1 @c -*- coding: utf-8; mode: texinfo; -*-
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
149 @rglos{Duration names notes and rests}.
152 @ref{Automatic beams},
155 @ref{Writing rhythms},
158 @ref{Ancient notation},
159 @ref{Proportional notation}.
166 @rinternals{DotColumn}.
171 @c Deliberately duplicated in Durations and Rests. -gp
172 There is no fundamental limit to rest durations (both in terms of
173 longest and shortest), but the number of glyphs is limited:
174 rests from 128th to maxima (8 x whole) may be printed.
178 @unnumberedsubsubsec Tuplets
186 Tuplets are made from a music expression by multiplying all the
187 durations with a fraction:
190 \times @var{fraction} @{ @var{music} @}
194 The duration of @var{music} will be multiplied by the
195 fraction. The fraction's denominator will be printed over or
196 under the notes, optionally with a bracket. The most common
197 tuplet is the triplet in which 3 notes have the duration of 2, so
198 the notes are 2/3 of their written length.
200 @lilypond[quote,verbatim,relative=2]
201 a2 \times 2/3 { b4 b b }
202 c4 c \times 2/3 { b4 a g }
205 @cindex tuplet bracket placement
209 @funindex \tupletDown
211 @funindex \tupletNeutral
212 @funindex tupletNeutral
214 Tuplet brackets may be manually placed above or below the staff;
215 see @ref{Direction and placement}.
217 Tuplets may be nested:
219 @lilypond[quote,verbatim,relative=2]
221 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
224 Modifying nested tuplets which begin at the same musical moment
225 must be done with @code{\tweak}.
227 To modify the duration of notes without printing a tuplet bracket,
228 see @ref{Scaling durations}.
234 @code{\tupletNeutral}.
240 @cindex tuplet formatting
241 @cindex triplet formatting
243 @funindex tupletNumberFormatFunction
244 @funindex tupletSpannerDuration
246 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
247 {entering-several-tuplets-using-only-one--times-command.ly}
249 @cindex Tuplet number changes
251 @funindex TupletNumber
253 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
254 {changing-the-tuplet-number.ly}
256 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
257 {non-default-tuplet-numbers.ly}
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {controlling-tuplet-bracket-visibility.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {permitting-line-breaks-within-beamed-tuplets.ly}
273 @rlearning{Tweaking methods}.
276 @ref{Time administration},
277 @ref{Scaling durations},
278 @ref{The tweak command},
279 @ref{Polymetric notation}.
285 @rinternals{TupletBracket},
286 @rinternals{TupletNumber},
287 @rinternals{TimeScaledMusic}.
290 @cindex grace notes within tuplet brackets
293 When the first note on a staff is a grace note followed by a
294 tuplet the grace note must be placed before the @code{\times}
295 command to avoid errors. Anywhere else, grace notes may be
296 placed within tuplet brackets. When using a tuplet at the beginning
297 of a piece with a @code{\tempo} mark, you must add an explicit
298 @code{\new Voice} as discussed in @rlearning{Voices contain music}.
301 @node Scaling durations
302 @unnumberedsubsubsec Scaling durations
304 @cindex scaling durations
305 @cindex durations, scaling
307 You can alter the duration of single notes, rests or chords by a
308 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
309 is 1) to the duration. This will not affect the appearance of the
310 notes or rests produced, but the altered duration will be used in
311 calculating the position within the measure and setting the duration
312 in the MIDI output. Multiplying factors may be combined such as
315 In the following example, the first three notes take up exactly
316 two beats, but no triplet bracket is printed.
318 @lilypond[quote,relative=2,verbatim]
320 % Alter durations to triplets
321 a4*2/3 gis4*2/3 a4*2/3
324 % Double the duration of chord
326 % Duration of quarter, appears like sixteenth
330 The duration of spacing notes may also be modified by
331 a multiplier. This is useful for skipping many measures, e.g.,
334 @cindex compressing music
335 @cindex expanding music
337 @funindex \scaleDurations
338 @funindex scaleDurations
340 Longer stretches of music may be compressed by a fraction in the
341 same way, as if every note, chord or rest had the fraction as a
342 multiplier. This leaves the appearance of the music unchanged but
343 the internal duration of the notes will be multiplied by the
344 fraction @emph{num}/@emph{den}. The spaces around the dot are
345 required. Here is an example showing how music can be compressed
348 @lilypond[quote,relative=2,verbatim]
352 % Scale music by *2/3
353 \scaleDurations #'(2 . 3) {
357 \scaleDurations #'(2 . 1) {
362 One application of this command is in polymetric
363 notation, see @ref{Polymetric notation}.
369 @ref{Invisible rests},
370 @ref{Polymetric notation}.
377 @unnumberedsubsubsec Ties
383 A tie connects two adjacent note heads of the same pitch. The tie
384 in effect extends the duration of a note.
386 @warning{Ties should not be confused with @emph{slurs}, which
387 indicate articulation, or @emph{phrasing slurs}, which indicate
388 musical phrasing. A tie is just a way of extending a note
389 duration, similar to the augmentation dot.}
391 A tie is entered using the tilde symbol (@code{~}).
393 @lilypond[quote,verbatim,relative=2]
397 Ties are used either when the note crosses a bar line, or when
398 dots cannot be used to denote the rhythm. Ties should also be
399 used when note values cross larger subdivisions of the measure:
401 @lilypond[verbatim,quote]
408 If you need to tie many notes across bar lines, it may be
409 easier to use automatic note splitting, see @ref{Automatic note
410 splitting}. This mechanism automatically splits long notes, and
411 ties them across bar lines.
413 @cindex ties and chords
414 @cindex chords and ties
416 When a tie is applied to a chord, all note heads whose pitches
417 match are connected. When no note heads match, no ties will be
418 created. Chords may be partially tied by placing the tie inside
421 @lilypond[quote,verbatim,relative=1]
423 <c~ e g~ b> <c e g b>
426 @cindex repeating ties
427 @cindex ties, repeating
428 @cindex volta brackets and ties
429 @cindex ties and volta brackets
434 When a second alternative of a repeat starts with a tied note, you
435 have to specify the repeated tie as follows:
437 @lilypond[quote,relative=2,verbatim]
438 \repeat volta 2 { c g <c e>2 ~ }
440 % First alternative: following note is tied normally
442 % Second alternative: following note has a repeated tie
443 { <c e>2\repeatTie d4 c } }
446 @cindex laissez vibrer
447 @cindex ties, laissez vibrer
449 @funindex \laissezVibrer
450 @funindex laissezVibrer
452 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
453 notes must not be damped at the end. It is used in notation for
454 piano, harp and other string and percussion instruments. They can
455 be entered as follows:
457 @lilypond[quote,verbatim,relative=1]
458 <c f g>1\laissezVibrer
461 @cindex ties, placement
467 @funindex \tieNeutral
470 Ties may be manually placed above or below the staff; see
471 @ref{Direction and placement}.
473 @cindex ties, appearance
486 Ties may be made dashed, dotted, or a combination of solid and
489 @lilypond[quote, verbatim, relative=1]
502 Custom dash patterns can be specified:
504 @lilypond[quote, verbatim, relative=1]
505 \tieDashPattern #0.3 #0.75
507 \tieDashPattern #0.7 #1.5
513 Dash pattern definitions for ties have the same structure as
514 dash pattern definitions for slurs.
515 For more information about complex dash patterns,
516 see the snippets under @ref{Slurs}.
524 @code{\tieDashPattern},
525 @code{\tieHalfDashed},
526 @code{\tieHalfSolid},
533 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
534 {using-ties-with-arpeggios.ly}
536 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
537 {engraving-ties-manually.ly}
543 @rglos{laissez vibrer}.
547 @ref{Automatic note splitting}.
553 @rinternals{LaissezVibrerTie},
554 @rinternals{LaissezVibrerTieColumn},
555 @rinternals{TieColumn},
561 Switching staves when a tie is active will not produce a slanted
564 Changing clefs or octavations during a tie is not really
565 well-defined. In these cases, a slur may be preferable.
570 @subsection Writing rests
572 Rests are entered as part of the music in music expressions.
577 * Full measure rests::
581 @unnumberedsubsubsec Rests
584 @cindex rest, entering durations
599 Rests are entered like notes with the note name @code{r}.
600 Durations longer than a whole rest use the predefined
603 @c \time 16/1 is used to avoid spurious bar lines
604 @c and long tracts of empty measures
605 @lilypond[fragment,quote,verbatim]
607 % These two lines are just to prettify this example
609 \override Staff.TimeSignature #'stencil = ##f
610 % Print a maxima rest, equal to four breves
612 % Print a longa rest, equal to two breves
616 r1 r2 r4 r8 r16 r32 r64 r128
620 @cindex rest, multi-measure
621 @cindex rest, whole-measure
623 Whole measure rests, centered in the middle of the measure, must be
624 entered as multi-measure rests. They can be used for a single
625 measure as well as many measures and are discussed in @ref{Full
628 @cindex rest, specifying vertical position
630 To explicitly specify a rest's vertical position, write a note
631 followed by @code{\rest}. A rest of the duration of the note will
632 be placed at the staff position where the note would appear. This
633 allows for precise manual formatting of polyphonic music, since the
634 automatic rest collision formatter will not move these rests.
636 @lilypond[quote,verbatim,relative=2]
642 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
653 @ref{Full measure rests}.
664 @c Deliberately duplicated in Durations and Rests. -gp
665 There is no fundamental limit to rest durations (both in terms of
666 longest and shortest), but the number of glyphs is limited: there
667 are rests from 128th to maxima (8 x whole).
670 @node Invisible rests
671 @unnumberedsubsubsec Invisible rests
674 @cindex invisible rest
675 @cindex rest, invisible
683 An invisible rest (also called a @q{spacer rest}) can be entered
684 like a note with the note name@tie{}@code{s}:
686 @lilypond[verbatim,quote,relative=2]
693 Spacer rests are available only in note mode and chord mode. In
694 other situations, for example, when entering lyrics, the
695 command @code{\skip} is used to skip a musical moment.
696 @code{\skip} requires an explicit duration.
698 @lilypond[quote,verbatim,relative=2]
711 Because @code{\skip} is a command, it does not affect the default
712 durations of following notes, unlike@tie{}@code{s}.
714 @lilypond[quote,verbatim,relative=2]
717 \repeat unfold 8 {a4}
727 A spacer rest implicitly causes @code{Staff} and @code{Voice}
728 contexts to be created if none exist, just like notes and rests
731 @lilypond[quote,verbatim,fragment]
735 @code{\skip} simply skips musical time; it creates no output of
738 @lilypond[quote,verbatim,fragment]
739 % This is valid input, but does nothing
740 \skip 1 \skip1 \skip 1
746 @rlearning{Visibility and color of objects}.
750 @ref{Visibility of objects}.
756 @rinternals{SkipMusic}.
759 @node Full measure rests
760 @unnumberedsubsubsec Full measure rests
762 @cindex multi-measure rests
763 @cindex full-measure rests
764 @cindex rest, multi-measure
765 @cindex rest, full-measure
766 @cindex whole rest for a full measure
767 @cindex rest, whole for a full measure
771 Rests for one or more full measures are entered like notes with
772 the note name uppercase @code{R}:
774 @lilypond[quote,verbatim,relative=2]
775 % Rest measures contracted to single measure
776 \compressFullBarRests
783 The duration of full-measure rests is identical to the duration
784 notation used for notes. The duration in a multi-measure rest must
785 always be an integral number of measure-lengths, so augmentation dots
786 or fractions must often be used:
788 @lilypond[quote,fragment,verbatim]
789 \compressFullBarRests
795 R1*13/8 | R1*13/8*12 |
800 A full-measure rest is printed as either a whole or breve rest,
801 centered in the measure, depending on the time signature.
803 @lilypond[quote,verbatim,fragment]
812 @cindex multi-measure rest, expanding
813 @cindex multi-measure rest, contracting
815 @funindex \expandFullBarRests
816 @funindex expandFullBarRests
817 @funindex \compressFullBarRests
818 @funindex compressFullBarRests
820 By default a multi-measure rest is expanded in the printed score to
821 show all the rest measures explicitly. Alternatively, a multi-measure
822 rest can be shown as a single measure containing a multi-measure rest
823 symbol, with the number of measures of rest printed above the measure:
825 @lilypond[quote,fragment,verbatim]
827 \time 3/4 r2. | R2.*2 |
830 % Rest measures contracted to single measure
831 \compressFullBarRests
833 % Rest measures expanded
840 @cindex text on multi-measure rest
841 @cindex multi-measure rest, attaching text
842 @cindex script on multi-measure rest
843 @cindex multi-measure rest, script
844 @cindex fermata on multi-measure rest
845 @cindex multi-measure rest, attaching fermata
846 @cindex markup on multi-measure rest
847 @cindex multi-measure rest with markup
849 @funindex \fermataMarkup
850 @funindex fermataMarkup
851 @funindex MultiMeasureRestText
853 Markups can be added to multi-measure rests.
854 The predefined command @code{\fermataMarkup}
855 is provided for adding fermatas.
857 @lilypond[quote,verbatim,fragment]
858 \compressFullBarRests
860 R2.*10^\markup { \italic "ad lib." }
865 Markups attached to a multi-measure rest are
866 objects of type @code{MultiMeasureRestText}, not
867 @code{TextScript}. Overrides must be directed to the correct
868 object, or they will be ignored. See the following example.
871 @lilypond[quote,verbatim,fragment]
872 % This fails, as the wrong object name is specified
873 \override TextScript #'padding = #5
875 % This is correct and works
876 \override MultiMeasureRestText #'padding = #5
880 When a multi-measure rest immediately follows a @code{\partial}
881 setting, resulting bar-check warnings may not be displayed.
884 @funindex \textLengthOn
885 @funindex textLengthOn
886 @funindex \textLengthOff
887 @funindex textLenthOff
888 @funindex \fermataMarkup
889 @funindex fermataMarkup
890 @funindex \compressFullBarRests
891 @funindex compressFullBarRests
892 @funindex \expandFullBarRests
893 @funindex expandFullBarRests
896 @code{\textLengthOn},
897 @code{\textLengthOff},
898 @code{\fermataMarkup},
899 @code{\compressFullBarRests},
900 @code{\expandFullBarRests}.
908 @cindex kirchenpausen
910 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
911 {changing-form-of-multi-measure-rests.ly}
913 @cindex multi-measure rests, positioning
914 @cindex positioning multi-measure rests
916 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
917 {positioning-multi-measure-rests.ly}
919 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
920 {multi-measure-rest-markup.ly}
925 @rglos{multi-measure rest}.
930 @ref{Formatting text},
937 @rinternals{MultiMeasureRest},
938 @rinternals{MultiMeasureRestNumber},
939 @rinternals{MultiMeasureRestText}.
942 @cindex fingerings and multi-measure rests
943 @cindex multi-measure rests and fingerings
947 If an attempt is made to use fingerings (e.g.,
948 @code{R1*10-4}) to put numbers over multi-measure rests, the
949 fingering numeral (4) may collide with the bar counter
952 @cindex condensing rests
953 @cindex rest, condensing ordinary
955 There is no way to automatically condense multiple ordinary rests
956 into a single multi-measure rest.
958 @cindex rest, collisions of
960 Multi-measure rests do not take part in rest collisions.
962 @node Displaying rhythms
963 @subsection Displaying rhythms
969 * Polymetric notation::
970 * Automatic note splitting::
971 * Showing melody rhythms::
975 @unnumberedsubsubsec Time signature
977 @cindex time signature
983 The time signature is set as follows:
985 @lilypond[quote,verbatim,relative=2]
990 @cindex time signature, visibility of
992 Time signatures are printed at the beginning of a piece
993 and whenever the time signature changes. If a change takes place
994 at the end of a line a warning time signature sign is printed
995 there. This default behavior may be changed, see
996 @ref{Visibility of objects}.
998 @lilypond[quote,verbatim,relative=2]
1008 @cindex time signature style
1011 @funindex \numericTimeSignature
1012 @funindex numericTimeSignature
1013 @funindex \defaultTimeSignature
1014 @funindex defaultTimeSignature
1016 The time signature symbol that is used in 2/2 and 4/4 time can be
1017 changed to a numeric style:
1019 @lilypond[quote,verbatim,relative=2]
1023 % Change to numeric style
1024 \numericTimeSignature
1027 % Revert to default style
1028 \defaultTimeSignature
1034 Mensural time signatures are covered in
1035 @ref{Mensural time signatures}.
1039 @code{\numericTimeSignature},
1040 @code{\defaultTimeSignature}.
1046 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1047 {changing-the-time-signature-without-affecting-the-beaming.ly}
1049 @cindex compound time signatures
1050 @cindex time signature, compound
1052 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1053 {compound-time-signatures.ly}
1055 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1056 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1061 @rglos{time signature}
1064 @ref{Mensural time signatures},
1065 @ref{Time administration}.
1070 Internals Reference:
1071 @rinternals{TimeSignature},
1072 @rinternals{Timing_translator}.
1076 @unnumberedsubsubsec Upbeats
1080 @cindex partial measure
1081 @cindex measure, partial
1082 @cindex pickup measure
1083 @cindex measure, change length
1085 @funindex measurePosition
1089 Partial or pick-up measures, such as an anacrusis or upbeat, are
1090 entered using the @code{\partial} command, with the syntax
1093 \partial @var{duration}
1097 where @code{duration} is the rhythmic length of the remaining
1098 interval of the current measure before the start of the next.
1100 @lilypond[quote,verbatim,relative=2]
1105 The partial measure can be any duration less than the full measure:
1107 @lilypond[quote,verbatim,relative=2]
1108 \partial 8*3 c8 d e |
1112 Internally, @code{\partial @var{duration}} is translated into:
1115 \set Timing.measurePosition -@var{duration}
1118 For example, @code{\partial 8*3} becomes:
1121 \set Timing.measurePosition = #(ly:make-moment -3 8)
1124 The property @code{measurePosition} contains a rational number
1125 indicating how much of the measure has passed at this point. Note
1126 that this is set to a negative number by the @code{\partial} command:
1127 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1128 @qq{there is a quarter note left in the measure.}
1141 @rinternals{Timing_translator}.
1145 The @code{\partial} command is intended to be used only at the
1146 beginning of a piece. If you use it after the beginning, some
1147 odd warnings or effects may occur, in this case use
1148 @code{\set Timing.measurePosition} instead.
1150 @node Unmetered music
1151 @unnumberedsubsubsec Unmetered music
1153 @cindex bar lines, turning off
1154 @cindex bar numbering, turning off
1156 @cindex unmetered music
1158 @funindex \cadenzaOn
1160 @funindex \cadenzaOff
1161 @funindex cadenzaOff
1163 Bar lines and bar numbers are calculated automatically. For
1164 unmetered music (some cadenzas, for example), this is not desirable.
1165 To turn off automatic calculation of bar lines and bar numbers,
1166 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1167 to turn them on again.
1169 @lilypond[verbatim,relative=2,fragment]
1178 Bar numbering is resumed at the end of the cadenza as if the
1179 cadenza were not there:
1181 @lilypond[verbatim,relative=2,fragment]
1182 % Show all bar numbers
1183 \override Score.BarNumber #'break-visibility = #all-visible
1192 Note that these predefined commands affect all staves in the
1193 score, even when they are placed in just one @code{Voice}
1194 context. To change this, move the @code{Timing_translator}
1195 from the @code{Score} context to the @code{Staff} context, as
1196 shown in @ref{Polymetric notation}.
1209 @ref{Visibility of objects},
1210 @ref{Polymetric notation}.
1216 @cindex cadenza line breaks
1217 @cindex cadenza page breaks
1218 @cindex unmetered music, line breaks
1219 @cindex unmetered music, page breaks
1220 @cindex breaks in unmetered music
1221 @cindex line breaks in cadenzas
1222 @cindex page breaks in cadenzas
1223 @cindex line breaks in unmetered music
1224 @cindex page breaks in unmetered music
1228 LilyPond will insert line breaks and page breaks only at a
1229 bar line. Unless the unmetered music ends before the end of the
1230 staff line, you will need to insert invisible bar lines with
1237 to indicate where breaks can occur.
1239 You must explicitly create a @code{Voice} context when starting a
1240 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1242 @lilypond[verbatim,relative=2,fragment]
1243 \new Voice \relative c'{
1245 c16^"Solo Free Time" d e f g2. \bar "||"
1251 @node Polymetric notation
1252 @unnumberedsubsubsec Polymetric notation
1254 @c This section necessarily uses \set
1255 @c This is acceptable -td
1257 @cindex double time signatures
1258 @cindex signatures, polymetric
1259 @cindex time signatures, polymetric
1260 @cindex time signatures, double
1261 @cindex polymetric signatures
1262 @cindex meter, polymetric
1264 @funindex timeSignatureFraction
1265 @funindex \scaleDurations
1266 @funindex scaleDurations
1270 Polymetric notation is supported, either explicitly or by modifying
1271 the visible time signature symbol and scaling the note durations.
1273 @strong{@i{Staves with different time signatures, equal measure lengths}}
1275 This notation can be created by setting a common time signature
1276 for each staff but replacing the symbol manually by setting
1277 @code{timeSignatureFraction} to the desired fraction and scaling
1278 the printed durations in each staff to the common time
1279 signature; see @ref{Time signature}. The scaling is done with
1280 @code{\scaleDurations}, which is used in a similar way to
1281 @code{\times}, but does not create a tuplet bracket; see
1282 @ref{Scaling durations}.
1284 @cindex beaming in polymetric music
1285 @cindex beaming in polymetric meter
1287 In this example, music with the time signatures of 3/4, 9/8, and
1288 10/8 are used in parallel. In the second staff, shown durations
1289 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1290 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1291 It will often be necessary to insert beams manually, as the
1292 duration scaling affects the autobeaming rules.
1294 @lilypond[quote,verbatim,fragment]
1303 \set Staff.timeSignatureFraction = #'(9 . 8)
1304 \scaleDurations #'(2 . 3)
1305 \repeat unfold 6 { c8[ c c] }
1309 \set Staff.timeSignatureFraction = #'(10 . 8)
1310 \scaleDurations #'(3 . 5) {
1311 \repeat unfold 2 { c8[ c c] }
1312 \repeat unfold 2 { c8[ c] } |
1313 c4. c4. \times 2/3 { c8[ c c] } c4
1319 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1321 Each staff can be given its own independent time signature by
1322 moving the @code{Timing_translator} and the
1323 @code{Default_bar_line_engraver} to the @code{Staff} context.
1325 @lilypond[quote,verbatim]
1329 \remove "Timing_translator"
1330 \remove "Default_bar_line_engraver"
1334 \consists "Timing_translator"
1335 \consists "Default_bar_line_engraver"
1339 % Now each staff has its own time signature.
1365 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1366 {compound-time-signatures.ly}
1372 @rglos{polymetric time signature},
1376 @ref{Time signature},
1377 @ref{Scaling durations}.
1382 Internals Reference:
1383 @rinternals{TimeSignature},
1384 @rinternals{Timing_translator},
1385 @rinternals{Default_bar_line_engraver},
1391 When using different time signatures in parallel, notes
1392 at the same moment will be placed at the same horizontal
1393 location. However, the bar lines in the different staves
1394 will cause the note spacing to be less regular in each of the
1395 individual staves than would be normal without the different
1398 @node Automatic note splitting
1399 @unnumberedsubsubsec Automatic note splitting
1401 @cindex notes, splitting
1402 @cindex splitting notes
1404 @funindex Note_heads_engraver
1405 @funindex Completion_heads_engraver
1407 Long notes which overrun bar lines can be converted automatically
1408 to tied notes. This is done by replacing the
1409 @code{Note_heads_engraver} with the
1410 @code{Completion_heads_engraver}. In the following
1411 example, notes crossing the bar lines are split and tied.
1413 @lilypond[quote,verbatim,relative=1]
1415 \remove "Note_heads_engraver"
1416 \consists "Completion_heads_engraver"
1419 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1422 This engraver splits all running notes at the bar line, and
1423 inserts ties. One of its uses is to debug complex scores: if the
1424 measures are not entirely filled, then the ties show exactly how
1425 much each measure is off.
1433 @rlearning{Engravers explained},
1434 @rlearning{Adding and removing engravers}.
1439 Internals Reference:
1440 @rinternals{Note_heads_engraver},
1441 @rinternals{Completion_heads_engraver},
1442 @rinternals{Forbid_line_break_engraver}.
1447 Not all durations (especially those containing tuplets) can be
1448 represented exactly with normal notes and dots, but the
1449 @code{Completion_heads_engraver} will not insert tuplets.
1451 The @code{Completion_heads_engraver} only affects notes; it does not
1455 @node Showing melody rhythms
1456 @unnumberedsubsubsec Showing melody rhythms
1458 @cindex melody rhythms, showing
1459 @cindex rhythms, showing melody
1461 Sometimes you might want to show only the rhythm of a melody. This
1462 can be done with the rhythmic staff. All pitches of notes on such a
1463 staff are squashed, and the staff itself has a single line
1465 @lilypond[quote,relative=1,verbatim]
1467 \new RhythmicStaff {
1468 \new Voice = "myRhythm" {
1476 \lyricsto "myRhythm" {
1484 @cindex guitar chord charts
1485 @cindex strumming rhythms, showing
1486 @cindex guitar strumming rhythms, showing
1488 @funindex Pitch_squash_engraver
1489 @funindex \improvisationOn
1490 @funindex improvisationOn
1491 @funindex \improvisationOff
1492 @funindex improvisationOff
1494 Guitar chord charts often show the strumming rhythms. This can
1495 be done with the @code{Pitch_squash_engraver} and
1496 @code{\improvisationOn}.
1499 @lilypond[quote,verbatim]
1508 \consists Pitch_squash_engraver
1521 @code{\improvisationOn},
1522 @code{\improvisationOff}.
1528 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1529 {guitar-strum-rhythms.ly}
1536 Internals Reference:
1537 @rinternals{RhythmicStaff},
1538 @rinternals{Pitch_squash_engraver}.
1546 * Setting automatic beam behavior::
1551 @node Automatic beams
1552 @unnumberedsubsubsec Automatic beams
1554 By default, beams are inserted automatically:
1556 @cindex beams, manual
1557 @cindex manual beams
1558 @cindex beams, setting rules for
1559 @cindex beams, custom rules for
1561 @funindex \autoBeamOn
1562 @funindex autoBeamOn
1563 @funindex \autoBeamOff
1564 @funindex autoBeamOff
1566 @lilypond[quote,verbatim,relative=2]
1568 \time 6/8 c c c c8. c16 c8
1571 If these automatic decisions are not satisfactory, beaming can be
1572 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1573 entered manually if beams are to be extended over rests.
1575 If automatic beaming is not required, it may be turned off with
1576 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1578 @lilypond[quote,relative=1,verbatim]
1579 c4 c8 c8. c16 c8. c16 c8
1586 @cindex melismata, beams
1587 @cindex beams and melismata
1589 @warning{If beams are used to indicate melismata in songs, then
1590 automatic beaming should be switched off with @code{\autoBeamOff}
1591 and the beams indicated manually.}
1593 Beaming patterns that differ from the automatic defaults can be
1594 created; see @ref{Setting automatic beam behavior}.
1598 @code{\autoBeamOff},
1605 @cindex line breaks and beams
1606 @cindex beams and line breaks
1610 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1611 {beams-across-line-breaks.ly}
1613 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1614 {changing-beam-knee-gap.ly}
1620 @ref{Setting automatic beam behavior}.
1623 @file{scm/@/auto@/-beam@/.scm}.
1628 Internals Reference:
1629 @rinternals{Auto_beam_engraver},
1630 @rinternals{Beam_engraver},
1632 @rinternals{BeamEvent},
1633 @rinternals{BeamForbidEvent},
1634 @rinternals{beam-interface},
1635 @rinternals{unbreakable-spanner-interface}.
1640 Beams can collide with note heads and accidentals in other voices.
1643 @node Setting automatic beam behavior
1644 @unnumberedsubsubsec Setting automatic beam behavior
1647 @cindex automatic beams, tuning
1648 @cindex tuning automatic beaming
1649 @cindex automatic beam generation
1651 @cindex lyrics and beaming
1653 @funindex autoBeaming
1654 @funindex beamSettings
1655 @funindex measureLength
1656 @funindex beatLength
1662 The placement of automatic beams is determined by the time signature.
1663 Three types of rules are used for determining the end of automatic
1664 beams: @emph{default} rules
1665 for the time signature, @emph{explicit} rules for the beam in the time
1666 signature, and the @emph{beatLength} for the time signature.
1668 The following rules, in order of priority, apply when determining
1669 the appearance of beams:
1673 If a manual beam is specified with @code{[..]} set the beam
1674 as specified, otherwise
1677 if @code{\autoBeamOff} is in force do not beam, otherwise
1680 if an explicit beam-ending rule is defined for the beam type
1681 in the time signature, use it to determine the valid
1682 places where beams may end, otherwise
1685 if a default beam-ending rule is defined in the time signature,
1686 use it to group notes with beams, otherwise
1689 use the value of @code{beatLength} to group notes with beams
1693 @i{@strong{Modifying the grouping of beats}}
1695 By default @code{beatLength} is
1696 derived from the time signature set by the @code{\time} command.
1697 The @code{beatLength} is set to be one over the denominator
1698 of the time signature.
1700 @code{beatLength} is a @i{moment},
1701 a unit of musical duration. A quantity of type @i{moment} is
1702 created by the scheme function @code{ly:make-moment}. For more
1703 information about this function, see @ref{Time administration}.
1705 Autobeam settings are stored in the
1706 @code{beamSettings} property. Default values of @code{beamSettings}
1707 are determined in @file{scm/@/beam@/-settings@/.scm}. Entries in
1708 @code{beamSettings} are indexed by time signature and
1711 Time signature should be a scheme pair , e.g. @code{#'(4 . 4)}.
1713 Rule type should be @code{#'end} for beam ending.
1715 The ending rules consist of a scheme alist
1716 (or list of pairs) that
1717 indicates the beam type and the grouping to be applied to
1718 beams containing notes with a shortest duration of that
1722 #'((beam-type1 . grouping-1)
1723 (beam-type2 . grouping-2)
1724 (beam-type3 . grouping-3))
1727 Beam type is either a scheme pair indicating the duration
1728 of the beam, e.g. @code{(1 . 16)}, or @code{*} to indicate a
1729 default rule, which applies to all beams if no explicit rule is
1732 Grouping is a scheme list indicating the grouping to be applied to
1733 the beam. For default rules (where beam type is
1734 @code{*}, the grouping is in units of @code{beatLength}.
1735 For explicit rules, the grouping is in units of the beam type.
1737 For reference, the default beaming rules are found in
1738 @file{scm/beam-settings.scm}.
1740 Beam settings are changed with
1741 @code{\overrideBeamSettings} and @code{\revertBeamSettings}.
1744 The ending settings must be
1745 @emph{complete} rules. That is, every rule that should apply to
1746 the current time signature must be included in the setting.
1747 It is not possible to change the grouping of only one beam type
1748 for a given time signature. While this may seem cumbersome,
1749 it means that the current beaming settings need not be known
1750 in order to specify a new beaming pattern.}
1752 @lilypond[quote,relative=2,verbatim]
1755 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (2 3)))
1757 \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (3 2)))
1761 Beam setting changes can be limited to specific contexts. If no
1762 setting is included in a lower-level context, the setting of the
1763 enclosing context will apply.
1765 @lilypond[quote, verbatim,relative=1]
1770 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (2 3 2)))
1777 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (1 3 3)))
1784 When multiple voices are used the @code{Staff} context must be
1785 specified if the beaming is to be applied to all voices in the
1788 @lilypond[quote,verbatim,relative=2]
1791 % Context Voice specified -- does not work correctly
1792 % Because of autogenerated voices, all beating will
1793 % be at beatLength (1 . 8)
1794 \overrideBeamSettings #'Voice #'(7 . 8) #'end #'((* . (3 1 1 2)))
1795 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1797 % Works correctly with context Staff specified
1798 \overrideBeamSettings #'Staff #'(7 . 8) #'end #'((* . (3 1 1 2)))
1799 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1802 @funindex revertBeamSettings
1804 Beam settings can be reverted to get back to default behavior. This
1805 is accomplished by using @code{\revertBeamSettings}. The arguments
1806 are the same as for @code{\overrideBeamSettings}, except no value
1807 for @var{grouping} is given:
1810 \revertBeamSettings context time-signature rule-type
1814 @lilypond[quote,verbatim,relative=2]
1816 \repeat unfold 8 {a8}
1817 % set default rule for (1 1 1 1) grouping
1818 \overrideBeamSettings #'Score #'(4 . 4) #'end #'((* . (1 1 1 1)))
1819 \repeat unfold 8 {a8}
1820 % revert the new rule
1821 \revertBeamSettings #'Score #'(4 . 4) #'end
1822 \repeat unfold 8 {a8}
1827 @code{\overrideBeamSettings},
1828 @code{\revertBeamSettings}.
1834 @cindex beams, subdividing
1836 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1837 {sub-dividing-beams.ly}
1839 @cindex measure groupings
1840 @cindex beats, grouping
1841 @cindex grouping beats
1842 @cindex measure sub-grouping
1844 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1845 {conducting-signs,-measure-grouping-signs.ly}
1847 @cindex beam, last in score
1848 @cindex beam, last in polyphonic voice
1850 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1851 {beam-endings-in-score-context.ly}
1856 @file{scm/beam-settings.scm}.
1861 Internals Reference:
1862 @rinternals{Auto_beam_engraver},
1864 @rinternals{BeamForbidEvent},
1865 @rinternals{beam-interface}.
1870 If a score ends while an automatic beam has not been ended and is
1871 still accepting notes, this last beam will not be typeset at all.
1872 The same holds for polyphonic voices, entered with @code{<<
1873 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1874 automatic beam is still accepting notes, it is not typeset.
1875 The workaround for these problems is to manually beam the last
1876 beam in the voice or score.
1879 @unnumberedsubsubsec Manual beams
1881 @cindex beams, manual
1882 @cindex manual beams
1887 In some cases it may be necessary to override the automatic
1888 beaming algorithm. For example, the autobeamer will not put beams
1889 over rests or bar lines, and in choral scores the beaming is
1890 often set to follow the meter of the lyrics rather than the
1891 notes. Such beams can be specified manually by
1892 marking the begin and end point with @code{[} and @code{]}.
1894 @lilypond[quote,relative=1,verbatim]
1895 r4 r8[ g' a r8] r8 g[ | a] r8
1898 @cindex manual beams, direction shorthand for
1900 Beaming direction can be set manually using direction indicators:
1902 @lilypond[quote,relative=2,verbatim]
1903 c8^[ d e] c,_[ d e f g]
1909 Individual notes may be marked with @code{\noBeam} to prevent them
1912 @lilypond[quote,verbatim,relative=2]
1917 @funindex stemLeftBeamCount
1918 @funindex stemRightBeamCount
1920 Even more strict manual control with the beams can be achieved by
1921 setting the properties @code{stemLeftBeamCount} and
1922 @code{stemRightBeamCount}. They specify the number of beams to
1923 draw on the left and right side, respectively, of the next note.
1924 If either property is set, its value will be used only once, and
1925 then it is erased. In this example, the last @code{f} is printed
1926 with only one beam on the left side, i.e., the eighth-note beam of
1927 the group as a whole.
1929 @lilypond[quote,relative=2,verbatim]
1932 \set stemLeftBeamCount = #2
1933 \set stemRightBeamCount = #1
1935 \set stemLeftBeamCount = #1
1947 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1948 {flat-flags-and-beam-nibs.ly}
1953 @ref{Direction and placement}.
1958 Internals Reference:
1960 @rinternals{BeamEvent},
1961 @rinternals{Beam_engraver},
1962 @rinternals{beam-interface},
1963 @rinternals{Stem_engraver}.
1966 @node Feathered beams
1967 @unnumberedsubsubsec Feathered beams
1969 @cindex beams, feathered
1970 @cindex feathered beams
1972 @funindex \featherDurations
1973 @funindex featherDurations
1974 @funindex grow-direction
1976 Feathered beams are used to indicate that a small group of notes
1977 should be played at an increasing (or decreasing) tempo, without
1978 changing the overall tempo of the piece. The extent of the
1979 feathered beam must be indicated manually using @code{[} and
1980 @code{]}, and the beam feathering is turned on by specifying a
1981 direction to the @code{Beam} property @code{grow-direction}.
1983 If the placement of the notes and the sound in the MIDI output is to
1984 reflect the ritardando or accelerando indicated by the feathered beam
1985 the notes must be grouped as a music expression delimited by braces
1986 and preceded by a @code{featherDurations} command which specifies
1987 the ratio between the durations of the first and last notes in the
1990 The square brackets show the extent of the beam and the braces show
1991 which notes are to have their durations modified. Normally these
1992 would delimit the same group of notes, but this is not required: the
1993 two commands are independent.
1995 In the following example the eight 16th notes occupy exactly the
1996 same time as a half note, but the first note is one half as long
1997 as the last one, with the intermediate notes gradually
1998 lengthening. The first four 32nd notes gradually speed up, while
1999 the last four 32nd notes are at a constant tempo.
2001 @lilypond[relative=1,verbatim,quote]
2002 \override Beam #'grow-direction = #LEFT
2003 \featherDurations #(ly:make-moment 2 1)
2004 { c16[ c c c c c c c] }
2005 \override Beam #'grow-direction = #RIGHT
2006 \featherDurations #(ly:make-moment 2 3)
2008 % revert to non-feathered beams
2009 \override Beam #'grow-direction = #'()
2014 The spacing in the printed output represents the
2015 note durations only approximately, but the MIDI output is exact.
2019 @code{\featherDurations}.
2029 The @code{\featherDurations} command only works with very short
2030 music snippets, and when numbers in the fraction are small.
2040 * Bar and bar number checks::
2045 @unnumberedsubsubsec Bar lines
2048 @cindex measure lines
2049 @cindex closing bar lines
2050 @cindex bar lines, closing
2051 @cindex double bar lines
2052 @cindex bar lines, double
2058 Bar lines delimit measures, and are also used to indicate
2059 repeats. Normally, simple bar lines are automatically inserted
2060 into the printed output at places based on the current time
2063 The simple bar lines inserted automatically can be changed to
2064 other types with the @code{\bar} command. For example, a closing
2065 double bar line is usually placed at the end of a piece:
2067 @lilypond[quote,relative=1,verbatim]
2071 It is not invalid if the final note in a measure does not
2072 end on the automatically entered bar line: the note is assumed
2073 to carry over into the next measure. But if a long sequence
2074 of such carry-over measures appears the music can appear compressed
2075 or even flowing off the page. This is because automatic line
2076 breaks happen only at the end of complete measures, i.e., where
2077 all notes end before the end of a measure.
2079 @warning{An incorrect duration can cause line breaks to be
2080 inhibited, leading to a line of highly compressed music or
2081 music which flows off the page.}
2084 @cindex bar lines, invisible
2085 @cindex measure lines, invisible
2087 Line breaks are also permitted at manually inserted bar lines
2088 even within incomplete measures. To allow a line break without
2089 printing a bar line, use the following:
2096 This will insert an invisible bar line and allow (but not
2097 force) a line break to occur at this point. The bar number
2098 counter is not increased. To force a line break see
2099 @ref{Line breaking}.
2101 @cindex manual bar lines
2102 @cindex manual measure lines
2103 @cindex bar lines, manual
2104 @cindex measure lines, manual
2106 This and other special bar lines may be inserted manually at any
2107 point. When they coincide with the end of a measure they replace
2108 the simple bar line which would have been inserted there
2109 automatically. When they do not coincide with the end of a measure
2110 the specified bar line is inserted at that point in the printed
2113 Note that manual bar lines are purely visual. They do not affect
2114 any of the properties that a normal bar line would affect, such as
2115 measure numbers, accidentals, line breaks, etc. They do not affect
2116 the calculation and placement of subsequent automatic bar lines.
2117 When a manual bar line is placed where a normal bar line already
2118 exists, the effects of the original bar line are not altered.
2120 Two types of simple bar lines and five types of double bar lines are
2121 available for manual insertion:
2123 @lilypond[quote,relative=1,verbatim]
2135 together with dotted and dashed bar lines:
2137 @lilypond[quote,relative=1,verbatim]
2144 and five types of repeat bar line:
2146 @lilypond[quote,relative=1,verbatim]
2155 Additionally, a bar line can be printed as a simple tick:
2156 @lilypond[quote,relative=1,verbatim]
2159 However, as such ticks are typically used in Gregorian chant, it is
2160 preferable to use @code{\divisioMinima} there instead, described in
2161 the section @ref{Divisiones} in Gregorian chant.
2165 For in-line segno signs, there are three types of bar lines which
2166 differ in their behavior at line breaks:
2168 @lilypond[quote,relative=2,verbatim]
2186 Although the bar line types signifying repeats may be inserted
2187 manually they do not in themselves cause LilyPond to recognize
2188 a repeated section. Such repeated sections are better entered
2189 using the various repeat commands (see @ref{Repeats}), which
2190 automatically print the appropriate bar lines.
2192 In addition, you can specify @code{"||:"}, which is equivalent to
2193 @code{"|:"} except at line breaks, where it gives a double bar
2194 line at the end of the line and a start repeat at the beginning of
2197 @lilypond[quote,relative=2,verbatim]
2205 For combinations of repeats with the segno sign, there are six different
2208 @lilypond[quote,relative=2,verbatim]
2237 In scores with many staves, a @code{\bar} command in one staff is
2238 automatically applied to all staves. The resulting bar lines are
2239 connected between different staves of a @code{StaffGroup},
2240 @code{PianoStaff}, or @code{GrandStaff}.
2242 @lilypond[quote,relative=1,verbatim]
2250 \new Staff { \clef bass c4 g e g }
2252 \new Staff { \clef bass c2 c2 }
2257 @cindex default bar lines, changing
2258 @cindex bar lines, default, changing
2263 @funindex defaultBarType
2268 The command @code{\bar }@var{bartype} is a shortcut for
2269 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2270 created whenever the @code{whichBar} property is set.
2272 The default bar type used for automatically inserted bar lines is
2273 @code{"|"}. This may be changed at any time
2274 with @code{\set Timing.defaultBarType = }@var{bartype}.
2279 @ref{Line breaking},
2281 @ref{Grouping staves}.
2286 Internals Reference:
2287 @rinternals{BarLine} (created at @code{Staff} level),
2288 @rinternals{SpanBar} (across staves),
2289 @rinternals{Timing_translator} (for Timing properties).
2293 @unnumberedsubsubsec Bar numbers
2296 @cindex measure numbers
2297 @cindex numbers, bar
2298 @cindex numbers, measure
2300 @funindex currentBarNumber
2302 Bar numbers are typeset by default at the start of every line except
2303 the first line. The number itself is stored in the
2304 @code{currentBarNumber} property, which is normally updated
2305 automatically for every measure. It may also be set manually:
2307 @lilypond[verbatim,quote,relative=1]
2310 \set Score.currentBarNumber = #50
2314 @cindex bar numbers, regular spacing
2316 @funindex barNumberVisibility
2319 Bar numbers can be typeset at regular intervals instead of just at
2320 the beginning of every line. To do this the default behavior
2321 must be overridden to permit bar numbers to be printed at places
2322 other than the start of a line. This is controlled by the
2323 @code{break-visibility} property of @code{BarNumber}. This takes
2324 three values which may be set to @code{#t} or @code{#f} to specify
2325 whether the corresponding bar number is visible or not. The order
2326 of the three values is @code{end of line visible}, @code{middle of
2327 line visible}, @code{beginning of line visible}. In the following
2328 example bar numbers are printed at all possible places:
2330 @lilypond[verbatim,quote,relative=1]
2331 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2332 \set Score.currentBarNumber = #11
2333 % Permit first bar number to be printed
2343 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2344 {printing-the-bar-number-for-the-first-measure.ly}
2346 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2347 {printing-bar-numbers-at-regular-intervals.ly}
2349 @cindex measure number, format
2350 @cindex bar number, format
2352 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2353 {printing-bar-numbers-inside-boxes-or-circles.ly}
2355 @cindex bar number alignment
2357 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2358 {aligning-bar-numbers.ly}
2360 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2361 {removing-bar-numbers-from-a-score.ly}
2368 Internals Reference:
2369 @rinternals{BarNumber},
2370 @rinternals{Bar_number_engraver}.
2373 @cindex bar number collision
2374 @cindex collision, bar number
2378 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2379 if there is one. To solve this, the @code{padding} property of
2380 @code{BarNumber} can be used to position the number correctly. See
2381 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2384 @node Bar and bar number checks
2385 @unnumberedsubsubsec Bar and bar number checks
2388 @cindex bar number check
2389 @cindex measure check
2390 @cindex measure number check
2392 @funindex barCheckSynchronize
2395 Bar checks help detect errors in the entered durations. A bar check
2396 may be entered using the bar symbol, @code{|}, at any place where a
2397 bar line is expected to fall. If bar check lines are encountered at
2398 other places, a list of warnings is printed in the log file, showing
2399 the line numbers and lines in which the bar checks failed. In the
2400 next example, the second bar check will signal an error.
2403 \time 3/4 c2 e4 | g2 |
2406 Bar checks can also be used in lyrics:
2411 Twin -- kle | Twin -- kle |
2415 An incorrect duration can result in a completely garbled score,
2416 especially if the score is polyphonic, so a good place to start
2417 correcting input is by scanning for failed bar checks and
2418 incorrect durations.
2420 If successive bar checks are off by the same musical interval,
2421 only the first warning message is displayed. This allows the
2422 warning to focus on the source of the timing error.
2426 @funindex pipeSymbol
2428 It is also possible to redefine the action taken when a bar check
2429 or pipe symbol, @code{|}, is encountered in the input, so that
2430 it does something other than a bar check. This is done by
2431 assigning a music expression to @code{pipeSymbol}.
2432 In the following example @code{|} is set to insert a double bar
2433 line wherever it appears in the input, rather than checking
2436 @lilypond[quote,verbatim]
2437 pipeSymbol = \bar "||"
2446 @funindex \barNumberCheck
2447 @funindex barNumberCheck
2449 When copying large pieces of music, it can be helpful to check that
2450 the LilyPond bar number corresponds to the original that you are
2451 entering from. This can be checked with @code{\barNumberCheck}, for
2455 \barNumberCheck #123
2459 will print a warning if the @code{currentBarNumber} is not 123
2460 when it is processed.
2468 @node Rehearsal marks
2469 @unnumberedsubsubsec Rehearsal marks
2471 @cindex rehearsal marks
2472 @cindex mark, rehearsal
2477 To print a rehearsal mark, use the @code{\mark} command.
2479 @lilypond[quote,verbatim,relative=2]
2487 The mark is incremented automatically if you use @code{\mark
2488 \default}, but you can also use an integer argument to set the
2489 mark manually. The value to use is stored in the property
2490 @code{rehearsalMark}.
2492 @lilypond[quote,verbatim,relative=2]
2501 The letter@tie{}@q{I} is skipped in accordance with engraving
2502 traditions. If you wish to include the letter @q{I}, then use one
2503 of the following commands, depending on which style of rehearsal mark
2504 you want (letters only, letters in a hollow box, or letters in a
2508 \set Score.markFormatter = #format-mark-alphabet
2509 \set Score.markFormatter = #format-mark-box-alphabet
2510 \set Score.markFormatter = #format-mark-circle-alphabet
2513 @lilypond[quote,verbatim,relative=2]
2514 \set Score.markFormatter = #format-mark-box-alphabet
2522 @cindex rehearsal mark format
2523 @cindex rehearsal mark style
2524 @cindex style, rehearsal mark
2525 @cindex format, rehearsal mark
2526 @cindex mark, rehearsal, style
2527 @cindex mark, rehearsal, format
2528 @cindex rehearsal mark, manual
2529 @cindex mark, rehearsal, manual
2530 @cindex custom rehearsal mark
2531 @cindex manual rehearsal mark
2533 The style is defined by the property @code{markFormatter}. It is
2534 a function taking the current mark (an integer) and the current
2535 context as argument. It should return a markup object. In the
2536 following example, @code{markFormatter} is set to a pre-defined
2537 procedure. After a few measures, it is set to a procedure that
2538 produces a boxed number.
2540 @lilypond[quote,verbatim,relative=2]
2541 \set Score.markFormatter = #format-mark-numbers
2544 \set Score.markFormatter = #format-mark-box-numbers
2546 \set Score.markFormatter = #format-mark-circle-numbers
2548 \set Score.markFormatter = #format-mark-circle-letters
2552 The file @file{scm/@/translation@/-functions@/.scm} contains the
2553 definitions of @code{format-mark-numbers} (the default format),
2554 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2555 @code{format-mark-box-letters}. These can be used as inspiration
2556 for other formatting functions.
2558 You may use @code{format-mark-barnumbers},
2559 @code{format-mark-box-barnumbers}, and
2560 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2561 incremented numbers or letters.
2563 Other styles of rehearsal mark can be specified manually:
2570 Note that @code{Score.markFormatter} does not affect marks specified
2571 in this manner. However, it is possible to apply a @code{\markup} to the
2575 \mark \markup@{ \box A1 @}
2580 @cindex D.S. al Fine
2582 @cindex music glyphs
2583 @cindex glyphs, music
2585 @funindex \musicglyph
2586 @funindex musicglyph
2588 Music glyphs (such as the segno sign) may be printed inside a
2591 @lilypond[quote,verbatim,relative=1]
2592 c1 \mark \markup { \musicglyph #"scripts.segno" }
2593 c1 \mark \markup { \musicglyph #"scripts.coda" }
2594 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2599 See @ref{The Feta font}, for a list of symbols which may be
2600 printed with @code{\musicglyph}.
2602 For common tweaks to the positioning of rehearsal marks, see
2603 @ref{Formatting text}. For more precise control, see
2604 @code{break-alignable-interface} in @ref{Aligning objects}.
2609 @ref{The Feta font},
2610 @ref{Formatting text},
2611 @ref{Aligning objects}.
2614 @file{scm/@/translation@/-functions@/.scm} contains
2615 the definitions of @code{format-mark-numbers} and
2616 @code{format-mark-letters}. They can be used as inspiration for
2617 other formatting functions.
2622 Internals Reference:
2623 @rinternals{MarkEvent},
2624 @rinternals{Mark_engraver},
2625 @rinternals{RehearsalMark}.
2628 @node Special rhythmic concerns
2629 @subsection Special rhythmic concerns
2634 * Aligning to cadenzas::
2635 * Time administration::
2639 @unnumberedsubsubsec Grace notes
2643 @cindex appoggiatura
2644 @cindex acciaccatura
2649 Grace notes are ornaments that are written out. Grace notes
2650 are printed in a smaller font and take up no logical time
2653 @lilypond[quote,relative=2,verbatim]
2655 \grace { c16[ d16] } c2
2658 LilyPond also supports two special types of grace notes, the
2659 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2660 small note with a slashed stem -- and the @emph{appoggiatura}, which
2661 takes a fixed fraction of the main note and appears in small print
2664 @lilypond[quote,relative=2,verbatim]
2668 \acciaccatura { g16[ f] } e4
2671 The placement of grace notes is synchronized between different
2672 staves. In the following example, there are two sixteenth grace
2673 notes for every eighth grace note
2675 @lilypond[quote,relative=2,verbatim]
2677 \new Staff { e2 \grace { c16[ d e f] } e2 }
2678 \new Staff { c2 \grace { g8[ b] } c2 }
2682 @cindex grace notes, following
2684 @funindex \afterGrace
2685 @funindex afterGrace
2687 If you want to end a note with a grace, use the @code{\afterGrace}
2688 command. It takes two arguments: the main note, and the grace
2689 notes following the main note.
2691 @lilypond[quote,verbatim,relative=2]
2692 c1 \afterGrace d1 { c16[ d] } c1
2695 This will put the grace notes after a space lasting 3/4 of the
2696 length of the main note. The default fraction 3/4 can be changed by
2697 setting @code{afterGraceFraction}. The following example shows
2698 the results from setting the space at the default, at 15/16, and
2699 finally at 1/2 of the main note.
2701 @lilypond[quote,verbatim,relative=2]
2704 c1 \afterGrace d1 { c16[ d] } c1
2707 #(define afterGraceFraction (cons 15 16))
2708 c1 \afterGrace d1 { c16[ d] } c1
2711 #(define afterGraceFraction (cons 1 2))
2712 c1 \afterGrace d1 { c16[ d] } c1
2717 The space between the main note and the grace note may also be
2718 specified using spacers. The following example places the grace
2719 note after a space lasting 7/8 of the main note.
2721 @lilypond[quote,verbatim,relative=2]
2725 { s2 s4. \grace { c16[ d] } }
2731 @cindex tweaking grace notes
2732 @cindex grace notes, tweaking
2733 @cindex grace notes, changing layout settings
2735 A @code{\grace} music expression will introduce special
2736 typesetting settings, for example, to produce smaller type, and
2737 set directions. Hence, when introducing layout tweaks to
2738 override the special settings, they should be placed inside
2739 the grace expression. The overrides should also be reverted
2740 inside the grace expression. Here, the grace note's default stem
2741 direction is overridden and then reverted.
2743 @lilypond[quote,verbatim,relative=2]
2755 @cindex stem, with slash
2760 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2761 {using-grace-note-slashes-with-normal-heads.ly}
2763 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2764 {tweaking-grace-layout-within-music.ly}
2766 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2767 {redefining-grace-note-global-defaults.ly}
2769 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2770 {positioning-grace-notes-with-floating-space.ly}
2775 @rglos{grace notes},
2776 @rglos{acciaccatura},
2777 @rglos{appoggiatura}.
2780 @file{ly/@/grace@/-init@/.ly}.
2785 Internals Reference:
2786 @rinternals{GraceMusic},
2787 @rinternals{Grace_beam_engraver},
2788 @rinternals{Grace_engraver},
2789 @rinternals{Grace_spacing_engraver}.
2794 @cindex acciaccatura, multi-note
2795 @cindex multi-note acciaccatura
2796 @cindex grace-note synchronization
2798 A multi-note beamed @i{acciaccatura} is printed without a slash,
2799 and looks exactly the same as a multi-note beamed
2802 @c TODO Add link to LSR snippet to add slash when available
2804 Grace note synchronization can also lead to surprises. Staff
2805 notation, such as key signatures, bar lines, etc., are also
2806 synchronized. Take care when you mix staves with grace notes and
2807 staves without, for example,
2809 @lilypond[quote,relative=2,verbatim]
2811 \new Staff { e4 \bar "|:" \grace c16 d2. }
2812 \new Staff { c4 \bar "|:" d2. }
2817 This can be remedied by inserting grace skips of the corresponding
2818 durations in the other staves. For the above example
2820 @lilypond[quote,relative=2,verbatim]
2822 \new Staff { e4 \bar "|:" \grace c16 d2. }
2823 \new Staff { c4 \bar "|:" \grace s16 d2. }
2827 Grace sections should only be used within sequential music
2828 expressions. Nesting or juxtaposing grace sections is not
2829 supported, and might produce crashes or other errors.
2831 @node Aligning to cadenzas
2832 @unnumberedsubsubsec Aligning to cadenzas
2835 @cindex cadenza, aligning to
2836 @cindex aligning to cadenza
2838 In an orchestral context, cadenzas present a special problem: when
2839 constructing a score that includes a measured cadenza or other solo
2840 passage, all other instruments should skip just as many notes as the
2841 length of the cadenza, otherwise they will start too soon or too late.
2843 One solution to this problem is to use the functions
2844 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2845 functions take a defined piece of music as an argument and generate a
2846 multi-measure rest or @code{\skip} exactly as long as the piece.
2848 @lilypond[verbatim,quote]
2849 MyCadenza = \relative c' {
2860 #(ly:export (mmrest-of-length MyCadenza))
2862 #(ly:export (skip-of-length MyCadenza))
2877 @node Time administration
2878 @unnumberedsubsubsec Time administration
2880 @cindex time administration
2881 @cindex timing (within the score)
2882 @cindex music, unmetered
2883 @cindex unmetered music
2885 @funindex currentBarNumber
2886 @funindex measurePosition
2887 @funindex measureLength
2889 Time is administered by the @code{Timing_translator}, which by
2890 default is to be found in the @code{Score} context. An alias,
2891 @code{Timing}, is added to the context in which the
2892 @code{Timing_translator} is placed. To ensure that the
2893 @code{Timing} alias is available, you may need to explicitly
2894 instantiate the containing context (such as @code{Voice} or
2897 The following properties of @code{Timing} are used
2898 to keep track of timing within the score.
2901 @cindex measure number
2904 @item currentBarNumber
2905 The current measure number. For an example showing the
2906 use of this property see @ref{Bar numbers}.
2909 The length of the measures in the current time signature. For a
2910 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2911 determines when bar lines are inserted and how automatic beams
2912 should be generated.
2914 @item measurePosition
2915 The point within the measure where we currently are. This
2916 quantity is reset by subtracting @code{measureLength} whenever
2917 @code{measureLength} is reached or exceeded. When that happens,
2918 @code{currentBarNumber} is incremented.
2921 If set to true, the above variables are updated for every time
2922 step. When set to false, the engraver stays in the current
2923 measure indefinitely.
2927 Timing can be changed by setting any of these variables
2928 explicitly. In the next example, the default 4/4 time
2929 signature is printed, but @code{measureLength} is set to 5/4.
2930 At 4/8 through the third measure, the @code{measurePosition} is
2931 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2932 The next bar line then falls at 9/8 rather than 5/4.
2934 @lilypond[quote,verbatim]
2935 \new Voice \relative c' {
2936 \set Timing.measureLength = #(ly:make-moment 5 4)
2940 \set Timing.measurePosition = #(ly:make-moment 5 8)
2947 As the example illustrates, @code{ly:make-moment n m} constructs a
2948 duration of n/m of a whole note. For example,
2949 @code{ly:make-moment 1 8} is an eighth note duration and
2950 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2957 @ref{Unmetered music}.
2962 Internals Reference:
2963 @rinternals{Timing_translator},