1 @c -*- coding: utf-8; mode: texinfo; -*-
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
145 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
146 {changing-the-number-of-augmentation-dots-per-note.ly}
155 @rglos{Duration names notes and rests}.
158 @ref{Automatic beams},
161 @ref{Writing rhythms},
164 @ref{Ancient notation},
165 @ref{Proportional notation}.
172 @rinternals{DotColumn}.
177 @c Deliberately duplicated in Durations and Rests. -gp
178 There is no fundamental limit to rest durations (both in terms of
179 longest and shortest), but the number of glyphs is limited:
180 rests from 128th to maxima (8 x whole) may be printed.
184 @unnumberedsubsubsec Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @var{music} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
211 @cindex tuplet bracket placement
215 @funindex \tupletDown
217 @funindex \tupletNeutral
218 @funindex tupletNeutral
220 Tuplet brackets may be manually placed above or below the staff;
221 see @ref{Direction and placement}.
223 Tuplets may be nested:
225 @lilypond[quote,verbatim,relative=2]
227 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
230 Modifying nested tuplets which begin at the same musical moment
231 must be done with @code{\tweak}.
233 To modify the duration of notes without printing a tuplet bracket,
234 see @ref{Scaling durations}.
240 @code{\tupletNeutral}.
246 @cindex tuplet formatting
247 @cindex triplet formatting
249 @funindex tupletNumberFormatFunction
250 @funindex tupletSpannerDuration
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {entering-several-tuplets-using-only-one--times-command.ly}
255 @cindex Tuplet number changes
257 @funindex TupletNumber
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
279 @rlearning{Tweaking methods}.
282 @ref{Time administration},
283 @ref{Scaling durations},
284 @ref{The tweak command},
285 @ref{Polymetric notation}.
291 @rinternals{TupletBracket},
292 @rinternals{TupletNumber},
293 @rinternals{TimeScaledMusic}.
296 @cindex grace notes within tuplet brackets
299 Grace notes may be placed within tuplet brackets, @emph{except}
300 when a staff begins with a grace note followed by a tuplet. In this
301 particular case, the grace note must be placed before the @code{\times}
302 command to avoid errors.
304 @cindex tempo marks within tuplet brackets
306 When using a tuplet at the beginning of a piece with a @code{\tempo}
307 mark, the music must be explicitly entered in a @code{\new Voice}
308 block, as discussed in @rlearning{Voices contain music}.
311 @node Scaling durations
312 @unnumberedsubsubsec Scaling durations
314 @cindex scaling durations
315 @cindex durations, scaling
317 You can alter the duration of single notes, rests or chords by a
318 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
319 is 1) to the duration. This will not affect the appearance of the
320 notes or rests produced, but the altered duration will be used in
321 calculating the position within the measure and setting the duration
322 in the MIDI output. Multiplying factors may be combined such as
325 In the following example, the first three notes take up exactly
326 two beats, but no triplet bracket is printed.
328 @lilypond[quote,relative=2,verbatim]
330 % Alter durations to triplets
331 a4*2/3 gis4*2/3 a4*2/3
334 % Double the duration of chord
336 % Duration of quarter, appears like sixteenth
340 The duration of spacing notes may also be modified by
341 a multiplier. This is useful for skipping many measures, e.g.,
344 @cindex compressing music
345 @cindex expanding music
347 @funindex \scaleDurations
348 @funindex scaleDurations
350 Longer stretches of music may be compressed by a fraction in the
351 same way, as if every note, chord or rest had the fraction as a
352 multiplier. This leaves the appearance of the music unchanged but
353 the internal duration of the notes will be multiplied by the
354 fraction @emph{num}/@emph{den}. The spaces around the dot are
355 required. Here is an example showing how music can be compressed
358 @lilypond[quote,relative=2,verbatim]
362 % Scale music by *2/3
363 \scaleDurations #'(2 . 3) {
367 \scaleDurations #'(2 . 1) {
372 One application of this command is in polymetric
373 notation, see @ref{Polymetric notation}.
379 @ref{Invisible rests},
380 @ref{Polymetric notation}.
387 @unnumberedsubsubsec Ties
393 A tie connects two adjacent note heads of the same pitch. The tie
394 in effect extends the duration of a note.
396 @warning{Ties should not be confused with @emph{slurs}, which
397 indicate articulation, or @emph{phrasing slurs}, which indicate
398 musical phrasing. A tie is just a way of extending a note
399 duration, similar to the augmentation dot.}
401 A tie is entered using the tilde symbol (@code{~}).
403 @lilypond[quote,verbatim,relative=2]
407 Ties are used either when the note crosses a bar line, or when
408 dots cannot be used to denote the rhythm. Ties should also be
409 used when note values cross larger subdivisions of the measure:
411 @lilypond[verbatim,quote]
418 If you need to tie many notes across bar lines, it may be
419 easier to use automatic note splitting, see @ref{Automatic note
420 splitting}. This mechanism automatically splits long notes, and
421 ties them across bar lines.
423 @cindex ties and chords
424 @cindex chords and ties
426 When a tie is applied to a chord, all note heads whose pitches
427 match are connected. When no note heads match, no ties will be
428 created. Chords may be partially tied by placing the tie inside
431 @lilypond[quote,verbatim,relative=1]
433 <c~ e g~ b> <c e g b>
436 @cindex repeating ties
437 @cindex ties, repeating
438 @cindex volta brackets and ties
439 @cindex ties and volta brackets
444 When a second alternative of a repeat starts with a tied note, you
445 have to specify the repeated tie as follows:
447 @lilypond[quote,relative=2,verbatim]
448 \repeat volta 2 { c g <c e>2 ~ }
450 % First alternative: following note is tied normally
452 % Second alternative: following note has a repeated tie
453 { <c e>2\repeatTie d4 c } }
456 @cindex laissez vibrer
457 @cindex ties, laissez vibrer
459 @funindex \laissezVibrer
460 @funindex laissezVibrer
462 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
463 notes must not be damped at the end. It is used in notation for
464 piano, harp and other string and percussion instruments. They can
465 be entered as follows:
467 @lilypond[quote,verbatim,relative=1]
468 <c f g>1\laissezVibrer
471 @cindex ties, placement
477 @funindex \tieNeutral
480 Ties may be manually placed above or below the staff; see
481 @ref{Direction and placement}.
483 @cindex ties, appearance
496 Ties may be made dashed, dotted, or a combination of solid and
499 @lilypond[quote, verbatim, relative=1]
512 Custom dash patterns can be specified:
514 @lilypond[quote, verbatim, relative=1]
515 \tieDashPattern #0.3 #0.75
517 \tieDashPattern #0.7 #1.5
523 Dash pattern definitions for ties have the same structure as
524 dash pattern definitions for slurs.
525 For more information about complex dash patterns,
526 see the snippets under @ref{Slurs}.
534 @code{\tieDashPattern},
535 @code{\tieHalfDashed},
536 @code{\tieHalfSolid},
543 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
544 {using-ties-with-arpeggios.ly}
546 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
547 {engraving-ties-manually.ly}
553 @rglos{laissez vibrer}.
557 @ref{Automatic note splitting}.
563 @rinternals{LaissezVibrerTie},
564 @rinternals{LaissezVibrerTieColumn},
565 @rinternals{TieColumn},
571 Switching staves when a tie is active will not produce a slanted
574 Changing clefs or octavations during a tie is not really
575 well-defined. In these cases, a slur may be preferable.
580 @subsection Writing rests
582 Rests are entered as part of the music in music expressions.
587 * Full measure rests::
591 @unnumberedsubsubsec Rests
594 @cindex rest, entering durations
609 Rests are entered like notes with the note name @code{r}.
610 Durations longer than a whole rest use the predefined
613 @c \time 16/1 is used to avoid spurious bar lines
614 @c and long tracts of empty measures
615 @lilypond[fragment,quote,verbatim]
617 % These two lines are just to prettify this example
619 \override Staff.TimeSignature #'stencil = ##f
620 % Print a maxima rest, equal to four breves
622 % Print a longa rest, equal to two breves
626 r1 r2 r4 r8 r16 r32 r64 r128
630 @cindex rest, multi-measure
631 @cindex rest, whole-measure
633 Whole measure rests, centered in the middle of the measure, must be
634 entered as multi-measure rests. They can be used for a single
635 measure as well as many measures and are discussed in @ref{Full
638 @cindex rest, specifying vertical position
640 To explicitly specify a rest's vertical position, write a note
641 followed by @code{\rest}. A rest of the duration of the note will
642 be placed at the staff position where the note would appear. This
643 allows for precise manual formatting of polyphonic music, since the
644 automatic rest collision formatter will not move these rests.
646 @lilypond[quote,verbatim,relative=2]
652 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
663 @ref{Full measure rests}.
674 @c Deliberately duplicated in Durations and Rests. -gp
675 There is no fundamental limit to rest durations (both in terms of
676 longest and shortest), but the number of glyphs is limited: there
677 are rests from 128th to maxima (8 x whole).
680 @node Invisible rests
681 @unnumberedsubsubsec Invisible rests
684 @cindex invisible rest
685 @cindex rest, invisible
693 An invisible rest (also called a @q{spacer rest}) can be entered
694 like a note with the note name@tie{}@code{s}:
696 @lilypond[verbatim,quote,relative=2]
703 Spacer rests are available only in note mode and chord mode. In
704 other situations, for example, when entering lyrics, the
705 command @code{\skip} is used to skip a musical moment.
706 @code{\skip} requires an explicit duration.
708 @lilypond[quote,verbatim,relative=2]
721 Because @code{\skip} is a command, it does not affect the default
722 durations of following notes, unlike@tie{}@code{s}.
724 @lilypond[quote,verbatim,relative=2]
727 \repeat unfold 8 {a4}
737 A spacer rest implicitly causes @code{Staff} and @code{Voice}
738 contexts to be created if none exist, just like notes and rests
741 @lilypond[quote,verbatim,fragment]
745 @code{\skip} simply skips musical time; it creates no output of
748 @lilypond[quote,verbatim,fragment]
749 % This is valid input, but does nothing
750 \skip 1 \skip1 \skip 1
756 @rlearning{Visibility and color of objects}.
760 @ref{Visibility of objects}.
766 @rinternals{SkipMusic}.
769 @node Full measure rests
770 @unnumberedsubsubsec Full measure rests
772 @cindex multi-measure rests
773 @cindex full-measure rests
774 @cindex rest, multi-measure
775 @cindex rest, full-measure
776 @cindex whole rest for a full measure
777 @cindex rest, whole for a full measure
781 Rests for one or more full measures are entered like notes with
782 the note name uppercase @code{R}:
784 @lilypond[quote,verbatim,relative=2]
785 % Rest measures contracted to single measure
786 \compressFullBarRests
793 The duration of full-measure rests is identical to the duration
794 notation used for notes. The duration in a multi-measure rest must
795 always be an integral number of measure-lengths, so augmentation dots
796 or fractions must often be used:
798 @lilypond[quote,fragment,verbatim]
799 \compressFullBarRests
805 R1*13/8 | R1*13/8*12 |
810 A full-measure rest is printed as either a whole or breve rest,
811 centered in the measure, depending on the time signature.
813 @lilypond[quote,verbatim,fragment]
822 @cindex multi-measure rest, expanding
823 @cindex multi-measure rest, contracting
825 @funindex \expandFullBarRests
826 @funindex expandFullBarRests
827 @funindex \compressFullBarRests
828 @funindex compressFullBarRests
830 By default a multi-measure rest is expanded in the printed score to
831 show all the rest measures explicitly. Alternatively, a multi-measure
832 rest can be shown as a single measure containing a multi-measure rest
833 symbol, with the number of measures of rest printed above the measure:
835 @lilypond[quote,fragment,verbatim]
837 \time 3/4 r2. | R2.*2 |
840 % Rest measures contracted to single measure
841 \compressFullBarRests
843 % Rest measures expanded
850 @cindex text on multi-measure rest
851 @cindex multi-measure rest, attaching text
852 @cindex script on multi-measure rest
853 @cindex multi-measure rest, script
854 @cindex fermata on multi-measure rest
855 @cindex multi-measure rest, attaching fermata
856 @cindex markup on multi-measure rest
857 @cindex multi-measure rest with markup
859 @funindex \fermataMarkup
860 @funindex fermataMarkup
861 @funindex MultiMeasureRestText
863 Markups can be added to multi-measure rests.
864 The predefined command @code{\fermataMarkup}
865 is provided for adding fermatas.
867 @lilypond[quote,verbatim,fragment]
868 \compressFullBarRests
870 R2.*10^\markup { \italic "ad lib." }
875 Markups attached to a multi-measure rest are
876 objects of type @code{MultiMeasureRestText}, not
877 @code{TextScript}. Overrides must be directed to the correct
878 object, or they will be ignored. See the following example.
881 @lilypond[quote,verbatim,fragment]
882 % This fails, as the wrong object name is specified
883 \override TextScript #'padding = #5
885 % This is correct and works
886 \override MultiMeasureRestText #'padding = #5
890 When a multi-measure rest immediately follows a @code{\partial}
891 setting, resulting bar-check warnings may not be displayed.
894 @funindex \textLengthOn
895 @funindex textLengthOn
896 @funindex \textLengthOff
897 @funindex textLengthOff
898 @funindex \fermataMarkup
899 @funindex fermataMarkup
900 @funindex \compressFullBarRests
901 @funindex compressFullBarRests
902 @funindex \expandFullBarRests
903 @funindex expandFullBarRests
906 @code{\textLengthOn},
907 @code{\textLengthOff},
908 @code{\fermataMarkup},
909 @code{\compressFullBarRests},
910 @code{\expandFullBarRests}.
918 @cindex kirchenpausen
920 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
921 {changing-form-of-multi-measure-rests.ly}
923 @cindex multi-measure rests, positioning
924 @cindex positioning multi-measure rests
926 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
927 {positioning-multi-measure-rests.ly}
929 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
930 {multi-measure-rest-markup.ly}
935 @rglos{multi-measure rest}.
940 @ref{Formatting text},
947 @rinternals{MultiMeasureRest},
948 @rinternals{MultiMeasureRestNumber},
949 @rinternals{MultiMeasureRestText}.
952 @cindex fingerings and multi-measure rests
953 @cindex multi-measure rests and fingerings
957 If an attempt is made to use fingerings (e.g.,
958 @code{R1*10-4}) to put numbers over multi-measure rests, the
959 fingering numeral (4) may collide with the bar counter
962 @cindex condensing rests
963 @cindex rest, condensing ordinary
965 There is no way to automatically condense multiple ordinary rests
966 into a single multi-measure rest.
968 @cindex rest, collisions of
970 Multi-measure rests do not take part in rest collisions.
972 @node Displaying rhythms
973 @subsection Displaying rhythms
979 * Polymetric notation::
980 * Automatic note splitting::
981 * Showing melody rhythms::
985 @unnumberedsubsubsec Time signature
987 @cindex time signature
993 The time signature is set as follows:
995 @lilypond[quote,verbatim,relative=2]
1000 @cindex time signature, visibility of
1002 Time signatures are printed at the beginning of a piece
1003 and whenever the time signature changes. If a change takes place
1004 at the end of a line a warning time signature sign is printed
1005 there. This default behavior may be changed, see
1006 @ref{Visibility of objects}.
1008 @lilypond[quote,verbatim,relative=2]
1018 @cindex time signature style
1021 @funindex \numericTimeSignature
1022 @funindex numericTimeSignature
1023 @funindex \defaultTimeSignature
1024 @funindex defaultTimeSignature
1026 The time signature symbol that is used in 2/2 and 4/4 time can be
1027 changed to a numeric style:
1029 @lilypond[quote,verbatim,relative=2]
1033 % Change to numeric style
1034 \numericTimeSignature
1037 % Revert to default style
1038 \defaultTimeSignature
1044 Mensural time signatures are covered in
1045 @ref{Mensural time signatures}.
1047 @cindex time signature default settings
1048 @cindex autobeaming properties for time signatures
1049 @cindex beaming, time signature default properties
1050 @funindex \overrideTimeSignatureSettings
1052 In addition to setting the printed time signature, the @code{\time}
1053 command also sets time-signature-based default values for the properties
1054 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1055 predefined default values for these properties can be found in
1056 @file{scm/time-signature-settings.scm}. The existing default values can
1057 be changed, or new default values can be added:
1059 @lilypond[quote,verbatim]
1062 \overrideTimeSignatureSettings
1064 #'(4 . 4) % time signature fraction
1065 #'(1 . 4) % base moment fraction
1066 #'(3 1) % beatStructure
1067 #'() % beamExceptions
1069 \repeat unfold 8 c8 |
1074 @code{\overrideTimeSignatureSettings} takes five arguments:
1075 context, time signature fraction, base moment, beat structure, and
1076 beaming exception. The context is a Scheme symbol that describes
1077 the context to which the default setting will apply. The
1078 time signature fraction is a Scheme pair describing the time signature.
1079 The base moment is a Scheme pair containing the
1080 numerator and denominator of the basic timing unit for the
1081 time signature. The beat structure is a Scheme list indicating
1082 the structure of the beats in the measure, in units of the base moment.
1083 The beaming exception is an alist containing any beaming rules for the
1084 time signature that go beyond ending at every beat,
1085 as described in @ref{Setting automatic beam behavior}.
1087 @cindex time signature properties, restoring default values
1088 @cindex restoring default properties for time signatures
1089 @funindex \revertTimeSignatureSettings
1091 Changed values of default time signature properties can be restored
1092 to the original values:
1094 @lilypond[quote,verbatim]
1098 \repeat unfold 8 c8 |
1099 \overrideTimeSignatureSettings
1104 #'((end . (((1 . 8) . (3 1)))))
1106 \repeat unfold 8 c8 |
1107 \revertTimeSignatureSettings #'Score #'(4 . 4)
1109 \repeat unfold 8 c8 |
1115 @code{\numericTimeSignature},
1116 @code{\defaultTimeSignature}.
1122 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1123 {changing-the-time-signature-without-affecting-the-beaming.ly}
1125 @cindex compound time signatures
1126 @cindex time signature, compound
1128 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1129 {compound-time-signatures.ly}
1131 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1132 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1137 @rglos{time signature}
1140 @ref{Mensural time signatures},
1141 @ref{Time administration}.
1146 Internals Reference:
1147 @rinternals{TimeSignature},
1148 @rinternals{Timing_translator}.
1152 @unnumberedsubsubsec Upbeats
1156 @cindex partial measure
1157 @cindex measure, partial
1158 @cindex pickup measure
1159 @cindex measure, change length
1161 @funindex measurePosition
1165 Partial or pick-up measures, such as an anacrusis or upbeat, are
1166 entered using the @code{\partial} command, with the syntax
1169 \partial @var{duration}
1173 where @code{duration} is the rhythmic length of the remaining
1174 interval of the current measure before the start of the next.
1176 @lilypond[quote,verbatim,relative=2]
1181 The partial measure can be any duration less than the full measure:
1183 @lilypond[quote,verbatim,relative=2]
1184 \partial 8*3 c8 d e |
1188 Internally, @code{\partial @var{duration}} is translated into:
1191 \set Timing.measurePosition -@var{duration}
1194 For example, @code{\partial 8*3} becomes:
1197 \set Timing.measurePosition = #(ly:make-moment -3 8)
1200 The property @code{measurePosition} contains a rational number
1201 indicating how much of the measure has passed at this point. Note
1202 that this is set to a negative number by the @code{\partial} command:
1203 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1204 @qq{there is a quarter note left in the measure.}
1217 @rinternals{Timing_translator}.
1221 The @code{\partial} command is intended to be used only at the
1222 beginning of a piece. If you use it after the beginning, some
1223 odd warnings or effects may occur, in this case use
1224 @code{\set Timing.measurePosition} instead.
1226 @node Unmetered music
1227 @unnumberedsubsubsec Unmetered music
1229 @cindex bar lines, turning off
1230 @cindex bar numbering, turning off
1232 @cindex unmetered music
1234 @funindex \cadenzaOn
1236 @funindex \cadenzaOff
1237 @funindex cadenzaOff
1239 Bar lines and bar numbers are calculated automatically. For
1240 unmetered music (some cadenzas, for example), this is not desirable.
1241 To turn off automatic calculation of bar lines and bar numbers,
1242 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1243 to turn them on again.
1245 @lilypond[verbatim,relative=2,fragment]
1254 Bar numbering is resumed at the end of the cadenza as if the
1255 cadenza were not there:
1257 @lilypond[verbatim,relative=2,fragment]
1258 % Show all bar numbers
1259 \override Score.BarNumber #'break-visibility = #all-visible
1268 Note that these predefined commands affect all staves in the
1269 score, even when they are placed in just one @code{Voice}
1270 context. To change this, move the @code{Timing_translator}
1271 from the @code{Score} context to the @code{Staff} context, as
1272 shown in @ref{Polymetric notation}.
1285 @ref{Visibility of objects},
1286 @ref{Polymetric notation}.
1292 @cindex cadenza line breaks
1293 @cindex cadenza page breaks
1294 @cindex unmetered music, line breaks
1295 @cindex unmetered music, page breaks
1296 @cindex breaks in unmetered music
1297 @cindex line breaks in cadenzas
1298 @cindex page breaks in cadenzas
1299 @cindex line breaks in unmetered music
1300 @cindex page breaks in unmetered music
1304 LilyPond will insert line breaks and page breaks only at a
1305 bar line. Unless the unmetered music ends before the end of the
1306 staff line, you will need to insert invisible bar lines with
1313 to indicate where breaks can occur.
1315 You must explicitly create a @code{Voice} context when starting a
1316 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1318 @lilypond[verbatim,relative=2,fragment]
1319 \new Voice \relative c'{
1321 c16^"Solo Free Time" d e f g2. \bar "||"
1327 @node Polymetric notation
1328 @unnumberedsubsubsec Polymetric notation
1330 @c This section necessarily uses \set
1331 @c This is acceptable -td
1333 @cindex double time signatures
1334 @cindex signatures, polymetric
1335 @cindex time signatures, polymetric
1336 @cindex time signatures, double
1337 @cindex polymetric signatures
1338 @cindex meter, polymetric
1340 @funindex timeSignatureFraction
1341 @funindex \scaleDurations
1342 @funindex scaleDurations
1346 Polymetric notation is supported, either explicitly or by modifying
1347 the visible time signature symbol and scaling the note durations.
1349 @strong{@i{Staves with different time signatures, equal measure lengths}}
1351 This notation can be created by setting a common time signature
1352 for each staff but replacing the symbol manually by setting
1353 @code{timeSignatureFraction} to the desired fraction and scaling
1354 the printed durations in each staff to the common time
1355 signature; see @ref{Time signature}. The scaling is done with
1356 @code{\scaleDurations}, which is used in a similar way to
1357 @code{\times}, but does not create a tuplet bracket; see
1358 @ref{Scaling durations}.
1360 @cindex beaming in polymetric music
1361 @cindex beaming in polymetric meter
1363 In this example, music with the time signatures of 3/4, 9/8, and
1364 10/8 are used in parallel. In the second staff, shown durations
1365 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1366 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1367 It will often be necessary to insert beams manually, as the
1368 duration scaling affects the autobeaming rules.
1370 @lilypond[quote,verbatim,fragment]
1379 \set Staff.timeSignatureFraction = #'(9 . 8)
1380 \scaleDurations #'(2 . 3)
1381 \repeat unfold 6 { c8[ c c] }
1385 \set Staff.timeSignatureFraction = #'(10 . 8)
1386 \scaleDurations #'(3 . 5) {
1387 \repeat unfold 2 { c8[ c c] }
1388 \repeat unfold 2 { c8[ c] } |
1389 c4. c4. \times 2/3 { c8[ c c] } c4
1395 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1397 Each staff can be given its own independent time signature by
1398 moving the @code{Timing_translator} and the
1399 @code{Default_bar_line_engraver} to the @code{Staff} context.
1401 @lilypond[quote,verbatim]
1405 \remove "Timing_translator"
1406 \remove "Default_bar_line_engraver"
1410 \consists "Timing_translator"
1411 \consists "Default_bar_line_engraver"
1415 % Now each staff has its own time signature.
1441 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1442 {compound-time-signatures.ly}
1448 @rglos{polymetric time signature},
1452 @ref{Time signature},
1453 @ref{Scaling durations}.
1458 Internals Reference:
1459 @rinternals{TimeSignature},
1460 @rinternals{Timing_translator},
1461 @rinternals{Default_bar_line_engraver},
1467 When using different time signatures in parallel, notes
1468 at the same moment will be placed at the same horizontal
1469 location. However, the bar lines in the different staves
1470 will cause the note spacing to be less regular in each of the
1471 individual staves than would be normal without the different
1474 @node Automatic note splitting
1475 @unnumberedsubsubsec Automatic note splitting
1477 @cindex notes, splitting
1478 @cindex splitting notes
1480 @funindex Note_heads_engraver
1481 @funindex Completion_heads_engraver
1483 Long notes which overrun bar lines can be converted automatically
1484 to tied notes. This is done by replacing the
1485 @code{Note_heads_engraver} with the
1486 @code{Completion_heads_engraver}. In the following
1487 example, notes crossing the bar lines are split and tied.
1489 @lilypond[quote,verbatim,relative=1]
1491 \remove "Note_heads_engraver"
1492 \consists "Completion_heads_engraver"
1495 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1498 This engraver splits all running notes at the bar line, and
1499 inserts ties. One of its uses is to debug complex scores: if the
1500 measures are not entirely filled, then the ties show exactly how
1501 much each measure is off.
1509 @rlearning{Engravers explained},
1510 @rlearning{Adding and removing engravers}.
1515 Internals Reference:
1516 @rinternals{Note_heads_engraver},
1517 @rinternals{Completion_heads_engraver},
1518 @rinternals{Forbid_line_break_engraver}.
1523 Not all durations (especially those containing tuplets) can be
1524 represented exactly with normal notes and dots, but the
1525 @code{Completion_heads_engraver} will not insert tuplets.
1527 The @code{Completion_heads_engraver} only affects notes; it does not
1531 @node Showing melody rhythms
1532 @unnumberedsubsubsec Showing melody rhythms
1534 @cindex melody rhythms, showing
1535 @cindex rhythms, showing melody
1537 Sometimes you might want to show only the rhythm of a melody. This
1538 can be done with the rhythmic staff. All pitches of notes on such a
1539 staff are squashed, and the staff itself has a single line
1541 @lilypond[quote,relative=1,verbatim]
1543 \new RhythmicStaff {
1544 \new Voice = "myRhythm" {
1552 \lyricsto "myRhythm" {
1560 @cindex guitar chord charts
1561 @cindex strumming rhythms, showing
1562 @cindex guitar strumming rhythms, showing
1564 @funindex Pitch_squash_engraver
1565 @funindex \improvisationOn
1566 @funindex improvisationOn
1567 @funindex \improvisationOff
1568 @funindex improvisationOff
1570 Guitar chord charts often show the strumming rhythms. This can
1571 be done with the @code{Pitch_squash_engraver} and
1572 @code{\improvisationOn}.
1575 @lilypond[quote,verbatim]
1584 \consists Pitch_squash_engraver
1597 @code{\improvisationOn},
1598 @code{\improvisationOff}.
1604 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1605 {guitar-strum-rhythms.ly}
1612 Internals Reference:
1613 @rinternals{RhythmicStaff},
1614 @rinternals{Pitch_squash_engraver}.
1622 * Setting automatic beam behavior::
1627 @node Automatic beams
1628 @unnumberedsubsubsec Automatic beams
1630 By default, beams are inserted automatically:
1632 @cindex beams, manual
1633 @cindex manual beams
1634 @cindex beams, setting rules for
1635 @cindex beams, custom rules for
1637 @funindex \autoBeamOn
1638 @funindex autoBeamOn
1639 @funindex \autoBeamOff
1640 @funindex autoBeamOff
1642 @lilypond[quote,verbatim,relative=2]
1644 \time 6/8 c c c c8. c16 c8
1647 If these automatic decisions are not satisfactory, beaming can be
1648 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1649 entered manually if beams are to be extended over rests.
1651 If automatic beaming is not required, it may be turned off with
1652 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1654 @lilypond[quote,relative=1,verbatim]
1655 c4 c8 c8. c16 c8. c16 c8
1662 @cindex melismata, beams
1663 @cindex beams and melismata
1665 @warning{If beams are used to indicate melismata in songs, then
1666 automatic beaming should be switched off with @code{\autoBeamOff}
1667 and the beams indicated manually.}
1669 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1670 produce unintended results. See the snippet below for more information.}
1672 Beaming patterns that differ from the automatic defaults can be
1673 created; see @ref{Setting automatic beam behavior}.
1677 @code{\autoBeamOff},
1685 @cindex line breaks and beams
1686 @cindex beams and line breaks
1690 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1691 {beams-across-line-breaks.ly}
1693 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1694 {changing-beam-knee-gap.ly}
1696 @cindex \partcombine and \autoBeamOff
1697 @cindex \autoBeamOff and \partcombine
1700 @lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
1701 {partcombine-and-autobeamoff.ly}
1707 @ref{Setting automatic beam behavior}.
1710 @file{scm/@/auto@/-beam@/.scm}.
1715 Internals Reference:
1716 @rinternals{Auto_beam_engraver},
1717 @rinternals{Beam_engraver},
1719 @rinternals{BeamEvent},
1720 @rinternals{BeamForbidEvent},
1721 @rinternals{beam-interface},
1722 @rinternals{unbreakable-spanner-interface}.
1727 Beams can collide with note heads and accidentals in other voices.
1730 @node Setting automatic beam behavior
1731 @unnumberedsubsubsec Setting automatic beam behavior
1734 @cindex automatic beams, tuning
1735 @cindex tuning automatic beaming
1736 @cindex automatic beam generation
1738 @cindex lyrics and beaming
1740 @funindex autoBeaming
1741 @funindex baseMoment
1742 @funindex beamExceptions
1743 @funindex beatStructure
1744 @funindex measureLength
1750 The placement of automatic beams is determined by the context properties
1751 @code{baseMoment}, @code{beatStructure}, @code{beamExceptions},
1752 and @code{autoBeaming}.
1754 The following rules, in order of priority, apply when determining
1755 the appearance of beams:
1759 If a manual beam is specified with @code{[..]} set the beam
1760 as specified, otherwise
1763 if @code{\autoBeamOff} is in force do not beam, otherwise
1766 if a beam-ending rule is defined in @code{beamExceptions}
1767 for the beam type, use it to determine the valid places where
1768 beams may end, otherwise
1771 if a beam-ending rule is defined in @code{beamExceptions}
1772 for a larger beam-type, use it to determined the valid places
1773 where beams may end, otherwise
1776 use the values of @code{baseMoment} and @code{beatStructure} to
1777 determine the ends of the beats in the measure, and
1778 end beams at the end of beats.
1782 The beam type is the duration of the shortest note in the beamed group.
1783 If no beam-ending rule is defined for a beam type, the rule for the
1784 smallest beam-type larger than the current beam is used.
1786 @i{@strong{Modifying the grouping of beats}}
1788 By default @code{baseMoment} is set by the @code{\time} command,
1789 normally to one over the denominator of the time signature.
1790 Any exceptions to this default
1791 can be found in @file{scm/@/time@/-signature@/-settings@/.scm}.
1792 Changing the default value of @code{baseMoment} for a given
1793 time signature is described in @ref{Time signature}.
1795 @code{baseMoment} is a @i{moment},
1796 a unit of musical duration. A quantity of type @i{moment} is
1797 created by the scheme function @code{ly:make-moment}. For more
1798 information about this function, see @ref{Time administration}.
1800 Special (i.e., other than at the end of the beat) autobeam settings
1802 @code{beamExceptions} property. Default values of @code{beamExceptions}
1803 are established by the @code{\time} command. Default values of
1804 @code{beamExceptions} for a time signature
1805 are determined in @file{scm/@/time@/-signature@/-settings@/.scm}.
1806 Entries in @code{beamExceptions} are indexed by rule type and beam type.
1808 Rule type should be @code{#'end} for beam ending.
1810 The ending rules consist of a scheme alist
1811 (or list of pairs) that
1812 indicates the beam type and the grouping to be applied to
1813 beams containing notes with a shortest duration of that
1817 #'((beam-type1 . grouping-1)
1818 (beam-type2 . grouping-2)
1819 (beam-type3 . grouping-3))
1822 Beam type is a scheme pair indicating the duration
1823 of the beam, e.g., @code{(1 . 16)}.
1825 Grouping is a scheme list indicating the grouping to be applied to
1826 the beam. The grouping is in units of the beam type.
1828 For reference, the default beaming rules are found in
1829 @file{scm/time-signature-settings.scm}.
1831 Alternate values for @code{beamExceptions}
1832 can be defined using the @code{\set} command.
1835 A @code{beamExceptions} value must be
1836 @emph{complete} exceptions list. That is, every exception that should
1837 be applied must be included in the setting.
1838 It is not possible to add, remove, or change only one of the exceptions.
1839 While this may seem cumbersome,
1840 it means that the current beaming settings need not be known
1841 in order to specify a new beaming pattern.}
1843 @lilypond[quote,relative=2,verbatim]
1846 \set beatStructure = #'(2 3)
1848 \set beatStructure = #'(3 2)
1852 Beam setting changes can be limited to specific contexts. If no
1853 setting is included in a lower-level context, the setting of the
1854 enclosing context will apply.
1856 @lilypond[quote, verbatim,relative=1]
1859 \set Staff.beatStructure = #'(2 3 2)
1869 \set Voice.beatStructure = #'(1 3 3)
1877 When multiple voices are used the @code{Staff} context must be
1878 specified if the beaming is to be applied to all voices in the
1881 @lilypond[quote,verbatim,relative=2]
1884 % Context Voice specified -- does not work correctly
1885 % Because of autogenerated voices, all beating will
1886 % be at baseMoment (1 . 8)
1887 \set beatStructure = #'(3 1 1 2)
1888 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1890 % Works correctly with context Staff specified
1891 \set Staff.beatStructure = #'(3 1 1 2)
1892 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1895 Beam settings can be set back to default behavior. This
1896 is accomplished by setting the time signature.
1898 @lilypond[quote,verbatim,relative=2]
1900 \repeat unfold 8 {a8}
1901 % eliminate beam exception that groups beats 1, 2 and 3, 4
1902 \set Timing.beamExceptions = #'()
1903 \repeat unfold 8 {a8}
1904 % go back to default behavior
1906 \repeat unfold 8 {a8}
1912 @cindex beams, subdividing
1914 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1915 {subdividing-beams.ly}
1917 @cindex measure groupings
1918 @cindex beats, grouping
1919 @cindex grouping beats
1920 @cindex measure sub-grouping
1922 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1923 {conducting-signs,-measure-grouping-signs.ly}
1925 @cindex beam, last in score
1926 @cindex beam, last in polyphonic voice
1928 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1929 {beam-endings-in-score-context.ly}
1934 @file{scm/beam-settings.scm}.
1939 Internals Reference:
1940 @rinternals{Auto_beam_engraver},
1942 @rinternals{BeamForbidEvent},
1943 @rinternals{beam-interface}.
1948 If a score ends while an automatic beam has not been ended and is
1949 still accepting notes, this last beam will not be typeset at all.
1950 The same holds for polyphonic voices, entered with @code{<<
1951 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1952 automatic beam is still accepting notes, it is not typeset.
1953 The workaround for these problems is to manually beam the last
1954 beam in the voice or score.
1957 @unnumberedsubsubsec Manual beams
1959 @cindex beams, manual
1960 @cindex manual beams
1965 In some cases it may be necessary to override the automatic
1966 beaming algorithm. For example, the autobeamer will not put beams
1967 over rests or bar lines, and in choral scores the beaming is
1968 often set to follow the meter of the lyrics rather than the
1969 notes. Such beams can be specified manually by
1970 marking the begin and end point with @code{[} and @code{]}.
1972 @lilypond[quote,relative=1,verbatim]
1973 r4 r8[ g' a r8] r8 g[ | a] r8
1976 @cindex manual beams, direction shorthand for
1977 @cindex manual beams, grace notes
1979 Beaming direction can be set manually using direction indicators:
1981 @lilypond[quote,relative=2,verbatim]
1982 c8^[ d e] c,_[ d e f g]
1988 Individual notes may be marked with @code{\noBeam} to prevent them
1991 @lilypond[quote,verbatim,relative=2]
1996 Grace note beams and normal note beams can occur simultaneously.
1997 Unbeamed grace notes are not put into normal note beams.
1999 @lilypond[quote,verbatim,relative=2]
2001 \grace { e32[ d c d] }
2007 @funindex stemLeftBeamCount
2008 @funindex stemRightBeamCount
2010 Even more strict manual control with the beams can be achieved by
2011 setting the properties @code{stemLeftBeamCount} and
2012 @code{stemRightBeamCount}. They specify the number of beams to
2013 draw on the left and right side, respectively, of the next note.
2014 If either property is set, its value will be used only once, and
2015 then it is erased. In this example, the last @code{f} is printed
2016 with only one beam on the left side, i.e., the eighth-note beam of
2017 the group as a whole.
2019 @lilypond[quote,relative=2,verbatim]
2022 \set stemLeftBeamCount = #2
2023 \set stemRightBeamCount = #1
2025 \set stemLeftBeamCount = #1
2037 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2038 {flat-flags-and-beam-nibs.ly}
2043 @ref{Direction and placement},
2049 Internals Reference:
2051 @rinternals{BeamEvent},
2052 @rinternals{Beam_engraver},
2053 @rinternals{beam-interface},
2054 @rinternals{Stem_engraver}.
2057 @node Feathered beams
2058 @unnumberedsubsubsec Feathered beams
2060 @cindex beams, feathered
2061 @cindex feathered beams
2063 @funindex \featherDurations
2064 @funindex featherDurations
2065 @funindex grow-direction
2067 Feathered beams are used to indicate that a small group of notes
2068 should be played at an increasing (or decreasing) tempo, without
2069 changing the overall tempo of the piece. The extent of the
2070 feathered beam must be indicated manually using @code{[} and
2071 @code{]}, and the beam feathering is turned on by specifying a
2072 direction to the @code{Beam} property @code{grow-direction}.
2074 If the placement of the notes and the sound in the MIDI output is to
2075 reflect the ritardando or accelerando indicated by the feathered beam
2076 the notes must be grouped as a music expression delimited by braces
2077 and preceded by a @code{featherDurations} command which specifies
2078 the ratio between the durations of the first and last notes in the
2081 The square brackets show the extent of the beam and the braces show
2082 which notes are to have their durations modified. Normally these
2083 would delimit the same group of notes, but this is not required: the
2084 two commands are independent.
2086 In the following example the eight 16th notes occupy exactly the
2087 same time as a half note, but the first note is one half as long
2088 as the last one, with the intermediate notes gradually
2089 lengthening. The first four 32nd notes gradually speed up, while
2090 the last four 32nd notes are at a constant tempo.
2092 @lilypond[relative=1,verbatim,quote]
2093 \override Beam #'grow-direction = #LEFT
2094 \featherDurations #(ly:make-moment 2 1)
2095 { c16[ c c c c c c c] }
2096 \override Beam #'grow-direction = #RIGHT
2097 \featherDurations #(ly:make-moment 2 3)
2099 % revert to non-feathered beams
2100 \override Beam #'grow-direction = #'()
2105 The spacing in the printed output represents the
2106 note durations only approximately, but the MIDI output is exact.
2110 @code{\featherDurations}.
2120 The @code{\featherDurations} command only works with very short
2121 music snippets, and when numbers in the fraction are small.
2131 * Bar and bar number checks::
2136 @unnumberedsubsubsec Bar lines
2139 @cindex measure lines
2140 @cindex closing bar lines
2141 @cindex bar lines, closing
2142 @cindex double bar lines
2143 @cindex bar lines, double
2149 Bar lines delimit measures, and are also used to indicate
2150 repeats. Normally, simple bar lines are automatically inserted
2151 into the printed output at places based on the current time
2154 The simple bar lines inserted automatically can be changed to
2155 other types with the @code{\bar} command. For example, a closing
2156 double bar line is usually placed at the end of a piece:
2158 @lilypond[quote,relative=1,verbatim]
2162 It is not invalid if the final note in a measure does not
2163 end on the automatically entered bar line: the note is assumed
2164 to carry over into the next measure. But if a long sequence
2165 of such carry-over measures appears the music can appear compressed
2166 or even flowing off the page. This is because automatic line
2167 breaks happen only at the end of complete measures, i.e., where
2168 all notes end before the end of a measure.
2170 @warning{An incorrect duration can cause line breaks to be
2171 inhibited, leading to a line of highly compressed music or
2172 music which flows off the page.}
2175 @cindex bar lines, invisible
2176 @cindex measure lines, invisible
2178 Line breaks are also permitted at manually inserted bar lines
2179 even within incomplete measures. To allow a line break without
2180 printing a bar line, use the following:
2187 This will insert an invisible bar line and allow (but not
2188 force) a line break to occur at this point. The bar number
2189 counter is not increased. To force a line break see
2190 @ref{Line breaking}.
2192 @cindex manual bar lines
2193 @cindex manual measure lines
2194 @cindex bar lines, manual
2195 @cindex measure lines, manual
2197 This and other special bar lines may be inserted manually at any
2198 point. When they coincide with the end of a measure they replace
2199 the simple bar line which would have been inserted there
2200 automatically. When they do not coincide with the end of a measure
2201 the specified bar line is inserted at that point in the printed
2204 Note that manual bar lines are purely visual. They do not affect
2205 any of the properties that a normal bar line would affect, such as
2206 measure numbers, accidentals, line breaks, etc. They do not affect
2207 the calculation and placement of subsequent automatic bar lines.
2208 When a manual bar line is placed where a normal bar line already
2209 exists, the effects of the original bar line are not altered.
2211 Two types of simple bar lines and five types of double bar lines are
2212 available for manual insertion:
2214 @lilypond[quote,relative=1,verbatim]
2226 together with dotted and dashed bar lines:
2228 @lilypond[quote,relative=1,verbatim]
2235 and five types of repeat bar line:
2237 @lilypond[quote,relative=1,verbatim]
2246 Additionally, a bar line can be printed as a simple tick:
2247 @lilypond[quote,relative=1,verbatim]
2250 However, as such ticks are typically used in Gregorian chant, it is
2251 preferable to use @code{\divisioMinima} there instead, described in
2252 the section @ref{Divisiones} in Gregorian chant.
2256 For in-line segno signs, there are three types of bar lines which
2257 differ in their behavior at line breaks:
2259 @lilypond[quote,relative=2,verbatim]
2277 Although the bar line types signifying repeats may be inserted
2278 manually they do not in themselves cause LilyPond to recognize
2279 a repeated section. Such repeated sections are better entered
2280 using the various repeat commands (see @ref{Repeats}), which
2281 automatically print the appropriate bar lines.
2283 In addition, you can specify @code{"||:"}, which is equivalent to
2284 @code{"|:"} except at line breaks, where it gives a double bar
2285 line at the end of the line and a start repeat at the beginning of
2288 @lilypond[quote,relative=2,verbatim]
2296 For combinations of repeats with the segno sign, there are six different
2299 @lilypond[quote,relative=2,verbatim]
2328 In scores with many staves, a @code{\bar} command in one staff is
2329 automatically applied to all staves. The resulting bar lines are
2330 connected between different staves of a @code{StaffGroup},
2331 @code{PianoStaff}, or @code{GrandStaff}.
2333 @lilypond[quote,relative=1,verbatim]
2341 \new Staff { \clef bass c4 g e g }
2343 \new Staff { \clef bass c2 c2 }
2348 @cindex default bar lines, changing
2349 @cindex bar lines, default, changing
2354 @funindex defaultBarType
2359 The command @code{\bar }@var{bartype} is a shortcut for
2360 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2361 created whenever the @code{whichBar} property is set.
2363 The default bar type used for automatically inserted bar lines is
2364 @code{"|"}. This may be changed at any time
2365 with @code{\set Timing.defaultBarType = }@var{bartype}.
2370 @ref{Line breaking},
2372 @ref{Grouping staves}.
2377 Internals Reference:
2378 @rinternals{BarLine} (created at @code{Staff} level),
2379 @rinternals{SpanBar} (across staves),
2380 @rinternals{Timing_translator} (for Timing properties).
2384 @unnumberedsubsubsec Bar numbers
2387 @cindex measure numbers
2388 @cindex numbers, bar
2389 @cindex numbers, measure
2391 @funindex currentBarNumber
2393 Bar numbers are typeset by default at the start of every line except
2394 the first line. The number itself is stored in the
2395 @code{currentBarNumber} property, which is normally updated
2396 automatically for every measure. It may also be set manually:
2398 @lilypond[verbatim,quote,relative=1]
2401 \set Score.currentBarNumber = #50
2405 @cindex bar numbers, regular spacing
2407 @funindex barNumberVisibility
2410 Bar numbers can be typeset at regular intervals instead of just at
2411 the beginning of every line. To do this the default behavior
2412 must be overridden to permit bar numbers to be printed at places
2413 other than the start of a line. This is controlled by the
2414 @code{break-visibility} property of @code{BarNumber}. This takes
2415 three values which may be set to @code{#t} or @code{#f} to specify
2416 whether the corresponding bar number is visible or not. The order
2417 of the three values is @code{end of line visible}, @code{middle of
2418 line visible}, @code{beginning of line visible}. In the following
2419 example bar numbers are printed at all possible places:
2421 @lilypond[verbatim,quote,relative=1]
2422 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2423 \set Score.currentBarNumber = #11
2424 % Permit first bar number to be printed
2434 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2435 {printing-the-bar-number-for-the-first-measure.ly}
2437 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2438 {printing-bar-numbers-at-regular-intervals.ly}
2440 @cindex measure number, format
2441 @cindex bar number, format
2443 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2444 {printing-bar-numbers-inside-boxes-or-circles.ly}
2446 @cindex bar number alignment
2448 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2449 {aligning-bar-numbers.ly}
2451 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2452 {removing-bar-numbers-from-a-score.ly}
2459 Internals Reference:
2460 @rinternals{BarNumber},
2461 @rinternals{Bar_number_engraver}.
2464 @cindex bar number collision
2465 @cindex collision, bar number
2469 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2470 if there is one. To solve this, the @code{padding} property of
2471 @code{BarNumber} can be used to position the number correctly. See
2472 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2475 @node Bar and bar number checks
2476 @unnumberedsubsubsec Bar and bar number checks
2479 @cindex bar number check
2480 @cindex measure check
2481 @cindex measure number check
2483 @funindex barCheckSynchronize
2486 Bar checks help detect errors in the entered durations. A bar check
2487 may be entered using the bar symbol, @code{|}, at any place where a
2488 bar line is expected to fall. If bar check lines are encountered at
2489 other places, a list of warnings is printed in the log file, showing
2490 the line numbers and lines in which the bar checks failed. In the
2491 next example, the second bar check will signal an error.
2494 \time 3/4 c2 e4 | g2 |
2497 Bar checks can also be used in lyrics:
2502 Twin -- kle | Twin -- kle |
2506 An incorrect duration can result in a completely garbled score,
2507 especially if the score is polyphonic, so a good place to start
2508 correcting input is by scanning for failed bar checks and
2509 incorrect durations.
2511 If successive bar checks are off by the same musical interval,
2512 only the first warning message is displayed. This allows the
2513 warning to focus on the source of the timing error.
2517 @funindex pipeSymbol
2519 It is also possible to redefine the action taken when a bar check
2520 or pipe symbol, @code{|}, is encountered in the input, so that
2521 it does something other than a bar check. This is done by
2522 assigning a music expression to @code{pipeSymbol}.
2523 In the following example @code{|} is set to insert a double bar
2524 line wherever it appears in the input, rather than checking
2527 @lilypond[quote,verbatim]
2528 pipeSymbol = \bar "||"
2537 @funindex \barNumberCheck
2538 @funindex barNumberCheck
2540 When copying large pieces of music, it can be helpful to check that
2541 the LilyPond bar number corresponds to the original that you are
2542 entering from. This can be checked with @code{\barNumberCheck}, for
2546 \barNumberCheck #123
2550 will print a warning if the @code{currentBarNumber} is not 123
2551 when it is processed.
2559 @node Rehearsal marks
2560 @unnumberedsubsubsec Rehearsal marks
2562 @cindex rehearsal marks
2563 @cindex mark, rehearsal
2568 To print a rehearsal mark, use the @code{\mark} command.
2570 @lilypond[quote,verbatim,relative=2]
2578 The mark is incremented automatically if you use @code{\mark
2579 \default}, but you can also use an integer argument to set the
2580 mark manually. The value to use is stored in the property
2581 @code{rehearsalMark}.
2583 @lilypond[quote,verbatim,relative=2]
2592 The letter@tie{}@q{I} is skipped in accordance with engraving
2593 traditions. If you wish to include the letter @q{I}, then use one
2594 of the following commands, depending on which style of rehearsal mark
2595 you want (letters only, letters in a hollow box, or letters in a
2599 \set Score.markFormatter = #format-mark-alphabet
2600 \set Score.markFormatter = #format-mark-box-alphabet
2601 \set Score.markFormatter = #format-mark-circle-alphabet
2604 @lilypond[quote,verbatim,relative=2]
2605 \set Score.markFormatter = #format-mark-box-alphabet
2613 @cindex rehearsal mark format
2614 @cindex rehearsal mark style
2615 @cindex style, rehearsal mark
2616 @cindex format, rehearsal mark
2617 @cindex mark, rehearsal, style
2618 @cindex mark, rehearsal, format
2619 @cindex rehearsal mark, manual
2620 @cindex mark, rehearsal, manual
2621 @cindex custom rehearsal mark
2622 @cindex manual rehearsal mark
2624 The style is defined by the property @code{markFormatter}. It is
2625 a function taking the current mark (an integer) and the current
2626 context as argument. It should return a markup object. In the
2627 following example, @code{markFormatter} is set to a pre-defined
2628 procedure. After a few measures, it is set to a procedure that
2629 produces a boxed number.
2631 @lilypond[quote,verbatim,relative=2]
2632 \set Score.markFormatter = #format-mark-numbers
2635 \set Score.markFormatter = #format-mark-box-numbers
2637 \set Score.markFormatter = #format-mark-circle-numbers
2639 \set Score.markFormatter = #format-mark-circle-letters
2643 The file @file{scm/@/translation@/-functions@/.scm} contains the
2644 definitions of @code{format-mark-numbers} (the default format),
2645 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2646 @code{format-mark-box-letters}. These can be used as inspiration
2647 for other formatting functions.
2649 You may use @code{format-mark-barnumbers},
2650 @code{format-mark-box-barnumbers}, and
2651 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2652 incremented numbers or letters.
2654 Other styles of rehearsal mark can be specified manually:
2661 Note that @code{Score.markFormatter} does not affect marks specified
2662 in this manner. However, it is possible to apply a @code{\markup} to the
2666 \mark \markup@{ \box A1 @}
2671 @cindex D.S. al Fine
2673 @cindex music glyphs
2674 @cindex glyphs, music
2676 @funindex \musicglyph
2677 @funindex musicglyph
2679 Music glyphs (such as the segno sign) may be printed inside a
2682 @lilypond[quote,verbatim,relative=1]
2683 c1 \mark \markup { \musicglyph #"scripts.segno" }
2684 c1 \mark \markup { \musicglyph #"scripts.coda" }
2685 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2690 See @ref{The Feta font}, for a list of symbols which may be
2691 printed with @code{\musicglyph}.
2693 For common tweaks to the positioning of rehearsal marks, see
2694 @ref{Formatting text}. For more precise control, see
2695 @code{break-alignable-interface} in @ref{Aligning objects}.
2700 @ref{The Feta font},
2701 @ref{Formatting text},
2702 @ref{Aligning objects}.
2705 @file{scm/@/translation@/-functions@/.scm} contains
2706 the definitions of @code{format-mark-numbers} and
2707 @code{format-mark-letters}. They can be used as inspiration for
2708 other formatting functions.
2713 Internals Reference:
2714 @rinternals{MarkEvent},
2715 @rinternals{Mark_engraver},
2716 @rinternals{RehearsalMark}.
2719 @node Special rhythmic concerns
2720 @subsection Special rhythmic concerns
2725 * Aligning to cadenzas::
2726 * Time administration::
2730 @unnumberedsubsubsec Grace notes
2734 @cindex appoggiatura
2735 @cindex acciaccatura
2740 Grace notes are ornaments that are written out. Grace notes
2741 are printed in a smaller font and take up no logical time
2744 @lilypond[quote,relative=2,verbatim]
2746 \grace { c16[ d16] } c2
2749 LilyPond also supports two special types of grace notes, the
2750 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2751 small note with a slashed stem -- and the @emph{appoggiatura}, which
2752 takes a fixed fraction of the main note and appears in small print
2755 @lilypond[quote,relative=2,verbatim]
2759 \acciaccatura { g16[ f] } e4
2762 The placement of grace notes is synchronized between different
2763 staves. In the following example, there are two sixteenth grace
2764 notes for every eighth grace note
2766 @lilypond[quote,relative=2,verbatim]
2768 \new Staff { e2 \grace { c16[ d e f] } e2 }
2769 \new Staff { c2 \grace { g8[ b] } c2 }
2773 @cindex grace notes, following
2775 @funindex \afterGrace
2776 @funindex afterGrace
2778 If you want to end a note with a grace, use the @code{\afterGrace}
2779 command. It takes two arguments: the main note, and the grace
2780 notes following the main note.
2782 @lilypond[quote,verbatim,relative=2]
2783 c1 \afterGrace d1 { c16[ d] } c1
2786 This will put the grace notes after a space lasting 3/4 of the
2787 length of the main note. The default fraction 3/4 can be changed by
2788 setting @code{afterGraceFraction}. The following example shows
2789 the results from setting the space at the default, at 15/16, and
2790 finally at 1/2 of the main note.
2792 @lilypond[quote,verbatim,relative=2]
2795 c1 \afterGrace d1 { c16[ d] } c1
2798 #(define afterGraceFraction (cons 15 16))
2799 c1 \afterGrace d1 { c16[ d] } c1
2802 #(define afterGraceFraction (cons 1 2))
2803 c1 \afterGrace d1 { c16[ d] } c1
2808 The space between the main note and the grace note may also be
2809 specified using spacers. The following example places the grace
2810 note after a space lasting 7/8 of the main note.
2812 @lilypond[quote,verbatim,relative=2]
2816 { s2 s4. \grace { c16[ d] } }
2822 @cindex tweaking grace notes
2823 @cindex grace notes, tweaking
2824 @cindex grace notes, changing layout settings
2826 A @code{\grace} music expression will introduce special
2827 typesetting settings, for example, to produce smaller type, and
2828 set directions. Hence, when introducing layout tweaks to
2829 override the special settings, they should be placed inside
2830 the grace expression. The overrides should also be reverted
2831 inside the grace expression. Here, the grace note's default stem
2832 direction is overridden and then reverted.
2834 @lilypond[quote,verbatim,relative=2]
2846 @cindex stem, with slash
2851 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2852 {using-grace-note-slashes-with-normal-heads.ly}
2854 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2855 {tweaking-grace-layout-within-music.ly}
2857 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2858 {redefining-grace-note-global-defaults.ly}
2860 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2861 {positioning-grace-notes-with-floating-space.ly}
2866 @rglos{grace notes},
2867 @rglos{acciaccatura},
2868 @rglos{appoggiatura}.
2874 @file{ly/@/grace@/-init@/.ly}.
2879 Internals Reference:
2880 @rinternals{GraceMusic},
2881 @rinternals{Grace_beam_engraver},
2882 @rinternals{Grace_engraver},
2883 @rinternals{Grace_spacing_engraver}.
2888 @cindex acciaccatura, multi-note
2889 @cindex multi-note acciaccatura
2890 @cindex grace-note synchronization
2892 A multi-note beamed @i{acciaccatura} is printed without a slash,
2893 and looks exactly the same as a multi-note beamed
2896 @c TODO Add link to LSR snippet to add slash when available
2898 Grace note synchronization can also lead to surprises. Staff
2899 notation, such as key signatures, bar lines, etc., are also
2900 synchronized. Take care when you mix staves with grace notes and
2901 staves without, for example,
2903 @lilypond[quote,relative=2,verbatim]
2905 \new Staff { e4 \bar "|:" \grace c16 d2. }
2906 \new Staff { c4 \bar "|:" d2. }
2911 This can be remedied by inserting grace skips of the corresponding
2912 durations in the other staves. For the above example
2914 @lilypond[quote,relative=2,verbatim]
2916 \new Staff { e4 \bar "|:" \grace c16 d2. }
2917 \new Staff { c4 \bar "|:" \grace s16 d2. }
2921 Grace sections should only be used within sequential music
2922 expressions. Nesting or juxtaposing grace sections is not
2923 supported, and might produce crashes or other errors.
2925 @node Aligning to cadenzas
2926 @unnumberedsubsubsec Aligning to cadenzas
2929 @cindex cadenza, aligning to
2930 @cindex aligning to cadenza
2932 In an orchestral context, cadenzas present a special problem: when
2933 constructing a score that includes a measured cadenza or other solo
2934 passage, all other instruments should skip just as many notes as the
2935 length of the cadenza, otherwise they will start too soon or too late.
2937 One solution to this problem is to use the functions
2938 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2939 functions take a defined piece of music as an argument and generate a
2940 multi-measure rest or @code{\skip} exactly as long as the piece.
2942 @lilypond[verbatim,quote]
2943 MyCadenza = \relative c' {
2954 #(ly:export (mmrest-of-length MyCadenza))
2956 #(ly:export (skip-of-length MyCadenza))
2971 @node Time administration
2972 @unnumberedsubsubsec Time administration
2974 @cindex time administration
2975 @cindex timing (within the score)
2976 @cindex music, unmetered
2977 @cindex unmetered music
2979 @funindex currentBarNumber
2980 @funindex measurePosition
2981 @funindex measureLength
2983 Time is administered by the @code{Timing_translator}, which by
2984 default is to be found in the @code{Score} context. An alias,
2985 @code{Timing}, is added to the context in which the
2986 @code{Timing_translator} is placed. To ensure that the
2987 @code{Timing} alias is available, you may need to explicitly
2988 instantiate the containing context (such as @code{Voice} or
2991 The following properties of @code{Timing} are used
2992 to keep track of timing within the score.
2995 @cindex measure number
2998 @item currentBarNumber
2999 The current measure number. For an example showing the
3000 use of this property see @ref{Bar numbers}.
3003 The length of the measures in the current time signature. For a
3004 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3005 determines when bar lines are inserted and how automatic beams
3006 should be generated.
3008 @item measurePosition
3009 The point within the measure where we currently are. This
3010 quantity is reset by subtracting @code{measureLength} whenever
3011 @code{measureLength} is reached or exceeded. When that happens,
3012 @code{currentBarNumber} is incremented.
3015 If set to true, the above variables are updated for every time
3016 step. When set to false, the engraver stays in the current
3017 measure indefinitely.
3021 Timing can be changed by setting any of these variables
3022 explicitly. In the next example, the default 4/4 time
3023 signature is printed, but @code{measureLength} is set to 5/4.
3024 At 4/8 through the third measure, the @code{measurePosition} is
3025 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3026 The next bar line then falls at 9/8 rather than 5/4.
3028 @lilypond[quote,verbatim]
3029 \new Voice \relative c' {
3030 \set Timing.measureLength = #(ly:make-moment 5 4)
3034 \set Timing.measurePosition = #(ly:make-moment 5 8)
3041 As the example illustrates, @code{ly:make-moment n m} constructs a
3042 duration of n/m of a whole note. For example,
3043 @code{ly:make-moment 1 8} is an eighth note duration and
3044 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3051 @ref{Unmetered music}.
3056 Internals Reference:
3057 @rinternals{Timing_translator},