1 @c -*- coding: utf-8; mode: texinfo; -*-
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
149 @rglos{Duration names notes and rests}.
152 @ref{Automatic beams},
155 @ref{Writing rhythms},
158 @ref{Ancient notation},
159 @ref{Proportional notation}.
166 @rinternals{DotColumn}.
171 @c Deliberately duplicated in Durations and Rests. -gp
172 There is no fundamental limit to rest durations (both in terms of
173 longest and shortest), but the number of glyphs is limited:
174 rests from 128th to maxima (8 x whole) may be printed.
178 @unnumberedsubsubsec Tuplets
186 Tuplets are made from a music expression by multiplying all the
187 durations with a fraction:
190 \times @var{fraction} @{ @var{music} @}
194 The duration of @var{music} will be multiplied by the
195 fraction. The fraction's denominator will be printed over or
196 under the notes, optionally with a bracket. The most common
197 tuplet is the triplet in which 3 notes have the duration of 2, so
198 the notes are 2/3 of their written length.
200 @lilypond[quote,verbatim,relative=2]
201 a2 \times 2/3 { b4 b b }
202 c4 c \times 2/3 { b4 a g }
205 @cindex tuplet bracket placement
209 @funindex \tupletDown
211 @funindex \tupletNeutral
212 @funindex tupletNeutral
214 Tuplet brackets may be manually placed above or below the staff;
215 see @ref{Direction and placement}.
217 Tuplets may be nested:
219 @lilypond[quote,verbatim,relative=2]
221 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
224 Modifying nested tuplets which begin at the same musical moment
225 must be done with @code{\tweak}.
227 To modify the duration of notes without printing a tuplet bracket,
228 see @ref{Scaling durations}.
234 @code{\tupletNeutral}.
240 @cindex tuplet formatting
241 @cindex triplet formatting
243 @funindex tupletNumberFormatFunction
244 @funindex tupletSpannerDuration
246 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
247 {entering-several-tuplets-using-only-one--times-command.ly}
249 @cindex Tuplet number changes
251 @funindex TupletNumber
253 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
254 {changing-the-tuplet-number.ly}
256 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
257 {non-default-tuplet-numbers.ly}
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {controlling-tuplet-bracket-visibility.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {permitting-line-breaks-within-beamed-tuplets.ly}
273 @rlearning{Tweaking methods}.
276 @ref{Time administration},
277 @ref{Scaling durations},
278 @ref{The tweak command},
279 @ref{Polymetric notation}.
285 @rinternals{TupletBracket},
286 @rinternals{TupletNumber},
287 @rinternals{TimeScaledMusic}.
290 @cindex grace notes within tuplet brackets
293 Grace notes may be placed within tuplet brackets, @emph{except}
294 when a staff begins with a grace note followed by a tuplet. In this
295 particular case, the grace note must be placed before the @code{\times}
296 command to avoid errors.
298 @cindex tempo marks within tuplet brackets
300 When using a tuplet at the beginning of a piece with a @code{\tempo}
301 mark, the music must be explicitely entered in a @code{\new Voice}
302 block, as discussed in @rlearning{Voices contain music}.
305 @node Scaling durations
306 @unnumberedsubsubsec Scaling durations
308 @cindex scaling durations
309 @cindex durations, scaling
311 You can alter the duration of single notes, rests or chords by a
312 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
313 is 1) to the duration. This will not affect the appearance of the
314 notes or rests produced, but the altered duration will be used in
315 calculating the position within the measure and setting the duration
316 in the MIDI output. Multiplying factors may be combined such as
319 In the following example, the first three notes take up exactly
320 two beats, but no triplet bracket is printed.
322 @lilypond[quote,relative=2,verbatim]
324 % Alter durations to triplets
325 a4*2/3 gis4*2/3 a4*2/3
328 % Double the duration of chord
330 % Duration of quarter, appears like sixteenth
334 The duration of spacing notes may also be modified by
335 a multiplier. This is useful for skipping many measures, e.g.,
338 @cindex compressing music
339 @cindex expanding music
341 @funindex \scaleDurations
342 @funindex scaleDurations
344 Longer stretches of music may be compressed by a fraction in the
345 same way, as if every note, chord or rest had the fraction as a
346 multiplier. This leaves the appearance of the music unchanged but
347 the internal duration of the notes will be multiplied by the
348 fraction @emph{num}/@emph{den}. The spaces around the dot are
349 required. Here is an example showing how music can be compressed
352 @lilypond[quote,relative=2,verbatim]
356 % Scale music by *2/3
357 \scaleDurations #'(2 . 3) {
361 \scaleDurations #'(2 . 1) {
366 One application of this command is in polymetric
367 notation, see @ref{Polymetric notation}.
373 @ref{Invisible rests},
374 @ref{Polymetric notation}.
381 @unnumberedsubsubsec Ties
387 A tie connects two adjacent note heads of the same pitch. The tie
388 in effect extends the duration of a note.
390 @warning{Ties should not be confused with @emph{slurs}, which
391 indicate articulation, or @emph{phrasing slurs}, which indicate
392 musical phrasing. A tie is just a way of extending a note
393 duration, similar to the augmentation dot.}
395 A tie is entered using the tilde symbol (@code{~}).
397 @lilypond[quote,verbatim,relative=2]
401 Ties are used either when the note crosses a bar line, or when
402 dots cannot be used to denote the rhythm. Ties should also be
403 used when note values cross larger subdivisions of the measure:
405 @lilypond[verbatim,quote]
412 If you need to tie many notes across bar lines, it may be
413 easier to use automatic note splitting, see @ref{Automatic note
414 splitting}. This mechanism automatically splits long notes, and
415 ties them across bar lines.
417 @cindex ties and chords
418 @cindex chords and ties
420 When a tie is applied to a chord, all note heads whose pitches
421 match are connected. When no note heads match, no ties will be
422 created. Chords may be partially tied by placing the tie inside
425 @lilypond[quote,verbatim,relative=1]
427 <c~ e g~ b> <c e g b>
430 @cindex repeating ties
431 @cindex ties, repeating
432 @cindex volta brackets and ties
433 @cindex ties and volta brackets
438 When a second alternative of a repeat starts with a tied note, you
439 have to specify the repeated tie as follows:
441 @lilypond[quote,relative=2,verbatim]
442 \repeat volta 2 { c g <c e>2 ~ }
444 % First alternative: following note is tied normally
446 % Second alternative: following note has a repeated tie
447 { <c e>2\repeatTie d4 c } }
450 @cindex laissez vibrer
451 @cindex ties, laissez vibrer
453 @funindex \laissezVibrer
454 @funindex laissezVibrer
456 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
457 notes must not be damped at the end. It is used in notation for
458 piano, harp and other string and percussion instruments. They can
459 be entered as follows:
461 @lilypond[quote,verbatim,relative=1]
462 <c f g>1\laissezVibrer
465 @cindex ties, placement
471 @funindex \tieNeutral
474 Ties may be manually placed above or below the staff; see
475 @ref{Direction and placement}.
477 @cindex ties, appearance
490 Ties may be made dashed, dotted, or a combination of solid and
493 @lilypond[quote, verbatim, relative=1]
506 Custom dash patterns can be specified:
508 @lilypond[quote, verbatim, relative=1]
509 \tieDashPattern #0.3 #0.75
511 \tieDashPattern #0.7 #1.5
517 Dash pattern definitions for ties have the same structure as
518 dash pattern definitions for slurs.
519 For more information about complex dash patterns,
520 see the snippets under @ref{Slurs}.
528 @code{\tieDashPattern},
529 @code{\tieHalfDashed},
530 @code{\tieHalfSolid},
537 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
538 {using-ties-with-arpeggios.ly}
540 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
541 {engraving-ties-manually.ly}
547 @rglos{laissez vibrer}.
551 @ref{Automatic note splitting}.
557 @rinternals{LaissezVibrerTie},
558 @rinternals{LaissezVibrerTieColumn},
559 @rinternals{TieColumn},
565 Switching staves when a tie is active will not produce a slanted
568 Changing clefs or octavations during a tie is not really
569 well-defined. In these cases, a slur may be preferable.
574 @subsection Writing rests
576 Rests are entered as part of the music in music expressions.
581 * Full measure rests::
585 @unnumberedsubsubsec Rests
588 @cindex rest, entering durations
603 Rests are entered like notes with the note name @code{r}.
604 Durations longer than a whole rest use the predefined
607 @c \time 16/1 is used to avoid spurious bar lines
608 @c and long tracts of empty measures
609 @lilypond[fragment,quote,verbatim]
611 % These two lines are just to prettify this example
613 \override Staff.TimeSignature #'stencil = ##f
614 % Print a maxima rest, equal to four breves
616 % Print a longa rest, equal to two breves
620 r1 r2 r4 r8 r16 r32 r64 r128
624 @cindex rest, multi-measure
625 @cindex rest, whole-measure
627 Whole measure rests, centered in the middle of the measure, must be
628 entered as multi-measure rests. They can be used for a single
629 measure as well as many measures and are discussed in @ref{Full
632 @cindex rest, specifying vertical position
634 To explicitly specify a rest's vertical position, write a note
635 followed by @code{\rest}. A rest of the duration of the note will
636 be placed at the staff position where the note would appear. This
637 allows for precise manual formatting of polyphonic music, since the
638 automatic rest collision formatter will not move these rests.
640 @lilypond[quote,verbatim,relative=2]
646 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
657 @ref{Full measure rests}.
668 @c Deliberately duplicated in Durations and Rests. -gp
669 There is no fundamental limit to rest durations (both in terms of
670 longest and shortest), but the number of glyphs is limited: there
671 are rests from 128th to maxima (8 x whole).
674 @node Invisible rests
675 @unnumberedsubsubsec Invisible rests
678 @cindex invisible rest
679 @cindex rest, invisible
687 An invisible rest (also called a @q{spacer rest}) can be entered
688 like a note with the note name@tie{}@code{s}:
690 @lilypond[verbatim,quote,relative=2]
697 Spacer rests are available only in note mode and chord mode. In
698 other situations, for example, when entering lyrics, the
699 command @code{\skip} is used to skip a musical moment.
700 @code{\skip} requires an explicit duration.
702 @lilypond[quote,verbatim,relative=2]
715 Because @code{\skip} is a command, it does not affect the default
716 durations of following notes, unlike@tie{}@code{s}.
718 @lilypond[quote,verbatim,relative=2]
721 \repeat unfold 8 {a4}
731 A spacer rest implicitly causes @code{Staff} and @code{Voice}
732 contexts to be created if none exist, just like notes and rests
735 @lilypond[quote,verbatim,fragment]
739 @code{\skip} simply skips musical time; it creates no output of
742 @lilypond[quote,verbatim,fragment]
743 % This is valid input, but does nothing
744 \skip 1 \skip1 \skip 1
750 @rlearning{Visibility and color of objects}.
754 @ref{Visibility of objects}.
760 @rinternals{SkipMusic}.
763 @node Full measure rests
764 @unnumberedsubsubsec Full measure rests
766 @cindex multi-measure rests
767 @cindex full-measure rests
768 @cindex rest, multi-measure
769 @cindex rest, full-measure
770 @cindex whole rest for a full measure
771 @cindex rest, whole for a full measure
775 Rests for one or more full measures are entered like notes with
776 the note name uppercase @code{R}:
778 @lilypond[quote,verbatim,relative=2]
779 % Rest measures contracted to single measure
780 \compressFullBarRests
787 The duration of full-measure rests is identical to the duration
788 notation used for notes. The duration in a multi-measure rest must
789 always be an integral number of measure-lengths, so augmentation dots
790 or fractions must often be used:
792 @lilypond[quote,fragment,verbatim]
793 \compressFullBarRests
799 R1*13/8 | R1*13/8*12 |
804 A full-measure rest is printed as either a whole or breve rest,
805 centered in the measure, depending on the time signature.
807 @lilypond[quote,verbatim,fragment]
816 @cindex multi-measure rest, expanding
817 @cindex multi-measure rest, contracting
819 @funindex \expandFullBarRests
820 @funindex expandFullBarRests
821 @funindex \compressFullBarRests
822 @funindex compressFullBarRests
824 By default a multi-measure rest is expanded in the printed score to
825 show all the rest measures explicitly. Alternatively, a multi-measure
826 rest can be shown as a single measure containing a multi-measure rest
827 symbol, with the number of measures of rest printed above the measure:
829 @lilypond[quote,fragment,verbatim]
831 \time 3/4 r2. | R2.*2 |
834 % Rest measures contracted to single measure
835 \compressFullBarRests
837 % Rest measures expanded
844 @cindex text on multi-measure rest
845 @cindex multi-measure rest, attaching text
846 @cindex script on multi-measure rest
847 @cindex multi-measure rest, script
848 @cindex fermata on multi-measure rest
849 @cindex multi-measure rest, attaching fermata
850 @cindex markup on multi-measure rest
851 @cindex multi-measure rest with markup
853 @funindex \fermataMarkup
854 @funindex fermataMarkup
855 @funindex MultiMeasureRestText
857 Markups can be added to multi-measure rests.
858 The predefined command @code{\fermataMarkup}
859 is provided for adding fermatas.
861 @lilypond[quote,verbatim,fragment]
862 \compressFullBarRests
864 R2.*10^\markup { \italic "ad lib." }
869 Markups attached to a multi-measure rest are
870 objects of type @code{MultiMeasureRestText}, not
871 @code{TextScript}. Overrides must be directed to the correct
872 object, or they will be ignored. See the following example.
875 @lilypond[quote,verbatim,fragment]
876 % This fails, as the wrong object name is specified
877 \override TextScript #'padding = #5
879 % This is correct and works
880 \override MultiMeasureRestText #'padding = #5
884 When a multi-measure rest immediately follows a @code{\partial}
885 setting, resulting bar-check warnings may not be displayed.
888 @funindex \textLengthOn
889 @funindex textLengthOn
890 @funindex \textLengthOff
891 @funindex textLenthOff
892 @funindex \fermataMarkup
893 @funindex fermataMarkup
894 @funindex \compressFullBarRests
895 @funindex compressFullBarRests
896 @funindex \expandFullBarRests
897 @funindex expandFullBarRests
900 @code{\textLengthOn},
901 @code{\textLengthOff},
902 @code{\fermataMarkup},
903 @code{\compressFullBarRests},
904 @code{\expandFullBarRests}.
912 @cindex kirchenpausen
914 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
915 {changing-form-of-multi-measure-rests.ly}
917 @cindex multi-measure rests, positioning
918 @cindex positioning multi-measure rests
920 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
921 {positioning-multi-measure-rests.ly}
923 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
924 {multi-measure-rest-markup.ly}
929 @rglos{multi-measure rest}.
934 @ref{Formatting text},
941 @rinternals{MultiMeasureRest},
942 @rinternals{MultiMeasureRestNumber},
943 @rinternals{MultiMeasureRestText}.
946 @cindex fingerings and multi-measure rests
947 @cindex multi-measure rests and fingerings
951 If an attempt is made to use fingerings (e.g.,
952 @code{R1*10-4}) to put numbers over multi-measure rests, the
953 fingering numeral (4) may collide with the bar counter
956 @cindex condensing rests
957 @cindex rest, condensing ordinary
959 There is no way to automatically condense multiple ordinary rests
960 into a single multi-measure rest.
962 @cindex rest, collisions of
964 Multi-measure rests do not take part in rest collisions.
966 @node Displaying rhythms
967 @subsection Displaying rhythms
973 * Polymetric notation::
974 * Automatic note splitting::
975 * Showing melody rhythms::
979 @unnumberedsubsubsec Time signature
981 @cindex time signature
987 The time signature is set as follows:
989 @lilypond[quote,verbatim,relative=2]
994 @cindex time signature, visibility of
996 Time signatures are printed at the beginning of a piece
997 and whenever the time signature changes. If a change takes place
998 at the end of a line a warning time signature sign is printed
999 there. This default behavior may be changed, see
1000 @ref{Visibility of objects}.
1002 @lilypond[quote,verbatim,relative=2]
1012 @cindex time signature style
1015 @funindex \numericTimeSignature
1016 @funindex numericTimeSignature
1017 @funindex \defaultTimeSignature
1018 @funindex defaultTimeSignature
1020 The time signature symbol that is used in 2/2 and 4/4 time can be
1021 changed to a numeric style:
1023 @lilypond[quote,verbatim,relative=2]
1027 % Change to numeric style
1028 \numericTimeSignature
1031 % Revert to default style
1032 \defaultTimeSignature
1038 Mensural time signatures are covered in
1039 @ref{Mensural time signatures}.
1043 @code{\numericTimeSignature},
1044 @code{\defaultTimeSignature}.
1050 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1051 {changing-the-time-signature-without-affecting-the-beaming.ly}
1053 @cindex compound time signatures
1054 @cindex time signature, compound
1056 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1057 {compound-time-signatures.ly}
1059 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1060 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1065 @rglos{time signature}
1068 @ref{Mensural time signatures},
1069 @ref{Time administration}.
1074 Internals Reference:
1075 @rinternals{TimeSignature},
1076 @rinternals{Timing_translator}.
1080 @unnumberedsubsubsec Upbeats
1084 @cindex partial measure
1085 @cindex measure, partial
1086 @cindex pickup measure
1087 @cindex measure, change length
1089 @funindex measurePosition
1093 Partial or pick-up measures, such as an anacrusis or upbeat, are
1094 entered using the @code{\partial} command, with the syntax
1097 \partial @var{duration}
1101 where @code{duration} is the rhythmic length of the remaining
1102 interval of the current measure before the start of the next.
1104 @lilypond[quote,verbatim,relative=2]
1109 The partial measure can be any duration less than the full measure:
1111 @lilypond[quote,verbatim,relative=2]
1112 \partial 8*3 c8 d e |
1116 Internally, @code{\partial @var{duration}} is translated into:
1119 \set Timing.measurePosition -@var{duration}
1122 For example, @code{\partial 8*3} becomes:
1125 \set Timing.measurePosition = #(ly:make-moment -3 8)
1128 The property @code{measurePosition} contains a rational number
1129 indicating how much of the measure has passed at this point. Note
1130 that this is set to a negative number by the @code{\partial} command:
1131 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1132 @qq{there is a quarter note left in the measure.}
1145 @rinternals{Timing_translator}.
1149 The @code{\partial} command is intended to be used only at the
1150 beginning of a piece. If you use it after the beginning, some
1151 odd warnings or effects may occur, in this case use
1152 @code{\set Timing.measurePosition} instead.
1154 @node Unmetered music
1155 @unnumberedsubsubsec Unmetered music
1157 @cindex bar lines, turning off
1158 @cindex bar numbering, turning off
1160 @cindex unmetered music
1162 @funindex \cadenzaOn
1164 @funindex \cadenzaOff
1165 @funindex cadenzaOff
1167 Bar lines and bar numbers are calculated automatically. For
1168 unmetered music (some cadenzas, for example), this is not desirable.
1169 To turn off automatic calculation of bar lines and bar numbers,
1170 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1171 to turn them on again.
1173 @lilypond[verbatim,relative=2,fragment]
1182 Bar numbering is resumed at the end of the cadenza as if the
1183 cadenza were not there:
1185 @lilypond[verbatim,relative=2,fragment]
1186 % Show all bar numbers
1187 \override Score.BarNumber #'break-visibility = #all-visible
1196 Note that these predefined commands affect all staves in the
1197 score, even when they are placed in just one @code{Voice}
1198 context. To change this, move the @code{Timing_translator}
1199 from the @code{Score} context to the @code{Staff} context, as
1200 shown in @ref{Polymetric notation}.
1213 @ref{Visibility of objects},
1214 @ref{Polymetric notation}.
1220 @cindex cadenza line breaks
1221 @cindex cadenza page breaks
1222 @cindex unmetered music, line breaks
1223 @cindex unmetered music, page breaks
1224 @cindex breaks in unmetered music
1225 @cindex line breaks in cadenzas
1226 @cindex page breaks in cadenzas
1227 @cindex line breaks in unmetered music
1228 @cindex page breaks in unmetered music
1232 LilyPond will insert line breaks and page breaks only at a
1233 bar line. Unless the unmetered music ends before the end of the
1234 staff line, you will need to insert invisible bar lines with
1241 to indicate where breaks can occur.
1243 You must explicitly create a @code{Voice} context when starting a
1244 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1246 @lilypond[verbatim,relative=2,fragment]
1247 \new Voice \relative c'{
1249 c16^"Solo Free Time" d e f g2. \bar "||"
1255 @node Polymetric notation
1256 @unnumberedsubsubsec Polymetric notation
1258 @c This section necessarily uses \set
1259 @c This is acceptable -td
1261 @cindex double time signatures
1262 @cindex signatures, polymetric
1263 @cindex time signatures, polymetric
1264 @cindex time signatures, double
1265 @cindex polymetric signatures
1266 @cindex meter, polymetric
1268 @funindex timeSignatureFraction
1269 @funindex \scaleDurations
1270 @funindex scaleDurations
1274 Polymetric notation is supported, either explicitly or by modifying
1275 the visible time signature symbol and scaling the note durations.
1277 @strong{@i{Staves with different time signatures, equal measure lengths}}
1279 This notation can be created by setting a common time signature
1280 for each staff but replacing the symbol manually by setting
1281 @code{timeSignatureFraction} to the desired fraction and scaling
1282 the printed durations in each staff to the common time
1283 signature; see @ref{Time signature}. The scaling is done with
1284 @code{\scaleDurations}, which is used in a similar way to
1285 @code{\times}, but does not create a tuplet bracket; see
1286 @ref{Scaling durations}.
1288 @cindex beaming in polymetric music
1289 @cindex beaming in polymetric meter
1291 In this example, music with the time signatures of 3/4, 9/8, and
1292 10/8 are used in parallel. In the second staff, shown durations
1293 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1294 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1295 It will often be necessary to insert beams manually, as the
1296 duration scaling affects the autobeaming rules.
1298 @lilypond[quote,verbatim,fragment]
1307 \set Staff.timeSignatureFraction = #'(9 . 8)
1308 \scaleDurations #'(2 . 3)
1309 \repeat unfold 6 { c8[ c c] }
1313 \set Staff.timeSignatureFraction = #'(10 . 8)
1314 \scaleDurations #'(3 . 5) {
1315 \repeat unfold 2 { c8[ c c] }
1316 \repeat unfold 2 { c8[ c] } |
1317 c4. c4. \times 2/3 { c8[ c c] } c4
1323 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1325 Each staff can be given its own independent time signature by
1326 moving the @code{Timing_translator} and the
1327 @code{Default_bar_line_engraver} to the @code{Staff} context.
1329 @lilypond[quote,verbatim]
1333 \remove "Timing_translator"
1334 \remove "Default_bar_line_engraver"
1338 \consists "Timing_translator"
1339 \consists "Default_bar_line_engraver"
1343 % Now each staff has its own time signature.
1369 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1370 {compound-time-signatures.ly}
1376 @rglos{polymetric time signature},
1380 @ref{Time signature},
1381 @ref{Scaling durations}.
1386 Internals Reference:
1387 @rinternals{TimeSignature},
1388 @rinternals{Timing_translator},
1389 @rinternals{Default_bar_line_engraver},
1395 When using different time signatures in parallel, notes
1396 at the same moment will be placed at the same horizontal
1397 location. However, the bar lines in the different staves
1398 will cause the note spacing to be less regular in each of the
1399 individual staves than would be normal without the different
1402 @node Automatic note splitting
1403 @unnumberedsubsubsec Automatic note splitting
1405 @cindex notes, splitting
1406 @cindex splitting notes
1408 @funindex Note_heads_engraver
1409 @funindex Completion_heads_engraver
1411 Long notes which overrun bar lines can be converted automatically
1412 to tied notes. This is done by replacing the
1413 @code{Note_heads_engraver} with the
1414 @code{Completion_heads_engraver}. In the following
1415 example, notes crossing the bar lines are split and tied.
1417 @lilypond[quote,verbatim,relative=1]
1419 \remove "Note_heads_engraver"
1420 \consists "Completion_heads_engraver"
1423 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1426 This engraver splits all running notes at the bar line, and
1427 inserts ties. One of its uses is to debug complex scores: if the
1428 measures are not entirely filled, then the ties show exactly how
1429 much each measure is off.
1437 @rlearning{Engravers explained},
1438 @rlearning{Adding and removing engravers}.
1443 Internals Reference:
1444 @rinternals{Note_heads_engraver},
1445 @rinternals{Completion_heads_engraver},
1446 @rinternals{Forbid_line_break_engraver}.
1451 Not all durations (especially those containing tuplets) can be
1452 represented exactly with normal notes and dots, but the
1453 @code{Completion_heads_engraver} will not insert tuplets.
1455 The @code{Completion_heads_engraver} only affects notes; it does not
1459 @node Showing melody rhythms
1460 @unnumberedsubsubsec Showing melody rhythms
1462 @cindex melody rhythms, showing
1463 @cindex rhythms, showing melody
1465 Sometimes you might want to show only the rhythm of a melody. This
1466 can be done with the rhythmic staff. All pitches of notes on such a
1467 staff are squashed, and the staff itself has a single line
1469 @lilypond[quote,relative=1,verbatim]
1471 \new RhythmicStaff {
1472 \new Voice = "myRhythm" {
1480 \lyricsto "myRhythm" {
1488 @cindex guitar chord charts
1489 @cindex strumming rhythms, showing
1490 @cindex guitar strumming rhythms, showing
1492 @funindex Pitch_squash_engraver
1493 @funindex \improvisationOn
1494 @funindex improvisationOn
1495 @funindex \improvisationOff
1496 @funindex improvisationOff
1498 Guitar chord charts often show the strumming rhythms. This can
1499 be done with the @code{Pitch_squash_engraver} and
1500 @code{\improvisationOn}.
1503 @lilypond[quote,verbatim]
1512 \consists Pitch_squash_engraver
1525 @code{\improvisationOn},
1526 @code{\improvisationOff}.
1532 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1533 {guitar-strum-rhythms.ly}
1540 Internals Reference:
1541 @rinternals{RhythmicStaff},
1542 @rinternals{Pitch_squash_engraver}.
1550 * Setting automatic beam behavior::
1555 @node Automatic beams
1556 @unnumberedsubsubsec Automatic beams
1558 By default, beams are inserted automatically:
1560 @cindex beams, manual
1561 @cindex manual beams
1562 @cindex beams, setting rules for
1563 @cindex beams, custom rules for
1565 @funindex \autoBeamOn
1566 @funindex autoBeamOn
1567 @funindex \autoBeamOff
1568 @funindex autoBeamOff
1570 @lilypond[quote,verbatim,relative=2]
1572 \time 6/8 c c c c8. c16 c8
1575 If these automatic decisions are not satisfactory, beaming can be
1576 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1577 entered manually if beams are to be extended over rests.
1579 If automatic beaming is not required, it may be turned off with
1580 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1582 @lilypond[quote,relative=1,verbatim]
1583 c4 c8 c8. c16 c8. c16 c8
1590 @cindex melismata, beams
1591 @cindex beams and melismata
1593 @warning{If beams are used to indicate melismata in songs, then
1594 automatic beaming should be switched off with @code{\autoBeamOff}
1595 and the beams indicated manually.}
1597 Beaming patterns that differ from the automatic defaults can be
1598 created; see @ref{Setting automatic beam behavior}.
1602 @code{\autoBeamOff},
1609 @cindex line breaks and beams
1610 @cindex beams and line breaks
1614 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1615 {beams-across-line-breaks.ly}
1617 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1618 {changing-beam-knee-gap.ly}
1624 @ref{Setting automatic beam behavior}.
1627 @file{scm/@/auto@/-beam@/.scm}.
1632 Internals Reference:
1633 @rinternals{Auto_beam_engraver},
1634 @rinternals{Beam_engraver},
1636 @rinternals{BeamEvent},
1637 @rinternals{BeamForbidEvent},
1638 @rinternals{beam-interface},
1639 @rinternals{unbreakable-spanner-interface}.
1644 Beams can collide with note heads and accidentals in other voices.
1647 @node Setting automatic beam behavior
1648 @unnumberedsubsubsec Setting automatic beam behavior
1651 @cindex automatic beams, tuning
1652 @cindex tuning automatic beaming
1653 @cindex automatic beam generation
1655 @cindex lyrics and beaming
1657 @funindex autoBeaming
1658 @funindex beamSettings
1659 @funindex measureLength
1660 @funindex beatLength
1666 The placement of automatic beams is determined by the time signature.
1667 Three types of rules are used for determining the end of automatic
1668 beams: @emph{default} rules
1669 for the time signature, @emph{explicit} rules for the beam in the time
1670 signature, and the @emph{beatLength} for the time signature.
1672 The following rules, in order of priority, apply when determining
1673 the appearance of beams:
1677 If a manual beam is specified with @code{[..]} set the beam
1678 as specified, otherwise
1681 if @code{\autoBeamOff} is in force do not beam, otherwise
1684 if an explicit beam-ending rule is defined for the beam type
1685 in the time signature, use it to determine the valid
1686 places where beams may end, otherwise
1689 if a default beam-ending rule is defined in the time signature,
1690 use it to group notes with beams, otherwise
1693 use the value of @code{beatLength} to group notes with beams
1697 @i{@strong{Modifying the grouping of beats}}
1699 By default @code{beatLength} is
1700 derived from the time signature set by the @code{\time} command.
1701 The @code{beatLength} is set to be one over the denominator
1702 of the time signature.
1704 @code{beatLength} is a @i{moment},
1705 a unit of musical duration. A quantity of type @i{moment} is
1706 created by the scheme function @code{ly:make-moment}. For more
1707 information about this function, see @ref{Time administration}.
1709 Autobeam settings are stored in the
1710 @code{beamSettings} property. Default values of @code{beamSettings}
1711 are determined in @file{scm/@/beam@/-settings@/.scm}. Entries in
1712 @code{beamSettings} are indexed by time signature and
1715 Time signature should be a scheme pair , e.g. @code{#'(4 . 4)}.
1717 Rule type should be @code{#'end} for beam ending.
1719 The ending rules consist of a scheme alist
1720 (or list of pairs) that
1721 indicates the beam type and the grouping to be applied to
1722 beams containing notes with a shortest duration of that
1726 #'((beam-type1 . grouping-1)
1727 (beam-type2 . grouping-2)
1728 (beam-type3 . grouping-3))
1731 Beam type is either a scheme pair indicating the duration
1732 of the beam, e.g. @code{(1 . 16)}, or @code{*} to indicate a
1733 default rule, which applies to all beams if no explicit rule is
1736 Grouping is a scheme list indicating the grouping to be applied to
1737 the beam. For default rules (where beam type is
1738 @code{*}, the grouping is in units of @code{beatLength}.
1739 For explicit rules, the grouping is in units of the beam type.
1741 For reference, the default beaming rules are found in
1742 @file{scm/beam-settings.scm}.
1744 Beam settings are changed with
1745 @code{\overrideBeamSettings} and @code{\revertBeamSettings}.
1748 The ending settings must be
1749 @emph{complete} rules. That is, every rule that should apply to
1750 the current time signature must be included in the setting.
1751 It is not possible to change the grouping of only one beam type
1752 for a given time signature. While this may seem cumbersome,
1753 it means that the current beaming settings need not be known
1754 in order to specify a new beaming pattern.}
1756 @lilypond[quote,relative=2,verbatim]
1759 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (2 3)))
1761 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (3 2)))
1765 Beam setting changes can be limited to specific contexts. If no
1766 setting is included in a lower-level context, the setting of the
1767 enclosing context will apply.
1769 @lilypond[quote, verbatim,relative=1]
1774 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (2 3 2)))
1781 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (1 3 3)))
1788 When multiple voices are used the @code{Staff} context must be
1789 specified if the beaming is to be applied to all voices in the
1792 @lilypond[quote,verbatim,relative=2]
1795 % Context Voice specified -- does not work correctly
1796 % Because of autogenerated voices, all beating will
1797 % be at beatLength (1 . 8)
1798 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (3 1 1 2)))
1799 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1801 % Works correctly with context Staff specified
1802 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (3 1 1 2)))
1803 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1806 @funindex revertBeamSettings
1808 Beam settings can be reverted to get back to default behavior. This
1809 is accomplished by using @code{\revertBeamSettings}. The arguments
1810 are the same as for @code{\overrideBeamSettings}, except no value
1811 for @var{grouping} is given:
1814 \revertBeamSettings context time-signature rule-type
1818 @lilypond[quote,verbatim,relative=2]
1820 \repeat unfold 8 {a8}
1821 % set default rule for (1 1 1 1) grouping
1822 \overrideBeamSettings #'Score #'(4 . 4) #'end #'((* . (1 1 1 1)))
1823 \repeat unfold 8 {a8}
1824 % revert the new rule
1825 \revertBeamSettings #'Score #'(4 . 4) #'end
1826 \repeat unfold 8 {a8}
1831 @code{\overrideBeamSettings},
1832 @code{\revertBeamSettings}.
1838 @cindex beams, subdividing
1840 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1841 {sub-dividing-beams.ly}
1843 @cindex measure groupings
1844 @cindex beats, grouping
1845 @cindex grouping beats
1846 @cindex measure sub-grouping
1848 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1849 {conducting-signs,-measure-grouping-signs.ly}
1851 @cindex beam, last in score
1852 @cindex beam, last in polyphonic voice
1854 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1855 {beam-endings-in-score-context.ly}
1860 @file{scm/beam-settings.scm}.
1865 Internals Reference:
1866 @rinternals{Auto_beam_engraver},
1868 @rinternals{BeamForbidEvent},
1869 @rinternals{beam-interface}.
1874 If a score ends while an automatic beam has not been ended and is
1875 still accepting notes, this last beam will not be typeset at all.
1876 The same holds for polyphonic voices, entered with @code{<<
1877 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1878 automatic beam is still accepting notes, it is not typeset.
1879 The workaround for these problems is to manually beam the last
1880 beam in the voice or score.
1883 @unnumberedsubsubsec Manual beams
1885 @cindex beams, manual
1886 @cindex manual beams
1891 In some cases it may be necessary to override the automatic
1892 beaming algorithm. For example, the autobeamer will not put beams
1893 over rests or bar lines, and in choral scores the beaming is
1894 often set to follow the meter of the lyrics rather than the
1895 notes. Such beams can be specified manually by
1896 marking the begin and end point with @code{[} and @code{]}.
1898 @lilypond[quote,relative=1,verbatim]
1899 r4 r8[ g' a r8] r8 g[ | a] r8
1902 @cindex manual beams, direction shorthand for
1904 Beaming direction can be set manually using direction indicators:
1906 @lilypond[quote,relative=2,verbatim]
1907 c8^[ d e] c,_[ d e f g]
1913 Individual notes may be marked with @code{\noBeam} to prevent them
1916 @lilypond[quote,verbatim,relative=2]
1921 @funindex stemLeftBeamCount
1922 @funindex stemRightBeamCount
1924 Even more strict manual control with the beams can be achieved by
1925 setting the properties @code{stemLeftBeamCount} and
1926 @code{stemRightBeamCount}. They specify the number of beams to
1927 draw on the left and right side, respectively, of the next note.
1928 If either property is set, its value will be used only once, and
1929 then it is erased. In this example, the last @code{f} is printed
1930 with only one beam on the left side, i.e., the eighth-note beam of
1931 the group as a whole.
1933 @lilypond[quote,relative=2,verbatim]
1936 \set stemLeftBeamCount = #2
1937 \set stemRightBeamCount = #1
1939 \set stemLeftBeamCount = #1
1951 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1952 {flat-flags-and-beam-nibs.ly}
1957 @ref{Direction and placement}.
1962 Internals Reference:
1964 @rinternals{BeamEvent},
1965 @rinternals{Beam_engraver},
1966 @rinternals{beam-interface},
1967 @rinternals{Stem_engraver}.
1970 @node Feathered beams
1971 @unnumberedsubsubsec Feathered beams
1973 @cindex beams, feathered
1974 @cindex feathered beams
1976 @funindex \featherDurations
1977 @funindex featherDurations
1978 @funindex grow-direction
1980 Feathered beams are used to indicate that a small group of notes
1981 should be played at an increasing (or decreasing) tempo, without
1982 changing the overall tempo of the piece. The extent of the
1983 feathered beam must be indicated manually using @code{[} and
1984 @code{]}, and the beam feathering is turned on by specifying a
1985 direction to the @code{Beam} property @code{grow-direction}.
1987 If the placement of the notes and the sound in the MIDI output is to
1988 reflect the ritardando or accelerando indicated by the feathered beam
1989 the notes must be grouped as a music expression delimited by braces
1990 and preceded by a @code{featherDurations} command which specifies
1991 the ratio between the durations of the first and last notes in the
1994 The square brackets show the extent of the beam and the braces show
1995 which notes are to have their durations modified. Normally these
1996 would delimit the same group of notes, but this is not required: the
1997 two commands are independent.
1999 In the following example the eight 16th notes occupy exactly the
2000 same time as a half note, but the first note is one half as long
2001 as the last one, with the intermediate notes gradually
2002 lengthening. The first four 32nd notes gradually speed up, while
2003 the last four 32nd notes are at a constant tempo.
2005 @lilypond[relative=1,verbatim,quote]
2006 \override Beam #'grow-direction = #LEFT
2007 \featherDurations #(ly:make-moment 2 1)
2008 { c16[ c c c c c c c] }
2009 \override Beam #'grow-direction = #RIGHT
2010 \featherDurations #(ly:make-moment 2 3)
2012 % revert to non-feathered beams
2013 \override Beam #'grow-direction = #'()
2018 The spacing in the printed output represents the
2019 note durations only approximately, but the MIDI output is exact.
2023 @code{\featherDurations}.
2033 The @code{\featherDurations} command only works with very short
2034 music snippets, and when numbers in the fraction are small.
2044 * Bar and bar number checks::
2049 @unnumberedsubsubsec Bar lines
2052 @cindex measure lines
2053 @cindex closing bar lines
2054 @cindex bar lines, closing
2055 @cindex double bar lines
2056 @cindex bar lines, double
2062 Bar lines delimit measures, and are also used to indicate
2063 repeats. Normally, simple bar lines are automatically inserted
2064 into the printed output at places based on the current time
2067 The simple bar lines inserted automatically can be changed to
2068 other types with the @code{\bar} command. For example, a closing
2069 double bar line is usually placed at the end of a piece:
2071 @lilypond[quote,relative=1,verbatim]
2075 It is not invalid if the final note in a measure does not
2076 end on the automatically entered bar line: the note is assumed
2077 to carry over into the next measure. But if a long sequence
2078 of such carry-over measures appears the music can appear compressed
2079 or even flowing off the page. This is because automatic line
2080 breaks happen only at the end of complete measures, i.e., where
2081 all notes end before the end of a measure.
2083 @warning{An incorrect duration can cause line breaks to be
2084 inhibited, leading to a line of highly compressed music or
2085 music which flows off the page.}
2088 @cindex bar lines, invisible
2089 @cindex measure lines, invisible
2091 Line breaks are also permitted at manually inserted bar lines
2092 even within incomplete measures. To allow a line break without
2093 printing a bar line, use the following:
2100 This will insert an invisible bar line and allow (but not
2101 force) a line break to occur at this point. The bar number
2102 counter is not increased. To force a line break see
2103 @ref{Line breaking}.
2105 @cindex manual bar lines
2106 @cindex manual measure lines
2107 @cindex bar lines, manual
2108 @cindex measure lines, manual
2110 This and other special bar lines may be inserted manually at any
2111 point. When they coincide with the end of a measure they replace
2112 the simple bar line which would have been inserted there
2113 automatically. When they do not coincide with the end of a measure
2114 the specified bar line is inserted at that point in the printed
2117 Note that manual bar lines are purely visual. They do not affect
2118 any of the properties that a normal bar line would affect, such as
2119 measure numbers, accidentals, line breaks, etc. They do not affect
2120 the calculation and placement of subsequent automatic bar lines.
2121 When a manual bar line is placed where a normal bar line already
2122 exists, the effects of the original bar line are not altered.
2124 Two types of simple bar lines and five types of double bar lines are
2125 available for manual insertion:
2127 @lilypond[quote,relative=1,verbatim]
2139 together with dotted and dashed bar lines:
2141 @lilypond[quote,relative=1,verbatim]
2148 and five types of repeat bar line:
2150 @lilypond[quote,relative=1,verbatim]
2159 Additionally, a bar line can be printed as a simple tick:
2160 @lilypond[quote,relative=1,verbatim]
2163 However, as such ticks are typically used in Gregorian chant, it is
2164 preferable to use @code{\divisioMinima} there instead, described in
2165 the section @ref{Divisiones} in Gregorian chant.
2169 For in-line segno signs, there are three types of bar lines which
2170 differ in their behavior at line breaks:
2172 @lilypond[quote,relative=2,verbatim]
2190 Although the bar line types signifying repeats may be inserted
2191 manually they do not in themselves cause LilyPond to recognize
2192 a repeated section. Such repeated sections are better entered
2193 using the various repeat commands (see @ref{Repeats}), which
2194 automatically print the appropriate bar lines.
2196 In addition, you can specify @code{"||:"}, which is equivalent to
2197 @code{"|:"} except at line breaks, where it gives a double bar
2198 line at the end of the line and a start repeat at the beginning of
2201 @lilypond[quote,relative=2,verbatim]
2209 For combinations of repeats with the segno sign, there are six different
2212 @lilypond[quote,relative=2,verbatim]
2241 In scores with many staves, a @code{\bar} command in one staff is
2242 automatically applied to all staves. The resulting bar lines are
2243 connected between different staves of a @code{StaffGroup},
2244 @code{PianoStaff}, or @code{GrandStaff}.
2246 @lilypond[quote,relative=1,verbatim]
2254 \new Staff { \clef bass c4 g e g }
2256 \new Staff { \clef bass c2 c2 }
2261 @cindex default bar lines, changing
2262 @cindex bar lines, default, changing
2267 @funindex defaultBarType
2272 The command @code{\bar }@var{bartype} is a shortcut for
2273 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2274 created whenever the @code{whichBar} property is set.
2276 The default bar type used for automatically inserted bar lines is
2277 @code{"|"}. This may be changed at any time
2278 with @code{\set Timing.defaultBarType = }@var{bartype}.
2283 @ref{Line breaking},
2285 @ref{Grouping staves}.
2290 Internals Reference:
2291 @rinternals{BarLine} (created at @code{Staff} level),
2292 @rinternals{SpanBar} (across staves),
2293 @rinternals{Timing_translator} (for Timing properties).
2297 @unnumberedsubsubsec Bar numbers
2300 @cindex measure numbers
2301 @cindex numbers, bar
2302 @cindex numbers, measure
2304 @funindex currentBarNumber
2306 Bar numbers are typeset by default at the start of every line except
2307 the first line. The number itself is stored in the
2308 @code{currentBarNumber} property, which is normally updated
2309 automatically for every measure. It may also be set manually:
2311 @lilypond[verbatim,quote,relative=1]
2314 \set Score.currentBarNumber = #50
2318 @cindex bar numbers, regular spacing
2320 @funindex barNumberVisibility
2323 Bar numbers can be typeset at regular intervals instead of just at
2324 the beginning of every line. To do this the default behavior
2325 must be overridden to permit bar numbers to be printed at places
2326 other than the start of a line. This is controlled by the
2327 @code{break-visibility} property of @code{BarNumber}. This takes
2328 three values which may be set to @code{#t} or @code{#f} to specify
2329 whether the corresponding bar number is visible or not. The order
2330 of the three values is @code{end of line visible}, @code{middle of
2331 line visible}, @code{beginning of line visible}. In the following
2332 example bar numbers are printed at all possible places:
2334 @lilypond[verbatim,quote,relative=1]
2335 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2336 \set Score.currentBarNumber = #11
2337 % Permit first bar number to be printed
2347 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2348 {printing-the-bar-number-for-the-first-measure.ly}
2350 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2351 {printing-bar-numbers-at-regular-intervals.ly}
2353 @cindex measure number, format
2354 @cindex bar number, format
2356 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2357 {printing-bar-numbers-inside-boxes-or-circles.ly}
2359 @cindex bar number alignment
2361 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2362 {aligning-bar-numbers.ly}
2364 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2365 {removing-bar-numbers-from-a-score.ly}
2372 Internals Reference:
2373 @rinternals{BarNumber},
2374 @rinternals{Bar_number_engraver}.
2377 @cindex bar number collision
2378 @cindex collision, bar number
2382 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2383 if there is one. To solve this, the @code{padding} property of
2384 @code{BarNumber} can be used to position the number correctly. See
2385 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2388 @node Bar and bar number checks
2389 @unnumberedsubsubsec Bar and bar number checks
2392 @cindex bar number check
2393 @cindex measure check
2394 @cindex measure number check
2396 @funindex barCheckSynchronize
2399 Bar checks help detect errors in the entered durations. A bar check
2400 may be entered using the bar symbol, @code{|}, at any place where a
2401 bar line is expected to fall. If bar check lines are encountered at
2402 other places, a list of warnings is printed in the log file, showing
2403 the line numbers and lines in which the bar checks failed. In the
2404 next example, the second bar check will signal an error.
2407 \time 3/4 c2 e4 | g2 |
2410 Bar checks can also be used in lyrics:
2415 Twin -- kle | Twin -- kle |
2419 An incorrect duration can result in a completely garbled score,
2420 especially if the score is polyphonic, so a good place to start
2421 correcting input is by scanning for failed bar checks and
2422 incorrect durations.
2424 If successive bar checks are off by the same musical interval,
2425 only the first warning message is displayed. This allows the
2426 warning to focus on the source of the timing error.
2430 @funindex pipeSymbol
2432 It is also possible to redefine the action taken when a bar check
2433 or pipe symbol, @code{|}, is encountered in the input, so that
2434 it does something other than a bar check. This is done by
2435 assigning a music expression to @code{pipeSymbol}.
2436 In the following example @code{|} is set to insert a double bar
2437 line wherever it appears in the input, rather than checking
2440 @lilypond[quote,verbatim]
2441 pipeSymbol = \bar "||"
2450 @funindex \barNumberCheck
2451 @funindex barNumberCheck
2453 When copying large pieces of music, it can be helpful to check that
2454 the LilyPond bar number corresponds to the original that you are
2455 entering from. This can be checked with @code{\barNumberCheck}, for
2459 \barNumberCheck #123
2463 will print a warning if the @code{currentBarNumber} is not 123
2464 when it is processed.
2472 @node Rehearsal marks
2473 @unnumberedsubsubsec Rehearsal marks
2475 @cindex rehearsal marks
2476 @cindex mark, rehearsal
2481 To print a rehearsal mark, use the @code{\mark} command.
2483 @lilypond[quote,verbatim,relative=2]
2491 The mark is incremented automatically if you use @code{\mark
2492 \default}, but you can also use an integer argument to set the
2493 mark manually. The value to use is stored in the property
2494 @code{rehearsalMark}.
2496 @lilypond[quote,verbatim,relative=2]
2505 The letter@tie{}@q{I} is skipped in accordance with engraving
2506 traditions. If you wish to include the letter @q{I}, then use one
2507 of the following commands, depending on which style of rehearsal mark
2508 you want (letters only, letters in a hollow box, or letters in a
2512 \set Score.markFormatter = #format-mark-alphabet
2513 \set Score.markFormatter = #format-mark-box-alphabet
2514 \set Score.markFormatter = #format-mark-circle-alphabet
2517 @lilypond[quote,verbatim,relative=2]
2518 \set Score.markFormatter = #format-mark-box-alphabet
2526 @cindex rehearsal mark format
2527 @cindex rehearsal mark style
2528 @cindex style, rehearsal mark
2529 @cindex format, rehearsal mark
2530 @cindex mark, rehearsal, style
2531 @cindex mark, rehearsal, format
2532 @cindex rehearsal mark, manual
2533 @cindex mark, rehearsal, manual
2534 @cindex custom rehearsal mark
2535 @cindex manual rehearsal mark
2537 The style is defined by the property @code{markFormatter}. It is
2538 a function taking the current mark (an integer) and the current
2539 context as argument. It should return a markup object. In the
2540 following example, @code{markFormatter} is set to a pre-defined
2541 procedure. After a few measures, it is set to a procedure that
2542 produces a boxed number.
2544 @lilypond[quote,verbatim,relative=2]
2545 \set Score.markFormatter = #format-mark-numbers
2548 \set Score.markFormatter = #format-mark-box-numbers
2550 \set Score.markFormatter = #format-mark-circle-numbers
2552 \set Score.markFormatter = #format-mark-circle-letters
2556 The file @file{scm/@/translation@/-functions@/.scm} contains the
2557 definitions of @code{format-mark-numbers} (the default format),
2558 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2559 @code{format-mark-box-letters}. These can be used as inspiration
2560 for other formatting functions.
2562 You may use @code{format-mark-barnumbers},
2563 @code{format-mark-box-barnumbers}, and
2564 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2565 incremented numbers or letters.
2567 Other styles of rehearsal mark can be specified manually:
2574 Note that @code{Score.markFormatter} does not affect marks specified
2575 in this manner. However, it is possible to apply a @code{\markup} to the
2579 \mark \markup@{ \box A1 @}
2584 @cindex D.S. al Fine
2586 @cindex music glyphs
2587 @cindex glyphs, music
2589 @funindex \musicglyph
2590 @funindex musicglyph
2592 Music glyphs (such as the segno sign) may be printed inside a
2595 @lilypond[quote,verbatim,relative=1]
2596 c1 \mark \markup { \musicglyph #"scripts.segno" }
2597 c1 \mark \markup { \musicglyph #"scripts.coda" }
2598 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2603 See @ref{The Feta font}, for a list of symbols which may be
2604 printed with @code{\musicglyph}.
2606 For common tweaks to the positioning of rehearsal marks, see
2607 @ref{Formatting text}. For more precise control, see
2608 @code{break-alignable-interface} in @ref{Aligning objects}.
2613 @ref{The Feta font},
2614 @ref{Formatting text},
2615 @ref{Aligning objects}.
2618 @file{scm/@/translation@/-functions@/.scm} contains
2619 the definitions of @code{format-mark-numbers} and
2620 @code{format-mark-letters}. They can be used as inspiration for
2621 other formatting functions.
2626 Internals Reference:
2627 @rinternals{MarkEvent},
2628 @rinternals{Mark_engraver},
2629 @rinternals{RehearsalMark}.
2632 @node Special rhythmic concerns
2633 @subsection Special rhythmic concerns
2638 * Aligning to cadenzas::
2639 * Time administration::
2643 @unnumberedsubsubsec Grace notes
2647 @cindex appoggiatura
2648 @cindex acciaccatura
2653 Grace notes are ornaments that are written out. Grace notes
2654 are printed in a smaller font and take up no logical time
2657 @lilypond[quote,relative=2,verbatim]
2659 \grace { c16[ d16] } c2
2662 LilyPond also supports two special types of grace notes, the
2663 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2664 small note with a slashed stem -- and the @emph{appoggiatura}, which
2665 takes a fixed fraction of the main note and appears in small print
2668 @lilypond[quote,relative=2,verbatim]
2672 \acciaccatura { g16[ f] } e4
2675 The placement of grace notes is synchronized between different
2676 staves. In the following example, there are two sixteenth grace
2677 notes for every eighth grace note
2679 @lilypond[quote,relative=2,verbatim]
2681 \new Staff { e2 \grace { c16[ d e f] } e2 }
2682 \new Staff { c2 \grace { g8[ b] } c2 }
2686 @cindex grace notes, following
2688 @funindex \afterGrace
2689 @funindex afterGrace
2691 If you want to end a note with a grace, use the @code{\afterGrace}
2692 command. It takes two arguments: the main note, and the grace
2693 notes following the main note.
2695 @lilypond[quote,verbatim,relative=2]
2696 c1 \afterGrace d1 { c16[ d] } c1
2699 This will put the grace notes after a space lasting 3/4 of the
2700 length of the main note. The default fraction 3/4 can be changed by
2701 setting @code{afterGraceFraction}. The following example shows
2702 the results from setting the space at the default, at 15/16, and
2703 finally at 1/2 of the main note.
2705 @lilypond[quote,verbatim,relative=2]
2708 c1 \afterGrace d1 { c16[ d] } c1
2711 #(define afterGraceFraction (cons 15 16))
2712 c1 \afterGrace d1 { c16[ d] } c1
2715 #(define afterGraceFraction (cons 1 2))
2716 c1 \afterGrace d1 { c16[ d] } c1
2721 The space between the main note and the grace note may also be
2722 specified using spacers. The following example places the grace
2723 note after a space lasting 7/8 of the main note.
2725 @lilypond[quote,verbatim,relative=2]
2729 { s2 s4. \grace { c16[ d] } }
2735 @cindex tweaking grace notes
2736 @cindex grace notes, tweaking
2737 @cindex grace notes, changing layout settings
2739 A @code{\grace} music expression will introduce special
2740 typesetting settings, for example, to produce smaller type, and
2741 set directions. Hence, when introducing layout tweaks to
2742 override the special settings, they should be placed inside
2743 the grace expression. The overrides should also be reverted
2744 inside the grace expression. Here, the grace note's default stem
2745 direction is overridden and then reverted.
2747 @lilypond[quote,verbatim,relative=2]
2759 @cindex stem, with slash
2764 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2765 {using-grace-note-slashes-with-normal-heads.ly}
2767 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2768 {tweaking-grace-layout-within-music.ly}
2770 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2771 {redefining-grace-note-global-defaults.ly}
2773 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2774 {positioning-grace-notes-with-floating-space.ly}
2779 @rglos{grace notes},
2780 @rglos{acciaccatura},
2781 @rglos{appoggiatura}.
2784 @file{ly/@/grace@/-init@/.ly}.
2789 Internals Reference:
2790 @rinternals{GraceMusic},
2791 @rinternals{Grace_beam_engraver},
2792 @rinternals{Grace_engraver},
2793 @rinternals{Grace_spacing_engraver}.
2798 @cindex acciaccatura, multi-note
2799 @cindex multi-note acciaccatura
2800 @cindex grace-note synchronization
2802 A multi-note beamed @i{acciaccatura} is printed without a slash,
2803 and looks exactly the same as a multi-note beamed
2806 @c TODO Add link to LSR snippet to add slash when available
2808 Grace note synchronization can also lead to surprises. Staff
2809 notation, such as key signatures, bar lines, etc., are also
2810 synchronized. Take care when you mix staves with grace notes and
2811 staves without, for example,
2813 @lilypond[quote,relative=2,verbatim]
2815 \new Staff { e4 \bar "|:" \grace c16 d2. }
2816 \new Staff { c4 \bar "|:" d2. }
2821 This can be remedied by inserting grace skips of the corresponding
2822 durations in the other staves. For the above example
2824 @lilypond[quote,relative=2,verbatim]
2826 \new Staff { e4 \bar "|:" \grace c16 d2. }
2827 \new Staff { c4 \bar "|:" \grace s16 d2. }
2831 Grace sections should only be used within sequential music
2832 expressions. Nesting or juxtaposing grace sections is not
2833 supported, and might produce crashes or other errors.
2835 @node Aligning to cadenzas
2836 @unnumberedsubsubsec Aligning to cadenzas
2839 @cindex cadenza, aligning to
2840 @cindex aligning to cadenza
2842 In an orchestral context, cadenzas present a special problem: when
2843 constructing a score that includes a measured cadenza or other solo
2844 passage, all other instruments should skip just as many notes as the
2845 length of the cadenza, otherwise they will start too soon or too late.
2847 One solution to this problem is to use the functions
2848 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2849 functions take a defined piece of music as an argument and generate a
2850 multi-measure rest or @code{\skip} exactly as long as the piece.
2852 @lilypond[verbatim,quote]
2853 MyCadenza = \relative c' {
2864 #(ly:export (mmrest-of-length MyCadenza))
2866 #(ly:export (skip-of-length MyCadenza))
2881 @node Time administration
2882 @unnumberedsubsubsec Time administration
2884 @cindex time administration
2885 @cindex timing (within the score)
2886 @cindex music, unmetered
2887 @cindex unmetered music
2889 @funindex currentBarNumber
2890 @funindex measurePosition
2891 @funindex measureLength
2893 Time is administered by the @code{Timing_translator}, which by
2894 default is to be found in the @code{Score} context. An alias,
2895 @code{Timing}, is added to the context in which the
2896 @code{Timing_translator} is placed. To ensure that the
2897 @code{Timing} alias is available, you may need to explicitly
2898 instantiate the containing context (such as @code{Voice} or
2901 The following properties of @code{Timing} are used
2902 to keep track of timing within the score.
2905 @cindex measure number
2908 @item currentBarNumber
2909 The current measure number. For an example showing the
2910 use of this property see @ref{Bar numbers}.
2913 The length of the measures in the current time signature. For a
2914 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2915 determines when bar lines are inserted and how automatic beams
2916 should be generated.
2918 @item measurePosition
2919 The point within the measure where we currently are. This
2920 quantity is reset by subtracting @code{measureLength} whenever
2921 @code{measureLength} is reached or exceeded. When that happens,
2922 @code{currentBarNumber} is incremented.
2925 If set to true, the above variables are updated for every time
2926 step. When set to false, the engraver stays in the current
2927 measure indefinitely.
2931 Timing can be changed by setting any of these variables
2932 explicitly. In the next example, the default 4/4 time
2933 signature is printed, but @code{measureLength} is set to 5/4.
2934 At 4/8 through the third measure, the @code{measurePosition} is
2935 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2936 The next bar line then falls at 9/8 rather than 5/4.
2938 @lilypond[quote,verbatim]
2939 \new Voice \relative c' {
2940 \set Timing.measureLength = #(ly:make-moment 5 4)
2944 \set Timing.measurePosition = #(ly:make-moment 5 8)
2951 As the example illustrates, @code{ly:make-moment n m} constructs a
2952 duration of n/m of a whole note. For example,
2953 @code{ly:make-moment 1 8} is an eighth note duration and
2954 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2961 @ref{Unmetered music}.
2966 Internals Reference:
2967 @rinternals{Timing_translator},