1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
14 @lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
17 Repetition is a central concept in music, and multiple notations
18 exist for repetitions. LilyPond supports the following kinds of repeats:
23 The repeated music is not written out but enclosed between repeat bar
24 lines. If the repeat is at the beginning of a piece, a repeat bar
25 line is only printed at the end. Alternative endings (volte) are
26 printed left to right with brackets. This is the standard notation
27 for repeats with alternatives.
30 The repeated music is fully written out, as many times as
31 specified by @var{repeatcount}. This is useful when
32 entering repetitious music.
35 These are beat or measure repeats. They look like single slashes or
39 This is used to write tremolo beams.
50 @subsection Long repeats
52 This section discusses how to input long (usually multi-measure)
53 repeats. The repeats can take two forms: repeats enclosed between
54 repeat signs; or written out repeats, used to input repetitious music.
55 Repeat signs can also be controlled manually.
59 * Manual repeat marks::
60 * Written-out repeats::
67 @cindex volta, seconda
71 @subsubsection Normal repeats
73 The syntax for a normal repeat is
76 \repeat volta @var{repeatcount} @var{musicexpr}
79 where @var{musicexpr} is a music expression. Alternate endings can be
80 produced using @code{\alternative}. If there are more repeats than
81 there are alternate endings, the earliest repeats are given the first
84 Normal repeats without alternate endings:
86 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
87 \repeat volta 2 { c4 d e f }
89 \repeat volta 2 { d4 e f g }
92 Normal repeats with alternate endings:
94 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
95 \repeat volta 2 { g4 f e d }
100 \repeat volta 3 { c4 d e f }
109 Repeats with upbeats can be entered in two ways:
111 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
115 \repeat volta 4 { c2 d | e2 f | }
126 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
129 \repeat volta 4 { e4 | c2 d | e2 f | }
131 { \partial 4*3 g4 g g }
140 Ties may be added to a second ending:
142 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
144 \repeat volta 2 {c4 d e f ~ }
153 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
154 {shortening-volta-brackets.ly}
156 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
157 {adding-volta-brackets-to-additional-staves.ly}
160 @c Is there a way to have a final bar ("|.") at the end of the
161 @c previous line? Doesn't seem to be.
162 If you want to start a repeat at the beginning of a line and have a
163 double bar at the end of the previous line, use @code{\bar}. For more
164 information, see @ref{Bar lines}.
166 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
169 \repeat volta 2 { c4 d e f }
175 Music Glossary: @rglos{repeat}, @rglos{volta}.
177 Notation Reference: @ref{Bar lines}, @ref{Modifying context plug-ins}.
179 Snippets: @rlsr{Repeats}.
181 Internals Reference: @rinternals{VoltaBracket},
182 @rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic},
183 @rinternals{UnfoldedRepeatedMusic}.
187 @cindex repeat, ambiguous
198 is ambiguous, since it is is not clear to which @code{\repeat} the
199 @code{\alternative} belongs. This ambiguity is resolved by always
200 having the @code{\alternative} belong to the inner @code{\repeat}.
201 For clarity, it is advisable to use braces in such situations.
203 Timing information is not remembered at the start of an alternative,
204 so after a repeat timing information must be reset by hand; for
205 example, by setting @code{Score.measurePosition} or entering
206 @code{\partial}. Similarly, slurs are also not repeated.
210 @node Manual repeat marks
211 @subsubsection Manual repeat marks
213 @funindex repeatCommands
215 @c FIXME: Markup does not work in the "text" field
216 @c And how does one change the font?
217 @c On the whole, this section needs better documentation (why the
218 @c double parentheses around the volta expressions?)
220 The property @code{repeatCommands} can be used to control the
221 layout of repeats. Its value is a Scheme list of repeat commands.
224 @item @code{start-repeat}
225 Print a @code{|:} bar line.
227 @item @code{end-repeat}
228 Print a @code{:|} bar line.
230 @item @code{(volta @var{text})}
231 Print a volta bracket saying @var{text}.
233 @item @code{(volta #f)}
234 Stop a running volta bracket.
237 Printing a @code{|:} bar line:
239 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
241 \set Score.repeatCommands = #'( start-repeat )
246 Printing a @code{:|} bar line:
248 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
251 \set Score.repeatCommands = #'( end-repeat )
255 Printing a volta bracket saying @var{text}. The text can be specified
256 as a text string or as a markup text, see @ref{Formatting text}. Do
257 not forget to change the font, as the default number font does not
258 contain alphabetic characters.
261 @lilypond[verbatim,quote,relative=2]
264 \override Staff.VoltaBracket #'font-name = #"sans"
265 \set Score.repeatCommands = #'( ( volta "1. Repeat to CHORUS" ) )
267 \set Score.repeatCommands = #'( ( volta #f ) \text ( volta "2., 3. To VERSE" ) end-repeat )
272 Note: unless explicitly stopped as in the next example, the volta
273 bracket will continue indefinitely.
275 Stopping a running volta bracket:
277 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
280 \set Score.repeatCommands = #'( ( volta #f ) ( volta "2" ) end-repeat )
283 \set Score.repeatCommands = #'( ( volta #f ) )
288 @c FIXME: improve visibility of bar lines link?
292 Notation Reference: @ref{Bar lines}, @ref{Formatting text}.
294 Snippets: @rlsr{Repeats}.
296 Internals Reference: @rinternals{VoltaBracket},
297 @rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic}.
300 @node Written-out repeats
301 @subsubsection Written-out repeats
303 @cindex written-out repeats
304 @cindex repetitious music
305 @cindex repeats, written-out
307 By using the @code{unfold} command, repeats can be used to simplify
308 the writing out of repetitious music. The syntax is
311 \repeat unfold @var{repeatcount} @var{musicexpr}
314 where @var{musicexpr} is a music expression. Unfold repeats can be
315 made with or without alternate endings. If there are more repeats
316 than there are alternate endings, the first alternative ending is
317 applied to the earliest endings. Unfold repeats without alternate
320 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
322 \repeat unfold 2 { c4 d e f }
326 Unfold repeats with alternate endings:
328 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
330 \repeat unfold 2 { g4 f e d }
336 \repeat unfold 3 { d4 c b2 }
346 Snippets: @rlsr{Repeats}.
348 Internals Reference: @rinternals{RepeatedMusic},
349 @rinternals{UnfoldedRepeatedMusic}.
352 @subsection Short repeats
354 This section discusses how to input short repeats. Short repeats can
355 take two basic forms: repeats of a single note to two measures,
356 represented by slashes or percent signs; and tremolos.
363 @node Percent repeats
364 @subsubsection Percent repeats
366 @cindex percent repeats
367 @cindex measure repeats
369 Repeated short patterns of notes are supported. The music is printed
370 once, and the pattern is replaced with a special sign. Patterns that
371 are shorter than one measure are replaced by slashes, and patterns of
372 one or two measures are replaced by percent-like signs. The syntax is
375 @code{\repeat percent @var{number} @var{musicexpr}}
378 where @var{musicexpr} is a music expression.
380 @lilypond[quote,verbatim,ragged-right]
382 \repeat percent 4 { c4 }
383 \repeat percent 2 { b'4 a g f }
384 \repeat percent 2 { c2 es | f4 fis g c | }
388 Measure repeats of more than two repeats get a counter if you switch
389 on the @code{countPercentRepeats} property:
391 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
393 \set countPercentRepeats = ##t
394 \repeat percent 4 { c1 }
399 Isolated percents can also be printed. This is done by entering a
400 multi-measure rest with a different print function:
402 @lilypond[fragment,verbatim,quote]
403 \override MultiMeasureRest #'stencil
404 = #ly:multi-measure-rest::percent
411 Only three kinds of percent repeats are supported: a single slash
412 representing a single beat (regardless of the duration of the repeated
413 notes); a single slash with dots representing one full measure; and
414 two slashes with dots crossing a bar line representing two full
415 measures. Neither multiple slashes representing single beat repeats
416 consisting of sixteenth or shorter notes, nor two slashes with dots
417 representing single beat repeats consisting of notes of varying
418 durations, are supported.
423 Music Glossary: @rglos{percent repeat}, @rglos{simile}.
425 Snippets: @rlsr{Repeats}.
427 Internals Reference: @rinternals{RepeatSlash},
428 @rinternals{PercentRepeat}, @rinternals{DoublePercentRepeat},
429 @rinternals{DoublePercentRepeatCounter},
430 @rinternals{PercentRepeatCounter}, @rinternals{PercentRepeatedMusic}.
432 @node Tremolo repeats
433 @subsubsection Tremolo repeats
435 Tremolos can take two forms: alternation between two chords or two
436 notes, and rapid repetition of a single
437 note or chord. Tremolos consisting of an alternation are indicated by
438 adding beams between the notes or chords being alternated, while
439 tremolos consisting of the rapid repetition of a single note are
440 indicated by adding beams or slashes to a single note.
442 @cindex tremolo beams
444 To place tremolo marks between notes, use @code{\repeat} with
447 @lilypond[quote,verbatim,ragged-right]
449 \repeat tremolo 8 { c16 d }
450 \repeat tremolo 4 { c16 d }
451 \repeat tremolo 2 { c16 d }
455 The @code{\repeat tremolo} syntax expects exactly two notes within
456 the braces, and the number of repetitions must correspond to a
457 note value that can be expressed with plain or dotted notes. Thus,
458 @code{\repeat tremolo 7} is valid and produces a double dotted
459 note, but @code{\repeat tremolo 9} is not.
461 The duration of the tremolo equals the duration of the
462 braced expression multiplied by the number of repeats:
463 @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo,
464 notated as two whole notes joined by tremolo beams.
466 There are two ways to put tremolo marks on a single note. The
467 @code{\repeat tremolo} syntax is also used here, in which case
468 the note should not be surrounded by braces:
470 @lilypond[quote,verbatim,ragged-right]
471 \repeat tremolo 4 c'16
474 @cindex tremolo marks
475 @funindex tremoloFlags
477 The same output can be obtained by adding
478 @q{@code{:}[@var{number}]} after the note. The number indicates
479 the duration of the subdivision, and it must be at least 8. A
480 @var{number} value of 8 gives one line across the note stem. If
481 the length is omitted, the last value (stored in
482 @code{tremoloFlags}) is used
484 @lilypond[quote,ragged-right,verbatim,fragment]
485 c'2:8 c':32 | c': c': |
492 Tremolos entered with @q{@code{:}[@var{number}]} do not carry over
493 into the MIDI output.
498 Snippets: @rlsr{Repeats}.