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,lilyquote,ragged-right,texidoc,doctitle]
146 {changing-the-number-of-augmentation-dots-per-note.ly}
155 @rglos{Duration names notes and rests}.
158 @ref{Automatic beams},
161 @ref{Writing rhythms},
164 @ref{Ancient notation},
165 @ref{Proportional notation}.
172 @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,lilyquote,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,lilyquote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
279 @rlearning{Tweaking methods}.
282 @ref{Time administration},
283 @ref{Scaling durations},
284 @ref{The tweak command},
285 @ref{Polymetric notation}.
291 @rinternals{TupletBracket},
292 @rinternals{TupletNumber},
293 @rinternals{TimeScaledMusic}.
296 @cindex grace notes within tuplet brackets
299 Grace notes may be placed within tuplet brackets, @emph{except}
300 when a staff begins with a grace note followed by a tuplet. In this
301 particular case, the grace note must be placed before the @code{\times}
302 command to avoid errors.
304 @cindex tempo marks within tuplet brackets
306 When using a tuplet at the beginning of a piece with a @code{\tempo}
307 mark, the music must be explicitly entered in a @code{\new Voice}
308 block, as discussed in @rlearning{Voices contain music}.
311 @node Scaling durations
312 @unnumberedsubsubsec Scaling durations
314 @cindex scaling durations
315 @cindex durations, scaling
317 You can alter the duration of single notes, rests or chords by a
318 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
319 is 1) to the duration. This will not affect the appearance of the
320 notes or rests produced, but the altered duration will be used in
321 calculating the position within the measure and setting the duration
322 in the MIDI output. Multiplying factors may be combined such as
325 In the following example, the first three notes take up exactly
326 two beats, but no triplet bracket is printed.
328 @lilypond[quote,relative=2,verbatim]
330 % Alter durations to triplets
331 a4*2/3 gis4*2/3 a4*2/3
334 % Double the duration of chord
336 % Duration of quarter, appears like sixteenth
340 The duration of spacing notes may also be modified by
341 a multiplier. This is useful for skipping many measures, e.g.,
344 @cindex compressing music
345 @cindex expanding music
347 @funindex \scaleDurations
348 @funindex scaleDurations
350 Longer stretches of music may be compressed by a fraction in the
351 same way, as if every note, chord or rest had the fraction as a
352 multiplier. This leaves the appearance of the music unchanged but
353 the internal duration of the notes will be multiplied by the
354 fraction @emph{num}/@emph{den}. The spaces around the dot are
355 required. Here is an example showing how music can be compressed
358 @lilypond[quote,relative=2,verbatim]
362 % Scale music by *2/3
363 \scaleDurations #'(2 . 3) {
367 \scaleDurations #'(2 . 1) {
372 One application of this command is in polymetric
373 notation, see @ref{Polymetric notation}.
379 @ref{Invisible rests},
380 @ref{Polymetric notation}.
387 @unnumberedsubsubsec Ties
393 A tie connects two adjacent note heads of the same pitch. The tie
394 in effect extends the duration of a note.
396 @warning{Ties should not be confused with @emph{slurs}, which
397 indicate articulation, or @emph{phrasing slurs}, which indicate
398 musical phrasing. A tie is just a way of extending a note
399 duration, similar to the augmentation dot.}
401 A tie is entered using the tilde symbol (@code{~}).
403 @lilypond[quote,verbatim,relative=2]
407 Ties are used either when the note crosses a bar line, or when
408 dots cannot be used to denote the rhythm. Ties should also be
409 used when note values cross larger subdivisions of the measure:
411 @lilypond[verbatim,quote]
418 If you need to tie many notes across bar lines, it may be
419 easier to use automatic note splitting, see @ref{Automatic note
420 splitting}. This mechanism automatically splits long notes, and
421 ties them across bar lines.
423 @cindex ties and chords
424 @cindex chords and ties
426 When a tie is applied to a chord, all note heads whose pitches
427 match are connected. When no note heads match, no ties will be
428 created. Chords may be partially tied by placing the tie inside
431 @lilypond[quote,verbatim,relative=1]
433 <c~ e g~ b> <c e g b>
436 @cindex repeating ties
437 @cindex ties, repeating
438 @cindex volta brackets and ties
439 @cindex ties and volta brackets
444 When a second alternative of a repeat starts with a tied note, you
445 have to specify the repeated tie as follows:
447 @lilypond[quote,relative=2,verbatim]
448 \repeat volta 2 { c g <c e>2 ~ }
450 % First alternative: following note is tied normally
452 % Second alternative: following note has a repeated tie
453 { <c e>2\repeatTie d4 c } }
456 @cindex laissez vibrer
457 @cindex ties, laissez vibrer
459 @funindex \laissezVibrer
460 @funindex laissezVibrer
462 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
463 notes must not be damped at the end. It is used in notation for
464 piano, harp and other string and percussion instruments. They can
465 be entered as follows:
467 @lilypond[quote,verbatim,relative=1]
468 <c f g>1\laissezVibrer
471 @cindex ties, placement
477 @funindex \tieNeutral
480 Ties may be manually placed above or below the staff; see
481 @ref{Direction and placement}.
483 @cindex ties, appearance
496 Ties may be made dashed, dotted, or a combination of solid and
499 @lilypond[quote, verbatim, relative=1]
512 Custom dash patterns can be specified:
514 @lilypond[quote, verbatim, relative=1]
515 \tieDashPattern #0.3 #0.75
517 \tieDashPattern #0.7 #1.5
523 Dash pattern definitions for ties have the same structure as
524 dash pattern definitions for slurs.
525 For more information about complex dash patterns,
526 see the snippets under @ref{Slurs}.
534 @code{\tieDashPattern},
535 @code{\tieHalfDashed},
536 @code{\tieHalfSolid},
543 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
544 {using-ties-with-arpeggios.ly}
546 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
547 {engraving-ties-manually.ly}
553 @rglos{laissez vibrer}.
557 @ref{Automatic note splitting}.
563 @rinternals{LaissezVibrerTie},
564 @rinternals{LaissezVibrerTieColumn},
565 @rinternals{TieColumn},
571 Switching staves when a tie is active will not produce a slanted
574 Changing clefs or octavations during a tie is not really
575 well-defined. In these cases, a slur may be preferable.
580 @subsection Writing rests
582 Rests are entered as part of the music in music expressions.
587 * Full measure rests::
591 @unnumberedsubsubsec Rests
594 @cindex rest, entering durations
609 Rests are entered like notes with the note name @code{r}.
610 Durations longer than a whole rest use the predefined
613 @c \time 16/1 is used to avoid spurious bar lines
614 @c and long tracts of empty measures
615 @lilypond[fragment,quote,verbatim]
617 % These two lines are just to prettify this example
619 \override Staff.TimeSignature #'stencil = ##f
620 % Print a maxima rest, equal to four breves
622 % Print a longa rest, equal to two breves
626 r1 r2 r4 r8 r16 r32 r64 r128
630 @cindex rest, multi-measure
631 @cindex rest, whole-measure
633 Whole measure rests, centered in the middle of the measure, must be
634 entered as multi-measure rests. They can be used for a single
635 measure as well as many measures and are discussed in @ref{Full
638 @cindex rest, specifying vertical position
640 To explicitly specify a rest's vertical position, write a note
641 followed by @code{\rest}. A rest of the duration of the note will
642 be placed at the staff position where the note would appear. This
643 allows for precise manual formatting of polyphonic music, since the
644 automatic rest collision formatter will not move these rests.
646 @lilypond[quote,verbatim,relative=2]
652 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
663 @ref{Full measure rests}.
674 @c Deliberately duplicated in Durations and Rests. -gp
675 There is no fundamental limit to rest durations (both in terms of
676 longest and shortest), but the number of glyphs is limited: there
677 are rests from 128th to maxima (8 x whole).
680 @node Invisible rests
681 @unnumberedsubsubsec Invisible rests
684 @cindex invisible rest
685 @cindex rest, invisible
693 An invisible rest (also called a @q{spacer rest}) can be entered
694 like a note with the note name@tie{}@code{s}:
696 @lilypond[verbatim,quote,relative=2]
703 Spacer rests are available only in note mode and chord mode. In
704 other situations, for example, when entering lyrics, the
705 command @code{\skip} is used to skip a musical moment.
706 @code{\skip} requires an explicit duration, but this is ignored if
707 the lyrics derive their durations from the notes in an associated
708 melody through @code{\addlyrics} or @code{\lyricsto}.
710 @lilypond[quote,verbatim,relative=2]
723 Because @code{\skip} is a command, it does not affect the default
724 durations of following notes, unlike@tie{}@code{s}.
726 @lilypond[quote,verbatim,relative=2]
729 \repeat unfold 8 {a4}
739 A spacer rest implicitly causes @code{Staff} and @code{Voice}
740 contexts to be created if none exist, just like notes and rests
743 @lilypond[quote,verbatim,fragment]
747 @code{\skip} simply skips musical time; it creates no output of
750 @lilypond[quote,verbatim,fragment]
751 % This is valid input, but does nothing
752 \skip 1 \skip1 \skip 1
758 @rlearning{Visibility and color of objects}.
762 @ref{Visibility of objects}.
768 @rinternals{SkipMusic}.
771 @node Full measure rests
772 @unnumberedsubsubsec Full measure rests
774 @cindex multi-measure rests
775 @cindex full-measure rests
776 @cindex rest, multi-measure
777 @cindex rest, full-measure
778 @cindex whole rest for a full measure
779 @cindex rest, whole for a full measure
783 Rests for one or more full measures are entered like notes with
784 the note name uppercase @code{R}:
786 @lilypond[quote,verbatim,relative=2]
787 % Rest measures contracted to single measure
788 \compressFullBarRests
795 The duration of full-measure rests is identical to the duration
796 notation used for notes. The duration in a multi-measure rest must
797 always be an integral number of measure-lengths, so augmentation dots
798 or fractions must often be used:
800 @lilypond[quote,fragment,verbatim]
801 \compressFullBarRests
807 R1*13/8 | R1*13/8*12 |
812 A full-measure rest is printed as either a whole or breve rest,
813 centered in the measure, depending on the time signature.
815 @lilypond[quote,verbatim,fragment]
824 @cindex multi-measure rest, expanding
825 @cindex multi-measure rest, contracting
827 @funindex \expandFullBarRests
828 @funindex expandFullBarRests
829 @funindex \compressFullBarRests
830 @funindex compressFullBarRests
832 By default a multi-measure rest is expanded in the printed score to
833 show all the rest measures explicitly. Alternatively, a multi-measure
834 rest can be shown as a single measure containing a multi-measure rest
835 symbol, with the number of measures of rest printed above the measure:
837 @lilypond[quote,fragment,verbatim]
839 \time 3/4 r2. | R2.*2 |
842 % Rest measures contracted to single measure
843 \compressFullBarRests
845 % Rest measures expanded
852 @cindex text on multi-measure rest
853 @cindex multi-measure rest, attaching text
854 @cindex script on multi-measure rest
855 @cindex multi-measure rest, script
856 @cindex fermata on multi-measure rest
857 @cindex multi-measure rest, attaching fermata
858 @cindex markup on multi-measure rest
859 @cindex multi-measure rest with markup
861 @funindex \fermataMarkup
862 @funindex fermataMarkup
863 @funindex MultiMeasureRestText
865 Markups can be added to multi-measure rests.
866 The predefined command @code{\fermataMarkup}
867 is provided for adding fermatas.
869 @lilypond[quote,verbatim,fragment]
870 \compressFullBarRests
872 R2.*10^\markup { \italic "ad lib." }
877 Markups attached to a multi-measure rest are
878 objects of type @code{MultiMeasureRestText}, not
879 @code{TextScript}. Overrides must be directed to the correct
880 object, or they will be ignored. See the following example.
883 @lilypond[quote,verbatim,fragment]
884 % This fails, as the wrong object name is specified
885 \override TextScript #'padding = #5
887 % This is correct and works
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,lilyquote,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,lilyquote,ragged-right,texidoc,doctitle]
929 {positioning-multi-measure-rests.ly}
931 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
932 {multi-measure-rest-markup.ly}
937 @rglos{multi-measure rest}.
942 @ref{Formatting text},
949 @rinternals{MultiMeasureRest},
950 @rinternals{MultiMeasureRestNumber},
951 @rinternals{MultiMeasureRestText}.
954 @cindex fingerings and multi-measure rests
955 @cindex multi-measure rests and fingerings
959 If an attempt is made to use fingerings (e.g.,
960 @code{R1*10-4}) to put numbers over multi-measure rests, the
961 fingering numeral (4) may collide with the bar counter
964 @cindex condensing rests
965 @cindex rest, condensing ordinary
967 There is no way to automatically condense multiple ordinary rests
968 into a single multi-measure rest.
970 @cindex rest, collisions of
972 Multi-measure rests do not take part in rest collisions.
974 @node Displaying rhythms
975 @subsection Displaying rhythms
982 * Polymetric notation::
983 * Automatic note splitting::
984 * Showing melody rhythms::
988 @unnumberedsubsubsec Time signature
990 @cindex time signature
996 The time signature is set as follows:
998 @lilypond[quote,verbatim,relative=2]
1003 @cindex time signature, visibility of
1005 Time signatures are printed at the beginning of a piece
1006 and whenever the time signature changes. If a change takes place
1007 at the end of a line a warning time signature sign is printed
1008 there. This default behavior may be changed, see
1009 @ref{Visibility of objects}.
1011 @lilypond[quote,verbatim,relative=2]
1021 @cindex time signature style
1024 @funindex \numericTimeSignature
1025 @funindex numericTimeSignature
1026 @funindex \defaultTimeSignature
1027 @funindex defaultTimeSignature
1029 The time signature symbol that is used in 2/2 and 4/4 time can be
1030 changed to a numeric style:
1032 @lilypond[quote,verbatim,relative=2]
1036 % Change to numeric style
1037 \numericTimeSignature
1040 % Revert to default style
1041 \defaultTimeSignature
1047 Mensural time signatures are covered in
1048 @ref{Mensural time signatures}.
1050 @cindex time signature default settings
1051 @cindex autobeaming properties for time signatures
1052 @cindex beaming, time signature default properties
1053 @funindex \overrideTimeSignatureSettings
1055 In addition to setting the printed time signature, the @code{\time}
1056 command also sets time-signature-based default values for the properties
1057 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1058 predefined default values for these properties can be found in
1059 @file{scm/time-signature-settings.scm}. The existing default values can
1060 be changed, or new default values can be added:
1062 @lilypond[quote,verbatim]
1065 \overrideTimeSignatureSettings
1067 #'(4 . 4) % timeSignatureFraction
1068 #'(1 . 4) % baseMomentFraction
1069 #'(3 1) % beatStructure
1070 #'() % beamExceptions
1072 \repeat unfold 8 c8 |
1077 @code{\overrideTimeSignatureSettings} takes five arguments:
1081 @code{@var{context}}, a Scheme symbol that describes the context
1082 to which the default setting will apply.
1085 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1089 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1090 and denominator of the basic timing unit for the time signature.
1093 @code{@var{beatStructure}}, a Scheme list indicating the structure
1094 of the beats in the measure, in units of the base moment.
1097 @code{@var{beamExceptions}}, an alist containing any beaming rules
1098 for the time signature that go beyond ending at every beat, as
1099 described in @ref{Setting automatic beam behavior}.
1102 @cindex time signature properties, restoring default values
1103 @cindex restoring default properties for time signatures
1104 @funindex \revertTimeSignatureSettings
1106 Changed values of default time signature properties can be restored
1107 to the original values:
1109 @lilypond[quote,verbatim]
1112 \repeat unfold 8 c8 |
1113 \overrideTimeSignatureSettings
1115 #'(4 . 4) % timeSignatureFraction
1116 #'(1 . 4) % baseMomentFraction
1117 #'(3 1) % beatStructure
1118 #'((end . (((1 . 8) . (3 1))))) % beamExceptions
1120 \repeat unfold 8 c8 |
1121 \revertTimeSignatureSettings #'Score #'(4 . 4)
1123 \repeat unfold 8 c8 |
1129 @code{\numericTimeSignature},
1130 @code{\defaultTimeSignature}.
1136 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1137 {changing-the-time-signature-without-affecting-the-beaming.ly}
1139 @cindex compound time signatures
1140 @cindex time signature, compound
1142 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1143 {compound-time-signatures.ly}
1145 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1146 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1151 @rglos{time signature}
1154 @ref{Mensural time signatures},
1155 @ref{Time administration}.
1160 Internals Reference:
1161 @rinternals{TimeSignature},
1162 @rinternals{Timing_translator}.
1164 @node Metronome marks
1165 @unnumberedsubsubsec Metronome marks
1168 @cindex beats per minute
1169 @cindex metronome mark
1170 @cindex metronome marking with text
1175 A basic metronome mark is simple to write:
1177 @lilypond[verbatim,quote,relative=1]
1183 Tempo indications with text can be used instead:
1185 @lilypond[verbatim,quote,relative=2]
1191 Combining a metronome mark and text will automatically place the
1192 metronome mark within parentheses:
1194 @lilypond[verbatim,quote,relative=2]
1195 \tempo "Allegro" 4 = 160
1200 In general, the text can be any markup object:
1202 @lilypond[verbatim,quote,relative=2]
1203 \tempo \markup { \italic Faster } 4 = 132
1204 a8-. r8 b-. r gis-. r a-. r
1207 A parenthesized metronome mark with no textual indication may be
1208 written by including an empty string in the input:
1210 @lilypond[verbatim,quote,relative=2]
1218 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1219 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1221 @c perhaps also an example of how to move it horizontally?
1223 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1224 {changing-the-tempo-without-a-metronome-mark.ly}
1226 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1227 {creating-metronome-marks-in-markup-mode.ly}
1229 For more details, see @ref{Formatting text}.
1235 @rglos{metronomic indication},
1236 @rglos{tempo indication},
1237 @rglos{metronome mark}.
1240 @ref{Formatting text},
1244 @rlsr{Staff notation}.
1246 Internals Reference:
1247 @rinternals{MetronomeMark}.
1251 @unnumberedsubsubsec Upbeats
1255 @cindex partial measure
1256 @cindex measure, partial
1257 @cindex pickup measure
1258 @cindex measure, change length
1260 @funindex measurePosition
1264 Partial or pick-up measures, such as an anacrusis or upbeat, are
1265 entered using the @code{\partial} command, with the syntax
1268 \partial @var{duration}
1272 where @code{@var{duration}} is the rhythmic length of the
1273 remaining interval of the current measure before the start of the
1276 @lilypond[quote,verbatim,relative=2]
1281 The partial measure can be any duration less than the full measure:
1283 @lilypond[quote,verbatim,relative=2]
1284 \partial 8*3 c8 d e |
1288 Internally, @code{\partial @var{duration}} is translated into:
1291 \set Timing.measurePosition -@var{duration}
1294 For example, @code{\partial 8*3} becomes:
1297 \set Timing.measurePosition = #(ly:make-moment -3 8)
1300 The property @code{measurePosition} contains a rational number
1301 indicating how much of the measure has passed at this point. Note
1302 that this is set to a negative number by the @code{\partial} command:
1303 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1304 @qq{there is a quarter note left in the measure.}
1317 @rinternals{Timing_translator}.
1321 The @code{\partial} command is intended to be used only at the
1322 beginning of a piece. If you use it after the beginning, some
1323 odd warnings or effects may occur, in this case use
1324 @code{\set Timing.measurePosition} instead.
1326 @node Unmetered music
1327 @unnumberedsubsubsec Unmetered music
1329 @cindex bar lines, turning off
1330 @cindex bar numbering, turning off
1332 @cindex unmetered music
1334 @funindex \cadenzaOn
1336 @funindex \cadenzaOff
1337 @funindex cadenzaOff
1339 Bar lines and bar numbers are calculated automatically. For
1340 unmetered music (some cadenzas, for example), this is not desirable.
1341 To turn off automatic calculation of bar lines and bar numbers,
1342 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1343 to turn them on again.
1345 @lilypond[verbatim,relative=2,quote]
1348 c4 c d8[ d d] f4 g4.
1354 Bar numbering is resumed at the end of the cadenza as if the
1355 cadenza were not there:
1357 @lilypond[verbatim,relative=2,quote]
1358 % Show all bar numbers
1359 \override Score.BarNumber #'break-visibility = #all-visible
1362 c4 c d8[ d d] f4 g4.
1368 @cindex beaming in cadenzas
1369 @cindex beaming in unmetered music
1370 @cindex cadenza, beaming in
1371 @cindex unmetered music, beaming in
1373 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1374 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1375 must be entered manually (@ref{Manual beams}).
1377 @lilypond[verbatim,relative=2,quote]
1378 \repeat unfold 8 {c8}
1380 \repeat unfold 5 {c8}
1383 \repeat unfold 8 {c8}
1386 Note that these predefined commands affect all staves in the
1387 score, even when they are placed in just one @code{Voice}
1388 context. To change this, move the @code{Timing_translator}
1389 from the @code{Score} context to the @code{Staff} context, as
1390 shown in @ref{Polymetric notation}.
1403 @ref{Visibility of objects},
1404 @ref{Polymetric notation},
1411 @cindex cadenza line breaks
1412 @cindex cadenza page breaks
1413 @cindex unmetered music, line breaks
1414 @cindex unmetered music, page breaks
1415 @cindex breaks in unmetered music
1416 @cindex line breaks in cadenzas
1417 @cindex page breaks in cadenzas
1418 @cindex line breaks in unmetered music
1419 @cindex page breaks in unmetered music
1423 LilyPond will insert line breaks and page breaks only at a
1424 bar line. Unless the unmetered music ends before the end of the
1425 staff line, you will need to insert invisible bar lines with
1432 to indicate where breaks can occur.
1434 You should explicitly create a @code{Voice} context when starting a
1435 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1441 c16[^"Solo Free Time" d e f] g2.
1449 @node Polymetric notation
1450 @unnumberedsubsubsec Polymetric notation
1452 @c This section necessarily uses \set
1453 @c This is acceptable -td
1455 @cindex double time signatures
1456 @cindex signatures, polymetric
1457 @cindex time signatures, polymetric
1458 @cindex time signatures, double
1459 @cindex polymetric signatures
1460 @cindex meter, polymetric
1462 @funindex timeSignatureFraction
1463 @funindex \scaleDurations
1464 @funindex scaleDurations
1468 Polymetric notation is supported, either explicitly or by modifying
1469 the visible time signature symbol and scaling the note durations.
1471 @strong{@i{Staves with different time signatures, equal measure lengths}}
1473 This notation can be created by setting a common time signature
1474 for each staff but replacing the symbol manually by setting
1475 @code{timeSignatureFraction} to the desired fraction and scaling
1476 the printed durations in each staff to the common time
1477 signature; see @ref{Time signature}. The scaling is done with
1478 @code{\scaleDurations}, which is used in a similar way to
1479 @code{\times}, but does not create a tuplet bracket; see
1480 @ref{Scaling durations}.
1482 @cindex beaming in polymetric music
1483 @cindex beaming in polymetric meter
1485 In this example, music with the time signatures of 3/4, 9/8, and
1486 10/8 are used in parallel. In the second staff, shown durations
1487 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1488 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1489 It will often be necessary to insert beams manually, as the
1490 duration scaling affects the autobeaming rules.
1492 @lilypond[quote,verbatim,fragment]
1501 \set Staff.timeSignatureFraction = #'(9 . 8)
1502 \scaleDurations #'(2 . 3)
1503 \repeat unfold 6 { c8[ c c] }
1507 \set Staff.timeSignatureFraction = #'(10 . 8)
1508 \scaleDurations #'(3 . 5) {
1509 \repeat unfold 2 { c8[ c c] }
1510 \repeat unfold 2 { c8[ c] } |
1511 c4. c4. \times 2/3 { c8[ c c] } c4
1517 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1519 Each staff can be given its own independent time signature by
1520 moving the @code{Timing_translator} and the
1521 @code{Default_bar_line_engraver} to the @code{Staff} context.
1523 @lilypond[quote,verbatim]
1527 \remove "Timing_translator"
1528 \remove "Default_bar_line_engraver"
1532 \consists "Timing_translator"
1533 \consists "Default_bar_line_engraver"
1537 % Now each staff has its own time signature.
1563 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1564 {compound-time-signatures.ly}
1570 @rglos{polymetric time signature},
1574 @ref{Time signature},
1575 @ref{Scaling durations}.
1580 Internals Reference:
1581 @rinternals{TimeSignature},
1582 @rinternals{Timing_translator},
1583 @rinternals{Default_bar_line_engraver},
1589 When using different time signatures in parallel, notes
1590 at the same moment will be placed at the same horizontal
1591 location. However, the bar lines in the different staves
1592 will cause the note spacing to be less regular in each of the
1593 individual staves than would be normal without the different
1596 @node Automatic note splitting
1597 @unnumberedsubsubsec Automatic note splitting
1599 @cindex notes, splitting
1600 @cindex splitting notes
1602 @funindex Note_heads_engraver
1603 @funindex Completion_heads_engraver
1605 Long notes which overrun bar lines can be converted automatically
1606 to tied notes. This is done by replacing the
1607 @code{Note_heads_engraver} with the
1608 @code{Completion_heads_engraver}. In the following
1609 example, notes crossing the bar lines are split and tied.
1611 @lilypond[quote,verbatim,relative=1]
1613 \remove "Note_heads_engraver"
1614 \consists "Completion_heads_engraver"
1617 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1620 This engraver splits all running notes at the bar line, and
1621 inserts ties. One of its uses is to debug complex scores: if the
1622 measures are not entirely filled, then the ties show exactly how
1623 much each measure is off.
1631 @rlearning{Engravers explained},
1632 @rlearning{Adding and removing engravers}.
1637 Internals Reference:
1638 @rinternals{Note_heads_engraver},
1639 @rinternals{Completion_heads_engraver},
1640 @rinternals{Forbid_line_break_engraver}.
1645 Not all durations (especially those containing tuplets) can be
1646 represented exactly with normal notes and dots, but the
1647 @code{Completion_heads_engraver} will not insert tuplets.
1649 The @code{Completion_heads_engraver} only affects notes; it does not
1653 @node Showing melody rhythms
1654 @unnumberedsubsubsec Showing melody rhythms
1656 @cindex melody rhythms, showing
1657 @cindex rhythms, showing melody
1659 Sometimes you might want to show only the rhythm of a melody. This
1660 can be done with the rhythmic staff. All pitches of notes on such a
1661 staff are squashed, and the staff itself has a single line
1663 @lilypond[quote,relative=1,verbatim]
1665 \new RhythmicStaff {
1666 \new Voice = "myRhythm" {
1674 \lyricsto "myRhythm" {
1682 @cindex guitar chord charts
1683 @cindex strumming rhythms, showing
1684 @cindex guitar strumming rhythms, showing
1686 @funindex Pitch_squash_engraver
1687 @funindex \improvisationOn
1688 @funindex improvisationOn
1689 @funindex \improvisationOff
1690 @funindex improvisationOff
1692 Guitar chord charts often show the strumming rhythms. This can
1693 be done with the @code{Pitch_squash_engraver} and
1694 @code{\improvisationOn}.
1697 @lilypond[quote,verbatim]
1706 \consists Pitch_squash_engraver
1719 @code{\improvisationOn},
1720 @code{\improvisationOff}.
1726 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1727 {guitar-strum-rhythms.ly}
1734 Internals Reference:
1735 @rinternals{RhythmicStaff},
1736 @rinternals{Pitch_squash_engraver}.
1744 * Setting automatic beam behavior::
1749 @node Automatic beams
1750 @unnumberedsubsubsec Automatic beams
1752 By default, beams are inserted automatically:
1754 @cindex beams, manual
1755 @cindex manual beams
1756 @cindex beams, setting rules for
1757 @cindex beams, custom rules for
1759 @funindex \autoBeamOn
1760 @funindex autoBeamOn
1761 @funindex \autoBeamOff
1762 @funindex autoBeamOff
1764 @lilypond[quote,verbatim,relative=2]
1766 \time 6/8 c c c c8. c16 c8
1769 If these automatic decisions are not satisfactory, beaming can be
1770 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1771 entered manually if beams are to be extended over rests.
1773 If automatic beaming is not required, it may be turned off with
1774 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1776 @lilypond[quote,relative=1,verbatim]
1777 c4 c8 c8. c16 c8. c16 c8
1784 @cindex melismata, beams
1785 @cindex beams and melismata
1787 @warning{If beams are used to indicate melismata in songs, then
1788 automatic beaming should be switched off with @code{\autoBeamOff}
1789 and the beams indicated manually.}
1791 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1792 produce unintended results. See the snippet below for more information.}
1794 Beaming patterns that differ from the automatic defaults can be
1795 created; see @ref{Setting automatic beam behavior}.
1799 @code{\autoBeamOff},
1807 @cindex line breaks and beams
1808 @cindex beams and line breaks
1812 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1813 {beams-across-line-breaks.ly}
1815 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1816 {changing-beam-knee-gap.ly}
1818 @cindex \partcombine and \autoBeamOff
1819 @cindex \autoBeamOff and \partcombine
1822 @lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
1823 {partcombine-and-autobeamoff.ly}
1829 @ref{Setting automatic beam behavior}.
1832 @file{scm/@/auto@/-beam@/.scm}.
1837 Internals Reference:
1838 @rinternals{Auto_beam_engraver},
1839 @rinternals{Beam_engraver},
1841 @rinternals{BeamEvent},
1842 @rinternals{BeamForbidEvent},
1843 @rinternals{beam-interface},
1844 @rinternals{unbreakable-spanner-interface}.
1849 Beams can collide with note heads and accidentals in other voices.
1852 @node Setting automatic beam behavior
1853 @unnumberedsubsubsec Setting automatic beam behavior
1856 @cindex automatic beams, tuning
1857 @cindex tuning automatic beaming
1858 @cindex automatic beam generation
1860 @cindex lyrics and beaming
1862 @funindex autoBeaming
1863 @funindex baseMoment
1864 @funindex beamExceptions
1865 @funindex beatStructure
1866 @funindex measureLength
1872 In most instances, automatic beams will end at the end of a beat.
1873 The ending points for beats are determined by the context properties
1874 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1875 is a scheme list that defines the length of each beat in the measure
1876 in units of @code{baseMoment}. By default, @code{baseMoment} is
1877 the one over numerator of the time signature. By default,
1878 each unit of length @code{baseMoment} is a single beat.
1880 @lilypond[quote,relative=2,verbatim]
1882 c16^"default" c c c c |
1883 \set Timing.beatStructure = #'(2 3)
1884 c16^"(2+3)" c c c c |
1885 \set Timing.beatStructure = #'(3 2)
1886 c16^"(3+2)" c c c c |
1889 Beam setting changes can be limited to specific contexts. If no
1890 setting is included in a lower-level context, the setting of the
1891 enclosing context will apply.
1893 @lilypond[quote, verbatim,relative=1]
1896 \set Staff.beatStructure = #'(2 3 2)
1906 \set Voice.beatStructure = #'(1 3 3)
1914 When multiple voices are used the @code{Staff} context must be
1915 specified if the beaming is to be applied to all voices in the
1918 @lilypond[quote,verbatim,relative=2]
1921 % Change applied to Voice by default -- does not work correctly
1922 % Because of autogenerated voices, all beating will
1923 % be at baseMoment (1 . 8)
1924 \set beatStructure = #'(3 1 1 2)
1925 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1927 % Works correctly with context Staff specified
1928 \set Staff.beatStructure = #'(3 1 1 2)
1929 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1932 The value of @code{baseMoment} can be adjusted to change
1933 the beaming behavior, if desired. When this is done,
1934 the value of @code{beatStructure} must be set to be
1935 compatible with the new value of @code{baseMoment}.
1937 @lilypond[quote,verbatim,relative=2]
1939 \set Timing.baseMoment = #(ly:make-moment 1 16)
1940 \set Timing.beatStructure = #'(7 3)
1941 \repeat unfold 10 {a16}
1944 @code{baseMoment} is a @i{moment},
1945 a unit of musical duration. A quantity of type @i{moment} is
1946 created by the scheme function @code{ly:make-moment}. For more
1947 information about this function, see @ref{Time administration}.
1949 By default @code{baseMoment} is set
1950 to one over the denominator of the time signature.
1951 Any exceptions to this default
1952 can be found in @file{scm/@/time@/-signature@/-settings@/.scm}.
1954 Special autobeaming rules (other than ending a beam on a beat)
1955 are defined in the @code{beamExceptions} property.
1957 @lilypond[quote,relative=2,verbatim]
1959 \set Timing.beatStructure = #'(2 1)
1960 \set Timing.beamExceptions =
1962 (end . ;entry for end of beams
1963 ( ;start of alist of end points
1964 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
1965 ))) %close all entries
1967 \repeat unfold 6 {c32} |
1970 @code{beamExceptions} is an alist with a key of rule-type and
1971 a value of beaming-rules.
1973 At this time the only available value of rule-type is
1974 @code{#'end} for beam ending.
1976 Beaming-rules is a scheme alist (or list of pairs) that
1977 indicates the beam type and the grouping to be applied to
1978 beams containing notes with a shortest duration of that
1982 #'((beam-type1 . grouping-1)
1983 (beam-type2 . grouping-2)
1984 (beam-type3 . grouping-3))
1987 Beam type is a scheme pair indicating the duration
1988 of the beam, e.g., @code{(1 . 16)}.
1990 Grouping is a scheme list indicating the grouping to be applied to
1991 the beam. The grouping is in units of the beam type.
1994 A @code{beamExceptions} value must be
1995 @emph{complete} exceptions list. That is, every exception that should
1996 be applied must be included in the setting.
1997 It is not possible to add, remove, or change only one of the exceptions.
1998 While this may seem cumbersome,
1999 it means that the current beaming settings need not be known
2000 in order to specify a new beaming pattern.}
2002 When the time signature is changed, default values of
2003 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2004 and @code{Timing.beamExceptions} are set. Setting the time signature
2005 will reset the automatic beaming settings for the @code{Timing}
2006 context to the default behavior.
2008 @lilypond[quote,verbatim,relative=2]
2010 \repeat unfold 6 {a8}
2012 \set Timing.beatStructure = #'(4 2)
2013 \repeat unfold 6 {a8}
2014 % go back to default behavior
2016 \repeat unfold 6 {a8}
2019 These default automatic beaming settings for a time signature
2020 are determined in @file{scm/@/time@/-signature@/-settings@/.scm}.
2021 The automatic beaming settings for a time signature can be changed
2022 as described in @ref{Time signature}.
2024 @i{@strong{How automatic beaming works}}
2026 When automatic beaming is enabled, the placement of automatic beams
2027 is determined by the context properties
2028 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2030 The following rules, in order of priority, apply when determining
2031 the appearance of beams:
2035 If a manual beam is specified with @code{[..]} set the beam
2036 as specified, otherwise
2039 if a beam-ending rule is defined in @code{beamExceptions}
2040 for the beam-type, use it to determine the valid places where
2041 beams may end, otherwise
2044 if a beam-ending rule is defined in @code{beamExceptions}
2045 for a longer beam-type, use it to determined the valid places
2046 where beams may end, otherwise
2049 use the values of @code{baseMoment} and @code{beatStructure} to
2050 determine the ends of the beats in the measure, and
2051 end beams at the end of beats.
2055 In the rules above, the beam-type is the duration of the
2056 shortest note in the beamed group.
2058 For reference, the default beaming rules are found in
2059 @file{scm/time-signature-settings.scm}.
2063 @cindex beams, subdividing
2065 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2066 {subdividing-beams.ly}
2068 @cindex measure groupings
2069 @cindex beats, grouping
2070 @cindex grouping beats
2071 @cindex measure sub-grouping
2073 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2074 {conducting-signs,-measure-grouping-signs.ly}
2076 @cindex beam, last in score
2077 @cindex beam, last in polyphonic voice
2079 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2080 {beam-endings-in-score-context.ly}
2085 @file{scm/beam-settings.scm}.
2090 Internals Reference:
2091 @rinternals{Auto_beam_engraver},
2093 @rinternals{BeamForbidEvent},
2094 @rinternals{beam-interface}.
2099 If a score ends while an automatic beam has not been ended and is
2100 still accepting notes, this last beam will not be typeset at all.
2101 The same holds for polyphonic voices, entered with @code{<<
2102 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2103 automatic beam is still accepting notes, it is not typeset.
2104 The workaround for these problems is to manually beam the last
2105 beam in the voice or score.
2108 @unnumberedsubsubsec Manual beams
2110 @cindex beams, manual
2111 @cindex manual beams
2116 In some cases it may be necessary to override the automatic
2117 beaming algorithm. For example, the autobeamer will not put beams
2118 over rests or bar lines, and in choral scores the beaming is
2119 often set to follow the meter of the lyrics rather than the
2120 notes. Such beams can be specified manually by
2121 marking the begin and end point with @code{[} and @code{]}.
2123 @lilypond[quote,relative=1,verbatim]
2124 r4 r8[ g' a r8] r8 g[ | a] r8
2127 @cindex manual beams, direction shorthand for
2128 @cindex manual beams, grace notes
2130 Beaming direction can be set manually using direction indicators:
2132 @lilypond[quote,relative=2,verbatim]
2133 c8^[ d e] c,_[ d e f g]
2139 Individual notes may be marked with @code{\noBeam} to prevent them
2142 @lilypond[quote,verbatim,relative=2]
2147 Grace note beams and normal note beams can occur simultaneously.
2148 Unbeamed grace notes are not put into normal note beams.
2150 @lilypond[quote,verbatim,relative=2]
2152 \grace { e32[ d c d] }
2158 @funindex stemLeftBeamCount
2159 @funindex stemRightBeamCount
2161 Even more strict manual control with the beams can be achieved by
2162 setting the properties @code{stemLeftBeamCount} and
2163 @code{stemRightBeamCount}. They specify the number of beams to
2164 draw on the left and right side, respectively, of the next note.
2165 If either property is set, its value will be used only once, and
2166 then it is erased. In this example, the last @code{f} is printed
2167 with only one beam on the left side, i.e., the eighth-note beam of
2168 the group as a whole.
2170 @lilypond[quote,relative=2,verbatim]
2173 \set stemLeftBeamCount = #2
2174 \set stemRightBeamCount = #1
2176 \set stemLeftBeamCount = #1
2188 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2189 {flat-flags-and-beam-nibs.ly}
2194 @ref{Direction and placement},
2200 Internals Reference:
2202 @rinternals{BeamEvent},
2203 @rinternals{Beam_engraver},
2204 @rinternals{beam-interface},
2205 @rinternals{Stem_engraver}.
2208 @node Feathered beams
2209 @unnumberedsubsubsec Feathered beams
2211 @cindex beams, feathered
2212 @cindex feathered beams
2214 @funindex \featherDurations
2215 @funindex featherDurations
2216 @funindex grow-direction
2218 Feathered beams are used to indicate that a small group of notes
2219 should be played at an increasing (or decreasing) tempo, without
2220 changing the overall tempo of the piece. The extent of the
2221 feathered beam must be indicated manually using @code{[} and
2222 @code{]}, and the beam feathering is turned on by specifying a
2223 direction to the @code{Beam} property @code{grow-direction}.
2225 If the placement of the notes and the sound in the MIDI output is to
2226 reflect the ritardando or accelerando indicated by the feathered beam
2227 the notes must be grouped as a music expression delimited by braces
2228 and preceded by a @code{featherDurations} command which specifies
2229 the ratio between the durations of the first and last notes in the
2232 The square brackets show the extent of the beam and the braces show
2233 which notes are to have their durations modified. Normally these
2234 would delimit the same group of notes, but this is not required: the
2235 two commands are independent.
2237 In the following example the eight 16th notes occupy exactly the
2238 same time as a half note, but the first note is one half as long
2239 as the last one, with the intermediate notes gradually
2240 lengthening. The first four 32nd notes gradually speed up, while
2241 the last four 32nd notes are at a constant tempo.
2243 @lilypond[relative=1,verbatim,quote]
2244 \override Beam #'grow-direction = #LEFT
2245 \featherDurations #(ly:make-moment 2 1)
2246 { c16[ c c c c c c c] }
2247 \override Beam #'grow-direction = #RIGHT
2248 \featherDurations #(ly:make-moment 2 3)
2250 % revert to non-feathered beams
2251 \override Beam #'grow-direction = #'()
2256 The spacing in the printed output represents the
2257 note durations only approximately, but the MIDI output is exact.
2261 @code{\featherDurations}.
2271 The @code{\featherDurations} command only works with very short
2272 music snippets, and when numbers in the fraction are small.
2282 * Bar and bar number checks::
2287 @unnumberedsubsubsec Bar lines
2290 @cindex measure lines
2291 @cindex closing bar lines
2292 @cindex bar lines, closing
2293 @cindex double bar lines
2294 @cindex bar lines, double
2300 Bar lines delimit measures, and are also used to indicate
2301 repeats. Normally, simple bar lines are automatically inserted
2302 into the printed output at places based on the current time
2305 The simple bar lines inserted automatically can be changed to
2306 other types with the @code{\bar} command. For example, a closing
2307 double bar line is usually placed at the end of a piece:
2309 @lilypond[quote,relative=1,verbatim]
2313 It is not invalid if the final note in a measure does not
2314 end on the automatically entered bar line: the note is assumed
2315 to carry over into the next measure. But if a long sequence
2316 of such carry-over measures appears the music can appear compressed
2317 or even flowing off the page. This is because automatic line
2318 breaks happen only at the end of complete measures, i.e., where
2319 all notes end before the end of a measure.
2321 @warning{An incorrect duration can cause line breaks to be
2322 inhibited, leading to a line of highly compressed music or
2323 music which flows off the page.}
2326 @cindex bar lines, invisible
2327 @cindex measure lines, invisible
2329 Line breaks are also permitted at manually inserted bar lines
2330 even within incomplete measures. To allow a line break without
2331 printing a bar line, use the following:
2338 This will insert an invisible bar line and allow (but not
2339 force) a line break to occur at this point. The bar number
2340 counter is not increased. To force a line break see
2341 @ref{Line breaking}.
2343 @cindex manual bar lines
2344 @cindex manual measure lines
2345 @cindex bar lines, manual
2346 @cindex measure lines, manual
2348 This and other special bar lines may be inserted manually at any
2349 point. When they coincide with the end of a measure they replace
2350 the simple bar line which would have been inserted there
2351 automatically. When they do not coincide with the end of a measure
2352 the specified bar line is inserted at that point in the printed
2355 Note that manual bar lines are purely visual. They do not affect
2356 any of the properties that a normal bar line would affect, such as
2357 measure numbers, accidentals, line breaks, etc. They do not affect
2358 the calculation and placement of subsequent automatic bar lines.
2359 When a manual bar line is placed where a normal bar line already
2360 exists, the effects of the original bar line are not altered.
2362 Two types of simple bar lines and five types of double bar lines are
2363 available for manual insertion:
2365 @lilypond[quote,relative=1,verbatim]
2377 together with dotted and dashed bar lines:
2379 @lilypond[quote,relative=1,verbatim]
2386 and five types of repeat bar line:
2388 @lilypond[quote,relative=1,verbatim]
2397 Additionally, a bar line can be printed as a simple tick:
2398 @lilypond[quote,relative=1,verbatim]
2401 However, as such ticks are typically used in Gregorian chant, it is
2402 preferable to use @code{\divisioMinima} there instead, described in
2403 the section @ref{Divisiones} in Gregorian chant.
2407 For in-line segno signs, there are three types of bar lines which
2408 differ in their behavior at line breaks:
2410 @lilypond[quote,relative=2,verbatim]
2428 Although the bar line types signifying repeats may be inserted
2429 manually they do not in themselves cause LilyPond to recognize
2430 a repeated section. Such repeated sections are better entered
2431 using the various repeat commands (see @ref{Repeats}), which
2432 automatically print the appropriate bar lines.
2434 In addition, you can specify @code{"||:"}, which is equivalent to
2435 @code{"|:"} except at line breaks, where it gives a double bar
2436 line at the end of the line and a start repeat at the beginning of
2439 @lilypond[quote,relative=2,verbatim]
2447 For combinations of repeats with the segno sign, there are six different
2450 @lilypond[quote,relative=2,verbatim]
2479 In scores with many staves, a @code{\bar} command in one staff is
2480 automatically applied to all staves. The resulting bar lines are
2481 connected between different staves of a @code{StaffGroup},
2482 @code{PianoStaff}, or @code{GrandStaff}.
2484 @lilypond[quote,relative=1,verbatim]
2492 \new Staff { \clef bass c4 g e g }
2494 \new Staff { \clef bass c2 c2 }
2499 @cindex default bar lines, changing
2500 @cindex bar lines, default, changing
2505 @funindex defaultBarType
2510 The command @samp{\bar @var{bartype}} is a shortcut for
2511 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2512 created whenever the @code{whichBar} property is set.
2514 The default bar type used for automatically inserted bar lines is
2515 @code{"|"}. This may be changed at any time with
2516 @samp{\set Timing.defaultBarType = @var{bartype}}.
2521 @ref{Line breaking},
2523 @ref{Grouping staves}.
2528 Internals Reference:
2529 @rinternals{BarLine} (created at @code{Staff} level),
2530 @rinternals{SpanBar} (across staves),
2531 @rinternals{Timing_translator} (for Timing properties).
2535 @unnumberedsubsubsec Bar numbers
2538 @cindex measure numbers
2539 @cindex numbers, bar
2540 @cindex numbers, measure
2542 @funindex currentBarNumber
2544 Bar numbers are typeset by default at the start of every line except
2545 the first line. The number itself is stored in the
2546 @code{currentBarNumber} property, which is normally updated
2547 automatically for every measure. It may also be set manually:
2549 @lilypond[verbatim,quote,relative=1]
2552 \set Score.currentBarNumber = #50
2556 @cindex bar numbers, regular spacing
2558 @funindex barNumberVisibility
2561 Bar numbers can be typeset at regular intervals instead of just at
2562 the beginning of every line. To do this the default behavior
2563 must be overridden to permit bar numbers to be printed at places
2564 other than the start of a line. This is controlled by the
2565 @code{break-visibility} property of @code{BarNumber}. This takes
2566 three values which may be set to @code{#t} or @code{#f} to specify
2567 whether the corresponding bar number is visible or not. The order
2568 of the three values is @code{end of line visible}, @code{middle of
2569 line visible}, @code{beginning of line visible}. In the following
2570 example bar numbers are printed at all possible places:
2572 @lilypond[verbatim,quote,relative=1]
2573 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2574 \set Score.currentBarNumber = #11
2575 % Permit first bar number to be printed
2585 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2586 {printing-the-bar-number-for-the-first-measure.ly}
2588 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2589 {printing-bar-numbers-at-regular-intervals.ly}
2591 @cindex measure number, format
2592 @cindex bar number, format
2594 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2595 {printing-bar-numbers-inside-boxes-or-circles.ly}
2597 @cindex bar number alignment
2599 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2600 {aligning-bar-numbers.ly}
2602 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2603 {removing-bar-numbers-from-a-score.ly}
2610 Internals Reference:
2611 @rinternals{BarNumber},
2612 @rinternals{Bar_number_engraver}.
2615 @cindex bar number collision
2616 @cindex collision, bar number
2620 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2621 if there is one. To solve this, the @code{padding} property of
2622 @code{BarNumber} can be used to position the number correctly. See
2623 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2626 @node Bar and bar number checks
2627 @unnumberedsubsubsec Bar and bar number checks
2630 @cindex bar number check
2631 @cindex measure check
2632 @cindex measure number check
2634 @funindex barCheckSynchronize
2637 Bar checks help detect errors in the entered durations. A bar check
2638 may be entered using the bar symbol, @code{|}, at any place where a
2639 bar line is expected to fall. If bar check lines are encountered at
2640 other places, a list of warnings is printed in the log file, showing
2641 the line numbers and lines in which the bar checks failed. In the
2642 next example, the second bar check will signal an error.
2645 \time 3/4 c2 e4 | g2 |
2648 Bar checks can also be used in lyrics:
2653 Twin -- kle | Twin -- kle |
2657 An incorrect duration can result in a completely garbled score,
2658 especially if the score is polyphonic, so a good place to start
2659 correcting input is by scanning for failed bar checks and
2660 incorrect durations.
2662 If successive bar checks are off by the same musical interval,
2663 only the first warning message is displayed. This allows the
2664 warning to focus on the source of the timing error.
2668 @funindex pipeSymbol
2670 It is also possible to redefine the action taken when a bar check
2671 or pipe symbol, @code{|}, is encountered in the input, so that
2672 it does something other than a bar check. This is done by
2673 assigning a music expression to @code{pipeSymbol}.
2674 In the following example @code{|} is set to insert a double bar
2675 line wherever it appears in the input, rather than checking
2678 @lilypond[quote,verbatim]
2679 pipeSymbol = \bar "||"
2688 @funindex \barNumberCheck
2689 @funindex barNumberCheck
2691 When copying large pieces of music, it can be helpful to check that
2692 the LilyPond bar number corresponds to the original that you are
2693 entering from. This can be checked with @code{\barNumberCheck}, for
2697 \barNumberCheck #123
2701 will print a warning if the @code{currentBarNumber} is not 123
2702 when it is processed.
2710 @node Rehearsal marks
2711 @unnumberedsubsubsec Rehearsal marks
2713 @cindex rehearsal marks
2714 @cindex mark, rehearsal
2719 To print a rehearsal mark, use the @code{\mark} command.
2721 @lilypond[quote,verbatim,relative=2]
2729 The mark is incremented automatically if you use @code{\mark
2730 \default}, but you can also use an integer argument to set the
2731 mark manually. The value to use is stored in the property
2732 @code{rehearsalMark}.
2734 @lilypond[quote,verbatim,relative=2]
2743 The letter@tie{}@q{I} is skipped in accordance with engraving
2744 traditions. If you wish to include the letter @q{I}, then use one
2745 of the following commands, depending on which style of rehearsal mark
2746 you want (letters only, letters in a hollow box, or letters in a
2750 \set Score.markFormatter = #format-mark-alphabet
2751 \set Score.markFormatter = #format-mark-box-alphabet
2752 \set Score.markFormatter = #format-mark-circle-alphabet
2755 @lilypond[quote,verbatim,relative=2]
2756 \set Score.markFormatter = #format-mark-box-alphabet
2764 @cindex rehearsal mark format
2765 @cindex rehearsal mark style
2766 @cindex style, rehearsal mark
2767 @cindex format, rehearsal mark
2768 @cindex mark, rehearsal, style
2769 @cindex mark, rehearsal, format
2770 @cindex rehearsal mark, manual
2771 @cindex mark, rehearsal, manual
2772 @cindex custom rehearsal mark
2773 @cindex manual rehearsal mark
2775 The style is defined by the property @code{markFormatter}. It is
2776 a function taking the current mark (an integer) and the current
2777 context as argument. It should return a markup object. In the
2778 following example, @code{markFormatter} is set to a pre-defined
2779 procedure. After a few measures, it is set to a procedure that
2780 produces a boxed number.
2782 @lilypond[quote,verbatim,relative=2]
2783 \set Score.markFormatter = #format-mark-numbers
2786 \set Score.markFormatter = #format-mark-box-numbers
2788 \set Score.markFormatter = #format-mark-circle-numbers
2790 \set Score.markFormatter = #format-mark-circle-letters
2794 The file @file{scm/@/translation@/-functions@/.scm} contains the
2795 definitions of @code{format-mark-numbers} (the default format),
2796 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2797 @code{format-mark-box-letters}. These can be used as inspiration
2798 for other formatting functions.
2800 You may use @code{format-mark-barnumbers},
2801 @code{format-mark-box-barnumbers}, and
2802 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2803 incremented numbers or letters.
2805 Other styles of rehearsal mark can be specified manually:
2812 Note that @code{Score.markFormatter} does not affect marks specified
2813 in this manner. However, it is possible to apply a @code{\markup} to the
2817 \mark \markup@{ \box A1 @}
2822 @cindex D.S. al Fine
2824 @cindex music glyphs
2825 @cindex glyphs, music
2827 @funindex \musicglyph
2828 @funindex musicglyph
2830 Music glyphs (such as the segno sign) may be printed inside a
2833 @lilypond[quote,verbatim,relative=1]
2834 c1 \mark \markup { \musicglyph #"scripts.segno" }
2835 c1 \mark \markup { \musicglyph #"scripts.coda" }
2836 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2841 See @ref{The Feta font}, for a list of symbols which may be
2842 printed with @code{\musicglyph}.
2844 For common tweaks to the positioning of rehearsal marks, see
2845 @ref{Formatting text}. For more precise control, see
2846 @code{break-alignable-interface} in @ref{Aligning objects}.
2851 @ref{The Feta font},
2852 @ref{Formatting text},
2853 @ref{Aligning objects}.
2856 @file{scm/@/translation@/-functions@/.scm} contains
2857 the definitions of @code{format-mark-numbers} and
2858 @code{format-mark-letters}. They can be used as inspiration for
2859 other formatting functions.
2864 Internals Reference:
2865 @rinternals{MarkEvent},
2866 @rinternals{Mark_engraver},
2867 @rinternals{RehearsalMark}.
2870 @node Special rhythmic concerns
2871 @subsection Special rhythmic concerns
2876 * Aligning to cadenzas::
2877 * Time administration::
2881 @unnumberedsubsubsec Grace notes
2885 @cindex appoggiatura
2886 @cindex acciaccatura
2891 Grace notes are ornaments that are written out. Grace notes
2892 are printed in a smaller font and take up no logical time
2895 @lilypond[quote,relative=2,verbatim]
2897 \grace { c16[ d16] } c2
2900 LilyPond also supports two special types of grace notes, the
2901 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2902 small note with a slashed stem -- and the @emph{appoggiatura}, which
2903 takes a fixed fraction of the main note and appears in small print
2906 @lilypond[quote,relative=2,verbatim]
2910 \acciaccatura { g16[ f] } e4
2913 The placement of grace notes is synchronized between different
2914 staves. In the following example, there are two sixteenth grace
2915 notes for every eighth grace note
2917 @lilypond[quote,relative=2,verbatim]
2919 \new Staff { e2 \grace { c16[ d e f] } e2 }
2920 \new Staff { c2 \grace { g8[ b] } c2 }
2924 @cindex grace notes, following
2926 @funindex \afterGrace
2927 @funindex afterGrace
2929 If you want to end a note with a grace, use the @code{\afterGrace}
2930 command. It takes two arguments: the main note, and the grace
2931 notes following the main note.
2933 @lilypond[quote,verbatim,relative=2]
2934 c1 \afterGrace d1 { c16[ d] } c1
2937 This will put the grace notes after a space lasting 3/4 of the
2938 length of the main note. The default fraction 3/4 can be changed by
2939 setting @code{afterGraceFraction}. The following example shows
2940 the results from setting the space at the default, at 15/16, and
2941 finally at 1/2 of the main note.
2943 @lilypond[quote,verbatim,relative=2]
2946 c1 \afterGrace d1 { c16[ d] } c1
2949 #(define afterGraceFraction (cons 15 16))
2950 c1 \afterGrace d1 { c16[ d] } c1
2953 #(define afterGraceFraction (cons 1 2))
2954 c1 \afterGrace d1 { c16[ d] } c1
2959 The space between the main note and the grace note may also be
2960 specified using spacers. The following example places the grace
2961 note after a space lasting 7/8 of the main note.
2963 @lilypond[quote,verbatim,relative=2]
2967 { s2 s4. \grace { c16[ d] } }
2973 @cindex tweaking grace notes
2974 @cindex grace notes, tweaking
2975 @cindex grace notes, changing layout settings
2977 A @code{\grace} music expression will introduce special
2978 typesetting settings, for example, to produce smaller type, and
2979 set directions. Hence, when introducing layout tweaks to
2980 override the special settings, they should be placed inside
2981 the grace expression. The overrides should also be reverted
2982 inside the grace expression. Here, the grace note's default stem
2983 direction is overridden and then reverted.
2985 @lilypond[quote,verbatim,relative=2]
2997 @cindex stem, with slash
3002 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3003 {using-grace-note-slashes-with-normal-heads.ly}
3005 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3006 {tweaking-grace-layout-within-music.ly}
3008 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3009 {redefining-grace-note-global-defaults.ly}
3011 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3012 {positioning-grace-notes-with-floating-space.ly}
3017 @rglos{grace notes},
3018 @rglos{acciaccatura},
3019 @rglos{appoggiatura}.
3025 @file{ly/@/grace@/-init@/.ly}.
3030 Internals Reference:
3031 @rinternals{GraceMusic},
3032 @rinternals{Grace_beam_engraver},
3033 @rinternals{Grace_engraver},
3034 @rinternals{Grace_spacing_engraver}.
3039 @cindex acciaccatura, multi-note
3040 @cindex multi-note acciaccatura
3041 @cindex grace-note synchronization
3043 A multi-note beamed @i{acciaccatura} is printed without a slash,
3044 and looks exactly the same as a multi-note beamed
3047 @c TODO Add link to LSR snippet to add slash when available
3049 Grace note synchronization can also lead to surprises. Staff
3050 notation, such as key signatures, bar lines, etc., are also
3051 synchronized. Take care when you mix staves with grace notes and
3052 staves without, for example,
3054 @lilypond[quote,relative=2,verbatim]
3056 \new Staff { e4 \bar "|:" \grace c16 d2. }
3057 \new Staff { c4 \bar "|:" d2. }
3062 This can be remedied by inserting grace skips of the corresponding
3063 durations in the other staves. For the above example
3065 @lilypond[quote,relative=2,verbatim]
3067 \new Staff { e4 \bar "|:" \grace c16 d2. }
3068 \new Staff { c4 \bar "|:" \grace s16 d2. }
3072 Grace sections should only be used within sequential music
3073 expressions. Nesting or juxtaposing grace sections is not
3074 supported, and might produce crashes or other errors.
3076 @node Aligning to cadenzas
3077 @unnumberedsubsubsec Aligning to cadenzas
3080 @cindex cadenza, aligning to
3081 @cindex aligning to cadenza
3083 In an orchestral context, cadenzas present a special problem: when
3084 constructing a score that includes a measured cadenza or other solo
3085 passage, all other instruments should skip just as many notes as the
3086 length of the cadenza, otherwise they will start too soon or too late.
3088 One solution to this problem is to use the functions
3089 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3090 functions take a defined piece of music as an argument and generate a
3091 multi-measure rest or @code{\skip} exactly as long as the piece.
3093 @lilypond[verbatim,quote]
3094 MyCadenza = \relative c' {
3105 #(ly:export (mmrest-of-length MyCadenza))
3107 #(ly:export (skip-of-length MyCadenza))
3122 @node Time administration
3123 @unnumberedsubsubsec Time administration
3125 @cindex time administration
3126 @cindex timing (within the score)
3127 @cindex music, unmetered
3128 @cindex unmetered music
3130 @funindex currentBarNumber
3131 @funindex measurePosition
3132 @funindex measureLength
3134 Time is administered by the @code{Timing_translator}, which by
3135 default is to be found in the @code{Score} context. An alias,
3136 @code{Timing}, is added to the context in which the
3137 @code{Timing_translator} is placed. To ensure that the
3138 @code{Timing} alias is available, you may need to explicitly
3139 instantiate the containing context (such as @code{Voice} or
3142 The following properties of @code{Timing} are used
3143 to keep track of timing within the score.
3146 @cindex measure number
3149 @item currentBarNumber
3150 The current measure number. For an example showing the
3151 use of this property see @ref{Bar numbers}.
3154 The length of the measures in the current time signature. For a
3155 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3156 determines when bar lines are inserted and how automatic beams
3157 should be generated.
3159 @item measurePosition
3160 The point within the measure where we currently are. This
3161 quantity is reset by subtracting @code{measureLength} whenever
3162 @code{measureLength} is reached or exceeded. When that happens,
3163 @code{currentBarNumber} is incremented.
3166 If set to true, the above variables are updated for every time
3167 step. When set to false, the engraver stays in the current
3168 measure indefinitely.
3172 Timing can be changed by setting any of these variables
3173 explicitly. In the next example, the default 4/4 time
3174 signature is printed, but @code{measureLength} is set to 5/4.
3175 At 4/8 through the third measure, the @code{measurePosition} is
3176 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3177 The next bar line then falls at 9/8 rather than 5/4.
3179 @lilypond[quote,verbatim]
3180 \new Voice \relative c' {
3181 \set Timing.measureLength = #(ly:make-moment 5 4)
3185 \set Timing.measurePosition = #(ly:make-moment 5 8)
3192 As the example illustrates, @code{ly:make-moment n m} constructs a
3193 duration of n/m of a whole note. For example,
3194 @code{ly:make-moment 1 8} is an eighth note duration and
3195 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3202 @ref{Unmetered music}.
3207 Internals Reference:
3208 @rinternals{Timing_translator},