1 @c -*- coding: utf-8; mode: texinfo; -*-
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
145 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
146 {alternative-breve-note.ly}
148 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
149 {changing-the-number-of-augmentation-dots-per-note.ly}
157 @rglos{Duration names notes and rests}.
160 @ref{Automatic beams},
163 @ref{Writing rhythms},
166 @ref{Ancient notation},
167 @ref{Proportional notation}.
174 @rinternals{DotColumn}.
177 @c Deliberately duplicated in Durations and Rests. -gp
178 There is no fundamental limit to rest durations (both in terms of
179 longest and shortest), but the number of glyphs is limited:
180 rests from 128th to maxima (8 x whole) may be printed.
184 @unnumberedsubsubsec Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @code{@var{music}} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
211 @cindex tuplet bracket placement
215 @funindex \tupletDown
217 @funindex \tupletNeutral
218 @funindex tupletNeutral
220 Tuplet brackets may be manually placed above or below the staff;
221 see @ref{Direction and placement}.
223 Tuplets may be nested:
225 @lilypond[quote,verbatim,relative=2]
227 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
230 Modifying nested tuplets which begin at the same musical moment
231 must be done with @code{\tweak}.
233 To modify the duration of notes without printing a tuplet bracket,
234 see @ref{Scaling durations}.
240 @code{\tupletNeutral}.
246 @cindex tuplet formatting
247 @cindex triplet formatting
249 @funindex tupletNumberFormatFunction
250 @funindex tupletSpannerDuration
252 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
253 {entering-several-tuplets-using-only-one--times-command.ly}
255 @cindex Tuplet number changes
257 @funindex TupletNumber
259 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
278 @rlearning{Tweaking methods}.
281 @ref{Time administration},
282 @ref{Scaling durations},
283 @ref{The tweak command},
284 @ref{Polymetric notation}.
290 @rinternals{TupletBracket},
291 @rinternals{TupletNumber},
292 @rinternals{TimeScaledMusic}.
294 @cindex grace notes within tuplet brackets
297 Grace notes may be placed within tuplet brackets, @emph{except}
298 when a staff begins with a grace note followed by a tuplet. In this
299 particular case, the grace note must be placed before the @code{\times}
300 command to avoid errors.
302 @cindex tempo marks within tuplet brackets
304 When using a tuplet at the beginning of a piece with a @code{\tempo}
305 mark, the music must be explicitly entered in a @code{\new Voice}
306 block, as discussed in @rlearning{Voices contain music}.
309 @node Scaling durations
310 @unnumberedsubsubsec Scaling durations
312 @cindex scaling durations
313 @cindex durations, scaling
315 You can alter the duration of single notes, rests or chords by a
316 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
317 is 1) to the duration. This will not affect the appearance of the
318 notes or rests produced, but the altered duration will be used in
319 calculating the position within the measure and setting the duration
320 in the MIDI output. Multiplying factors may be combined such as
323 In the following example, the first three notes take up exactly
324 two beats, but no triplet bracket is printed.
326 @lilypond[quote,relative=2,verbatim]
328 % Alter durations to triplets
329 a4*2/3 gis4*2/3 a4*2/3
332 % Double the duration of chord
334 % Duration of quarter, appears like sixteenth
338 The duration of spacing notes may also be modified by
339 a multiplier. This is useful for skipping many measures, e.g.,
342 @cindex compressing music
343 @cindex expanding music
345 @funindex \scaleDurations
346 @funindex scaleDurations
348 Longer stretches of music may be compressed by a fraction in the
349 same way, as if every note, chord or rest had the fraction as a
350 multiplier. This leaves the appearance of the music unchanged but
351 the internal duration of the notes will be multiplied by the
352 fraction @emph{num}/@emph{den}. The spaces around the dot are
353 required. Here is an example showing how music can be compressed
356 @lilypond[quote,relative=2,verbatim]
360 % Scale music by *2/3
361 \scaleDurations #'(2 . 3) {
365 \scaleDurations #'(2 . 1) {
370 One application of this command is in polymetric
371 notation, see @ref{Polymetric notation}.
376 @ref{Invisible rests},
377 @ref{Polymetric notation}.
384 @unnumberedsubsubsec Ties
390 A tie connects two adjacent note heads of the same pitch. The tie
391 in effect extends the duration of a note.
393 @warning{Ties should not be confused with @emph{slurs}, which
394 indicate articulation, or @emph{phrasing slurs}, which indicate
395 musical phrasing. A tie is just a way of extending a note
396 duration, similar to the augmentation dot.}
398 A tie is entered using the tilde symbol (@code{~}).
400 @lilypond[quote,verbatim,relative=2]
404 Ties are used either when the note crosses a bar line, or when
405 dots cannot be used to denote the rhythm. Ties should also be
406 used when note values cross larger subdivisions of the measure:
408 @lilypond[verbatim,quote]
415 If you need to tie many notes across bar lines, it may be
416 easier to use automatic note splitting, see @ref{Automatic note
417 splitting}. This mechanism automatically splits long notes, and
418 ties them across bar lines.
420 @cindex ties and chords
421 @cindex chords and ties
423 When a tie is applied to a chord, all note heads whose pitches
424 match are connected. When no note heads match, no ties will be
425 created. Chords may be partially tied by placing the tie inside
428 @lilypond[quote,verbatim,relative=1]
430 <c~ e g~ b> <c e g b>
433 @cindex repeating ties
434 @cindex ties, repeating
435 @cindex volta brackets and ties
436 @cindex ties and volta brackets
441 When a second alternative of a repeat starts with a tied note, you
442 have to specify the repeated tie as follows:
444 @lilypond[quote,relative=2,verbatim]
445 \repeat volta 2 { c g <c e>2 ~ }
447 % First alternative: following note is tied normally
449 % Second alternative: following note has a repeated tie
450 { <c e>2\repeatTie d4 c } }
453 @cindex laissez vibrer
454 @cindex ties, laissez vibrer
456 @funindex \laissezVibrer
457 @funindex laissezVibrer
459 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
460 notes must not be damped at the end. It is used in notation for
461 piano, harp and other string and percussion instruments. They can
462 be entered as follows:
464 @lilypond[quote,verbatim,relative=1]
465 <c f g>1\laissezVibrer
468 @cindex ties, placement
474 @funindex \tieNeutral
477 Ties may be manually placed above or below the staff; see
478 @ref{Direction and placement}.
480 @cindex ties, appearance
493 Ties may be made dashed, dotted, or a combination of solid and
496 @lilypond[quote, verbatim, relative=1]
509 Custom dash patterns can be specified:
511 @lilypond[quote, verbatim, relative=1]
512 \tieDashPattern #0.3 #0.75
514 \tieDashPattern #0.7 #1.5
520 Dash pattern definitions for ties have the same structure as dash
521 pattern definitions for slurs. For more information about complex dash
522 patterns, see @ref{Slurs}.
524 Override @var{whiteout} and @var{layer} layout properties for ties that
525 collide with other objects in a staff.
527 @lilypond[verbatim,quote,ragged-right,relative=2]
528 \override Tie #'layer = #-2
529 \override Staff.TimeSignature #'layer = #-1
530 \override Staff.KeySignature #'layer = #-1
531 \override Staff.TimeSignature #'whiteout = ##t
532 \override Staff.KeySignature #'whiteout = ##t
545 @code{\tieDashPattern},
546 @code{\tieHalfDashed},
547 @code{\tieHalfSolid},
553 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
554 {using-ties-with-arpeggios.ly}
556 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
557 {engraving-ties-manually.ly}
562 @rglos{laissez vibrer}.
566 @ref{Automatic note splitting}.
569 @rlsr{Expressive marks},
573 @rinternals{LaissezVibrerTie},
574 @rinternals{LaissezVibrerTieColumn},
575 @rinternals{TieColumn},
579 Switching staves when a tie is active will not produce a slanted tie.
581 Changing clefs or ottavations during a tie is not really well-defined.
582 In these cases, a slur may be preferable.
586 @subsection Writing rests
588 Rests are entered as part of the music in music expressions.
593 * Full measure rests::
597 @unnumberedsubsubsec Rests
600 @cindex rest, entering durations
615 Rests are entered like notes with the note name @code{r}.
616 Durations longer than a whole rest use the following predefined
619 @c \time 16/1 is used to avoid spurious bar lines
620 @c and long tracts of empty measures
621 @lilypond[quote,verbatim,relative=2]
623 % These two lines are just to prettify this example
625 \override Staff.TimeSignature #'stencil = ##f
626 % Print a maxima rest, equal to four breves
628 % Print a longa rest, equal to two breves
632 r1 r2 r4 r8 r16 r32 r64 r128
636 @cindex rest, multi-measure
637 @cindex rest, whole-measure
639 Whole measure rests, centered in the middle of the measure, must be
640 entered as multi-measure rests. They can be used for a single
641 measure as well as many measures and are discussed in
642 @ref{Full measure rests}.
644 @cindex rest, specifying vertical position
646 To explicitly specify a rest's vertical position, write a note
647 followed by @code{\rest}. A rest of the duration of the note will
648 be placed at the staff position where the note would appear. This
649 allows for precise manual formatting of polyphonic music, since the
650 automatic rest collision formatter will not move these rests.
652 @lilypond[quote,verbatim,relative=2]
658 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
668 @ref{Full measure rests}.
677 @c Deliberately duplicated in Durations and Rests. -gp
678 There is no fundamental limit to rest durations (both in terms of
679 longest and shortest), but the number of glyphs is limited: there
680 are rests from 128th to maxima (8 x whole).
683 @node Invisible rests
684 @unnumberedsubsubsec Invisible rests
687 @cindex invisible rest
688 @cindex rest, invisible
696 An invisible rest (also called a @q{spacer rest}) can be entered
697 like a note with the note name@tie{}@code{s}:
699 @lilypond[verbatim,quote,relative=2]
706 Spacer rests are available only in note mode and chord mode. In
707 other situations, for example, when entering lyrics, the
708 command @code{\skip} is used to skip a musical moment.
709 @code{\skip} requires an explicit duration, but this is ignored if
710 the lyrics derive their durations from the notes in an associated
711 melody through @code{\addlyrics} or @code{\lyricsto}.
713 @lilypond[quote,verbatim,relative=2]
726 Because @code{\skip} is a command, it does not affect the default
727 durations of following notes, unlike@tie{}@code{s}.
729 @lilypond[quote,verbatim,relative=2]
732 \repeat unfold 8 { a4 }
742 A spacer rest implicitly causes @code{Staff} and @code{Voice}
743 contexts to be created if none exist, just like notes and rests
746 @lilypond[quote,verbatim,relative=2]
750 @code{\skip} simply skips musical time; it creates no output of
753 @lilypond[quote,verbatim,relative=2]
754 % This is valid input, but does nothing
755 \skip 1 \skip1 \skip 1
760 @rlearning{Visibility and color of objects}.
764 @ref{Visibility of objects}.
770 @rinternals{SkipMusic}.
773 @node Full measure rests
774 @unnumberedsubsubsec Full measure rests
776 @cindex multi-measure rests
777 @cindex full-measure rests
778 @cindex rest, multi-measure
779 @cindex rest, full-measure
780 @cindex whole rest for a full measure
781 @cindex rest, whole for a full measure
785 Rests for one or more full measures are entered like notes with
786 the note name uppercase @code{R}:
788 @lilypond[quote,verbatim,relative=2]
789 % Rest measures contracted to single measure
790 \compressFullBarRests
797 The duration of full-measure rests is identical to the duration
798 notation used for notes. The duration in a multi-measure rest must
799 always be an integral number of measure-lengths, so augmentation dots
800 or fractions must often be used:
802 @lilypond[quote,verbatim,relative=2]
803 \compressFullBarRests
809 R1*13/8 | R1*13/8*12 |
814 A full-measure rest is printed as either a whole or breve rest,
815 centered in the measure, depending on the time signature.
817 @lilypond[quote,verbatim,relative=2]
826 @cindex multi-measure rest, expanding
827 @cindex multi-measure rest, contracting
829 @funindex \expandFullBarRests
830 @funindex expandFullBarRests
831 @funindex \compressFullBarRests
832 @funindex compressFullBarRests
834 By default a multi-measure rest is expanded in the printed score to
835 show all the rest measures explicitly. Alternatively, a multi-measure
836 rest can be shown as a single measure containing a multi-measure rest
837 symbol, with the number of measures of rest printed above the measure:
839 @lilypond[quote,verbatim,relative=2]
841 \time 3/4 r2. | R2.*2 |
844 % Rest measures contracted to single measure
845 \compressFullBarRests
847 % Rest measures expanded
854 @cindex text on multi-measure rest
855 @cindex multi-measure rest, attaching text
856 @cindex script on multi-measure rest
857 @cindex multi-measure rest, script
858 @cindex fermata on multi-measure rest
859 @cindex multi-measure rest, attaching fermata
860 @cindex markup on multi-measure rest
861 @cindex multi-measure rest with markup
863 @funindex \fermataMarkup
864 @funindex fermataMarkup
865 @funindex MultiMeasureRestText
867 Markups can be added to multi-measure rests.
868 The predefined command @code{\fermataMarkup}
869 is provided for adding fermatas.
871 @lilypond[quote,verbatim,relative=2]
872 \compressFullBarRests
874 R2.*10^\markup { \italic "ad lib." }
878 @warning{Markups attached to a multi-measure rest are objects of type
879 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
880 be directed to the correct object, or they will be ignored. See the
883 @lilypond[quote,verbatim,relative=2]
884 % This fails, as the wrong object name is specified
885 \override TextScript #'padding = #5
887 % This is the correct object name to be specified
888 \override MultiMeasureRestText #'padding = #5
892 When a multi-measure rest immediately follows a @code{\partial}
893 setting, resulting bar-check warnings may not be displayed.
896 @funindex \textLengthOn
897 @funindex textLengthOn
898 @funindex \textLengthOff
899 @funindex textLengthOff
900 @funindex \fermataMarkup
901 @funindex fermataMarkup
902 @funindex \compressFullBarRests
903 @funindex compressFullBarRests
904 @funindex \expandFullBarRests
905 @funindex expandFullBarRests
908 @code{\textLengthOn},
909 @code{\textLengthOff},
910 @code{\fermataMarkup},
911 @code{\compressFullBarRests},
912 @code{\expandFullBarRests}.
920 @cindex kirchenpausen
922 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
923 {changing-form-of-multi-measure-rests.ly}
925 @cindex multi-measure rests, positioning
926 @cindex positioning multi-measure rests
928 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
929 {positioning-multi-measure-rests.ly}
931 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
932 {multi-measure-rest-markup.ly}
936 @rglos{multi-measure rest}.
941 @ref{Formatting text},
948 @rinternals{MultiMeasureRest},
949 @rinternals{MultiMeasureRestNumber},
950 @rinternals{MultiMeasureRestText}.
952 @cindex fingerings and multi-measure rests
953 @cindex multi-measure rests and fingerings
956 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
957 in the fingering numeral colliding with the bar counter
960 @cindex condensing rests
961 @cindex rest, condensing ordinary
963 There is no way to automatically condense multiple ordinary rests
964 into a single multi-measure rest.
966 @cindex rest, collisions of
968 Multi-measure rests do not take part in rest collisions.
971 @node Displaying rhythms
972 @subsection Displaying rhythms
979 * Polymetric notation::
980 * Automatic note splitting::
981 * Showing melody rhythms::
985 @unnumberedsubsubsec Time signature
987 @cindex time signature
993 The time signature is set as follows:
995 @lilypond[quote,verbatim,relative=2]
1000 @cindex time signature, visibility of
1002 Time signatures are printed at the beginning of a piece
1003 and whenever the time signature changes. If a change takes place
1004 at the end of a line a warning time signature sign is printed
1005 there. This default behavior may be changed, see
1006 @ref{Visibility of objects}.
1008 @lilypond[quote,verbatim,relative=2]
1018 @cindex time signature style
1021 @funindex \numericTimeSignature
1022 @funindex numericTimeSignature
1023 @funindex \defaultTimeSignature
1024 @funindex defaultTimeSignature
1026 The time signature symbol that is used in 2/2 and 4/4 time can be
1027 changed to a numeric style:
1029 @lilypond[quote,verbatim,relative=2]
1033 % Change to numeric style
1034 \numericTimeSignature
1037 % Revert to default style
1038 \defaultTimeSignature
1044 Mensural time signatures are covered in
1045 @ref{Mensural time signatures}.
1047 @cindex time signature default settings
1048 @cindex autobeaming properties for time signatures
1049 @cindex beaming, time signature default properties
1050 @funindex \overrideTimeSignatureSettings
1052 In addition to setting the printed time signature, the @code{\time}
1053 command also sets time-signature-based default values for the properties
1054 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1055 predefined default values for these properties can be found in
1056 @file{scm/time-signature-settings.scm}. The existing default values can
1057 be changed, or new default values can be added:
1059 @lilypond[quote,verbatim]
1063 \overrideTimeSignatureSettings
1064 #'(4 . 4) % timeSignatureFraction
1065 #'(1 . 4) % baseMomentFraction
1066 #'(3 1) % beatStructure
1067 #'() % beamExceptions
1069 \repeat unfold 8 { c8 } |
1075 @code{\overrideTimeSignatureSettings} takes four arguments:
1080 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1084 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1085 and denominator of the basic timing unit for the time signature.
1088 @code{@var{beatStructure}}, a Scheme list indicating the structure
1089 of the beats in the measure, in units of the base moment.
1092 @code{@var{beamExceptions}}, an alist containing any beaming rules
1093 for the time signature that go beyond ending at every beat, as
1094 described in @ref{Setting automatic beam behavior}.
1097 The context containing @code{\overrideTimeSignatureSettings} must
1098 be instantiated before the @code{\overrideTimeSignatureSettings}
1099 call is executed. That means it must either be explicitly
1100 instantiated or there must be music in the context before the
1101 @code{\overrideTimeSignatureSettings} call:
1103 @lilypond[quote,verbatim]
1106 % This call will fail because the context isn't yet instantiated
1107 \overrideTimeSignatureSettings
1108 #'(4 . 4) % timeSignatureFraction
1109 #'(1 . 4) % baseMomentFraction
1110 #'(3 1) % beatStructure
1111 #'() % beamExceptions
1113 c8^\markup {"Beamed (2 2)"}
1114 \repeat unfold 7 { c8 } |
1115 % This call will succeed
1116 \overrideTimeSignatureSettings
1117 #'(4 . 4) % timeSignatureFraction
1118 #'(1 . 4) % baseMomentFraction
1119 #'(3 1) % beatStructure
1120 #'() % beamExceptions
1122 c8^\markup {"Beamed (3 1)"}
1123 \repeat unfold 7 { c8 } |
1129 @cindex time signature properties, restoring default values
1130 @cindex restoring default properties for time signatures
1131 @funindex \revertTimeSignatureSettings
1133 Changed values of default time signature properties can be restored
1134 to the original values:
1136 @lilypond[quote,verbatim]
1139 \repeat unfold 8 { c8 } |
1140 \overrideTimeSignatureSettings
1141 #'(4 . 4) % timeSignatureFraction
1142 #'(1 . 4) % baseMomentFraction
1143 #'(3 1) % beatStructure
1144 #'() % beamExceptions
1146 \repeat unfold 8 { c8 } |
1147 \revertTimeSignatureSettings #'(4 . 4)
1149 \repeat unfold 8 { c8 } |
1154 Different values of default time signature properties can be established
1155 for different staves by moving the @code{Timing_translator} and the
1156 @code{Default_bar_line_engraver} from the @code{Score} context to the
1157 @code{Staff} context.
1159 @lilypond[quote, verbatim]
1163 \overrideTimeSignatureSettings
1164 #'(4 . 4) % timeSignatureFraction
1165 #'(1 . 4) % baseMomentFraction
1166 #'(3 1) % beatStructure
1167 #'() % beamExceptions
1169 \repeat unfold 8 {c''8}
1172 \overrideTimeSignatureSettings
1173 #'(4 . 4) % timeSignatureFraction
1174 #'(1 . 4) % baseMomentFraction
1175 #'(1 3) % beatStructure
1176 #'() % beamExceptions
1178 \repeat unfold 8 {c''8}
1184 \remove "Timing_translator"
1185 \remove "Default_bar_line_engraver"
1189 \consists "Timing_translator"
1190 \consists "Default_bar_line_engraver"
1197 @code{\numericTimeSignature},
1198 @code{\defaultTimeSignature}.
1203 @lilypondfile[verbatim,quote,texidoc,doctitle]
1204 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1208 @rglos{time signature}
1211 @ref{Mensural time signatures},
1212 @ref{Time administration}.
1217 Internals Reference:
1218 @rinternals{TimeSignature},
1219 @rinternals{Timing_translator}.
1222 @node Metronome marks
1223 @unnumberedsubsubsec Metronome marks
1226 @cindex beats per minute
1227 @cindex metronome mark
1228 @cindex metronome marking with text
1233 A basic metronome mark is simple to write:
1235 @lilypond[verbatim,quote,relative=1]
1241 Metronome marks may also be printed as a range of two numbers:
1243 @lilypond[verbatim,quote,relative=1]
1249 Tempo indications with text can be used instead:
1251 @lilypond[verbatim,quote,relative=2]
1257 Combining a metronome mark and text will automatically place the
1258 metronome mark within parentheses:
1260 @lilypond[verbatim,quote,relative=2]
1261 \tempo "Allegro" 4 = 160
1266 In general, the text can be any markup object:
1268 @lilypond[verbatim,quote,relative=2]
1269 \tempo \markup { \italic Faster } 4 = 132
1270 a8-. r8 b-. r gis-. r a-. r
1273 A parenthesized metronome mark with no textual indication may be
1274 written by including an empty string in the input:
1276 @lilypond[verbatim,quote,relative=2]
1284 @lilypondfile[verbatim,quote,texidoc,doctitle]
1285 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1287 @c perhaps also an example of how to move it horizontally?
1289 @lilypondfile[verbatim,quote,texidoc,doctitle]
1290 {changing-the-tempo-without-a-metronome-mark.ly}
1292 @lilypondfile[verbatim,quote,texidoc,doctitle]
1293 {creating-metronome-marks-in-markup-mode.ly}
1295 For more details, see @ref{Formatting text}.
1300 @rglos{metronomic indication},
1301 @rglos{tempo indication},
1302 @rglos{metronome mark}.
1305 @ref{Formatting text},
1309 @rlsr{Staff notation}.
1311 Internals Reference:
1312 @rinternals{MetronomeMark}.
1316 @unnumberedsubsubsec Upbeats
1320 @cindex partial measure
1321 @cindex measure, partial
1322 @cindex measure, pickup
1323 @cindex pickup measure
1325 @funindex measurePosition
1329 Partial or pick-up measures, such as an @emph{anacrusis} or an
1330 @emph{upbeat}, are entered using the @code{\partial} command,
1333 \partial @var{duration}
1337 where @code{@var{duration}} is the @emph{remaining} length of the
1338 partial measure @emph{before} the start of the next full measure.
1340 @lilypond[quote,verbatim,relative=1]
1346 The @var{duration} can be any value less than a full measure:
1348 @lilypond[quote,verbatim,relative=1]
1351 r4 e8 | a4 c8 b c4 |
1354 The @code{\partial @var{duration}} can also be written as;
1357 \set Timing.measurePosition -@var{duration}
1360 So @code{\partial 8} becomes:
1362 @lilypond[quote,verbatim,relative=1]
1364 \set Timing.measurePosition = #(ly:make-moment -1 8)
1368 The property @code{measurePosition} contains a rational number
1369 indicating how much of the measure has passed at this point. Note
1370 that this is set to a negative number by the @code{\partial} command:
1371 i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
1372 meaning @qq{there is a quarter note left in the measure.}
1385 @rinternals{Timing_translator}.
1388 The @code{\partial} command should be used only at the beginning of a
1389 piece. If you use it after the beginning, warnings or problems may
1390 occur, so use @code{\set Timing.measurePosition} instead.
1392 @lilypond[quote,verbatim,relative=1]
1395 e8 | a4 c8 b[ c b] |
1396 \set Timing.measurePosition = #(ly:make-moment -1 4)
1397 r8 e,8 | a4 c8 b[ c b] |
1401 @node Unmetered music
1402 @unnumberedsubsubsec Unmetered music
1405 @cindex cadenza, beams
1406 @cindex cadenza, accidentals
1407 @cindex cadenza, bar lines
1408 @cindex cadenza, bar numbers
1409 @cindex unmetered music
1410 @cindex unmetered music, beams
1411 @cindex unmetered music, accidentals
1412 @cindex unmetered music, bar lines
1413 @cindex unmetered music, bar numbers
1414 @cindex accidentals, cadenzas
1415 @cindex accidentals, unmetered music
1416 @cindex bar lines, cadenzas
1417 @cindex bar lines, unmetered music
1418 @cindex bar numbers, cadenzas
1419 @cindex bar numbers, unmetered music
1420 @cindex beams, cadenzas
1421 @cindex beams, unmetered music
1423 @funindex \cadenzaOn
1425 @funindex \cadenzaOff
1426 @funindex cadenzaOff
1428 In metered music bar lines are inserted and bar numbers are calculated
1429 automatically. In unmetered music (i.e. cadenzas), this is not
1430 desirable and can be @q{switched off} using the command
1431 @code{\cadenzaOn}, then @q{switched back on} at the appropriate place
1432 using @code{\cadenzaOff}.
1434 @lilypond[verbatim,relative=2,quote]
1437 c4 c d8[ d d] f4 g4.
1443 Bar numbering is resumed at the end of the cadenza.
1445 @lilypond[verbatim,relative=2,quote]
1446 % Show all bar numbers
1447 \override Score.BarNumber #'break-visibility = #all-visible
1450 c4 c d8[ d d] f4 g4.
1456 A new bar is never started within a cadenza, even if one or more
1457 @code{\bar} commands are inserted within it. Therefore, reminder
1458 accidentals will need to be added manually. See @ref{Accidentals}.
1460 @lilypond[verbatim,relative=2,quote]
1470 Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
1471 beaming in cadenzas must be entered manually. See @ref{Manual beams}.
1473 @lilypond[verbatim,relative=2,quote]
1474 \repeat unfold 8 { c8 }
1480 \repeat unfold 8 { c8 }
1483 These predefined commands affect all staves in the score, even when
1484 placed in just one @code{Voice} context. To change this, move the
1485 @code{Timing_translator} from the @code{Score} context to the
1486 @code{Staff} context. See @ref{Polymetric notation}.
1498 @ref{Visibility of objects},
1499 @ref{Polymetric notation},
1506 @cindex cadenza, line breaks
1507 @cindex cadenza, page breaks
1508 @cindex unmetered music, line breaks
1509 @cindex unmetered music, page breaks
1510 @cindex breaks in unmetered music
1511 @cindex line breaks, cadenzas
1512 @cindex page breaks, cadenzas
1513 @cindex line breaks, unmetered music
1514 @cindex page breaks, unmetered music
1517 Automatic line and page breaks are inserted only at bar lines, so
1518 @q{invisible} bar lines will need to be inserted manually in long
1519 stretches of unmetered music to permit breaking:
1525 Explicitly create a @code{Voice} context when starting a piece with
1526 @code{\cadenzaOn}, else unexpected errors may occur.
1532 c16[^"Solo Free Time" d e f] g2.
1540 @node Polymetric notation
1541 @unnumberedsubsubsec Polymetric notation
1543 @c This section necessarily uses \set
1544 @c This is acceptable -td
1546 @cindex double time signatures
1547 @cindex signatures, polymetric
1548 @cindex time signatures, polymetric
1549 @cindex time signatures, double
1550 @cindex polymetric signatures
1551 @cindex meter, polymetric
1553 @funindex timeSignatureFraction
1554 @funindex \scaleDurations
1555 @funindex scaleDurations
1559 Polymetric notation is supported explicitly or by manually modifying the
1560 visible time signature symbol and/or scaling note durations.
1562 @subsubheading Different time signatures with equal-length measures
1564 Set a common time signature for each staff, and set the
1565 @code{timeSignatureFraction} to the desired fraction. Then use the
1566 @code{\scaleDurations} function to scale the durations of the notes in
1567 each staff to the common time signature.
1569 @cindex beams, with polymetric meters
1570 @cindex polymetric meters, with beams
1572 In the following example, music with the time signatures of 3/4, 9/8 and
1573 10/8 are used in parallel. In the second staff, shown durations are
1574 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1575 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1576 may be necessary to insert beams manually, as the duration scaling will
1577 affect the autobeaming rules.
1579 @lilypond[quote,verbatim]
1588 \set Staff.timeSignatureFraction = #'(9 . 8)
1589 \scaleDurations #'(2 . 3)
1590 \repeat unfold 6 { c8[ c c] }
1594 \set Staff.timeSignatureFraction = #'(10 . 8)
1595 \scaleDurations #'(3 . 5) {
1596 \repeat unfold 2 { c8[ c c] }
1597 \repeat unfold 2 { c8[ c] } |
1598 c4. c \times 2/3 { c8[ c c] } c4
1604 @subsubheading Different time signatures with unequal-length measures
1606 Each staff can be given its own independent time signature by
1607 moving the @code{Timing_translator} and the
1608 @code{Default_bar_line_engraver} to the @code{Staff} context.
1610 @lilypond[quote,verbatim]
1614 \remove "Timing_translator"
1615 \remove "Default_bar_line_engraver"
1619 \consists "Timing_translator"
1620 \consists "Default_bar_line_engraver"
1624 % Now each staff has its own time signature.
1648 @funindex \compoundMeter
1649 @cindex compound time signatures
1650 @cindex time signature, compound
1652 @subsubheading Compound time signatures
1654 These are created using the @code{\compoundMeter} function. The syntax
1658 \compoundMeter #'@code{(list of lists)}
1661 The simplest construction is a single list, where the @emph{last} number
1662 indicates the bottom number of the time signature and those that come
1663 before it, the top numbers.
1665 @lilypond[quote,verbatim]
1667 \compoundMeter #'((2 2 2 8))
1668 \repeat unfold 6 c8 \repeat unfold 12 c16
1672 More complex meters can be constructed using additional lists. Also,
1673 automatic beaming settings will be adjusted depending on the values.
1675 @lilypond[quote,verbatim]
1677 \compoundMeter #'((1 4) (3 8))
1678 \repeat unfold 5 c8 \repeat unfold 10 c16
1682 \compoundMeter #'((1 2 3 8) (3 4))
1683 \repeat unfold 12 c8
1690 @rglos{polymetric time signature},
1694 @ref{Automatic beams},
1696 @ref{Time signature},
1697 @ref{Scaling durations}.
1702 Internals Reference:
1703 @rinternals{TimeSignature},
1704 @rinternals{Timing_translator},
1705 @rinternals{Default_bar_line_engraver},
1709 When using different time signatures in parallel, notes at the same
1710 moment will be placed at the same horizontal location. However, the bar
1711 lines in the different staves will cause the note spacing to be less
1712 regular in each of the individual staves than would be normal without
1713 the different time signatures.
1716 @node Automatic note splitting
1717 @unnumberedsubsubsec Automatic note splitting
1719 @cindex notes, splitting
1720 @cindex splitting notes
1721 @cindex rests, splitting
1722 @cindex splitting rests
1724 @funindex Note_heads_engraver
1725 @funindex Completion_heads_engraver
1726 @funindex Completion_rest_engraver
1728 Long notes which overrun bar lines can be converted automatically to
1729 tied notes. This is done by replacing the @code{Note_heads_engraver}
1730 with the @code{Completion_heads_engraver}. Similarly, long rests which
1731 overrun bar lines are split automatically by replacing the
1732 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1733 following example, notes and rests crossing the bar lines are split,
1734 notes are also tied.
1736 @lilypond[quote,verbatim,relative=1]
1738 \remove "Note_heads_engraver"
1739 \consists "Completion_heads_engraver"
1740 \remove "Rest_engraver"
1741 \consists "Completion_rest_engraver"
1744 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1747 These engravers split all running notes and rests at the bar line, and
1748 inserts ties for notes. One of its uses is to debug complex scores: if
1749 the measures are not entirely filled, then the ties show exactly how
1750 much each measure is off.
1757 @rlearning{Engravers explained},
1758 @rlearning{Adding and removing engravers}.
1763 Internals Reference:
1764 @rinternals{Note_heads_engraver},
1765 @rinternals{Completion_heads_engraver},
1766 @rinternals{Rest_engraver},
1767 @rinternals{Completion_rest_engraver},
1768 @rinternals{Forbid_line_break_engraver}.
1771 Not all durations (especially those containing tuplets) can be
1772 represented exactly with normal notes and dots, but the
1773 @code{Completion_heads_engraver} will not insert tuplets.
1775 The @code{Completion_heads_engraver} only affects notes; it does not
1779 @node Showing melody rhythms
1780 @unnumberedsubsubsec Showing melody rhythms
1782 @cindex melody rhythms, showing
1783 @cindex rhythms, showing melody
1785 Sometimes you might want to show only the rhythm of a melody. This
1786 can be done with the rhythmic staff. All pitches of notes on such a
1787 staff are squashed, and the staff itself has a single line
1789 @lilypond[quote,relative=1,verbatim]
1791 \new RhythmicStaff {
1792 \new Voice = "myRhythm" {
1800 \lyricsto "myRhythm" {
1808 @cindex guitar chord charts
1809 @cindex strumming rhythms, showing
1810 @cindex guitar strumming rhythms, showing
1812 @funindex Pitch_squash_engraver
1813 @funindex \improvisationOn
1814 @funindex improvisationOn
1815 @funindex \improvisationOff
1816 @funindex improvisationOff
1818 Guitar chord charts often show the strumming rhythms. This can
1819 be done with the @code{Pitch_squash_engraver} and
1820 @code{\improvisationOn}.
1823 @lilypond[quote,verbatim]
1831 \consists Pitch_squash_engraver
1844 @code{\improvisationOn},
1845 @code{\improvisationOff}.
1851 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1852 {guitar-strum-rhythms.ly}
1858 Internals Reference:
1859 @rinternals{RhythmicStaff},
1860 @rinternals{Pitch_squash_engraver}.
1868 * Setting automatic beam behavior::
1873 @node Automatic beams
1874 @unnumberedsubsubsec Automatic beams
1876 By default, beams are inserted automatically:
1878 @cindex beams, manual
1879 @cindex manual beams
1880 @cindex beams, customizing rules
1882 @funindex \autoBeamOn
1883 @funindex autoBeamOn
1884 @funindex \autoBeamOff
1885 @funindex autoBeamOff
1887 @lilypond[quote,verbatim,relative=2]
1889 \time 6/8 c8 c c c8. c16 c8
1892 If these automatic decisions are not satisfactory, beaming can be
1893 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1894 entered manually if beams are to be extended over rests.
1896 If automatic beaming is not required, it may be turned off with
1897 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1899 @lilypond[quote,relative=1,verbatim]
1900 c4 c8 c8. c16 c8. c16 c8
1907 @cindex melismata, with beams
1908 @cindex beams, with melismata
1910 @warning{If beams are used to indicate melismata in songs, then
1911 automatic beaming should be switched off with @code{\autoBeamOff}
1912 and the beams indicated manually. Using @code{@bs{}partcombine} with
1913 @code{@bs{}autoBeamOff} can produce unintended results. See the
1914 snippets for more information.}
1916 Beaming patterns that differ from the automatic defaults can be
1917 created; see @ref{Setting automatic beam behavior}.
1920 @code{\autoBeamOff},
1924 @cindex beams, line breaks
1925 @cindex line breaks, beams
1926 @cindex beams, with knee gap
1927 @cindex knee gap, with beams
1931 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1932 {beams-across-line-breaks.ly}
1934 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1935 {changing-beam-knee-gap.ly}
1937 @cindex beams, \partcombine with \autoBeamOff
1938 @cindex voices, \partcombine with \autoBeamOff
1940 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1941 {partcombine-and-autobeamoff.ly}
1946 @ref{Setting automatic beam behavior}.
1949 @file{scm/auto-beam.scm}.
1954 Internals Reference:
1955 @rinternals{Auto_beam_engraver},
1956 @rinternals{Beam_engraver},
1958 @rinternals{BeamEvent},
1959 @rinternals{BeamForbidEvent},
1960 @rinternals{beam-interface},
1961 @rinternals{unbreakable-spanner-interface}.
1964 The properties of a beam are determined at the @emph{start} of its
1965 construction and any additional beam-property changes that occur before
1966 the beam has been completed will not take effect until the @emph{next},
1970 @node Setting automatic beam behavior
1971 @unnumberedsubsubsec Setting automatic beam behavior
1973 @cindex beams, with lyrics
1974 @cindex lyrics, with beams
1976 @funindex autoBeaming
1977 @funindex baseMoment
1978 @funindex beamExceptions
1979 @funindex beatStructure
1980 @funindex measureLength
1986 In most instances, automatic beams will end at the end of a beat.
1987 The ending points for beats are determined by the context properties
1988 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1989 is a scheme list that defines the length of each beat in the measure
1990 in units of @code{baseMoment}. By default, @code{baseMoment} is
1991 the one over numerator of the time signature. By default,
1992 each unit of length @code{baseMoment} is a single beat.
1994 @lilypond[quote,relative=2,verbatim]
1996 c16^"default" c c c c |
1997 \set Timing.beatStructure = #'(2 3)
1998 c16^"(2+3)" c c c c |
1999 \set Timing.beatStructure = #'(3 2)
2000 c16^"(3+2)" c c c c |
2003 Beam setting changes can be limited to specific contexts. If no
2004 setting is included in a lower-level context, the setting of the
2005 enclosing context will apply.
2007 @lilypond[quote, verbatim,relative=1]
2010 \set Staff.beatStructure = #'(2 3 2)
2020 \set Voice.beatStructure = #'(1 3 3)
2028 When multiple voices are used the @code{Staff} context must be
2029 specified if the beaming is to be applied to all voices in the
2032 @lilypond[quote,verbatim,relative=2]
2035 % Change applied to Voice by default -- does not work correctly
2036 % Because of autogenerated voices, all beating will
2037 % be at baseMoment (1 . 8)
2038 \set beatStructure = #'(3 1 1 2)
2039 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2041 % Works correctly with context Staff specified
2042 \set Staff.beatStructure = #'(3 1 1 2)
2043 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2046 The value of @code{baseMoment} can be adjusted to change
2047 the beaming behavior, if desired. When this is done,
2048 the value of @code{beatStructure} must be set to be
2049 compatible with the new value of @code{baseMoment}.
2051 @lilypond[quote,verbatim,relative=2]
2053 \set Timing.baseMoment = #(ly:make-moment 1 16)
2054 \set Timing.beatStructure = #'(7 3)
2055 \repeat unfold 10 { a16 }
2058 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2059 quantity of type @i{moment} is created by the scheme function
2060 @code{ly:make-moment}. For more information about this function,
2061 see @ref{Time administration}.
2063 By default @code{baseMoment} is set to one over the denominator of
2064 the time signature. Any exceptions to this default can be found in
2065 @file{scm/time-signature-settings.scm}.
2067 Special autobeaming rules (other than ending a beam on a beat)
2068 are defined in the @code{beamExceptions} property.
2070 @lilypond[quote,relative=2,verbatim]
2072 \set Timing.beatStructure = #'(2 1)
2073 \set Timing.beamExceptions =
2075 (end . ;entry for end of beams
2076 ( ;start of alist of end points
2077 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2078 ))) %close all entries
2080 \repeat unfold 6 { c32 } |
2083 @code{beamExceptions} is an alist with a key of rule-type and a value
2086 At this time the only available value of rule-type is
2087 @code{'end} for beam ending.
2089 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2090 beam type and the grouping to be applied to beams containing notes with
2091 a shortest duration of that beam type.
2094 #'((beam-type1 . grouping-1)
2095 (beam-type2 . grouping-2)
2096 (beam-type3 . grouping-3))
2099 Beam type is a scheme pair indicating the duration of the beam,
2100 e.g., @code{(1 . 16)}.
2102 Grouping is a scheme list indicating the grouping to be applied to
2103 the beam. The grouping is in units of the beam type.
2105 @warning{ A @code{beamExceptions} value must be @emph{complete}
2106 exceptions list. That is, every exception that should be applied
2107 must be included in the setting. It is not possible to add, remove,
2108 or change only one of the exceptions. While this may seem cumbersome,
2109 it means that the current beaming settings need not be known in order
2110 to specify a new beaming pattern.}
2112 When the time signature is changed, default values of
2113 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2114 and @code{Timing.beamExceptions} are set. Setting the time signature
2115 will reset the automatic beaming settings for the @code{Timing}
2116 context to the default behavior.
2118 @lilypond[quote,verbatim,relative=2]
2120 \repeat unfold 6 { a8 }
2122 \set Timing.beatStructure = #'(4 2)
2123 \repeat unfold 6 { a8 }
2124 % go back to default behavior
2126 \repeat unfold 6 { a8 }
2129 The default automatic beaming settings for a time signature
2130 are determined in @file{scm/time-signature-settings.scm}.
2131 Changing the default automatic beaming settings
2132 for a time signature is described in @ref{Time signature}.
2134 Many automatic beaming settings for a time signature contain an
2135 entry for @code{beamExceptions}. For example, 4/4 time tries to
2136 beam the measure in two if there are only eighth notes. The
2137 @code{beamExceptions} rule can override the @code{beatStructure} setting
2138 if @code{beamExceptions} is not reset.
2140 @lilypond[quote,verbatim,relative=2]
2142 \set Timing.baseMoment = #(ly:make-moment 1 8)
2143 \set Timing.beatStructure = #'(3 3 2)
2144 % This won't beam (3 3 2) because of beamExceptions
2145 \repeat unfold 8 {c8} |
2146 % This will beam (3 3 2) because we clear beamExceptions
2147 \set Timing.beamExceptions = #'()
2148 \repeat unfold 8 {c8}
2151 In traditional engraving, eighth notes can have special beaming rules.
2152 A measure consisting of only eighth notes can be beamed in one. This rule is
2153 controlled by the context property @code{beamWholeMeasure}:
2155 @lilypond[quote,verbatim,relative=2]
2157 % By default we beam in one
2158 \repeat unfold 6 { a8 }
2159 % We can avoid beaming in one
2160 \set Timing.beamWholeMeasure = ##f
2161 \repeat unfold 6 { a8 }
2164 In some engraving from the Romantic and Classical periods,
2165 a half-measure of eighth notes can be beamed
2166 together even though this violates the general rule (see Gould, p. 153).
2167 This behavior is controlled by the context property @code{beamHalfMeasure}:
2169 @lilypond[quote,verbatim,relative=2]
2171 % By default we avoid half-measure beams
2173 % We can allow half-measure beams
2174 \set Timing.beamHalfMeasure = ##t
2178 @i{@strong{How automatic beaming works}}
2180 When automatic beaming is enabled, the placement of automatic beams
2181 is determined by the context properties
2182 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2184 The following rules, in order of priority, apply when determining
2185 the appearance of beams:
2189 If a manual beam is specified with @code{[..]} set the beam
2190 as specified, otherwise
2193 if a beam-ending rule is defined in @code{beamExceptions}
2194 for the beam-type, use it to determine the valid places where
2195 beams may end, otherwise
2198 if a beam-ending rule is defined in @code{beamExceptions}
2199 for a longer beam-type, use it to determined the valid places
2200 where beams may end, otherwise
2203 use the values of @code{baseMoment} and @code{beatStructure} to
2204 determine the ends of the beats in the measure, and
2205 end beams at the end of beats.
2209 In the rules above, the @emph{beam-type} is the duration of the
2210 shortest note in the beamed group.
2212 The default beaming rules can be found in
2213 @file{scm/time-signature-settings.scm}.
2217 @cindex beams, subdividing
2219 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2220 {subdividing-beams.ly}
2222 @cindex beamlets, orienting
2224 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2225 {strict-beat-beaming.ly}
2227 @cindex measure groupings
2228 @cindex beats, grouping
2229 @cindex grouping beats
2230 @cindex measure sub-grouping
2232 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2233 {conducting-signs,-measure-grouping-signs.ly}
2235 @cindex beam, endings in a score
2236 @cindex beam, endings with multiple voices
2238 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2239 {beam-endings-in-score-context.ly}
2243 @file{scm/beam-settings.scm}.
2248 Internals Reference:
2249 @rinternals{Auto_beam_engraver},
2251 @rinternals{BeamForbidEvent},
2252 @rinternals{beam-interface}.
2255 If a score ends while an automatic beam has not been ended and is
2256 still accepting notes, this last beam will not be typeset at all.
2257 The same holds for polyphonic voices, entered with
2258 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2259 automatic beam is still accepting notes, it is not typeset.
2260 The workaround for these problems is to manually beam the last
2261 beam in the voice or score.
2263 By default, the @code{Timing} translator is aliased to the
2264 @code{Score} context. This means that setting the time signature
2265 in one staff will affect the beaming of the other staves as well.
2266 Thus, a time signature setting in a later staff will reset custom
2267 beaming that was set in an earlier staff.
2268 One way to avoid this problem is to set the time signature
2271 @lilypond[quote,verbatim,relative=2]
2275 \set Timing.baseMoment = #(ly:make-moment 1 8)
2276 \set Timing.beatStructure = #'(1 5)
2277 \repeat unfold 6 { a8 }
2280 \repeat unfold 6 { a8 }
2285 The default beam settings for the time signature can also be changed, so
2286 that the desired beaming will always be used. Changes in automatic
2287 beaming settings for a time signature are described in
2288 @ref{Time signature}.
2290 @lilypond[quote,verbatim,relative=2]
2293 \overrideTimeSignatureSettings
2294 #'(3 . 4) % timeSignatureFraction
2295 #'(1 . 8) % baseMomentFraction
2296 #'(1 5) % beatStructure
2297 #'() % beamExceptions
2299 \repeat unfold 6 { a8 }
2303 \repeat unfold 6 { a8 }
2310 @unnumberedsubsubsec Manual beams
2312 @cindex beams, manual
2313 @cindex manual beams
2318 In some cases it may be necessary to override the automatic
2319 beaming algorithm. For example, the autobeamer will not put beams
2320 over rests or bar lines, and in choral scores the beaming is
2321 often set to follow the meter of the lyrics rather than the
2322 notes. Such beams can be specified manually by
2323 marking the begin and end point with @code{[} and @code{]}.
2325 @lilypond[quote,relative=1,verbatim]
2326 r4 r8[ g' a r] r g[ | a] r
2329 @cindex manual beams, direction shorthand for
2330 @cindex manual beams, grace notes
2332 Beaming direction can be set manually using direction indicators:
2334 @lilypond[quote,relative=2,verbatim]
2335 c8^[ d e] c,_[ d e f g]
2341 Individual notes may be marked with @code{\noBeam} to prevent them
2344 @lilypond[quote,verbatim,relative=2]
2349 Grace note beams and normal note beams can occur simultaneously.
2350 Unbeamed grace notes are not put into normal note beams.
2352 @lilypond[quote,verbatim,relative=2]
2354 \grace { e32[ d c d] }
2360 @funindex stemLeftBeamCount
2361 @funindex stemRightBeamCount
2363 Even more strict manual control with the beams can be achieved by
2364 setting the properties @code{stemLeftBeamCount} and
2365 @code{stemRightBeamCount}. They specify the number of beams to
2366 draw on the left and right side, respectively, of the next note.
2367 If either property is set, its value will be used only once, and
2368 then it is erased. In this example, the last @code{f} is printed
2369 with only one beam on the left side, i.e., the eighth-note beam of
2370 the group as a whole.
2372 @lilypond[quote,relative=2,verbatim]
2375 \set stemLeftBeamCount = #2
2376 \set stemRightBeamCount = #1
2378 \set stemLeftBeamCount = #1
2390 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2391 {flat-flags-and-beam-nibs.ly}
2395 @ref{Direction and placement},
2401 Internals Reference:
2403 @rinternals{BeamEvent},
2404 @rinternals{Beam_engraver},
2405 @rinternals{beam-interface},
2406 @rinternals{Stem_engraver}.
2409 @node Feathered beams
2410 @unnumberedsubsubsec Feathered beams
2412 @cindex beams, feathered
2413 @cindex feathered beams
2415 @funindex \featherDurations
2416 @funindex featherDurations
2417 @funindex grow-direction
2419 Feathered beams are used to indicate that a small group of notes
2420 should be played at an increasing (or decreasing) tempo, without
2421 changing the overall tempo of the piece. The extent of the
2422 feathered beam must be indicated manually using @code{[} and
2423 @code{]}, and the beam feathering is turned on by specifying a
2424 direction to the @code{Beam} property @code{grow-direction}.
2426 If the placement of the notes and the sound in the MIDI output is to
2427 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2428 feathered beam the notes must be grouped as a music expression delimited
2429 by braces and preceded by a @code{featherDurations} command which specifies
2430 the ratio between the durations of the first and last notes in the
2433 The square brackets show the extent of the beam and the braces show
2434 which notes are to have their durations modified. Normally these
2435 would delimit the same group of notes, but this is not required: the
2436 two commands are independent.
2438 In the following example the eight 16th notes occupy exactly the
2439 same time as a half note, but the first note is one half as long
2440 as the last one, with the intermediate notes gradually
2441 lengthening. The first four 32nd notes gradually speed up, while
2442 the last four 32nd notes are at a constant tempo.
2444 @lilypond[relative=1,verbatim,quote]
2445 \override Beam #'grow-direction = #LEFT
2446 \featherDurations #(ly:make-moment 2 1)
2447 { c16[ c c c c c c c] }
2448 \override Beam #'grow-direction = #RIGHT
2449 \featherDurations #(ly:make-moment 2 3)
2451 % revert to non-feathered beams
2452 \override Beam #'grow-direction = #'()
2457 The spacing in the printed output represents the
2458 note durations only approximately, but the MIDI output is exact.
2461 @code{\featherDurations}.
2469 The @code{\featherDurations} command only works with very short
2470 music snippets, and when numbers in the fraction are small.
2479 * Bar and bar number checks::
2484 @unnumberedsubsubsec Bar lines
2487 @cindex measure lines
2488 @cindex closing bar lines
2489 @cindex bar lines, closing
2490 @cindex double bar lines
2491 @cindex bar lines, double
2497 Bar lines delimit measures, and are also used to indicate
2498 repeats. Normally, simple bar lines are automatically inserted
2499 into the printed output at places based on the current time
2502 The simple bar lines inserted automatically can be changed to
2503 other types with the @code{\bar} command. For example, a closing
2504 double bar line is usually placed at the end of a piece:
2506 @lilypond[quote,relative=1,verbatim]
2510 It is not invalid if the final note in a measure does not
2511 end on the automatically entered bar line: the note is assumed
2512 to carry over into the next measure. But if a long sequence
2513 of such carry-over measures appears the music can appear compressed
2514 or even flowing off the page. This is because automatic line
2515 breaks happen only at the end of complete measures, i.e., where
2516 all notes end before the end of a measure.
2518 @warning{An incorrect duration can cause line breaks to be
2519 inhibited, leading to a line of highly compressed music or
2520 music which flows off the page.}
2523 @cindex bar lines, invisible
2524 @cindex measure lines, invisible
2526 Line breaks are also permitted at manually inserted bar lines
2527 even within incomplete measures. To allow a line break without
2528 printing a bar line, use the following:
2535 This will insert an invisible bar line and allow (but not
2536 force) a line break to occur at this point. The bar number
2537 counter is not increased. To force a line break see
2538 @ref{Line breaking}.
2540 @cindex manual bar lines
2541 @cindex manual measure lines
2542 @cindex bar lines, manual
2543 @cindex measure lines, manual
2545 This and other special bar lines may be inserted manually at any
2546 point. When they coincide with the end of a measure they replace
2547 the simple bar line which would have been inserted there
2548 automatically. When they do not coincide with the end of a measure
2549 the specified bar line is inserted at that point in the printed
2552 Note that manual bar lines are purely visual. They do not affect
2553 any of the properties that a normal bar line would affect, such as
2554 measure numbers, accidentals, line breaks, etc. They do not affect
2555 the calculation and placement of subsequent automatic bar lines.
2556 When a manual bar line is placed where a normal bar line already
2557 exists, the effects of the original bar line are not altered.
2559 Two types of simple bar lines and five types of double bar lines are
2560 available for manual insertion:
2562 @lilypond[quote,relative=1,verbatim]
2574 together with dotted and dashed bar lines:
2576 @lilypond[quote,relative=1,verbatim]
2583 and five types of repeat bar line:
2585 @lilypond[quote,relative=1,verbatim]
2594 Additionally, a bar line can be printed as a simple tick:
2595 @lilypond[quote,relative=1,verbatim]
2598 However, as such ticks are typically used in Gregorian chant, it is
2599 preferable to use @code{\divisioMinima} there instead, described in
2600 the section @ref{Divisiones} in Gregorian chant.
2604 For in-line segno signs, there are three types of bar lines which
2605 differ in their behavior at line breaks:
2607 @lilypond[quote,relative=2,verbatim]
2625 Although the bar line types signifying repeats may be inserted
2626 manually they do not in themselves cause LilyPond to recognize
2627 a repeated section. Such repeated sections are better entered
2628 using the various repeat commands (see @ref{Repeats}), which
2629 automatically print the appropriate bar lines.
2631 In addition, you can specify @code{"||:"}, which is equivalent to
2632 @code{"|:"} except at line breaks, where it gives a double bar
2633 line at the end of the line and a start repeat at the beginning of
2636 @lilypond[quote,relative=2,verbatim]
2644 For combinations of repeats with the segno sign, there are six different
2647 @lilypond[quote,relative=2,verbatim]
2676 In scores with many staves, a @code{\bar} command in one staff is
2677 automatically applied to all staves. The resulting bar lines are
2678 connected between different staves of a @code{StaffGroup},
2679 @code{PianoStaff}, or @code{GrandStaff}.
2681 @lilypond[quote,relative=1,verbatim]
2689 \new Staff { \clef bass c4 g e g }
2691 \new Staff { \clef bass c2 c2 }
2696 @cindex default bar lines, changing
2697 @cindex bar lines, default, changing
2702 @funindex defaultBarType
2707 The command @samp{\bar @var{bartype}} is a shortcut for
2708 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2709 created whenever the @code{whichBar} property is set.
2711 The default bar type used for automatically inserted bar lines is
2712 @code{"|"}. This may be changed at any time with
2713 @samp{\set Timing.defaultBarType = @var{bartype}}.
2717 @ref{Line breaking},
2719 @ref{Grouping staves}.
2724 Internals Reference:
2725 @rinternals{BarLine} (created at @code{Staff} level),
2726 @rinternals{SpanBar} (across staves),
2727 @rinternals{Timing_translator} (for Timing properties).
2731 @unnumberedsubsubsec Bar numbers
2734 @cindex measure numbers
2735 @cindex numbers, bar
2736 @cindex numbers, measure
2738 @funindex currentBarNumber
2740 Bar numbers are typeset by default at the start of every line except
2741 the first line. The number itself is stored in the
2742 @code{currentBarNumber} property, which is normally updated
2743 automatically for every measure. It may also be set manually:
2745 @lilypond[verbatim,quote,relative=1]
2748 \set Score.currentBarNumber = #50
2752 @cindex bar numbers, regular spacing
2754 @funindex barNumberVisibility
2757 Bar numbers can be typeset at regular intervals instead of just at
2758 the beginning of every line. To do this the default behavior
2759 must be overridden to permit bar numbers to be printed at places
2760 other than the start of a line. This is controlled by the
2761 @code{break-visibility} property of @code{BarNumber}. This takes
2762 three values which may be set to @code{#t} or @code{#f} to specify
2763 whether the corresponding bar number is visible or not. The order
2764 of the three values is @code{end of line visible}, @code{middle of
2765 line visible}, @code{beginning of line visible}. In the following
2766 example bar numbers are printed at all possible places:
2768 @lilypond[verbatim,quote,relative=1]
2769 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2770 \set Score.currentBarNumber = #11
2771 % Permit first bar number to be printed
2779 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2780 {printing-the-bar-number-for-the-first-measure.ly}
2782 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2783 {printing-bar-numbers-at-regular-intervals.ly}
2785 @cindex measure number, format
2786 @cindex bar number, format
2788 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2789 {printing-bar-numbers-inside-boxes-or-circles.ly}
2791 @cindex bar numbers, with letters
2792 @cindex bar numbers, with repeats
2794 @lilypondfile[verbatim,quote,texidoc,doctitle]
2795 {alternative-bar-numbering.ly}
2797 @cindex bar number alignment
2799 @lilypondfile[verbatim,quote,texidoc,doctitle]
2800 {aligning-bar-numbers.ly}
2802 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2803 {removing-bar-numbers-from-a-score.ly}
2809 Internals Reference:
2810 @rinternals{BarNumber},
2811 @rinternals{Bar_number_engraver}.
2813 @cindex bar number collision
2814 @cindex collision, bar number
2817 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2818 if there is one. To solve this, the @code{padding} property of
2819 @code{BarNumber} can be used to position the number correctly. See
2820 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2823 @node Bar and bar number checks
2824 @unnumberedsubsubsec Bar and bar number checks
2827 @cindex bar number check
2828 @cindex measure check
2829 @cindex measure number check
2831 @funindex barCheckSynchronize
2834 Bar checks help detect errors in the entered durations. A bar check
2835 may be entered using the bar symbol, @code{|}, at any place where a
2836 bar line is expected to fall. If bar check lines are encountered at
2837 other places, a list of warnings is printed in the log file, showing
2838 the line numbers and lines in which the bar checks failed. In the
2839 next example, the second bar check will signal an error.
2842 \time 3/4 c2 e4 | g2 |
2845 Bar checks can also be used in lyrics:
2850 Twin -- kle | Twin -- kle |
2854 An incorrect duration can result in a completely garbled score,
2855 especially if the score is polyphonic, so a good place to start
2856 correcting input is by scanning for failed bar checks and
2857 incorrect durations.
2859 If successive bar checks are off by the same musical interval,
2860 only the first warning message is displayed. This allows the
2861 warning to focus on the source of the timing error.
2865 @funindex pipeSymbol
2867 It is also possible to redefine the action taken when a bar check
2868 or pipe symbol, @code{|}, is encountered in the input, so that
2869 it does something other than a bar check. This is done by
2870 assigning a music expression to @code{pipeSymbol}.
2871 In the following example @code{|} is set to insert a double bar
2872 line wherever it appears in the input, rather than checking
2875 @lilypond[quote,verbatim]
2876 pipeSymbol = \bar "||"
2885 @funindex \barNumberCheck
2886 @funindex barNumberCheck
2888 When copying large pieces of music, it can be helpful to check that
2889 the LilyPond bar number corresponds to the original that you are
2890 entering from. This can be checked with @code{\barNumberCheck}, for
2894 \barNumberCheck #123
2898 will print a warning if the @code{currentBarNumber} is not 123
2899 when it is processed.
2906 @node Rehearsal marks
2907 @unnumberedsubsubsec Rehearsal marks
2909 @cindex rehearsal marks
2910 @cindex mark, rehearsal
2915 To print a rehearsal mark, use the @code{\mark} command.
2917 @lilypond[quote,verbatim,relative=2]
2925 The mark is incremented automatically if you use @code{\mark
2926 \default}, but you can also use an integer argument to set the
2927 mark manually. The value to use is stored in the property
2928 @code{rehearsalMark}.
2930 @lilypond[quote,verbatim,relative=2]
2939 The letter@tie{}@q{I} is skipped in accordance with engraving
2940 traditions. If you wish to include the letter @q{I}, then use one
2941 of the following commands, depending on which style of rehearsal mark
2942 you want (letters only, letters in a hollow box, or letters in a
2946 \set Score.markFormatter = #format-mark-alphabet
2947 \set Score.markFormatter = #format-mark-box-alphabet
2948 \set Score.markFormatter = #format-mark-circle-alphabet
2951 @lilypond[quote,verbatim,relative=2]
2952 \set Score.markFormatter = #format-mark-box-alphabet
2960 @cindex rehearsal mark format
2961 @cindex rehearsal mark style
2962 @cindex style, rehearsal mark
2963 @cindex format, rehearsal mark
2964 @cindex mark, rehearsal, style
2965 @cindex mark, rehearsal, format
2966 @cindex rehearsal mark, manual
2967 @cindex mark, rehearsal, manual
2968 @cindex custom rehearsal mark
2969 @cindex manual rehearsal mark
2971 The style is defined by the property @code{markFormatter}. It is
2972 a function taking the current mark (an integer) and the current
2973 context as argument. It should return a markup object. In the
2974 following example, @code{markFormatter} is set to a pre-defined
2975 procedure. After a few measures, it is set to a procedure that
2976 produces a boxed number.
2978 @lilypond[quote,verbatim,relative=2]
2979 \set Score.markFormatter = #format-mark-numbers
2982 \set Score.markFormatter = #format-mark-box-numbers
2984 \set Score.markFormatter = #format-mark-circle-numbers
2986 \set Score.markFormatter = #format-mark-circle-letters
2990 The file @file{scm/translation-functions.scm} contains the
2991 definitions of @code{format-mark-numbers} (the default format),
2992 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2993 @code{format-mark-box-letters}. These can be used as inspiration
2994 for other formatting functions.
2996 You may use @code{format-mark-barnumbers},
2997 @code{format-mark-box-barnumbers}, and
2998 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2999 incremented numbers or letters.
3001 Other styles of rehearsal mark can be specified manually:
3008 Note that @code{Score.markFormatter} does not affect marks specified
3009 in this manner. However, it is possible to apply a @code{\markup} to the
3013 \mark \markup@{ \box A1 @}
3018 @cindex D.S. al Fine
3020 @cindex music glyphs
3021 @cindex glyphs, music
3023 @funindex \musicglyph
3024 @funindex musicglyph
3026 Music glyphs (such as the segno sign) may be printed inside a
3029 @lilypond[quote,verbatim,relative=1]
3030 c1 \mark \markup { \musicglyph #"scripts.segno" }
3031 c1 \mark \markup { \musicglyph #"scripts.coda" }
3032 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3037 See @ref{The Feta font}, for a list of symbols which may be
3038 printed with @code{\musicglyph}.
3040 For common tweaks to the positioning of rehearsal marks, see
3041 @ref{Formatting text}. For more precise control, see
3042 @code{break-alignable-interface} in @ref{Aligning objects}.
3044 The file @file{scm/translation-functions.scm} contains
3045 the definitions of @code{format-mark-numbers} and
3046 @code{format-mark-letters}. They can be used as inspiration for
3047 other formatting functions.
3051 @ref{The Feta font},
3052 @ref{Formatting text},
3053 @ref{Aligning objects}.
3056 @file{scm/translation-functions.scm}.
3061 Internals Reference:
3062 @rinternals{MarkEvent},
3063 @rinternals{Mark_engraver},
3064 @rinternals{RehearsalMark}.
3067 @node Special rhythmic concerns
3068 @subsection Special rhythmic concerns
3073 * Aligning to cadenzas::
3074 * Time administration::
3078 @unnumberedsubsubsec Grace notes
3082 @cindex appoggiatura
3083 @cindex acciaccatura
3086 @funindex \slashedGrace
3087 @funindex \acciaccatura
3088 @funindex \appoggiatura
3090 Grace notes are musical ornaments, printed in a smaller font, that take
3091 up no additional logical time in a measure.
3093 @lilypond[quote,relative=2,verbatim]
3095 \grace { b16[ c16] } a2)
3098 There are three other types of grace notes possible; the
3099 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3100 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3101 fixed fraction of the main note it is attached to and prints without the
3102 slash. It is also possible to write a grace note with a slashed stem,
3103 like the @emph{acciaccatura} but without the slur, so as to place it
3104 between notes that are slurred themselves, using the
3105 @code{\slashedGrace} function.
3107 @lilypond[quote,relative=2,verbatim]
3110 \acciaccatura { g16[ f] } e2
3111 \slashedGrace a,8 g4
3112 \slashedGrace b16 a4(
3113 \slashedGrace b8 a2)
3116 The placement of grace notes is synchronized between different staves.
3117 In the following example, there are two sixteenth grace notes for every
3120 @lilypond[quote,relative=2,verbatim]
3122 \new Staff { e2 \grace { c16[ d e f] } e2 }
3123 \new Staff { c2 \grace { g8[ b] } c2 }
3127 @cindex grace notes, following
3129 @funindex \afterGrace
3130 @funindex afterGrace
3132 If you want to end a note with a grace, use the @code{\afterGrace}
3133 command. It takes two arguments: the main note, and the grace
3134 notes following the main note.
3136 @lilypond[quote,verbatim,relative=2]
3137 c1 \afterGrace d1 { c16[ d] } c1
3140 This will put the grace notes after a space lasting 3/4 of the
3141 length of the main note. The default fraction 3/4 can be changed by
3142 setting @code{afterGraceFraction}. The following example shows
3143 the results from setting the space at the default, at 15/16, and
3144 finally at 1/2 of the main note.
3146 @lilypond[quote,verbatim,relative=2]
3149 c1 \afterGrace d1 { c16[ d] } c1
3152 #(define afterGraceFraction (cons 15 16))
3153 c1 \afterGrace d1 { c16[ d] } c1
3156 #(define afterGraceFraction (cons 1 2))
3157 c1 \afterGrace d1 { c16[ d] } c1
3162 The space between the main note and the grace note may also be
3163 specified using spacers. The following example places the grace
3164 note after a space lasting 7/8 of the main note.
3166 @lilypond[quote,verbatim,relative=2]
3170 { s2 s4. \grace { c16[ d] } }
3176 @cindex tweaking grace notes
3177 @cindex grace notes, tweaking
3178 @cindex grace notes, changing layout settings
3180 A @code{\grace} music expression will introduce special
3181 typesetting settings, for example, to produce smaller type, and
3182 set directions. Hence, when introducing layout tweaks to
3183 override the special settings, they should be placed inside
3184 the grace expression. The overrides should also be reverted
3185 inside the grace expression. Here, the grace note's default stem
3186 direction is overridden and then reverted.
3188 @lilypond[quote,verbatim,relative=2]
3200 @cindex stem, with slash
3205 @lilypondfile[verbatim,quote,texidoc,doctitle]
3206 {using-grace-note-slashes-with-normal-heads.ly}
3208 @lilypondfile[verbatim,quote,texidoc,doctitle]
3209 {tweaking-grace-layout-within-music.ly}
3211 @lilypondfile[verbatim,quote,texidoc,doctitle]
3212 {redefining-grace-note-global-defaults.ly}
3214 @lilypondfile[verbatim,quote,texidoc,doctitle]
3215 {positioning-grace-notes-with-floating-space.ly}
3219 @rglos{grace notes},
3220 @rglos{acciaccatura},
3221 @rglos{appoggiatura}.
3224 @ref{Scaling durations},
3228 @file{ly/grace-init.ly}.
3233 Internals Reference:
3234 @rinternals{GraceMusic},
3235 @rinternals{Grace_beam_engraver},
3236 @rinternals{Grace_engraver},
3237 @rinternals{Grace_spacing_engraver}.
3241 @cindex acciaccatura, multi-note
3242 @cindex multi-note acciaccatura
3243 @cindex grace-note synchronization
3245 A multi-note beamed @i{acciaccatura} is printed without a slash,
3246 and looks exactly the same as a multi-note beamed
3249 @c TODO Add link to LSR snippet to add slash when available
3251 Grace note synchronization can also lead to surprises. Staff
3252 notation, such as key signatures, bar lines, etc., are also
3253 synchronized. Take care when you mix staves with grace notes and
3254 staves without, for example,
3256 @lilypond[quote,relative=2,verbatim]
3258 \new Staff { e4 \bar "|:" \grace c16 d2. }
3259 \new Staff { c4 \bar "|:" d2. }
3264 This can be remedied by inserting grace skips of the corresponding
3265 durations in the other staves. For the above example
3267 @lilypond[quote,relative=2,verbatim]
3269 \new Staff { e4 \bar "|:" \grace c16 d2. }
3270 \new Staff { c4 \bar "|:" \grace s16 d2. }
3274 The use of grace notes within voice contexts confuses the way the voice
3275 is typeset. This can be overcome by inserting a rest or note between the
3276 voice command and the grace note.
3278 @lilypond[quote,verbatim]
3280 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3287 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3288 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3293 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3294 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3301 Grace sections should only be used within sequential music expressions.
3302 Nesting or juxtaposing grace sections is not supported, and might
3303 produce crashes or other errors.
3305 Each grace note in MIDI output has a length of 1/4 of its actual
3306 duration. If the combined length of the grace notes is greater than the
3307 length of the preceding note a @qq{@code{Going back in MIDI time}}
3308 error will be generated. Either make the grace notes shorter in
3309 duration, for example:
3312 \acciaccatura @{ c'8[ d' e' f' g'] @}
3318 \acciaccatura @{ c'16[ d' e' f' g'] @}
3321 Or explicitly change the musical duration:
3324 \acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
3327 See @ref{Scaling durations}.
3330 @node Aligning to cadenzas
3331 @unnumberedsubsubsec Aligning to cadenzas
3334 @cindex cadenza, aligning to
3335 @cindex aligning to cadenza
3337 In an orchestral context, cadenzas present a special problem: when
3338 constructing a score that includes a measured cadenza or other solo
3339 passage, all other instruments should skip just as many notes as the
3340 length of the cadenza, otherwise they will start too soon or too late.
3342 One solution to this problem is to use the functions
3343 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3344 functions take a defined piece of music as an argument and generate a
3345 multi-measure rest or @code{\skip} exactly as long as the piece.
3347 @lilypond[verbatim,quote]
3348 MyCadenza = \relative c' {
3359 $(mmrest-of-length MyCadenza)
3361 $(skip-of-length MyCadenza)
3375 @node Time administration
3376 @unnumberedsubsubsec Time administration
3378 @cindex time administration
3379 @cindex timing (within the score)
3380 @cindex music, unmetered
3381 @cindex unmetered music
3383 @funindex currentBarNumber
3384 @funindex measurePosition
3385 @funindex measureLength
3387 Time is administered by the @code{Timing_translator}, which by
3388 default is to be found in the @code{Score} context. An alias,
3389 @code{Timing}, is added to the context in which the
3390 @code{Timing_translator} is placed. To ensure that the
3391 @code{Timing} alias is available, you may need to explicitly
3392 instantiate the containing context (such as @code{Voice} or
3395 The following properties of @code{Timing} are used
3396 to keep track of timing within the score.
3399 @cindex measure number
3402 @item currentBarNumber
3403 The current measure number. For an example showing the
3404 use of this property see @ref{Bar numbers}.
3407 The length of the measures in the current time signature. For a
3408 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3409 determines when bar lines are inserted and how automatic beams
3410 should be generated.
3412 @item measurePosition
3413 The point within the measure where we currently are. This
3414 quantity is reset by subtracting @code{measureLength} whenever
3415 @code{measureLength} is reached or exceeded. When that happens,
3416 @code{currentBarNumber} is incremented.
3419 If set to true, the above variables are updated for every time
3420 step. When set to false, the engraver stays in the current
3421 measure indefinitely.
3425 Timing can be changed by setting any of these variables
3426 explicitly. In the next example, the default 4/4 time
3427 signature is printed, but @code{measureLength} is set to 5/4.
3428 At 4/8 through the third measure, the @code{measurePosition} is
3429 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3430 The next bar line then falls at 9/8 rather than 5/4.
3432 @lilypond[quote,verbatim]
3433 \new Voice \relative c' {
3434 \set Timing.measureLength = #(ly:make-moment 5 4)
3438 \set Timing.measurePosition = #(ly:make-moment 5 8)
3445 As the example illustrates, @code{ly:make-moment n m} constructs a
3446 duration of n/m of a whole note. For example,
3447 @code{ly:make-moment 1 8} is an eighth note duration and
3448 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3454 @ref{Unmetered music}.
3459 Internals Reference:
3460 @rinternals{Timing_translator},