 \time 3/4 r2. | R2.*2 |
885 % Rest measures contracted to single measure
886 \compressFullBarRests
888 % Rest measures expanded
895 @cindex text on multi-measure rest
896 @cindex multi-measure rest, attaching text
897 @cindex script on multi-measure rest
898 @cindex multi-measure rest, script
899 @cindex fermata on multi-measure rest
900 @cindex multi-measure rest, attaching fermata
901 @cindex markup on multi-measure rest
902 @cindex multi-measure rest with markup
904 @funindex \fermataMarkup
905 @funindex fermataMarkup
906 @funindex MultiMeasureRestText
908 Markups can be added to multi-measure rests.
909 The predefined command @code{\fermataMarkup}
910 is provided for adding fermatas.
912 @lilypond[quote,verbatim,relative=2]
913 \compressFullBarRests
915 R2.*10^\markup { \italic "ad lib." }
919 @warning{Markups attached to a multi-measure rest are objects of type
920 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
921 be directed to the correct object, or they will be ignored. See the
924 @lilypond[quote,verbatim,relative=2]
925 % This fails, as the wrong object name is specified
926 \override TextScript.padding = #5
928 % This is the correct object name to be specified
929 \override MultiMeasureRestText.padding = #5
933 When a multi-measure rest immediately follows a @code{\partial}
934 setting, resulting bar-check warnings may not be displayed.
937 @funindex \textLengthOn
938 @funindex textLengthOn
939 @funindex \textLengthOff
940 @funindex textLengthOff
941 @funindex \fermataMarkup
942 @funindex fermataMarkup
943 @funindex \compressFullBarRests
944 @funindex compressFullBarRests
945 @funindex \expandFullBarRests
946 @funindex expandFullBarRests
949 @code{\textLengthOn},
950 @code{\textLengthOff},
951 @code{\fermataMarkup},
952 @code{\compressFullBarRests},
953 @code{\expandFullBarRests}.
961 @cindex kirchenpausen
963 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
964 {changing-form-of-multi-measure-rests.ly}
966 @cindex multi-measure rests, positioning
967 @cindex positioning multi-measure rests
969 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
970 {positioning-multi-measure-rests.ly}
972 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
973 {multi-measure-rest-markup.ly}
977 @rglos{multi-measure rest}.
982 @ref{Formatting text},
989 @rinternals{MultiMeasureRest},
990 @rinternals{MultiMeasureRestNumber},
991 @rinternals{MultiMeasureRestText}.
993 @cindex fingerings and multi-measure rests
994 @cindex multi-measure rests and fingerings
997 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
998 in the fingering numeral colliding with the bar counter
1001 @cindex condensing rests
1002 @cindex rest, condensing ordinary
1004 There is no way to automatically condense multiple ordinary rests
1005 into a single multi-measure rest.
1007 @cindex rest, collisions of
1009 Multi-measure rests do not take part in rest collisions.
1012 @node Displaying rhythms
1013 @subsection Displaying rhythms
1020 * Polymetric notation::
1021 * Automatic note splitting::
1022 * Showing melody rhythms::
1025 @node Time signature
1026 @unnumberedsubsubsec Time signature
1028 @cindex time signature
1034 The time signature is set as follows:
1036 @lilypond[quote,verbatim,relative=2]
1041 @cindex time signature, visibility of
1043 Time signatures are printed at the beginning of a piece
1044 and whenever the time signature changes. If a change takes place
1045 at the end of a line a warning time signature sign is printed
1046 there. This default behavior may be changed, see
1047 @ref{Visibility of objects}.
1049 @lilypond[quote,verbatim,relative=2]
1059 @cindex time signature style
1062 @funindex \numericTimeSignature
1063 @funindex numericTimeSignature
1064 @funindex \defaultTimeSignature
1065 @funindex defaultTimeSignature
1067 The time signature symbol that is used in 2/2 and 4/4 time can be
1068 changed to a numeric style:
1070 @lilypond[quote,verbatim,relative=2]
1074 % Change to numeric style
1075 \numericTimeSignature
1078 % Revert to default style
1079 \defaultTimeSignature
1085 Mensural time signatures are covered in
1086 @ref{Mensural time signatures}.
1088 @cindex time signature default settings
1089 @cindex autobeaming properties for time signatures
1090 @cindex beaming, time signature default properties
1091 @funindex \overrideTimeSignatureSettings
1093 In addition to setting the printed time signature, the @code{\time}
1094 command also sets the values of the time-signature-based properties
1095 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
1096 The predefined default values for these properties can be found in
1097 @file{scm/time-signature-settings.scm}.
1099 The default value of @code{beatStructure} can be overridden in the
1100 @code{\time} command itself by supplying it as the optional first
1103 @lilypond[quote,verbatim]
1108 \repeat unfold 7 { c8 } |
1110 \repeat unfold 7 { c8 } |
1116 Alternatively, the default values of all these time-signature-based
1117 variables, including @code{baseMoment} and @code{beamExceptions},
1118 can be set together. The values can be set independently for several
1119 different time signatures. The new values take effect when a
1120 subsequent @code{\time} command with the same value of the time
1121 signature is executed:
1123 @lilypond[quote,verbatim]
1127 \overrideTimeSignatureSettings
1128 4/4 % timeSignatureFraction
1129 1/4 % baseMomentFraction
1130 #'(3 1) % beatStructure
1131 #'() % beamExceptions
1133 \repeat unfold 8 { c8 } |
1139 @code{\overrideTimeSignatureSettings} takes four arguments:
1144 @code{@var{timeSignatureFraction}}, a fraction describing the
1145 time signature to which these values apply.
1148 @code{@var{baseMomentFraction}}, a fraction containing the numerator
1149 and denominator of the basic timing unit for the time signature.
1152 @code{@var{beatStructure}}, a Scheme list indicating the structure
1153 of the beats in the measure, in units of the base moment.
1156 @code{@var{beamExceptions}}, an alist containing any beaming rules
1157 for the time signature that go beyond ending at every beat, as
1158 described in @ref{Setting automatic beam behavior}.
1162 @cindex time signature properties, restoring default values
1163 @cindex restoring default properties for time signatures
1164 @funindex \revertTimeSignatureSettings
1166 Changed values of default time signature properties can be restored
1167 to the original values:
1169 @lilypond[quote,verbatim]
1172 \repeat unfold 8 { c8 } |
1173 \overrideTimeSignatureSettings
1174 4/4 % timeSignatureFraction
1175 1/4 % baseMomentFraction
1176 #'(3 1) % beatStructure
1177 #'() % beamExceptions
1179 \repeat unfold 8 { c8 } |
1180 \revertTimeSignatureSettings 4/4
1182 \repeat unfold 8 { c8 } |
1187 Different values of default time signature properties can be established
1188 for different staves by moving the @code{Timing_translator} and the
1189 @code{Default_bar_line_engraver} from the @code{Score} context to the
1190 @code{Staff} context.
1192 @lilypond[quote, verbatim]
1196 \overrideTimeSignatureSettings
1197 4/4 % timeSignatureFraction
1198 1/4 % baseMomentFraction
1199 #'(3 1) % beatStructure
1200 #'() % beamExceptions
1202 \repeat unfold 8 {c''8}
1205 \overrideTimeSignatureSettings
1206 4/4 % timeSignatureFraction
1207 1/4 % baseMomentFraction
1208 #'(1 3) % beatStructure
1209 #'() % beamExceptions
1211 \repeat unfold 8 {c''8}
1217 \remove "Timing_translator"
1218 \remove "Default_bar_line_engraver"
1222 \consists "Timing_translator"
1223 \consists "Default_bar_line_engraver"
1229 A further method of changing these time-signature-related variables,
1230 which avoids reprinting the time signature at the time of the change,
1231 is shown in @ref{Setting automatic beam behavior}.
1234 @code{\numericTimeSignature},
1235 @code{\defaultTimeSignature}.
1240 @lilypondfile[verbatim,quote,texidoc,doctitle]
1241 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1245 @rglos{time signature}
1248 @ref{Mensural time signatures},
1249 @ref{Setting automatic beam behavior},
1250 @ref{Time administration}.
1253 @file{scm/time-signature-settings.scm}.
1258 Internals Reference:
1259 @rinternals{TimeSignature},
1260 @rinternals{Timing_translator}.
1263 @node Metronome marks
1264 @unnumberedsubsubsec Metronome marks
1267 @cindex beats per minute
1268 @cindex metronome mark
1269 @cindex metronome marking with text
1274 A basic metronome mark is simple to write:
1276 @lilypond[verbatim,quote,relative=1]
1282 Metronome marks may also be printed as a range of two numbers:
1284 @lilypond[verbatim,quote,relative=1]
1290 Tempo indications with text can be used instead:
1292 @lilypond[verbatim,quote,relative=2]
1298 Combining a metronome mark and text will automatically place the
1299 metronome mark within parentheses:
1301 @lilypond[verbatim,quote,relative=2]
1302 \tempo "Allegro" 4 = 160
1307 In general, the text can be any markup object:
1309 @lilypond[verbatim,quote,relative=2]
1310 \tempo \markup { \italic Faster } 4 = 132
1311 a8-. r8 b-. r gis-. r a-. r
1314 A parenthesized metronome mark with no textual indication may be
1315 written by including an empty string in the input:
1317 @lilypond[verbatim,quote,relative=2]
1322 @funindex \markLengthOn
1323 @funindex markLengthOn
1324 @funindex \markLengthOff
1325 @funindex markLengthOff
1327 In a part for an instrument with long periods of rests,
1328 tempo indications sometimes follow each other closely.
1329 The command @code{\markLengthOn} provides extra horizontal space
1330 to prevent tempo indications from overlapping, and @code{\markLengthOff}
1331 restores the default behavior of ignoring tempo marks
1332 for horizontal spacing.
1334 @lilypond[verbatim,quote,relative=0]
1335 \compressFullBarRests
1337 \tempo "Molto vivace"
1348 @lilypondfile[verbatim,quote,texidoc,doctitle]
1349 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1351 @c perhaps also an example of how to move it horizontally?
1353 @lilypondfile[verbatim,quote,texidoc,doctitle]
1354 {changing-the-tempo-without-a-metronome-mark.ly}
1356 @lilypondfile[verbatim,quote,texidoc,doctitle]
1357 {creating-metronome-marks-in-markup-mode.ly}
1359 For more details, see @ref{Formatting text}.
1364 @rglos{metronomic indication},
1365 @rglos{tempo indication},
1366 @rglos{metronome mark}.
1369 @ref{Formatting text},
1373 @rlsr{Staff notation}.
1375 Internals Reference:
1376 @rinternals{MetronomeMark}.
1380 @unnumberedsubsubsec Upbeats
1384 @cindex partial measure
1385 @cindex measure, partial
1386 @cindex measure, pickup
1387 @cindex pickup measure
1389 @funindex measurePosition
1393 Partial or pick-up measures, such as an @emph{anacrusis} or an
1394 @emph{upbeat}, are entered using the @code{\partial} command,
1397 \partial @var{duration}
1401 where @code{@var{duration}} is the @emph{remaining} length of the
1402 partial measure @emph{before} the start of the next full measure.
1404 @lilypond[quote,verbatim,relative=1]
1410 The @var{duration} can be any value less than a full measure:
1412 @lilypond[quote,verbatim,relative=1]
1415 r4 e8 | a4 c8 b c4 |
1418 @code{\partial @var{duration}} can also be written as:
1421 \set Timing.measurePosition -@var{duration}
1424 So the first example above could be written:
1426 @lilypond[quote,verbatim,relative=1]
1428 \set Timing.measurePosition = #(ly:make-moment -1/8)
1432 The property @code{measurePosition} contains a rational number,
1433 which is usually positive and indicates how much of the measure
1434 has passed at this point. @code{\partial @var{duration}} is
1435 defined such that no numbered bar gets created: when used at the
1436 beginning of a measure, @code{measurePosition} is set to a
1437 negative number, implying that the current bar will be
1438 @emph{preceded} by additional material. When used after a measure
1439 has already started, however, it moves the requested distance
1440 before the @emph{end} of the bar.
1442 @lilypond[quote,verbatim,relative=1]
1443 \set Score.barNumberVisibility = #all-bar-numbers-visible
1444 \override Score.BarNumber.break-visibility =
1445 #end-of-line-invisible
1448 e8 | a4 c8 b[ c b] |
1450 r8 e,8 | a4 \bar "||"
1468 @rinternals{Timing_translator}.
1471 @node Unmetered music
1472 @unnumberedsubsubsec Unmetered music
1475 @cindex cadenza, beams
1476 @cindex cadenza, accidentals
1477 @cindex cadenza, bar lines
1478 @cindex cadenza, bar numbers
1479 @cindex unmetered music
1480 @cindex unmetered music, beams
1481 @cindex unmetered music, accidentals
1482 @cindex unmetered music, bar lines
1483 @cindex unmetered music, bar numbers
1484 @cindex accidentals, cadenzas
1485 @cindex accidentals, unmetered music
1486 @cindex bar lines, cadenzas
1487 @cindex bar lines, unmetered music
1488 @cindex bar numbers, cadenzas
1489 @cindex bar numbers, unmetered music
1490 @cindex beams, cadenzas
1491 @cindex beams, unmetered music
1493 @funindex \cadenzaOn
1495 @funindex \cadenzaOff
1496 @funindex cadenzaOff
1498 In metered music bar lines are inserted and bar numbers are calculated
1499 automatically. In unmetered music (i.e. cadenzas), this is not
1500 desirable and can be @q{switched off} using the command
1501 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
1502 using @code{\cadenzaOff}.
1504 @lilypond[verbatim,relative=2,quote]
1507 c4 c d8[ d d] f4 g4.
1513 Bar numbering is resumed at the end of the cadenza.
1515 @lilypond[verbatim,relative=2,quote]
1516 % Show all bar numbers
1517 \override Score.BarNumber.break-visibility = #all-visible
1520 c4 c d8[ d d] f4 g4.
1526 Inserting a @code{\bar} command within a cadenza does not start a new
1527 measure, even if a bar line is printed. So any accidentals -- which
1528 are usually assumed to remain in force until the end of the measure --
1529 will still be valid after the bar line printed by @code{\bar}. If
1530 subsequent accidentals should be printed, forced accidentals or
1531 reminder accidentals need to be inserted manually, see
1534 @lilypond[verbatim,relative=2,quote]
1539 % First cis is printed without alteration even if it's after a \bar
1545 Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
1546 beaming in cadenzas must be entered manually. See @ref{Manual beams}.
1548 @lilypond[verbatim,relative=2,quote]
1549 \repeat unfold 8 { c8 }
1555 \repeat unfold 8 { c8 }
1558 These predefined commands affect all staves in the score, even when
1559 placed in just one @code{Voice} context. To change this, move the
1560 @code{Timing_translator} from the @code{Score} context to the
1561 @code{Staff} context. See @ref{Polymetric notation}.
1573 @ref{Visibility of objects},
1574 @ref{Polymetric notation},
1581 @cindex cadenza, line breaks
1582 @cindex cadenza, page breaks
1583 @cindex unmetered music, line breaks
1584 @cindex unmetered music, page breaks
1585 @cindex breaks in unmetered music
1586 @cindex line breaks, cadenzas
1587 @cindex page breaks, cadenzas
1588 @cindex line breaks, unmetered music
1589 @cindex page breaks, unmetered music
1592 Automatic line and page breaks are inserted only at bar lines, so
1593 @q{invisible} bar lines will need to be inserted manually in long
1594 stretches of unmetered music to permit breaking:
1601 @node Polymetric notation
1602 @unnumberedsubsubsec Polymetric notation
1604 @c This section necessarily uses \set
1605 @c This is acceptable -td
1607 @cindex double time signatures
1608 @cindex signatures, polymetric
1609 @cindex time signatures, polymetric
1610 @cindex time signatures, double
1611 @cindex polymetric signatures
1612 @cindex meter, polymetric
1614 @funindex timeSignatureFraction
1615 @funindex \scaleDurations
1616 @funindex scaleDurations
1620 Polymetric notation is supported explicitly or by manually modifying the
1621 visible time signature symbol and/or scaling note durations.
1623 @subsubsubheading Different time signatures with equal-length measures
1625 Set a common time signature for each staff, and set the
1626 @code{timeSignatureFraction} to the desired fraction. Then use the
1627 @code{\scaleDurations} function to scale the durations of the notes in
1628 each staff to the common time signature.
1630 @cindex beams, with polymetric meters
1631 @cindex polymetric meters, with beams
1633 In the following example, music with the time signatures of 3/4, 9/8 and
1634 10/8 are used in parallel. In the second staff, shown durations are
1635 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1636 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1637 may be necessary to insert beams manually, as the duration scaling will
1638 affect the autobeaming rules.
1640 @lilypond[quote,verbatim]
1649 \set Staff.timeSignatureFraction = 9/8
1651 \repeat unfold 6 { c8[ c c] }
1655 \set Staff.timeSignatureFraction = 10/8
1656 \scaleDurations 3/5 {
1657 \repeat unfold 2 { c8[ c c] }
1658 \repeat unfold 2 { c8[ c] } |
1659 c4. c \tuplet 3/2 { c8[ c c] } c4
1665 @subsubsubheading Different time signatures with unequal-length measures
1667 Each staff can be given its own independent time signature by
1668 moving the @code{Timing_translator} and the
1669 @code{Default_bar_line_engraver} to the @code{Staff} context.
1671 @lilypond[quote,verbatim]
1675 \remove "Timing_translator"
1676 \remove "Default_bar_line_engraver"
1680 \consists "Timing_translator"
1681 \consists "Default_bar_line_engraver"
1685 % Now each staff has its own time signature.
1709 @funindex \compoundMeter
1710 @cindex compound time signatures
1711 @cindex time signature, compound
1713 @subsubsubheading Compound time signatures
1715 These are created using the @code{\compoundMeter} function. The syntax
1719 \compoundMeter #'@code{(list of lists)}
1722 The simplest construction is a single list, where the @emph{last} number
1723 indicates the bottom number of the time signature and those that come
1724 before it, the top numbers.
1726 @lilypond[quote,verbatim]
1728 \compoundMeter #'((2 2 2 8))
1729 \repeat unfold 6 c8 \repeat unfold 12 c16
1733 More complex meters can be constructed using additional lists. Also,
1734 automatic beaming settings will be adjusted depending on the values.
1736 @lilypond[quote,verbatim]
1738 \compoundMeter #'((1 4) (3 8))
1739 \repeat unfold 5 c8 \repeat unfold 10 c16
1743 \compoundMeter #'((1 2 3 8) (3 4))
1744 \repeat unfold 12 c8
1751 @rglos{polymetric time signature},
1755 @ref{Automatic beams},
1757 @ref{Time signature},
1758 @ref{Scaling durations}.
1763 Internals Reference:
1764 @rinternals{TimeSignature},
1765 @rinternals{Timing_translator},
1766 @rinternals{Default_bar_line_engraver},
1770 When using different time signatures in parallel, notes at the same
1771 moment will be placed at the same horizontal location. However, the bar
1772 lines in the different staves will cause the note spacing to be less
1773 regular in each of the individual staves than would be normal without
1774 the different time signatures.
1777 @node Automatic note splitting
1778 @unnumberedsubsubsec Automatic note splitting
1780 @cindex notes, splitting
1781 @cindex splitting notes
1782 @cindex rests, splitting
1783 @cindex splitting rests
1785 @funindex Note_heads_engraver
1786 @funindex Completion_heads_engraver
1787 @funindex Completion_rest_engraver
1789 Long notes which overrun bar lines can be converted automatically to
1790 tied notes. This is done by replacing the @code{Note_heads_engraver}
1791 with the @code{Completion_heads_engraver}. Similarly, long rests which
1792 overrun bar lines are split automatically by replacing the
1793 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1794 following example, notes and rests crossing the bar lines are split,
1795 notes are also tied.
1797 @lilypond[quote,verbatim,relative=1]
1799 \remove "Note_heads_engraver"
1800 \consists "Completion_heads_engraver"
1801 \remove "Rest_engraver"
1802 \consists "Completion_rest_engraver"
1805 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1808 These engravers split all running notes and rests at the bar line, and
1809 inserts ties for notes. One of its uses is to debug complex scores: if
1810 the measures are not entirely filled, then the ties show exactly how
1811 much each measure is off.
1818 @rlearning{Engravers explained},
1819 @rlearning{Adding and removing engravers}.
1824 Internals Reference:
1825 @rinternals{Note_heads_engraver},
1826 @rinternals{Completion_heads_engraver},
1827 @rinternals{Rest_engraver},
1828 @rinternals{Completion_rest_engraver},
1829 @rinternals{Forbid_line_break_engraver}.
1832 Not all durations (especially those containing tuplets) can be
1833 represented exactly with normal notes and dots, but the
1834 @code{Completion_heads_engraver} will not insert tuplets.
1836 The @code{Completion_heads_engraver} only affects notes; it does not
1840 @node Showing melody rhythms
1841 @unnumberedsubsubsec Showing melody rhythms
1843 @cindex melody rhythms, showing
1844 @cindex rhythms, showing melody
1846 Sometimes you might want to show only the rhythm of a melody. This
1847 can be done with the rhythmic staff. All pitches of notes on such a
1848 staff are squashed, and the staff itself has a single line
1850 @lilypond[quote,relative=1,verbatim]
1852 \new RhythmicStaff {
1853 \new Voice = "myRhythm" {
1861 \lyricsto "myRhythm" {
1869 @cindex guitar chord charts
1870 @cindex strumming rhythms, showing
1871 @cindex guitar strumming rhythms, showing
1873 @funindex Pitch_squash_engraver
1874 @funindex \improvisationOn
1875 @funindex improvisationOn
1876 @funindex \improvisationOff
1877 @funindex improvisationOff
1879 Guitar chord charts often show the strumming rhythms. This can
1880 be done with the @code{Pitch_squash_engraver} and
1881 @code{\improvisationOn}.
1884 @lilypond[quote,verbatim]
1892 \consists "Pitch_squash_engraver"
1905 @code{\improvisationOn},
1906 @code{\improvisationOff}.
1912 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1913 {guitar-strum-rhythms.ly}
1919 Internals Reference:
1920 @rinternals{RhythmicStaff},
1921 @rinternals{Pitch_squash_engraver}.
1929 * Setting automatic beam behavior::
1934 @node Automatic beams
1935 @unnumberedsubsubsec Automatic beams
1937 By default, beams are inserted automatically:
1939 @cindex beams, manual
1940 @cindex manual beams
1941 @cindex beams, customizing rules
1943 @funindex \autoBeamOn
1944 @funindex autoBeamOn
1945 @funindex \autoBeamOff
1946 @funindex autoBeamOff
1948 @lilypond[quote,verbatim,relative=2]
1950 \time 6/8 c8 c c c8. c16 c8
1953 If these automatic decisions are not satisfactory, beaming can be
1954 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1955 entered manually if beams are to be extended over rests.
1957 If automatic beaming is not required, it may be turned off with
1958 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1960 @lilypond[quote,relative=1,verbatim]
1961 c4 c8 c8. c16 c8. c16 c8
1968 @cindex melismata, with beams
1969 @cindex beams, with melismata
1971 @warning{If beams are used to indicate melismata in songs, then
1972 automatic beaming should be switched off with @code{@bs{}autoBeamOff}
1973 and the beams indicated manually. Using @code{@bs{}partcombine} with
1974 @code{@bs{}autoBeamOff} can produce unintended results. See the
1975 snippets for more information.}
1977 Beaming patterns that differ from the automatic defaults can be
1978 created; see @ref{Setting automatic beam behavior}.
1981 @code{\autoBeamOff},
1985 @cindex beams, line breaks
1986 @cindex line breaks, beams
1987 @cindex beams, with knee gap
1988 @cindex knee gap, with beams
1992 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1993 {beams-across-line-breaks.ly}
1995 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1996 {changing-beam-knee-gap.ly}
1998 @cindex beams, \partcombine with \autoBeamOff
1999 @cindex voices, \partcombine with \autoBeamOff
2001 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
2002 {partcombine-and-autobeamoff.ly}
2007 @ref{Setting automatic beam behavior}.
2010 @file{scm/auto-beam.scm}.
2015 Internals Reference:
2016 @rinternals{Auto_beam_engraver},
2017 @rinternals{Beam_engraver},
2019 @rinternals{BeamEvent},
2020 @rinternals{BeamForbidEvent},
2021 @rinternals{beam-interface},
2022 @rinternals{unbreakable-spanner-interface}.
2025 The properties of a beam are determined at the @emph{start} of its
2026 construction and any additional beam-property changes that occur before
2027 the beam has been completed will not take effect until the @emph{next},
2031 @node Setting automatic beam behavior
2032 @unnumberedsubsubsec Setting automatic beam behavior
2034 @cindex beams, with lyrics
2035 @cindex lyrics, with beams
2037 @funindex autoBeaming
2038 @funindex baseMoment
2039 @funindex beamExceptions
2040 @funindex beatStructure
2041 @funindex measureLength
2047 When automatic beaming is enabled, the placement of automatic beams
2048 is determined by three context properties:
2049 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2050 The default values of these variables may be overridden as described
2051 below, or alternatively the default values themselves may be changed
2052 as explained in @ref{Time signature}.
2054 If a @code{beamExceptions} rule is defined for the time signature in
2055 force, that rule alone is used to determine the beam placement; the
2056 values of @code{baseMoment} and @code{beatStructure} are ignored.
2058 If no @code{beamExceptions} rule is defined for the time signature
2059 in force, the beam placement is determined by the values of
2060 @code{baseMoment} and @code{beatStructure}.
2063 @subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
2065 By default, @code{beamExceptions} rules are defined for most common
2066 time signatures, so the @code{beamExceptions} rules must be disabled
2067 if automatic beaming is to be based on @code{baseMoment} and
2068 @code{beatStructure}. The @code{beamExceptions} rules are disabled
2072 \set Timing.beamExceptions = #'()
2075 When @code{beamExceptions} is set to @code{#'()}, either due to an
2076 explicit setting or because no @code{beamExceptions} rules are defined
2077 internally for the time signature in force, the ending points for
2078 beams are on beats as specified by the context properties
2079 @code{baseMoment} and @code{beatStructure}. @code{beatStructure} is
2080 a scheme list that defines the length of each beat in the measure in
2081 units of @code{baseMoment}. By default, @code{baseMoment} is one
2082 over the denominator of the time signature. By default, each unit of
2083 length @code{baseMoment} is a single beat.
2085 @lilypond[quote,relative=2,verbatim]
2087 c16^"default" c c c c |
2088 % beamExceptions are unlikely to be defined for 5/16 time,
2089 % but let's disable them anyway to be sure
2090 \set Timing.beamExceptions = #'()
2091 \set Timing.beatStructure = #'(2 3)
2092 c16^"(2+3)" c c c c |
2093 \set Timing.beatStructure = #'(3 2)
2094 c16^"(3+2)" c c c c |
2097 @lilypond[quote,relative=2,verbatim]
2099 a8^"default" a a a a a a a
2100 % Disable beamExceptions because they are definitely
2101 % defined for 4/4 time
2102 \set Timing.beamExceptions = #'()
2103 \set Timing.baseMoment = #(ly:make-moment 1/4)
2104 \set Timing.beatStructure = #'(1 1 1 1)
2105 a8^"changed" a a a a a a a
2108 Beam setting changes can be limited to specific contexts. If no
2109 setting is included in a lower-level context, the setting of the
2110 enclosing context will apply.
2112 @lilypond[quote, verbatim,relative=1]
2115 % No need to disable beamExceptions
2116 % as they are not defined for 7/8 time
2117 \set Staff.beatStructure = #'(2 3 2)
2127 \set Voice.beatStructure = #'(1 3 3)
2135 When multiple voices are used the @code{Staff} context must be
2136 specified if the beaming is to be applied to all voices in the
2139 @lilypond[quote,verbatim,relative=2]
2142 % Change applied to Voice by default -- does not work correctly
2143 % Because of autogenerated voices, all beating will
2144 % be at baseMoment (1 . 8)
2145 \set beatStructure = #'(3 1 1 2)
2146 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2148 % Works correctly with context Staff specified
2149 \set Staff.beatStructure = #'(3 1 1 2)
2150 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2153 The value of @code{baseMoment} can be adjusted to change
2154 the beaming behavior, if desired. When this is done,
2155 the value of @code{beatStructure} must be set to be
2156 compatible with the new value of @code{baseMoment}.
2158 @lilypond[quote,verbatim,relative=2]
2160 % No need to disable beamExceptions
2161 % as they are not defined for 5/8 time
2162 \set Timing.baseMoment = #(ly:make-moment 1/16)
2163 \set Timing.beatStructure = #'(7 3)
2164 \repeat unfold 10 { a16 }
2167 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2168 quantity of type @i{moment} is created by the scheme function
2169 @code{ly:make-moment}. For more information about this function,
2170 see @ref{Time administration}.
2172 By default @code{baseMoment} is set to one over the denominator of
2173 the time signature. Any exceptions to this default can be found in
2174 @file{scm/time-signature-settings.scm}.
2176 @subsubsubheading Beaming based on @code{beamExceptions}
2178 Special autobeaming rules (other than ending a beam on a beat)
2179 are defined in the @code{beamExceptions} property.
2181 @lilypond[quote,relative=2,verbatim]
2183 \set Timing.beatStructure = #'(2 1)
2184 \set Timing.beamExceptions =
2186 (end . ;entry for end of beams
2187 ( ;start of alist of end points
2188 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2189 ))) %close all entries
2191 \repeat unfold 6 { c32 } |
2194 @code{beamExceptions} is an alist with a key of rule-type and a value
2197 At this time the only available value of rule-type is
2198 @code{'end} for beam ending.
2200 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2201 beam type and the grouping to be applied to beams containing notes with
2202 a shortest duration of that beam type.
2205 #'((beam-type1 . grouping-1)
2206 (beam-type2 . grouping-2)
2207 (beam-type3 . grouping-3))
2210 Beam type is a scheme pair indicating the duration of the beam,
2211 e.g., @code{(1 . 16)}.
2213 Grouping is a scheme list indicating the grouping to be applied to
2214 the beam. The grouping is in units of the beam type.
2216 @warning{ A @code{beamExceptions} value must be @emph{complete}
2217 exceptions list. That is, every exception that should be applied
2218 must be included in the setting. It is not possible to add, remove,
2219 or change only one of the exceptions. While this may seem cumbersome,
2220 it means that the current beaming settings need not be known in order
2221 to specify a new beaming pattern.}
2223 When the time signature is changed, default values of
2224 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2225 and @code{Timing.beamExceptions} are set. Setting the time signature
2226 will reset the automatic beaming settings for the @code{Timing}
2227 context to the default behavior.
2229 @lilypond[quote,verbatim,relative=2]
2231 \repeat unfold 6 { a8 }
2233 \set Timing.beatStructure = #'(4 2)
2234 \repeat unfold 6 { a8 }
2235 % go back to default behavior
2237 \repeat unfold 6 { a8 }
2240 The default automatic beaming settings for a time signature
2241 are determined in @file{scm/time-signature-settings.scm}.
2242 Changing the default automatic beaming settings
2243 for a time signature is described in @ref{Time signature}.
2245 Many automatic beaming settings for a time signature contain an
2246 entry for @code{beamExceptions}. For example, 4/4 time tries to
2247 beam the measure in two if there are only eighth notes. The
2248 @code{beamExceptions} rule can override the @code{beatStructure} setting
2249 if @code{beamExceptions} is not reset.
2251 @lilypond[quote,verbatim,relative=2]
2253 \set Timing.baseMoment = #(ly:make-moment 1/8)
2254 \set Timing.beatStructure = #'(3 3 2)
2255 % This won't beam (3 3 2) because of beamExceptions
2256 \repeat unfold 8 {c8} |
2257 % This will beam (3 3 2) because we clear beamExceptions
2258 \set Timing.beamExceptions = #'()
2259 \repeat unfold 8 {c8}
2262 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2263 measure by default. To beam eighth notes in 3/4 time on the beat,
2264 reset @code{beamExceptions}.
2266 @lilypond[quote,verbatim,relative=2]
2268 % by default we beam in (6) due to beamExceptions
2269 \repeat unfold 6 {a8} |
2270 % This will beam (1 1 1) due to default baseMoment and beatStructure
2271 \set Timing.beamExceptions = #'()
2272 \repeat unfold 6 {a8}
2275 In engraving from the Romantic and Classical periods,
2276 beams often begin midway through the measure in 3/4 time,
2277 but modern practice is to avoid the false impression of 6/8 time
2278 (see Gould, p. 153). Similar situations arise in 3/8 time.
2279 This behavior is controlled by the context property @code{beamHalfMeasure},
2280 which has effect only in time signatures with 3 in the numerator:
2282 @lilypond[quote,verbatim,relative=2]
2285 \set Timing.beamHalfMeasure = ##f
2289 @subsubsubheading How automatic beaming works
2291 When automatic beaming is enabled, the placement of automatic beams
2292 is determined by the context properties
2293 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2295 The following rules, in order of priority, apply when determining
2296 the appearance of beams:
2300 If a manual beam is specified with @code{[@dots{}]} set the beam
2301 as specified, otherwise
2304 if a beam-ending rule is defined in @code{beamExceptions}
2305 for the beam-type, use it to determine the valid places where
2306 beams may end, otherwise
2309 if a beam-ending rule is defined in @code{beamExceptions}
2310 for a longer beam-type, use it to determine the valid places
2311 where beams may end, otherwise
2314 use the values of @code{baseMoment} and @code{beatStructure} to
2315 determine the ends of the beats in the measure, and
2316 end beams at the end of beats.
2320 In the rules above, the @emph{beam-type} is the duration of the
2321 shortest note in the beamed group.
2323 The default beaming rules can be found in
2324 @file{scm/time-signature-settings.scm}.
2328 @cindex beams, subdividing
2330 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2331 {subdividing-beams.ly}
2333 @cindex beamlets, orienting
2335 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2336 {strict-beat-beaming.ly}
2338 @cindex measure groupings
2339 @cindex beats, grouping
2340 @cindex grouping beats
2341 @cindex measure sub-grouping
2343 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2344 {conducting-signs,-measure-grouping-signs.ly}
2346 @cindex beam, endings in a score
2347 @cindex beam, endings with multiple voices
2349 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2350 {beam-endings-in-score-context.ly}
2354 @ref{Time signature}.
2357 @file{scm/time-signature-settings.scm}.
2362 Internals Reference:
2363 @rinternals{Auto_beam_engraver},
2365 @rinternals{BeamForbidEvent},
2366 @rinternals{beam-interface}.
2369 If a score ends while an automatic beam has not been ended and is
2370 still accepting notes, this last beam will not be typeset at all.
2371 The same holds for polyphonic voices, entered with
2372 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2373 automatic beam is still accepting notes, it is not typeset.
2374 The workaround for these problems is to manually beam the last
2375 beam in the voice or score.
2377 By default, the @code{Timing} translator is aliased to the
2378 @code{Score} context. This means that setting the time signature
2379 in one staff will affect the beaming of the other staves as well.
2380 Thus, a time signature setting in a later staff will reset custom
2381 beaming that was set in an earlier staff.
2382 One way to avoid this problem is to set the time signature
2385 @lilypond[quote,verbatim,relative=2]
2389 \set Timing.baseMoment = #(ly:make-moment 1/8)
2390 \set Timing.beatStructure = #'(1 5)
2391 \repeat unfold 6 { a8 }
2394 \repeat unfold 6 { a8 }
2399 The default beam settings for the time signature can also be changed, so
2400 that the desired beaming will always be used. Changes in automatic
2401 beaming settings for a time signature are described in
2402 @ref{Time signature}.
2404 @lilypond[quote,verbatim,relative=2]
2407 \overrideTimeSignatureSettings
2408 3/4 % timeSignatureFraction
2409 1/8 % baseMomentFraction
2410 #'(1 5) % beatStructure
2411 #'() % beamExceptions
2413 \repeat unfold 6 { a8 }
2417 \repeat unfold 6 { a8 }
2424 @unnumberedsubsubsec Manual beams
2426 @cindex beams, manual
2427 @cindex manual beams
2432 In some cases it may be necessary to override the automatic
2433 beaming algorithm. For example, the autobeamer will not put beams
2434 over rests or bar lines, and in choral scores the beaming is
2435 often set to follow the meter of the lyrics rather than the
2436 notes. Such beams can be specified manually by
2437 marking the begin and end point with @code{[} and @code{]}.
2439 @lilypond[quote,relative=1,verbatim]
2440 r4 r8[ g' a r] r g[ | a] r
2443 @cindex manual beams, direction shorthand for
2444 @cindex manual beams, grace notes
2446 Beaming direction can be set manually using direction indicators:
2448 @lilypond[quote,relative=2,verbatim]
2449 c8^[ d e] c,_[ d e f g]
2455 Individual notes may be marked with @code{\noBeam} to prevent them
2458 @lilypond[quote,verbatim,relative=2]
2463 Grace note beams and normal note beams can occur simultaneously.
2464 Unbeamed grace notes are not put into normal note beams.
2466 @lilypond[quote,verbatim,relative=2]
2468 \grace { e32 d c d }
2474 @funindex stemLeftBeamCount
2475 @funindex stemRightBeamCount
2477 Even more strict manual control with the beams can be achieved by
2478 setting the properties @code{stemLeftBeamCount} and
2479 @code{stemRightBeamCount}. They specify the number of beams to
2480 draw on the left and right side, respectively, of the next note.
2481 If either property is set, its value will be used only once, and
2482 then it is erased. In this example, the last @code{f} is printed
2483 with only one beam on the left side, i.e., the eighth-note beam of
2484 the group as a whole.
2486 @lilypond[quote,relative=2,verbatim]
2489 \set stemLeftBeamCount = #2
2490 \set stemRightBeamCount = #1
2492 \set stemLeftBeamCount = #1
2504 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2505 {flat-flags-and-beam-nibs.ly}
2509 @ref{Direction and placement},
2515 Internals Reference:
2517 @rinternals{BeamEvent},
2518 @rinternals{Beam_engraver},
2519 @rinternals{beam-interface},
2520 @rinternals{Stem_engraver}.
2523 @node Feathered beams
2524 @unnumberedsubsubsec Feathered beams
2526 @cindex beams, feathered
2527 @cindex feathered beams
2529 @funindex \featherDurations
2530 @funindex featherDurations
2531 @funindex grow-direction
2533 Feathered beams are used to indicate that a small group of notes
2534 should be played at an increasing (or decreasing) tempo, without
2535 changing the overall tempo of the piece. The extent of the
2536 feathered beam must be indicated manually using @code{[} and
2537 @code{]}, and the beam feathering is turned on by specifying a
2538 direction to the @code{Beam} property @code{grow-direction}.
2540 If the placement of the notes and the sound in the MIDI output is to
2541 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2542 feathered beam the notes must be grouped as a music expression delimited
2543 by braces and preceded by a @code{featherDurations} command which specifies
2544 the ratio between the durations of the first and last notes in the
2547 The square brackets show the extent of the beam and the braces show
2548 which notes are to have their durations modified. Normally these
2549 would delimit the same group of notes, but this is not required: the
2550 two commands are independent.
2552 In the following example the eight 16th notes occupy exactly the
2553 same time as a half note, but the first note is one half as long
2554 as the last one, with the intermediate notes gradually
2555 lengthening. The first four 32nd notes gradually speed up, while
2556 the last four 32nd notes are at a constant tempo.
2558 @lilypond[relative=1,verbatim,quote]
2559 \override Beam.grow-direction = #LEFT
2560 \featherDurations #(ly:make-moment 2/1)
2561 { c16[ c c c c c c c] }
2562 \override Beam.grow-direction = #RIGHT
2563 \featherDurations #(ly:make-moment 2/3)
2565 % revert to non-feathered beams
2566 \override Beam.grow-direction = #'()
2571 The spacing in the printed output represents the
2572 note durations only approximately, but the MIDI output is exact.
2575 @code{\featherDurations}.
2583 The @code{\featherDurations} command only works with very short
2584 music snippets, and when numbers in the fraction are small.
2593 * Bar and bar number checks::
2598 @unnumberedsubsubsec Bar lines
2601 @cindex measure lines
2602 @cindex closing bar lines
2603 @cindex bar lines, closing
2604 @cindex double bar lines
2605 @cindex bar lines, double
2611 Bar lines delimit measures, and are also used to indicate
2612 repeats. Normally, simple bar lines are automatically inserted
2613 into the printed output at places based on the current time
2616 The simple bar lines inserted automatically can be changed to
2617 other types with the @code{\bar} command. For example, a closing
2618 double bar line is usually placed at the end of a piece:
2620 @lilypond[quote,relative=1,verbatim]
2624 It is not invalid if the final note in a measure does not
2625 end on the automatically entered bar line: the note is assumed
2626 to carry over into the next measure. But if a long sequence
2627 of such carry-over measures appears the music can appear compressed
2628 or even flowing off the page. This is because automatic line
2629 breaks happen only at the end of complete measures, i.e., where
2630 all notes end before the end of a measure.
2632 @warning{An incorrect duration can cause line breaks to be
2633 inhibited, leading to a line of highly compressed music or
2634 music which flows off the page.}
2637 @cindex bar lines, invisible
2638 @cindex measure lines, invisible
2640 Line breaks are also permitted at manually inserted bar lines
2641 even within incomplete measures. To allow a line break without
2642 printing a bar line, use the following:
2649 This will insert an invisible bar line and allow (but not
2650 force) a line break to occur at this point. The bar number
2651 counter is not increased. To force a line break see
2652 @ref{Line breaking}.
2654 @cindex manual bar lines
2655 @cindex manual measure lines
2656 @cindex bar lines, manual
2657 @cindex measure lines, manual
2659 This and other special bar lines may be inserted manually at any
2660 point. When they coincide with the end of a measure they replace
2661 the simple bar line which would have been inserted there
2662 automatically. When they do not coincide with the end of a measure
2663 the specified bar line is inserted at that point in the printed
2666 Note that manual bar lines are purely visual. They do not affect
2667 any of the properties that a normal bar line would affect, such as
2668 measure numbers, accidentals, line breaks, etc. They do not affect
2669 the calculation and placement of subsequent automatic bar lines.
2670 When a manual bar line is placed where a normal bar line already
2671 exists, the effects of the original bar line are not altered.
2673 Two types of simple bar lines and five types of double bar lines are
2674 available for manual insertion:
2676 @lilypond[quote,relative=1,verbatim]
2688 together with dotted and dashed bar lines:
2690 @lilypond[quote,relative=1,verbatim]
2697 and nine types of repeat bar lines:
2699 @lilypond[quote,relative=1,verbatim]
2712 Additionally, a bar line can be printed as a simple tick:
2713 @lilypond[quote,relative=1,verbatim]
2716 However, as such ticks are typically used in Gregorian chant, it is
2717 preferable to use @code{\divisioMinima} there instead, described in
2718 the section @ref{Divisiones} in Gregorian chant.
2720 Lilypond supports kievan notation and provides a special kievan
2722 @lilypond[quote,relative=1,verbatim]
2725 Further details of this notation are explained in
2726 @ref{Typesetting Kievan square notation}.
2730 For in-line segno signs, there are three types of bar lines which
2731 differ in their behavior at line breaks:
2733 @lilypond[quote,relative=2,verbatim]
2751 Although the bar line types signifying repeats may be inserted
2752 manually they do not in themselves cause LilyPond to recognize
2753 a repeated section. Such repeated sections are better entered
2754 using the various repeat commands (see @ref{Repeats}), which
2755 automatically print the appropriate bar lines.
2757 In addition, you can specify @code{".|:-||"}, which is equivalent to
2758 @code{".|:"} except at line breaks, where it gives a double bar
2759 line at the end of the line and a start repeat at the beginning of
2762 @lilypond[quote,relative=2,verbatim]
2770 For combinations of repeats with the segno sign, there are six different
2773 @lilypond[quote,relative=2,verbatim]
2801 Additionally there is an @code{\inStaffSegno} command which
2802 creates a segno bar, placed in cooperation
2803 with the @code{\repeat volta} command.
2805 @funindex \defineBarLine
2806 @funindex defineBarLine
2807 @cindex bar lines, defining
2808 @cindex defining bar lines
2810 New bar line types can be defined with @code{\defineBarLine}:
2813 \defineBarLine @var{bartype} #'(@var{end} @var{begin} @var{span})
2816 The @code{\defineBarline} variables can include the
2817 @q{empty} string @code{""}, which is equivalent to an invisible
2818 bar line being printed. Or they can be set to @code{#f} which
2819 prints no bar line at all.
2821 After the definiton, the new bar line can be used by
2822 @code{\bar} @var{bartype}.
2824 There are currently ten bar line elements available:
2826 @lilypond[quote,verbatim]
2827 \defineBarLine ":" #'("" ":" "")
2828 \defineBarLine "=" #'("=" "" "")
2829 \defineBarLine "[" #'("" "[" "")
2830 \defineBarLine "]" #'("]" "" "")
2847 The @code{"="} bar line provides the double span bar line, used
2848 in combination with the segno sign. Do not use it as a standalone
2849 double thin bar line; here, @code{\bar} @var{"||"} is
2852 The @code{"-"} sign starts annotations to bar lines which
2853 are useful to distinguish those with identical appearance
2854 but different behavior at line breaks and/or different span bars.
2855 The part following the @code{"-"} sign is not used for building up
2858 @lilypond[quote,relative=2,verbatim]
2859 \defineBarLine "||-dashedSpan" #'("||" "" "!!")
2864 c1 \bar "||-dashedSpan"
2875 Furthermore, the space character @code{" "} serves as a placeholder
2876 for defining span bars correctly aligned to the main bar lines:
2878 @lilypond[quote,relative=2,verbatim]
2879 \defineBarLine ":|.-wrong" #'(":|." "" "|.")
2880 \defineBarLine ":|.-right" #'(":|." "" " |.")
2896 If additional elements are needed, LilyPond provides a simple
2897 way to define them. For more informations on modifying or adding
2898 bar lines, see file @file{scm/bar-line.scm}.
2900 In scores with many staves, a @code{\bar} command in one staff is
2901 automatically applied to all staves. The resulting bar lines are
2902 connected between different staves of a @code{StaffGroup},
2903 @code{PianoStaff}, or @code{GrandStaff}.
2905 @lilypond[quote,relative=1,verbatim]
2913 \new Staff { \clef bass c4 g e g }
2915 \new Staff { \clef bass c2 c2 }
2920 @cindex default bar lines, changing
2921 @cindex bar lines, default, changing
2924 @funindex defaultBarType
2929 The command @samp{\bar @var{bartype}} is a shortcut for
2930 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2931 created whenever the @code{whichBar} property is set.
2933 The default bar type used for automatically inserted bar lines is
2934 @code{"|"}. This may be changed at any time with
2935 @samp{\set Timing.defaultBarType = @var{bartype}}.
2939 @ref{Line breaking},
2941 @ref{Grouping staves}.
2944 @file{scm/bar-line.scm}.
2949 Internals Reference:
2950 @rinternals{BarLine} (created at @code{Staff} level),
2951 @rinternals{SpanBar} (across staves),
2952 @rinternals{Timing_translator} (for Timing properties).
2956 @unnumberedsubsubsec Bar numbers
2959 @cindex measure numbers
2960 @cindex numbers, bar
2961 @cindex numbers, measure
2963 @funindex currentBarNumber
2965 Bar numbers are typeset by default at the start of every line except
2966 the first line. The number itself is stored in the
2967 @code{currentBarNumber} property, which is normally updated
2968 automatically for every measure. It may also be set manually:
2970 @lilypond[verbatim,quote,relative=1]
2973 \set Score.currentBarNumber = #50
2977 @cindex bar numbers, regular spacing
2979 @funindex barNumberVisibility
2982 Bar numbers can be typeset at regular intervals instead of just at
2983 the beginning of every line. To do this the default behavior
2984 must be overridden to permit bar numbers to be printed at places
2985 other than the start of a line. This is controlled by the
2986 @code{break-visibility} property of @code{BarNumber}. This takes
2987 three values which may be set to @code{#t} or @code{#f} to specify
2988 whether the corresponding bar number is visible or not. The order
2989 of the three values is @code{end of line visible}, @code{middle of
2990 line visible}, @code{beginning of line visible}. In the following
2991 example bar numbers are printed at all possible places:
2993 @lilypond[verbatim,quote,relative=1]
2994 \override Score.BarNumber.break-visibility = ##(#t #t #t)
2995 \set Score.currentBarNumber = #11
2996 % Permit first bar number to be printed
3004 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3005 {printing-the-bar-number-for-the-first-measure.ly}
3007 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3008 {printing-bar-numbers-at-regular-intervals.ly}
3010 @cindex measure number, format
3011 @cindex bar number, format
3013 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3014 {printing-bar-numbers-inside-boxes-or-circles.ly}
3016 @cindex bar numbers, with letters
3017 @cindex bar numbers, with repeats
3019 @lilypondfile[verbatim,quote,texidoc,doctitle]
3020 {alternative-bar-numbering.ly}
3022 @cindex bar number alignment
3024 @lilypondfile[verbatim,quote,texidoc,doctitle]
3025 {aligning-bar-numbers.ly}
3027 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3028 {removing-bar-numbers-from-a-score.ly}
3034 Internals Reference:
3035 @rinternals{BarNumber},
3036 @rinternals{Bar_number_engraver}.
3038 @cindex bar number collision
3039 @cindex collision, bar number
3042 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
3043 if there is one. To solve this, the @code{padding} property of
3044 @code{BarNumber} can be used to position the number correctly. See
3045 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
3048 @node Bar and bar number checks
3049 @unnumberedsubsubsec Bar and bar number checks
3052 @cindex bar number check
3053 @cindex measure check
3054 @cindex measure number check
3056 @funindex barCheckSynchronize
3059 Bar checks help detect errors in the entered durations. A bar check
3060 may be entered using the bar symbol, @code{|}, at any place where a
3061 bar line is expected to fall. If bar check lines are encountered at
3062 other places, a list of warnings is printed in the log file, showing
3063 the line numbers and lines in which the bar checks failed. In the
3064 next example, the second bar check will signal an error.
3067 \time 3/4 c2 e4 | g2 |
3070 Bar checks can also be used in lyrics:
3075 Twin -- kle | Twin -- kle |
3079 An incorrect duration can result in a completely garbled score,
3080 especially if the score is polyphonic, so a good place to start
3081 correcting input is by scanning for failed bar checks and
3082 incorrect durations.
3084 If successive bar checks are off by the same musical interval,
3085 only the first warning message is displayed. This allows the
3086 warning to focus on the source of the timing error.
3092 It is also possible to redefine the action taken when a bar check
3093 or pipe symbol, @code{|}, is encountered in the input, so that
3094 it does something other than a bar check. This is done by
3095 assigning a music expression to @code{"|"}.
3096 In the following example @code{|} is set to insert a double bar
3097 line wherever it appears in the input, rather than checking
3100 @lilypond[quote,verbatim]
3110 @funindex \barNumberCheck
3111 @funindex barNumberCheck
3113 When copying large pieces of music, it can be helpful to check that
3114 the LilyPond bar number corresponds to the original that you are
3115 entering from. This can be checked with @code{\barNumberCheck}, for
3119 \barNumberCheck #123
3123 will print a warning if the @code{currentBarNumber} is not 123
3124 when it is processed.
3131 @node Rehearsal marks
3132 @unnumberedsubsubsec Rehearsal marks
3134 @cindex rehearsal marks
3135 @cindex mark, rehearsal
3140 To print a rehearsal mark, use the @code{\mark} command.
3142 @lilypond[quote,verbatim,relative=2]
3150 The mark is incremented automatically if you use @code{\mark
3151 \default}, but you can also use an integer argument to set the
3152 mark manually. The value to use is stored in the property
3153 @code{rehearsalMark}.
3155 @lilypond[quote,verbatim,relative=2]
3164 The letter@tie{}@q{I} is skipped in accordance with engraving
3165 traditions. If you wish to include the letter @q{I}, then use one
3166 of the following commands, depending on which style of rehearsal mark
3167 you want (letters only, letters in a hollow box, or letters in a
3171 \set Score.markFormatter = #format-mark-alphabet
3172 \set Score.markFormatter = #format-mark-box-alphabet
3173 \set Score.markFormatter = #format-mark-circle-alphabet
3176 @lilypond[quote,verbatim,relative=2]
3177 \set Score.markFormatter = #format-mark-box-alphabet
3185 @cindex rehearsal mark format
3186 @cindex rehearsal mark style
3187 @cindex style, rehearsal mark
3188 @cindex format, rehearsal mark
3189 @cindex mark, rehearsal, style
3190 @cindex mark, rehearsal, format
3191 @cindex rehearsal mark, manual
3192 @cindex mark, rehearsal, manual
3193 @cindex custom rehearsal mark
3194 @cindex manual rehearsal mark
3196 The style is defined by the property @code{markFormatter}. It is
3197 a function taking the current mark (an integer) and the current
3198 context as argument. It should return a markup object. In the
3199 following example, @code{markFormatter} is set to a pre-defined
3200 procedure. After a few measures, it is set to a procedure that
3201 produces a boxed number.
3203 @lilypond[quote,verbatim,relative=2]
3204 \set Score.markFormatter = #format-mark-numbers
3207 \set Score.markFormatter = #format-mark-box-numbers
3209 \set Score.markFormatter = #format-mark-circle-numbers
3211 \set Score.markFormatter = #format-mark-circle-letters
3215 The file @file{scm/translation-functions.scm} contains the
3216 definitions of @code{format-mark-numbers} (the default format),
3217 @code{format-mark-box-numbers}, @code{format-mark-letters} and
3218 @code{format-mark-box-letters}. These can be used as inspiration
3219 for other formatting functions.
3221 You may use @code{format-mark-barnumbers},
3222 @code{format-mark-box-barnumbers}, and
3223 @code{format-mark-circle-barnumbers} to get bar numbers instead of
3224 incremented numbers or letters.
3226 Other styles of rehearsal mark can be specified manually:
3233 Note that @code{Score.markFormatter} does not affect marks specified
3234 in this manner. However, it is possible to apply a @code{\markup} to the
3238 \mark \markup@{ \box A1 @}
3243 @cindex D.S. al Fine
3245 @cindex music glyphs
3246 @cindex glyphs, music
3248 @funindex \musicglyph
3249 @funindex musicglyph
3251 Music glyphs (such as the segno sign) may be printed inside a
3254 @lilypond[quote,verbatim,relative=1]
3255 c1 \mark \markup { \musicglyph #"scripts.segno" }
3256 c1 \mark \markup { \musicglyph #"scripts.coda" }
3257 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3262 See @ref{The Feta font}, for a list of symbols which may be
3263 printed with @code{\musicglyph}.
3265 For common tweaks to the positioning of rehearsal marks, see
3266 @ref{Formatting text}. For more precise control, see
3267 @code{break-alignable-interface} in @ref{Aligning objects}.
3269 The file @file{scm/translation-functions.scm} contains
3270 the definitions of @code{format-mark-numbers} and
3271 @code{format-mark-letters}. They can be used as inspiration for
3272 other formatting functions.
3276 @ref{The Feta font},
3277 @ref{Formatting text},
3278 @ref{Aligning objects}.
3281 @file{scm/translation-functions.scm}.
3286 Internals Reference:
3287 @rinternals{MarkEvent},
3288 @rinternals{Mark_engraver},
3289 @rinternals{RehearsalMark}.
3292 @node Special rhythmic concerns
3293 @subsection Special rhythmic concerns
3298 * Aligning to cadenzas::
3299 * Time administration::
3303 @unnumberedsubsubsec Grace notes
3307 @cindex appoggiatura
3308 @cindex acciaccatura
3311 @funindex \slashedGrace
3312 @funindex \acciaccatura
3313 @funindex \appoggiatura
3315 Grace notes are musical ornaments, printed in a smaller font, that take
3316 up no additional logical time in a measure.
3318 @lilypond[quote,relative=2,verbatim]
3320 \grace { b16 c16 } a2)
3323 There are three other types of grace notes possible; the
3324 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3325 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3326 fixed fraction of the main note it is attached to and prints without the
3327 slash. It is also possible to write a grace note with a slashed stem,
3328 like the @emph{acciaccatura} but without the slur, so as to place it
3329 between notes that are slurred themselves, using the
3330 @code{\slashedGrace} function.
3332 @lilypond[quote,relative=2,verbatim]
3335 \acciaccatura { g16 f } e2
3336 \slashedGrace a,8 g4
3337 \slashedGrace b16 a4(
3338 \slashedGrace b8 a2)
3341 The placement of grace notes is synchronized between different staves.
3342 In the following example, there are two sixteenth grace notes for every
3345 @lilypond[quote,relative=2,verbatim]
3347 \new Staff { e2 \grace { c16 d e f } e2 }
3348 \new Staff { c2 \grace { g8 b } c2 }
3352 @cindex grace notes, following
3354 @funindex \afterGrace
3355 @funindex afterGrace
3357 If you want to end a note with a grace, use the @code{\afterGrace}
3358 command. It takes two arguments: the main note, and the grace
3359 notes following the main note.
3361 @lilypond[quote,verbatim,relative=2]
3362 c1 \afterGrace d1 { c16[ d] } c1
3365 This will put the grace notes after a space lasting 3/4 of the
3366 length of the main note. The default fraction 3/4 can be changed by
3367 setting @code{afterGraceFraction}. The following example shows
3368 the results from setting the space at the default, at 15/16, and
3369 finally at 1/2 of the main note.
3371 @lilypond[quote,verbatim,relative=2]
3374 c1 \afterGrace d1 { c16[ d] } c1
3377 #(define afterGraceFraction (cons 15 16))
3378 c1 \afterGrace d1 { c16[ d] } c1
3381 #(define afterGraceFraction (cons 1 2))
3382 c1 \afterGrace d1 { c16[ d] } c1
3387 The space between the main note and the grace note may also be
3388 specified using spacers. The following example places the grace
3389 note after a space lasting 7/8 of the main note.
3391 @lilypond[quote,verbatim,relative=2]
3395 { s2 s4. \grace { c16 d } }
3401 @cindex tweaking grace notes
3402 @cindex grace notes, tweaking
3403 @cindex grace notes, changing layout settings
3405 A @code{\grace} music expression will introduce special
3406 typesetting settings, for example, to produce smaller type, and
3407 set directions. Hence, when introducing layout tweaks to
3408 override the special settings, they should be placed inside
3409 the grace expression. The overrides should also be reverted
3410 inside the grace expression. Here, the grace note's default stem
3411 direction is overridden and then reverted.
3413 @lilypond[quote,verbatim,relative=2]
3425 @cindex stem, with slash
3430 @lilypondfile[verbatim,quote,texidoc,doctitle]
3431 {using-grace-note-slashes-with-normal-heads.ly}
3433 @lilypondfile[verbatim,quote,texidoc,doctitle]
3434 {tweaking-grace-layout-within-music.ly}
3436 @lilypondfile[verbatim,quote,texidoc,doctitle]
3437 {redefining-grace-note-global-defaults.ly}
3439 @lilypondfile[verbatim,quote,texidoc,doctitle]
3440 {positioning-grace-notes-with-floating-space.ly}
3444 @rglos{grace notes},
3445 @rglos{acciaccatura},
3446 @rglos{appoggiatura}.
3449 @ref{Scaling durations},
3453 @file{ly/grace-init.ly}.
3458 Internals Reference:
3459 @rinternals{GraceMusic},
3460 @rinternals{Grace_beam_engraver},
3461 @rinternals{Grace_auto_beam_engraver},
3462 @rinternals{Grace_engraver},
3463 @rinternals{Grace_spacing_engraver}.
3467 @cindex acciaccatura, multi-note
3468 @cindex multi-note acciaccatura
3469 @cindex grace-note synchronization
3471 A multi-note beamed @i{acciaccatura} is printed without a slash,
3472 and looks exactly the same as a multi-note beamed
3475 @c TODO Add link to LSR snippet to add slash when available
3477 Grace note synchronization can also lead to surprises. Staff
3478 notation, such as key signatures, bar lines, etc., are also
3479 synchronized. Take care when you mix staves with grace notes and
3480 staves without, for example,
3482 @lilypond[quote,relative=2,verbatim]
3484 \new Staff { e4 \bar ".|:" \grace c16 d2. }
3485 \new Staff { c4 \bar ".|:" d2. }
3490 This can be remedied by inserting grace skips of the corresponding
3491 durations in the other staves. For the above example
3493 @lilypond[quote,relative=2,verbatim]
3495 \new Staff { e4 \bar ".|:" \grace c16 d2. }
3496 \new Staff { c4 \bar ".|:" \grace s16 d2. }
3500 The use of grace notes within voice contexts confuses the way the voice
3501 is typeset. This can be overcome by inserting a rest or note between the
3502 voice command and the grace note.
3504 @lilypond[quote,verbatim]
3506 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3513 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3514 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3519 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3520 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3527 Grace sections should only be used within sequential music expressions.
3528 Nesting or juxtaposing grace sections is not supported, and might
3529 produce crashes or other errors.
3531 Each grace note in MIDI output has a length of 1/4 of its actual
3532 duration. If the combined length of the grace notes is greater than the
3533 length of the preceding note a @qq{@code{Going back in MIDI time}}
3534 error will be generated. Either make the grace notes shorter in
3535 duration, for example:
3538 c'8 \acciaccatura @{ c'8[ d' e' f' g'] @}
3544 c'8 \acciaccatura @{ c'16[ d' e' f' g'] @}
3547 Or explicitly change the musical duration:
3550 c'8 \acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
3553 See @ref{Scaling durations}.
3556 @node Aligning to cadenzas
3557 @unnumberedsubsubsec Aligning to cadenzas
3560 @cindex cadenza, aligning to
3561 @cindex aligning to cadenza
3563 In an orchestral context, cadenzas present a special problem: when
3564 constructing a score that includes a measured cadenza or other solo
3565 passage, all other instruments should skip just as many notes as the
3566 length of the cadenza, otherwise they will start too soon or too late.
3568 One solution to this problem is to use the functions
3569 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3570 functions take a defined piece of music as an argument and generate a
3571 multi-measure rest or @code{\skip} exactly as long as the piece.
3573 @lilypond[verbatim,quote]
3574 MyCadenza = \relative c' {
3585 #(mmrest-of-length MyCadenza)
3587 #(skip-of-length MyCadenza)
3601 @node Time administration
3602 @unnumberedsubsubsec Time administration
3604 @cindex time administration
3605 @cindex timing (within the score)
3606 @cindex music, unmetered
3607 @cindex unmetered music
3609 @funindex currentBarNumber
3610 @funindex measurePosition
3611 @funindex measureLength
3613 Time is administered by the @code{Timing_translator}, which by
3614 default is to be found in the @code{Score} context. An alias,
3615 @code{Timing}, is added to the context in which the
3616 @code{Timing_translator} is placed. To ensure that the
3617 @code{Timing} alias is available, you may need to explicitly
3618 instantiate the containing context (such as @code{Voice} or
3621 The following properties of @code{Timing} are used
3622 to keep track of timing within the score.
3625 @cindex measure number
3628 @item currentBarNumber
3629 The current measure number. For an example showing the
3630 use of this property see @ref{Bar numbers}.
3633 The length of the measures in the current time signature. For a
3634 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3635 determines when bar lines are inserted and how automatic beams
3636 should be generated.
3638 @item measurePosition
3639 The point within the measure where we currently are. This
3640 quantity is reset by subtracting @code{measureLength} whenever
3641 @code{measureLength} is reached or exceeded. When that happens,
3642 @code{currentBarNumber} is incremented.
3645 If set to true, the above variables are updated for every time
3646 step. When set to false, the engraver stays in the current
3647 measure indefinitely.
3651 Timing can be changed by setting any of these variables
3652 explicitly. In the next example, the default 4/4 time
3653 signature is printed, but @code{measureLength} is set to 5/4.
3654 At 4/8 through the third measure, the @code{measurePosition} is
3655 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3656 The next bar line then falls at 9/8 rather than 5/4.
3658 @lilypond[quote,verbatim]
3659 \new Voice \relative c' {
3660 \set Timing.measureLength = #(ly:make-moment 5/4)
3664 \set Timing.measurePosition = #(ly:make-moment 5/8)
3671 As the example illustrates, @code{ly:make-moment n m} constructs a
3672 duration of n/m of a whole note. For example,
3673 @code{ly:make-moment 1 8} is an eighth note duration and
3674 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3680 @ref{Unmetered music}.
3685 Internals Reference:
3686 @rinternals{Timing_translator},