1 @c -*- coding: utf-8; mode: texinfo; -*-
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
149 @rglos{Duration names notes and rests}.
152 @ref{Automatic beams},
155 @ref{Writing rhythms},
158 @ref{Ancient notation},
159 @ref{Proportional notation}.
166 @rinternals{DotColumn}.
171 @c Deliberately duplicated in Durations and Rests. -gp
172 There is no fundamental limit to rest durations (both in terms of
173 longest and shortest), but the number of glyphs is limited:
174 rests from 128th to maxima (8 x whole) may be printed.
178 @unnumberedsubsubsec Tuplets
186 Tuplets are made from a music expression by multiplying all the
187 durations with a fraction:
190 \times @var{fraction} @{ @var{music} @}
194 The duration of @var{music} will be multiplied by the
195 fraction. The fraction's denominator will be printed over or
196 under the notes, optionally with a bracket. The most common
197 tuplet is the triplet in which 3 notes have the duration of 2, so
198 the notes are 2/3 of their written length.
200 @lilypond[quote,verbatim,relative=2]
201 a2 \times 2/3 { b4 b b }
202 c4 c \times 2/3 { b4 a g }
205 @cindex tuplet bracket placement
209 @funindex \tupletDown
211 @funindex \tupletNeutral
212 @funindex tupletNeutral
214 Tuplet brackets may be manually placed above or below the staff;
215 see @ref{Direction and placement}.
217 Tuplets may be nested:
219 @lilypond[quote,verbatim,relative=2]
221 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
224 Modifying nested tuplets which begin at the same musical moment
225 must be done with @code{\tweak}.
227 To modify the duration of notes without printing a tuplet bracket,
228 see @ref{Scaling durations}.
234 @code{\tupletNeutral}.
240 @cindex tuplet formatting
241 @cindex triplet formatting
243 @funindex tupletNumberFormatFunction
244 @funindex tupletSpannerDuration
246 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
247 {entering-several-tuplets-using-only-one--times-command.ly}
249 @cindex Tuplet number changes
251 @funindex TupletNumber
253 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
254 {changing-the-tuplet-number.ly}
256 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
257 {non-default-tuplet-numbers.ly}
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {permitting-line-breaks-within-beamed-tuplets.ly}
270 @rlearning{Tweaking methods}.
273 @ref{Time administration},
274 @ref{Scaling durations},
275 @ref{The tweak command},
276 @ref{Polymetric notation}.
282 @rinternals{TupletBracket},
283 @rinternals{TupletNumber},
284 @rinternals{TimeScaledMusic}.
287 @cindex grace notes within tuplet brackets
290 When the first note on a staff is a grace note followed by a
291 tuplet the grace note must be placed before the @code{\times}
292 command to avoid errors. Anywhere else, grace notes may be
293 placed within tuplet brackets.
296 @node Scaling durations
297 @unnumberedsubsubsec Scaling durations
299 @cindex scaling durations
300 @cindex durations, scaling
302 You can alter the duration of single notes, rests or chords by a
303 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
304 is 1) to the duration. This will not affect the appearance of the
305 notes or rests produced, but the altered duration will be used in
306 calculating the position within the measure and setting the duration
307 in the MIDI output. Multiplying factors may be combined such as
310 In the following example, the first three notes take up exactly
311 two beats, but no triplet bracket is printed.
313 @lilypond[quote,relative=2,verbatim]
315 % Alter durations to triplets
316 a4*2/3 gis4*2/3 a4*2/3
319 % Double the duration of chord
321 % Duration of quarter, appears like sixteenth
325 The duration of spacing notes may also be modified by
326 a multiplier. This is useful for skipping many measures, e.g.,
329 @cindex compressing music
330 @cindex expanding music
332 @funindex \scaleDurations
333 @funindex scaleDurations
335 Longer stretches of music may be compressed by a fraction in the
336 same way, as if every note, chord or rest had the fraction as a
337 multiplier. This leaves the appearance of the music unchanged but
338 the internal duration of the notes will be multiplied by the
339 fraction @emph{num}/@emph{den}. The spaces around the dot are
340 required. Here is an example showing how music can be compressed
343 @lilypond[quote,relative=2,verbatim]
347 % Scale music by *2/3
348 \scaleDurations #'(2 . 3) {
352 \scaleDurations #'(2 . 1) {
357 One application of this command is in polymetric
358 notation, see @ref{Polymetric notation}.
364 @ref{Invisible rests},
365 @ref{Polymetric notation}.
372 @unnumberedsubsubsec Ties
378 A tie connects two adjacent note heads of the same pitch. The tie
379 in effect extends the duration of a note.
381 @warning{Ties should not be confused with @emph{slurs}, which
382 indicate articulation, or @emph{phrasing slurs}, which indicate
383 musical phrasing. A tie is just a way of extending a note
384 duration, similar to the augmentation dot.}
386 A tie is entered using the tilde symbol (@code{~}).
388 @lilypond[quote,verbatim,relative=2]
392 Ties are used either when the note crosses a bar line, or when
393 dots cannot be used to denote the rhythm. Ties should also be
394 used when note values cross larger subdivisions of the measure:
396 @lilypond[verbatim,quote]
403 If you need to tie many notes across bar lines, it may be
404 easier to use automatic note splitting, see @ref{Automatic note
405 splitting}. This mechanism automatically splits long notes, and
406 ties them across bar lines.
408 @cindex ties and chords
409 @cindex chords and ties
411 When a tie is applied to a chord, all note heads whose pitches
412 match are connected. When no note heads match, no ties will be
413 created. Chords may be partially tied by placing the tie inside
416 @lilypond[quote,verbatim,relative=1]
418 <c~ e g~ b> <c e g b>
421 @cindex repeating ties
422 @cindex ties, repeating
423 @cindex volta brackets and ties
424 @cindex ties and volta brackets
429 When a second alternative of a repeat starts with a tied note, you
430 have to specify the repeated tie as follows:
432 @lilypond[quote,relative=2,verbatim]
433 \repeat volta 2 { c g <c e>2 ~ }
435 % First alternative: following note is tied normally
437 % Second alternative: following note has a repeated tie
438 { <c e>2\repeatTie d4 c } }
441 @cindex laissez vibrer
442 @cindex ties, laissez vibrer
444 @funindex \laissezVibrer
445 @funindex laissezVibrer
447 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
448 notes must not be damped at the end. It is used in notation for
449 piano, harp and other string and percussion instruments. They can
450 be entered as follows:
452 @lilypond[quote,verbatim,relative=1]
453 <c f g>1\laissezVibrer
456 @cindex ties, placement
462 @funindex \tieNeutral
465 Ties may be manually placed above or below the staff; see
466 @ref{Direction and placement}.
468 @cindex ties, appearance
481 Ties may be made dashed, dotted, or a combination of solid and
484 @lilypond[quote, verbatim, relative=1]
497 Custom dash patterns can be specified:
499 @lilypond[quote, verbatim, relative=1]
500 \tieDashPattern #0.3 #0.75
502 \tieDashPattern #0.7 #1.5
508 Dash pattern definitions for ties have the same structure as
509 dash pattern definitions for slurs.
510 For more information about complex dash patterns,
511 see the snippets under @ref{Slurs}.
519 @code{\tieDashPattern},
520 @code{\tieHalfDashed},
521 @code{\tieHalfSolid},
528 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
529 {using-ties-with-arpeggios.ly}
531 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
532 {engraving-ties-manually.ly}
538 @rglos{laissez vibrer}.
542 @ref{Automatic note splitting}.
548 @rinternals{LaissezVibrerTie},
549 @rinternals{LaissezVibrerTieColumn},
550 @rinternals{TieColumn},
556 Switching staves when a tie is active will not produce a slanted
559 Changing clefs or octavations during a tie is not really
560 well-defined. In these cases, a slur may be preferable.
565 @subsection Writing rests
567 Rests are entered as part of the music in music expressions.
572 * Full measure rests::
576 @unnumberedsubsubsec Rests
579 @cindex rest, entering durations
594 Rests are entered like notes with the note name @code{r}.
595 Durations longer than a whole rest use the predefined
598 @c \time 16/1 is used to avoid spurious bar lines
599 @c and long tracts of empty measures
600 @lilypond[fragment,quote,verbatim]
602 % These two lines are just to prettify this example
604 \override Staff.TimeSignature #'stencil = ##f
605 % Print a maxima rest, equal to four breves
607 % Print a longa rest, equal to two breves
611 r1 r2 r4 r8 r16 r32 r64 r128
615 @cindex rest, multi-measure
616 @cindex rest, whole-measure
618 Whole measure rests, centered in the middle of the measure, must be
619 entered as multi-measure rests. They can be used for a single
620 measure as well as many measures and are discussed in @ref{Full
623 @cindex rest, specifying vertical position
625 To explicitly specify a rest's vertical position, write a note
626 followed by @code{\rest}. A rest of the duration of the note will
627 be placed at the staff position where the note would appear. This
628 allows for precise manual formatting of polyphonic music, since the
629 automatic rest collision formatter will not move these rests.
631 @lilypond[quote,verbatim,relative=2]
637 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
648 @ref{Full measure rests}.
659 @c Deliberately duplicated in Durations and Rests. -gp
660 There is no fundamental limit to rest durations (both in terms of
661 longest and shortest), but the number of glyphs is limited: there
662 are rests from 128th to maxima (8 x whole).
665 @node Invisible rests
666 @unnumberedsubsubsec Invisible rests
669 @cindex invisible rest
670 @cindex rest, invisible
678 An invisible rest (also called a @q{spacer rest}) can be entered
679 like a note with the note name@tie{}@code{s}:
681 @lilypond[verbatim,quote,relative=2]
688 Spacer rests are available only in note mode and chord mode. In
689 other situations, for example, when entering lyrics, the
690 command @code{\skip} is used to skip a musical moment.
691 @code{\skip} requires an explicit duration.
693 @lilypond[quote,verbatim,relative=2]
706 Because @code{\skip} is a command, it does not affect the default
707 durations of following notes, unlike@tie{}@code{s}.
709 @lilypond[quote,verbatim,relative=2]
712 \repeat unfold 8 {a4}
722 A spacer rest implicitly causes @code{Staff} and @code{Voice}
723 contexts to be created if none exist, just like notes and rests
726 @lilypond[quote,verbatim,fragment]
730 @code{\skip} simply skips musical time; it creates no output of
733 @lilypond[quote,verbatim,fragment]
734 % This is valid input, but does nothing
735 \skip 1 \skip1 \skip 1
741 @rlearning{Visibility and color of objects}.
745 @ref{Visibility of objects}.
751 @rinternals{SkipMusic}.
754 @node Full measure rests
755 @unnumberedsubsubsec Full measure rests
757 @cindex multi-measure rests
758 @cindex full-measure rests
759 @cindex rest, multi-measure
760 @cindex rest, full-measure
761 @cindex whole rest for a full measure
762 @cindex rest, whole for a full measure
766 Rests for one or more full measures are entered like notes with
767 the note name uppercase @code{R}:
769 @lilypond[quote,verbatim,relative=2]
770 % Rest measures contracted to single measure
771 \compressFullBarRests
778 The duration of full-measure rests is identical to the duration
779 notation used for notes. The duration in a multi-measure rest must
780 always be an integral number of measure-lengths, so augmentation dots
781 or fractions must often be used:
783 @lilypond[quote,fragment,verbatim]
784 \compressFullBarRests
790 R1*13/8 | R1*13/8*12 |
795 A full-measure rest is printed as either a whole or breve rest,
796 centered in the measure, depending on the time signature.
798 @lilypond[quote,verbatim,fragment]
807 @cindex multi-measure rest, expanding
808 @cindex multi-measure rest, contracting
810 @funindex \expandFullBarRests
811 @funindex expandFullBarRests
812 @funindex \compressFullBarRests
813 @funindex compressFullBarRests
815 By default a multi-measure rest is expanded in the printed score to
816 show all the rest measures explicitly. Alternatively, a multi-measure
817 rest can be shown as a single measure containing a multi-measure rest
818 symbol, with the number of measures of rest printed above the measure:
820 @lilypond[quote,fragment,verbatim]
822 \time 3/4 r2. | R2.*2 |
825 % Rest measures contracted to single measure
826 \compressFullBarRests
828 % Rest measures expanded
835 @cindex text on multi-measure rest
836 @cindex multi-measure rest, attaching text
837 @cindex script on multi-measure rest
838 @cindex multi-measure rest, script
839 @cindex fermata on multi-measure rest
840 @cindex multi-measure rest, attaching fermata
841 @cindex markup on multi-measure rest
842 @cindex multi-measure rest with markup
844 @funindex \fermataMarkup
845 @funindex fermataMarkup
846 @funindex MultiMeasureRestText
848 Markups can be added to multi-measure rests.
849 The predefined command @code{\fermataMarkup}
850 is provided for adding fermatas.
852 @lilypond[quote,verbatim,fragment]
853 \compressFullBarRests
855 R2.*10^\markup { \italic "ad lib." }
860 Markups attached to a multi-measure rest are
861 objects of type @code{MultiMeasureRestText}, not
862 @code{TextScript}. Overrides must be directed to the correct
863 object, or they will be ignored. See the following example.
866 @lilypond[quote,verbatim,fragment]
867 % This fails, as the wrong object name is specified
868 \override TextScript #'padding = #5
870 % This is correct and works
871 \override MultiMeasureRestText #'padding = #5
875 When a multi-measure rest immediately follows a @code{\partial}
876 setting, resulting bar-check warnings may not be displayed.
879 @funindex \textLengthOn
880 @funindex textLengthOn
881 @funindex \textLengthOff
882 @funindex textLenthOff
883 @funindex \fermataMarkup
884 @funindex fermataMarkup
885 @funindex \compressFullBarRests
886 @funindex compressFullBarRests
887 @funindex \expandFullBarRests
888 @funindex expandFullBarRests
891 @code{\textLengthOn},
892 @code{\textLengthOff},
893 @code{\fermataMarkup},
894 @code{\compressFullBarRests},
895 @code{\expandFullBarRests}.
903 @cindex kirchenpausen
905 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
906 {changing-form-of-multi-measure-rests.ly}
908 @cindex multi-measure rests, positioning
909 @cindex positioning multi-measure rests
911 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
912 {positioning-multi-measure-rests.ly}
914 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
915 {multi-measure-rest-markup.ly}
920 @rglos{multi-measure rest}.
925 @ref{Formatting text},
932 @rinternals{MultiMeasureRest},
933 @rinternals{MultiMeasureRestNumber},
934 @rinternals{MultiMeasureRestText}.
937 @cindex fingerings and multi-measure rests
938 @cindex multi-measure rests and fingerings
942 If an attempt is made to use fingerings (e.g.,
943 @code{R1*10-4}) to put numbers over multi-measure rests, the
944 fingering numeral (4) may collide with the bar counter
947 @cindex condensing rests
948 @cindex rest, condensing ordinary
950 There is no way to automatically condense multiple ordinary rests
951 into a single multi-measure rest.
953 @cindex rest, collisions of
955 Multi-measure rests do not take part in rest collisions.
957 @node Displaying rhythms
958 @subsection Displaying rhythms
964 * Polymetric notation::
965 * Automatic note splitting::
966 * Showing melody rhythms::
970 @unnumberedsubsubsec Time signature
972 @cindex time signature
978 The time signature is set as follows:
980 @lilypond[quote,verbatim,relative=2]
985 @cindex time signature, visibility of
987 Time signatures are printed at the beginning of a piece
988 and whenever the time signature changes. If a change takes place
989 at the end of a line a warning time signature sign is printed
990 there. This default behavior may be changed, see
991 @ref{Visibility of objects}.
993 @lilypond[quote,verbatim,relative=2]
1003 @cindex time signature style
1006 @funindex \numericTimeSignature
1007 @funindex numericTimeSignature
1008 @funindex \defaultTimeSignature
1009 @funindex defaultTimeSignature
1011 The time signature symbol that is used in 2/2 and 4/4 time can be
1012 changed to a numeric style:
1014 @lilypond[quote,verbatim,relative=2]
1018 % Change to numeric style
1019 \numericTimeSignature
1022 % Revert to default style
1023 \defaultTimeSignature
1029 Mensural time signatures are covered in
1030 @ref{Mensural time signatures}.
1034 @code{\numericTimeSignature},
1035 @code{\defaultTimeSignature}.
1041 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1042 {changing-the-time-signature-without-affecting-the-beaming.ly}
1044 @cindex compound time signatures
1045 @cindex time signature, compound
1047 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1048 {compound-time-signatures.ly}
1050 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1051 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1056 @rglos{time signature}
1059 @ref{Mensural time signatures},
1060 @ref{Time administration}.
1065 Internals Reference:
1066 @rinternals{TimeSignature},
1067 @rinternals{Timing_translator}.
1071 @unnumberedsubsubsec Upbeats
1075 @cindex partial measure
1076 @cindex measure, partial
1077 @cindex pickup measure
1078 @cindex measure, change length
1080 @funindex measurePosition
1084 Partial or pick-up measures, such as an anacrusis or upbeat, are
1085 entered using the @code{\partial} command, with the syntax
1088 \partial @var{duration}
1092 where @code{duration} is the rhythmic length of the remaining
1093 interval of the current measure before the start of the next.
1095 @lilypond[quote,verbatim,relative=2]
1100 The partial measure can be any duration less than the full measure:
1102 @lilypond[quote,verbatim,relative=2]
1103 \partial 8*3 c8 d e |
1107 Internally, @code{\partial @var{duration}} is translated into:
1110 \set Timing.measurePosition -@var{duration}
1113 For example, @code{\partial 8*3} becomes:
1116 \set Timing.measurePosition = #(ly:make-moment -3 8)
1119 The property @code{measurePosition} contains a rational number
1120 indicating how much of the measure has passed at this point. Note
1121 that this is set to a negative number by the @code{\partial} command:
1122 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1123 @qq{there is a quarter note left in the measure.}
1136 @rinternals{Timing_translator}.
1140 The @code{\partial} command is intended to be used only at the
1141 beginning of a piece. If you use it after the beginning, some
1142 odd warnings or effects may occur, in this case use
1143 @code{\set Timing.measurePosition} instead.
1145 @node Unmetered music
1146 @unnumberedsubsubsec Unmetered music
1148 @cindex bar lines, turning off
1149 @cindex bar numbering, turning off
1151 @cindex unmetered music
1153 @funindex \cadenzaOn
1155 @funindex \cadenzaOff
1156 @funindex cadenzaOff
1158 Bar lines and bar numbers are calculated automatically. For
1159 unmetered music (some cadenzas, for example), this is not desirable.
1160 To turn off automatic calculation of bar lines and bar numbers,
1161 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1162 to turn them on again.
1164 @lilypond[verbatim,relative=2,fragment]
1173 Bar numbering is resumed at the end of the cadenza as if the
1174 cadenza were not there:
1176 @lilypond[verbatim,relative=2,fragment]
1177 % Show all bar numbers
1178 \override Score.BarNumber #'break-visibility = #all-visible
1187 Note that these predefined commands affect all staves in the
1188 score, even when they are placed in just one @code{Voice}
1189 context. To change this, move the @code{Timing_translator}
1190 from the @code{Score} context to the @code{Staff} context, as
1191 shown in @ref{Polymetric notation}.
1204 @ref{Visibility of objects},
1205 @ref{Polymetric notation}.
1211 @cindex cadenza line breaks
1212 @cindex cadenza page breaks
1213 @cindex unmetered music, line breaks
1214 @cindex unmetered music, page breaks
1215 @cindex breaks in unmetered music
1216 @cindex line breaks in cadenzas
1217 @cindex page breaks in cadenzas
1218 @cindex line breaks in unmetered music
1219 @cindex page breaks in unmetered music
1223 LilyPond will insert line breaks and page breaks only at a
1224 bar line. Unless the unmetered music ends before the end of the
1225 staff line, you will need to insert invisible bar lines with
1232 to indicate where breaks can occur.
1234 You must explicitly create a @code{Voice} context when starting a
1235 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1237 @lilypond[verbatim,relative=2,fragment]
1238 \new Voice \relative c'{
1240 c16^"Solo Free Time" d e f g2. \bar "||"
1246 @node Polymetric notation
1247 @unnumberedsubsubsec Polymetric notation
1249 @c This section necessarily uses \set
1250 @c This is acceptable -td
1252 @cindex double time signatures
1253 @cindex signatures, polymetric
1254 @cindex time signatures, polymetric
1255 @cindex time signatures, double
1256 @cindex polymetric signatures
1257 @cindex meter, polymetric
1259 @funindex timeSignatureFraction
1260 @funindex \scaleDurations
1261 @funindex scaleDurations
1265 Polymetric notation is supported, either explicitly or by modifying
1266 the visible time signature symbol and scaling the note durations.
1268 @strong{@i{Staves with different time signatures, equal measure lengths}}
1270 This notation can be created by setting a common time signature
1271 for each staff but replacing the symbol manually by setting
1272 @code{timeSignatureFraction} to the desired fraction and scaling
1273 the printed durations in each staff to the common time
1274 signature; see @ref{Time signature}. The scaling is done with
1275 @code{\scaleDurations}, which is used in a similar way to
1276 @code{\times}, but does not create a tuplet bracket; see
1277 @ref{Scaling durations}.
1279 @cindex beaming in polymetric music
1280 @cindex beaming in polymetric meter
1282 In this example, music with the time signatures of 3/4, 9/8, and
1283 10/8 are used in parallel. In the second staff, shown durations
1284 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1285 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1286 It will often be necessary to insert beams manually, as the
1287 duration scaling affects the autobeaming rules.
1289 @lilypond[quote,verbatim,fragment]
1298 \set Staff.timeSignatureFraction = #'(9 . 8)
1299 \scaleDurations #'(2 . 3)
1300 \repeat unfold 6 { c8[ c c] }
1304 \set Staff.timeSignatureFraction = #'(10 . 8)
1305 \scaleDurations #'(3 . 5) {
1306 \repeat unfold 2 { c8[ c c] }
1307 \repeat unfold 2 { c8[ c] } |
1308 c4. c4. \times 2/3 { c8[ c c] } c4
1314 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1316 Each staff can be given its own independent time signature by
1317 moving the @code{Timing_translator} and the
1318 @code{Default_bar_line_engraver} to the @code{Staff} context.
1320 @lilypond[quote,verbatim]
1324 \remove "Timing_translator"
1325 \remove "Default_bar_line_engraver"
1329 \consists "Timing_translator"
1330 \consists "Default_bar_line_engraver"
1334 % Now each staff has its own time signature.
1360 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1361 {compound-time-signatures.ly}
1367 @rglos{polymetric time signature},
1371 @ref{Time signature},
1372 @ref{Scaling durations}.
1377 Internals Reference:
1378 @rinternals{TimeSignature},
1379 @rinternals{Timing_translator},
1380 @rinternals{Default_bar_line_engraver},
1386 When using different time signatures in parallel, notes
1387 at the same moment will be placed at the same horizontal
1388 location. However, the bar lines in the different staves
1389 will cause the note spacing to be less regular in each of the
1390 individual staves than would be normal without the different
1393 @node Automatic note splitting
1394 @unnumberedsubsubsec Automatic note splitting
1396 @cindex notes, splitting
1397 @cindex splitting notes
1399 @funindex Note_heads_engraver
1400 @funindex Completion_heads_engraver
1402 Long notes which overrun bar lines can be converted automatically
1403 to tied notes. This is done by replacing the
1404 @code{Note_heads_engraver} with the
1405 @code{Completion_heads_engraver}. In the following
1406 example, notes crossing the bar lines are split and tied.
1408 @lilypond[quote,verbatim,relative=1]
1410 \remove "Note_heads_engraver"
1411 \consists "Completion_heads_engraver"
1414 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1417 This engraver splits all running notes at the bar line, and
1418 inserts ties. One of its uses is to debug complex scores: if the
1419 measures are not entirely filled, then the ties show exactly how
1420 much each measure is off.
1428 @rlearning{Engravers explained},
1429 @rlearning{Adding and removing engravers}.
1434 Internals Reference:
1435 @rinternals{Note_heads_engraver},
1436 @rinternals{Completion_heads_engraver},
1437 @rinternals{Forbid_line_break_engraver}.
1442 Not all durations (especially those containing tuplets) can be
1443 represented exactly with normal notes and dots, but the
1444 @code{Completion_heads_engraver} will not insert tuplets.
1446 The @code{Completion_heads_engraver} only affects notes; it does not
1450 @node Showing melody rhythms
1451 @unnumberedsubsubsec Showing melody rhythms
1453 @cindex melody rhythms, showing
1454 @cindex rhythms, showing melody
1456 Sometimes you might want to show only the rhythm of a melody. This
1457 can be done with the rhythmic staff. All pitches of notes on such a
1458 staff are squashed, and the staff itself has a single line
1460 @lilypond[quote,relative=1,verbatim]
1462 \new RhythmicStaff {
1463 \new Voice = "myRhythm" {
1471 \lyricsto "myRhythm" {
1479 @cindex guitar chord charts
1480 @cindex strumming rhythms, showing
1481 @cindex guitar strumming rhythms, showing
1483 @funindex Pitch_squash_engraver
1484 @funindex \improvisationOn
1485 @funindex improvisationOn
1486 @funindex \improvisationOff
1487 @funindex improvisationOff
1489 Guitar chord charts often show the strumming rhythms. This can
1490 be done with the @code{Pitch_squash_engraver} and
1491 @code{\improvisationOn}.
1494 @lilypond[quote,verbatim]
1503 \consists Pitch_squash_engraver
1516 @code{\improvisationOn},
1517 @code{\improvisationOff}.
1523 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1524 {guitar-strum-rhythms.ly}
1531 Internals Reference:
1532 @rinternals{RhythmicStaff},
1533 @rinternals{Pitch_squash_engraver}.
1541 * Setting automatic beam behavior::
1546 @node Automatic beams
1547 @unnumberedsubsubsec Automatic beams
1549 By default, beams are inserted automatically:
1551 @cindex beams, manual
1552 @cindex manual beams
1553 @cindex beams, setting rules for
1554 @cindex beams, custom rules for
1556 @funindex \autoBeamOn
1557 @funindex autoBeamOn
1558 @funindex \autoBeamOff
1559 @funindex autoBeamOff
1561 @lilypond[quote,verbatim,relative=2]
1563 \time 6/8 c c c c8. c16 c8
1566 If these automatic decisions are not satisfactory, beaming can be
1567 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1568 entered manually if beams are to be extended over rests.
1570 If automatic beaming is not required, it may be turned off with
1571 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1573 @lilypond[quote,relative=1,verbatim]
1574 c4 c8 c8. c16 c8. c16 c8
1581 @cindex melismata, beams
1582 @cindex beams and melismata
1584 @warning{If beams are used to indicate melismata in songs, then
1585 automatic beaming should be switched off with @code{\autoBeamOff}
1586 and the beams indicated manually.}
1588 Beaming patterns that differ from the automatic defaults can be
1589 created; see @ref{Setting automatic beam behavior}.
1593 @code{\autoBeamOff},
1600 @cindex line breaks and beams
1601 @cindex beams and line breaks
1605 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1606 {beams-across-line-breaks.ly}
1608 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1609 {changing-beam-knee-gap.ly}
1615 @ref{Setting automatic beam behavior}.
1618 @file{scm/@/auto@/-beam@/.scm}.
1623 Internals Reference:
1624 @rinternals{Auto_beam_engraver},
1625 @rinternals{Beam_engraver},
1627 @rinternals{BeamEvent},
1628 @rinternals{BeamForbidEvent},
1629 @rinternals{beam-interface},
1630 @rinternals{unbreakable-spanner-interface}.
1635 Beams can collide with note heads and accidentals in other voices.
1638 @node Setting automatic beam behavior
1639 @unnumberedsubsubsec Setting automatic beam behavior
1642 @cindex automatic beams, tuning
1643 @cindex tuning automatic beaming
1644 @cindex automatic beam generation
1646 @cindex lyrics and beaming
1648 @funindex autoBeaming
1649 @funindex beamSettings
1650 @funindex measureLength
1651 @funindex beatLength
1657 The placement of automatic beams is determined by the time signature.
1658 Three types of rules are used for determining the end of automatic
1659 beams: @emph{default} rules
1660 for the time signature, @emph{explicit} rules for the beam in the time
1661 signature, and the @emph{beatLength} for the time signature.
1663 The following rules, in order of priority, apply when determining
1664 the appearance of beams:
1668 If a manual beam is specified with @code{[..]} set the beam
1669 as specified, otherwise
1672 if @code{\autoBeamOff} is in force do not beam, otherwise
1675 if an explicit beam-ending rule is defined for the beam type
1676 in the time signature, use it to determine the valid
1677 places where beams may end, otherwise
1680 if a default beam-ending rule is defined in the time signature,
1681 use it to group notes with beams, otherwise
1684 use the value of @code{beatLength} to group notes with beams
1688 @i{@strong{Modifying the grouping of beats}}
1690 By default @code{beatLength} is
1691 derived from the time signature set by the @code{\time} command.
1692 The @code{beatLength} is set to be one over the denominator
1693 of the time signature.
1695 @code{beatLength} is a @i{moment},
1696 a unit of musical duration. A quantity of type @i{moment} is
1697 created by the scheme function @code{ly:make-moment}. For more
1698 information about this function, see @ref{Time administration}.
1700 Autobeam settings are stored in the
1701 @code{beamSettings} property. Default values of @code{beamSettings}
1702 are determined in @file{scm/@/beam@/-settings@/.scm}. Entries in
1703 @code{beamSettings} are indexed by time signature and
1706 Time signature should be a scheme pair , e.g. @code{#'(4 . 4)}.
1708 Rule type should be @code{#'end} for beam ending.
1710 The ending rules consist of a scheme alist
1711 (or list of pairs) that
1712 indicates the beam type and the grouping to be applied to
1713 beams containing notes with a shortest duration of that
1717 #'((beam-type1 . grouping-1)
1718 (beam-type2 . grouping-2)
1719 (beam-type3 . grouping-3))
1722 Beam type is either a scheme pair indicating the duration
1723 of the beam, e.g. @code{(1 . 16)}, or @code{*} to indicate a
1724 default rule, which applies to all beams if no explicit rule is
1727 Grouping is a scheme list indicating the grouping to be applied to
1728 the beam. For default rules (where beam type is
1729 @code{*}, the grouping is in units of @code{beatLength}.
1730 For explicit rules, the grouping is in units of the beam type.
1732 For reference, the default beaming rules are found in
1733 @file{scm/beam-settings.scm}.
1735 Beam settings are changed with
1736 @code{\overrideBeamSettings} and @code{\revertBeamSettings}.
1739 The ending settings must be
1740 @emph{complete} rules. That is, every rule that should apply to
1741 the current time signature must be included in the setting.
1742 It is not possible to change the grouping of only one beam type
1743 for a given time signature. While this may seem cumbersome,
1744 it means that the current beaming settings need not be known
1745 in order to specify a new beaming pattern.}
1747 @lilypond[quote,relative=2,verbatim]
1750 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (2 3)))
1752 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (3 2)))
1756 Beam setting changes can be limited to specific contexts. If no
1757 setting is included in a lower-level context, the setting of the
1758 enclosing context will apply.
1760 @lilypond[quote, verbatim,relative=1]
1765 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (2 3 2)))
1772 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (1 3 3)))
1779 When multiple voices are used the @code{Staff} context must be
1780 specified if the beaming is to be applied to all voices in the
1783 @lilypond[quote,verbatim,relative=2]
1786 % Context Voice specified -- does not work correctly
1787 % Because of autogenerated voices, all beating will
1788 % be at beatLength (1 . 8)
1789 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (3 1 1 2)))
1790 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1792 % Works correctly with context Staff specified
1793 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (3 1 1 2)))
1794 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1797 @funindex revertBeamSettings
1799 Beam settings can be reverted to get back to default behavior. This
1800 is accomplished by using @code{\revertBeamSettings}. The arguments
1801 are the same as for @code{\overrideBeamSettings}, except no value
1802 for @var{grouping} is given:
1805 \revertBeamSettings context time-signature rule-type
1809 @lilypond[quote,verbatim,relative=2]
1811 \repeat unfold 8 {a8}
1812 % set default rule for (1 1 1 1) grouping
1813 \overrideBeamSettings #'Score #'(4 . 4) #'end #'((* . (1 1 1 1)))
1814 \repeat unfold 8 {a8}
1815 % revert the new rule
1816 \revertBeamSettings #'Score #'(4 . 4) #'end
1817 \repeat unfold 8 {a8}
1822 @code{\overrideBeamSettings},
1823 @code{\revertBeamSettings}.
1829 @cindex beams, subdividing
1831 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1832 {sub-dividing-beams.ly}
1834 @cindex measure groupings
1835 @cindex beats, grouping
1836 @cindex grouping beats
1837 @cindex measure sub-grouping
1839 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1840 {conducting-signs,-measure-grouping-signs.ly}
1842 @cindex beam, last in score
1843 @cindex beam, last in polyphonic voice
1845 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1846 {beam-endings-in-score-context.ly}
1851 @file{scm/beam-settings.scm}.
1856 Internals Reference:
1857 @rinternals{Auto_beam_engraver},
1859 @rinternals{BeamForbidEvent},
1860 @rinternals{beam-interface}.
1865 If a score ends while an automatic beam has not been ended and is
1866 still accepting notes, this last beam will not be typeset at all.
1867 The same holds for polyphonic voices, entered with @code{<<
1868 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1869 automatic beam is still accepting notes, it is not typeset.
1870 The workaround for these problems is to manually beam the last
1871 beam in the voice or score.
1874 @unnumberedsubsubsec Manual beams
1876 @cindex beams, manual
1877 @cindex manual beams
1882 In some cases it may be necessary to override the automatic
1883 beaming algorithm. For example, the autobeamer will not put beams
1884 over rests or bar lines, and in choral scores the beaming is
1885 often set to follow the meter of the lyrics rather than the
1886 notes. Such beams can be specified manually by
1887 marking the begin and end point with @code{[} and @code{]}.
1889 @lilypond[quote,relative=1,verbatim]
1890 r4 r8[ g' a r8] r8 g[ | a] r8
1893 @cindex manual beams, direction shorthand for
1895 Beaming direction can be set manually using direction indicators:
1897 @lilypond[quote,relative=2,verbatim]
1898 c8^[ d e] c,_[ d e f g]
1904 Individual notes may be marked with @code{\noBeam} to prevent them
1907 @lilypond[quote,verbatim,relative=2]
1912 @funindex stemLeftBeamCount
1913 @funindex stemRightBeamCount
1915 Even more strict manual control with the beams can be achieved by
1916 setting the properties @code{stemLeftBeamCount} and
1917 @code{stemRightBeamCount}. They specify the number of beams to
1918 draw on the left and right side, respectively, of the next note.
1919 If either property is set, its value will be used only once, and
1920 then it is erased. In this example, the last @code{f} is printed
1921 with only one beam on the left side, i.e., the eighth-note beam of
1922 the group as a whole.
1924 @lilypond[quote,relative=2,verbatim]
1927 \set stemLeftBeamCount = #2
1928 \set stemRightBeamCount = #1
1930 \set stemLeftBeamCount = #1
1942 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1943 {flat-flags-and-beam-nibs.ly}
1948 @ref{Direction and placement}.
1953 Internals Reference:
1955 @rinternals{BeamEvent},
1956 @rinternals{Beam_engraver},
1957 @rinternals{beam-interface},
1958 @rinternals{Stem_engraver}.
1961 @node Feathered beams
1962 @unnumberedsubsubsec Feathered beams
1964 @cindex beams, feathered
1965 @cindex feathered beams
1967 @funindex \featherDurations
1968 @funindex featherDurations
1969 @funindex grow-direction
1971 Feathered beams are used to indicate that a small group of notes
1972 should be played at an increasing (or decreasing) tempo, without
1973 changing the overall tempo of the piece. The extent of the
1974 feathered beam must be indicated manually using @code{[} and
1975 @code{]}, and the beam feathering is turned on by specifying a
1976 direction to the @code{Beam} property @code{grow-direction}.
1978 If the placement of the notes and the sound in the MIDI output is to
1979 reflect the ritardando or accelerando indicated by the feathered beam
1980 the notes must be grouped as a music expression delimited by braces
1981 and preceded by a @code{featherDurations} command which specifies
1982 the ratio between the durations of the first and last notes in the
1985 The square brackets show the extent of the beam and the braces show
1986 which notes are to have their durations modified. Normally these
1987 would delimit the same group of notes, but this is not required: the
1988 two commands are independent.
1990 In the following example the eight 16th notes occupy exactly the
1991 same time as a half note, but the first note is one half as long
1992 as the last one, with the intermediate notes gradually
1993 lengthening. The first four 32nd notes gradually speed up, while
1994 the last four 32nd notes are at a constant tempo.
1996 @lilypond[relative=1,verbatim,quote]
1997 \override Beam #'grow-direction = #LEFT
1998 \featherDurations #(ly:make-moment 2 1)
1999 { c16[ c c c c c c c] }
2000 \override Beam #'grow-direction = #RIGHT
2001 \featherDurations #(ly:make-moment 2 3)
2003 % revert to non-feathered beams
2004 \override Beam #'grow-direction = #'()
2009 The spacing in the printed output represents the
2010 note durations only approximately, but the MIDI output is exact.
2014 @code{\featherDurations}.
2024 The @code{\featherDurations} command only works with very short
2025 music snippets, and when numbers in the fraction are small.
2035 * Bar and bar number checks::
2040 @unnumberedsubsubsec Bar lines
2043 @cindex measure lines
2044 @cindex closing bar lines
2045 @cindex bar lines, closing
2046 @cindex double bar lines
2047 @cindex bar lines, double
2053 Bar lines delimit measures, and are also used to indicate
2054 repeats. Normally, simple bar lines are automatically inserted
2055 into the printed output at places based on the current time
2058 The simple bar lines inserted automatically can be changed to
2059 other types with the @code{\bar} command. For example, a closing
2060 double bar line is usually placed at the end of a piece:
2062 @lilypond[quote,relative=1,verbatim]
2066 It is not invalid if the final note in a measure does not
2067 end on the automatically entered bar line: the note is assumed
2068 to carry over into the next measure. But if a long sequence
2069 of such carry-over measures appears the music can appear compressed
2070 or even flowing off the page. This is because automatic line
2071 breaks happen only at the end of complete measures, i.e., where
2072 all notes end before the end of a measure.
2074 @warning{An incorrect duration can cause line breaks to be
2075 inhibited, leading to a line of highly compressed music or
2076 music which flows off the page.}
2079 @cindex bar lines, invisible
2080 @cindex measure lines, invisible
2082 Line breaks are also permitted at manually inserted bar lines
2083 even within incomplete measures. To allow a line break without
2084 printing a bar line, use the following:
2091 This will insert an invisible bar line and allow (but not
2092 force) a line break to occur at this point. The bar number
2093 counter is not increased. To force a line break see
2094 @ref{Line breaking}.
2096 @cindex manual bar lines
2097 @cindex manual measure lines
2098 @cindex bar lines, manual
2099 @cindex measure lines, manual
2101 This and other special bar lines may be inserted manually at any
2102 point. When they coincide with the end of a measure they replace
2103 the simple bar line which would have been inserted there
2104 automatically. When they do not coincide with the end of a measure
2105 the specified bar line is inserted at that point in the printed
2108 Note that manual bar lines are purely visual. They do not affect
2109 any of the properties that a normal bar line would affect, such as
2110 measure numbers, accidentals, line breaks, etc. They do not affect
2111 the calculation and placement of subsequent automatic bar lines.
2112 When a manual bar line is placed where a normal bar line already
2113 exists, the effects of the original bar line are not altered.
2115 Two types of simple bar lines and five types of double bar lines are
2116 available for manual insertion:
2118 @lilypond[quote,relative=1,verbatim]
2130 together with dotted and dashed bar lines:
2132 @lilypond[quote,relative=1,verbatim]
2139 and five types of repeat bar line:
2141 @lilypond[quote,relative=1,verbatim]
2150 Additionally, a bar line can be printed as a simple tick:
2151 @lilypond[quote,relative=1,verbatim]
2154 However, as such ticks are typically used in Gregorian chant, it is
2155 preferable to use @code{\divisioMinima} there instead, described in
2156 the section @ref{Divisiones} in Gregorian chant.
2161 Although the bar line types signifying repeats may be inserted
2162 manually they do not in themselves cause LilyPond to recognize
2163 a repeated section. Such repeated sections are better entered
2164 using the various repeat commands (see @ref{Repeats}), which
2165 automatically print the appropriate bar lines.
2167 In addition, you can specify @code{"||:"}, which is equivalent to
2168 @code{"|:"} except at line breaks, where it gives a double bar
2169 line at the end of the line and a start repeat at the beginning of
2172 @lilypond[quote,relative=2,verbatim]
2180 In scores with many staves, a @code{\bar} command in one staff is
2181 automatically applied to all staves. The resulting bar lines are
2182 connected between different staves of a @code{StaffGroup},
2183 @code{PianoStaff}, or @code{GrandStaff}.
2185 @lilypond[quote,relative=1,verbatim]
2193 \new Staff { \clef bass c4 g e g }
2195 \new Staff { \clef bass c2 c2 }
2200 @cindex default bar lines, changing
2201 @cindex bar lines, default, changing
2206 @funindex defaultBarType
2211 The command @code{\bar }@var{bartype} is a shortcut for
2212 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2213 created whenever the @code{whichBar} property is set.
2215 The default bar type used for automatically inserted bar lines is
2216 @code{"|"}. This may be changed at any time
2217 with @code{\set Timing.defaultBarType = }@var{bartype}.
2222 @ref{Line breaking},
2224 @ref{Grouping staves}.
2229 Internals Reference:
2230 @rinternals{BarLine} (created at @code{Staff} level),
2231 @rinternals{SpanBar} (across staves),
2232 @rinternals{Timing_translator} (for Timing properties).
2236 @unnumberedsubsubsec Bar numbers
2239 @cindex measure numbers
2240 @cindex numbers, bar
2241 @cindex numbers, measure
2243 @funindex currentBarNumber
2245 Bar numbers are typeset by default at the start of every line except
2246 the first line. The number itself is stored in the
2247 @code{currentBarNumber} property, which is normally updated
2248 automatically for every measure. It may also be set manually:
2250 @lilypond[verbatim,quote,relative=1]
2253 \set Score.currentBarNumber = #50
2257 @cindex bar numbers, regular spacing
2259 @funindex barNumberVisibility
2262 Bar numbers can be typeset at regular intervals instead of just at
2263 the beginning of every line. To do this the default behavior
2264 must be overridden to permit bar numbers to be printed at places
2265 other than the start of a line. This is controlled by the
2266 @code{break-visibility} property of @code{BarNumber}. This takes
2267 three values which may be set to @code{#t} or @code{#f} to specify
2268 whether the corresponding bar number is visible or not. The order
2269 of the three values is @code{end of line visible}, @code{middle of
2270 line visible}, @code{beginning of line visible}. In the following
2271 example bar numbers are printed at all possible places:
2273 @lilypond[verbatim,quote,relative=1]
2274 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2275 \set Score.currentBarNumber = #11
2276 % Permit first bar number to be printed
2286 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2287 {printing-the-bar-number-for-the-first-measure.ly}
2289 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2290 {printing-bar-numbers-at-regular-intervals.ly}
2292 @cindex measure number, format
2293 @cindex bar number, format
2295 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2296 {printing-bar-numbers-inside-boxes-or-circles.ly}
2298 @cindex bar number alignment
2300 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2301 {aligning-bar-numbers.ly}
2303 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2304 {removing-bar-numbers-from-a-score.ly}
2311 Internals Reference:
2312 @rinternals{BarNumber},
2313 @rinternals{Bar_number_engraver}.
2316 @cindex bar number collision
2317 @cindex collision, bar number
2321 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2322 if there is one. To solve this, the @code{padding} property of
2323 @code{BarNumber} can be used to position the number correctly. See
2324 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2327 @node Bar and bar number checks
2328 @unnumberedsubsubsec Bar and bar number checks
2331 @cindex bar number check
2332 @cindex measure check
2333 @cindex measure number check
2335 @funindex barCheckSynchronize
2338 Bar checks help detect errors in the entered durations. A bar check
2339 may be entered using the bar symbol, @code{|}, at any place where a
2340 bar line is expected to fall. If bar check lines are encountered at
2341 other places, a list of warnings is printed in the log file, showing
2342 the line numbers and lines in which the bar checks failed. In the
2343 next example, the second bar check will signal an error.
2346 \time 3/4 c2 e4 | g2 |
2349 Bar checks can also be used in lyrics:
2354 Twin -- kle | Twin -- kle |
2358 An incorrect duration can result in a completely garbled score,
2359 especially if the score is polyphonic, so a good place to start
2360 correcting input is by scanning for failed bar checks and
2361 incorrect durations.
2363 If successive bar checks are off by the same musical interval,
2364 only the first warning message is displayed. This allows the
2365 warning to focus on the source of the timing error.
2369 @funindex pipeSymbol
2371 It is also possible to redefine the action taken when a bar check
2372 or pipe symbol, @code{|}, is encountered in the input, so that
2373 it does something other than a bar check. This is done by
2374 assigning a music expression to @code{pipeSymbol}.
2375 In the following example @code{|} is set to insert a double bar
2376 line wherever it appears in the input, rather than checking
2379 @lilypond[quote,verbatim]
2380 pipeSymbol = \bar "||"
2389 @funindex \barNumberCheck
2390 @funindex barNumberCheck
2392 When copying large pieces of music, it can be helpful to check that
2393 the LilyPond bar number corresponds to the original that you are
2394 entering from. This can be checked with @code{\barNumberCheck}, for
2398 \barNumberCheck #123
2402 will print a warning if the @code{currentBarNumber} is not 123
2403 when it is processed.
2411 @node Rehearsal marks
2412 @unnumberedsubsubsec Rehearsal marks
2414 @cindex rehearsal marks
2415 @cindex mark, rehearsal
2420 To print a rehearsal mark, use the @code{\mark} command.
2422 @lilypond[quote,verbatim,relative=2]
2430 The mark is incremented automatically if you use @code{\mark
2431 \default}, but you can also use an integer argument to set the
2432 mark manually. The value to use is stored in the property
2433 @code{rehearsalMark}.
2435 @lilypond[quote,verbatim,relative=2]
2444 The letter@tie{}@q{I} is skipped in accordance with engraving
2445 traditions. If you wish to include the letter @q{I}, then use one
2446 of the following commands, depending on which style of rehearsal mark
2447 you want (letters only, letters in a hollow box, or letters in a
2451 \set Score.markFormatter = #format-mark-alphabet
2452 \set Score.markFormatter = #format-mark-box-alphabet
2453 \set Score.markFormatter = #format-mark-circle-alphabet
2456 @lilypond[quote,verbatim,relative=2]
2457 \set Score.markFormatter = #format-mark-box-alphabet
2465 @cindex rehearsal mark format
2466 @cindex rehearsal mark style
2467 @cindex style, rehearsal mark
2468 @cindex format, rehearsal mark
2469 @cindex mark, rehearsal, style
2470 @cindex mark, rehearsal, format
2471 @cindex rehearsal mark, manual
2472 @cindex mark, rehearsal, manual
2473 @cindex custom rehearsal mark
2474 @cindex manual rehearsal mark
2476 The style is defined by the property @code{markFormatter}. It is
2477 a function taking the current mark (an integer) and the current
2478 context as argument. It should return a markup object. In the
2479 following example, @code{markFormatter} is set to a pre-defined
2480 procedure. After a few measures, it is set to a procedure that
2481 produces a boxed number.
2483 @lilypond[quote,verbatim,relative=2]
2484 \set Score.markFormatter = #format-mark-numbers
2487 \set Score.markFormatter = #format-mark-box-numbers
2489 \set Score.markFormatter = #format-mark-circle-numbers
2491 \set Score.markFormatter = #format-mark-circle-letters
2495 The file @file{scm/@/translation@/-functions@/.scm} contains the
2496 definitions of @code{format-mark-numbers} (the default format),
2497 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2498 @code{format-mark-box-letters}. These can be used as inspiration
2499 for other formatting functions.
2501 You may use @code{format-mark-barnumbers},
2502 @code{format-mark-box-barnumbers}, and
2503 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2504 incremented numbers or letters.
2506 Other styles of rehearsal mark can be specified manually:
2513 Note that @code{Score.markFormatter} does not affect marks specified
2514 in this manner. However, it is possible to apply a @code{\markup} to the
2518 \mark \markup@{ \box A1 @}
2523 @cindex D.S. al Fine
2525 @cindex music glyphs
2526 @cindex glyphs, music
2528 @funindex \musicglyph
2529 @funindex musicglyph
2531 Music glyphs (such as the segno sign) may be printed inside a
2534 @lilypond[quote,verbatim,relative=1]
2535 c1 \mark \markup { \musicglyph #"scripts.segno" }
2536 c1 \mark \markup { \musicglyph #"scripts.coda" }
2537 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2542 See @ref{The Feta font}, for a list of symbols which may be
2543 printed with @code{\musicglyph}.
2545 For common tweaks to the positioning of rehearsal marks, see
2546 @ref{Formatting text}. For more precise control, see
2547 @code{break-alignable-interface} in @ref{Aligning objects}.
2552 @ref{The Feta font},
2553 @ref{Formatting text},
2554 @ref{Aligning objects}.
2557 @file{scm/@/translation@/-functions@/.scm} contains
2558 the definitions of @code{format-mark-numbers} and
2559 @code{format-mark-letters}. They can be used as inspiration for
2560 other formatting functions.
2565 Internals Reference:
2566 @rinternals{MarkEvent},
2567 @rinternals{Mark_engraver},
2568 @rinternals{RehearsalMark}.
2571 @node Special rhythmic concerns
2572 @subsection Special rhythmic concerns
2577 * Aligning to cadenzas::
2578 * Time administration::
2582 @unnumberedsubsubsec Grace notes
2586 @cindex appoggiatura
2587 @cindex acciaccatura
2592 Grace notes are ornaments that are written out. Grace notes
2593 are printed in a smaller font and take up no logical time
2596 @lilypond[quote,relative=2,verbatim]
2598 \grace { c16[ d16] } c2
2601 LilyPond also supports two special types of grace notes, the
2602 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2603 small note with a slashed stem -- and the @emph{appoggiatura}, which
2604 takes a fixed fraction of the main note and appears in small print
2607 @lilypond[quote,relative=2,verbatim]
2611 \acciaccatura { g16[ f] } e4
2614 The placement of grace notes is synchronized between different
2615 staves. In the following example, there are two sixteenth grace
2616 notes for every eighth grace note
2618 @lilypond[quote,relative=2,verbatim]
2620 \new Staff { e2 \grace { c16[ d e f] } e2 }
2621 \new Staff { c2 \grace { g8[ b] } c2 }
2625 @cindex grace notes, following
2627 @funindex \afterGrace
2628 @funindex afterGrace
2630 If you want to end a note with a grace, use the @code{\afterGrace}
2631 command. It takes two arguments: the main note, and the grace
2632 notes following the main note.
2634 @lilypond[quote,verbatim,relative=2]
2635 c1 \afterGrace d1 { c16[ d] } c1
2638 This will put the grace notes after a space lasting 3/4 of the
2639 length of the main note. The default fraction 3/4 can be changed by
2640 setting @code{afterGraceFraction}. The following example shows
2641 the results from setting the space at the default, at 15/16, and
2642 finally at 1/2 of the main note.
2644 @lilypond[quote,verbatim,relative=2]
2647 c1 \afterGrace d1 { c16[ d] } c1
2650 #(define afterGraceFraction (cons 15 16))
2651 c1 \afterGrace d1 { c16[ d] } c1
2654 #(define afterGraceFraction (cons 1 2))
2655 c1 \afterGrace d1 { c16[ d] } c1
2660 The space between the main note and the grace note may also be
2661 specified using spacers. The following example places the grace
2662 note after a space lasting 7/8 of the main note.
2664 @lilypond[quote,verbatim,relative=2]
2668 { s2 s4. \grace { c16[ d] } }
2674 @cindex tweaking grace notes
2675 @cindex grace notes, tweaking
2676 @cindex grace notes, changing layout settings
2678 A @code{\grace} music expression will introduce special
2679 typesetting settings, for example, to produce smaller type, and
2680 set directions. Hence, when introducing layout tweaks to
2681 override the special settings, they should be placed inside
2682 the grace expression. The overrides should also be reverted
2683 inside the grace expression. Here, the grace note's default stem
2684 direction is overridden and then reverted.
2686 @lilypond[quote,verbatim,relative=2]
2698 @cindex stem, with slash
2703 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2704 {using-grace-note-slashes-with-normal-heads.ly}
2706 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2707 {tweaking-grace-layout-within-music.ly}
2709 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2710 {redefining-grace-note-global-defaults.ly}
2712 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2713 {positioning-grace-notes-with-floating-space.ly}
2718 @rglos{grace notes},
2719 @rglos{acciaccatura},
2720 @rglos{appoggiatura}.
2723 @file{ly/@/grace@/-init@/.ly}.
2728 Internals Reference:
2729 @rinternals{GraceMusic},
2730 @rinternals{Grace_beam_engraver},
2731 @rinternals{Grace_engraver},
2732 @rinternals{Grace_spacing_engraver}.
2737 @cindex acciaccatura, multi-note
2738 @cindex multi-note acciaccatura
2739 @cindex grace-note synchronization
2741 A multi-note beamed @i{acciaccatura} is printed without a slash,
2742 and looks exactly the same as a multi-note beamed
2745 @c TODO Add link to LSR snippet to add slash when available
2747 Grace note synchronization can also lead to surprises. Staff
2748 notation, such as key signatures, bar lines, etc., are also
2749 synchronized. Take care when you mix staves with grace notes and
2750 staves without, for example,
2752 @lilypond[quote,relative=2,verbatim]
2754 \new Staff { e4 \bar "|:" \grace c16 d2. }
2755 \new Staff { c4 \bar "|:" d2. }
2760 This can be remedied by inserting grace skips of the corresponding
2761 durations in the other staves. For the above example
2763 @lilypond[quote,relative=2,verbatim]
2765 \new Staff { e4 \bar "|:" \grace c16 d2. }
2766 \new Staff { c4 \bar "|:" \grace s16 d2. }
2770 Grace sections should only be used within sequential music
2771 expressions. Nesting or juxtaposing grace sections is not
2772 supported, and might produce crashes or other errors.
2774 @node Aligning to cadenzas
2775 @unnumberedsubsubsec Aligning to cadenzas
2778 @cindex cadenza, aligning to
2779 @cindex aligning to cadenza
2781 In an orchestral context, cadenzas present a special problem: when
2782 constructing a score that includes a measured cadenza or other solo
2783 passage, all other instruments should skip just as many notes as the
2784 length of the cadenza, otherwise they will start too soon or too late.
2786 One solution to this problem is to use the functions
2787 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2788 functions take a defined piece of music as an argument and generate a
2789 multi-measure rest or @code{\skip} exactly as long as the piece.
2791 @lilypond[verbatim,quote]
2792 MyCadenza = \relative c' {
2803 #(ly:export (mmrest-of-length MyCadenza))
2805 #(ly:export (skip-of-length MyCadenza))
2820 @node Time administration
2821 @unnumberedsubsubsec Time administration
2823 @cindex time administration
2824 @cindex timing (within the score)
2825 @cindex music, unmetered
2826 @cindex unmetered music
2828 @funindex currentBarNumber
2829 @funindex measurePosition
2830 @funindex measureLength
2832 Time is administered by the @code{Timing_translator}, which by
2833 default is to be found in the @code{Score} context. An alias,
2834 @code{Timing}, is added to the context in which the
2835 @code{Timing_translator} is placed.
2837 The following properties of @code{Timing} are used
2838 to keep track of timing within the score.
2841 @cindex measure number
2844 @item currentBarNumber
2845 The current measure number. For an example showing the
2846 use of this property see @ref{Bar numbers}.
2849 The length of the measures in the current time signature. For a
2850 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2851 determines when bar lines are inserted and how automatic beams
2852 should be generated.
2854 @item measurePosition
2855 The point within the measure where we currently are. This
2856 quantity is reset by subtracting @code{measureLength} whenever
2857 @code{measureLength} is reached or exceeded. When that happens,
2858 @code{currentBarNumber} is incremented.
2861 If set to true, the above variables are updated for every time
2862 step. When set to false, the engraver stays in the current
2863 measure indefinitely.
2867 Timing can be changed by setting any of these variables
2868 explicitly. In the next example, the default 4/4 time
2869 signature is printed, but @code{measureLength} is set to 5/4.
2870 At 4/8 through the third measure, the @code{measurePosition} is
2871 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2872 The next bar line then falls at 9/8 rather than 5/4.
2874 @lilypond[quote,verbatim,relative=1]
2875 \set Score.measureLength = #(ly:make-moment 5 4)
2879 \set Score.measurePosition = #(ly:make-moment 5 8)
2885 As the example illustrates, @code{ly:make-moment n m} constructs a
2886 duration of n/m of a whole note. For example,
2887 @code{ly:make-moment 1 8} is an eighth note duration and
2888 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2895 @ref{Unmetered music}.
2900 Internals Reference:
2901 @rinternals{Timing_translator},