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 in 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
27 notation 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 Write beat or measure repeats. These look like percent signs.
36 Percent repeats must be declared within a @code{Voice} context.
44 LilyPond has one syntactic construct for specifying different
45 types of repeats. The syntax is
48 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
51 where @var{repeatbody} is a music expression.
54 Alternative endings are entered with
55 @funindex \alternative
66 after a @code{\repeat volta} or @code{unfold} block, where each
67 @var{alternative} is a music expression. If you give fewer
68 alternatives than @var{repeatcount}, the first alternative is assumed
69 to be played more than once.
74 * Writing long repeats::
78 @node Writing long repeats
79 @subsection Writing long repeats
83 * Manual repeat marks::
84 * Written-out repeats::
91 @cindex volta, seconda
95 @subsubsection Normal repeats
97 The syntax for a normal repeat is
100 \repeat volta @var{repeatcount} @var{repeatbody}
103 where @var{repeatbody} is a music expression. Alternate endings can
104 be produced using @code{\alternative}.
106 Normal repeats without alternate endings:
108 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
109 \repeat volta 2 { c4 d e f }
111 \repeat volta 2 { d4 e f g }
114 Normal repeats with alternate endings:
116 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
117 \repeat volta 2 { g f e d }
126 Repeats with upbeats:
128 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
132 \repeat volta 4 { c2 d2 | e2 f2 | }
133 \alternative { { g4 g g e } { a a a a | b2. } }
140 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
143 \repeat volta 4 { e | c2 d2 | e2 f2 | }
144 \alternative { { \partial 4*3 g4 g g } { a a a a | b2. } }
151 Ties may be added to a second ending:
153 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
155 \repeat volta 2 {c4 d e f ~ }
156 \alternative { {f2 d} {f\repeatTie f,} }
161 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
162 {shortening-volta-brackets.ly}
164 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
165 {adding-volta-brackets-to-additional-staves.ly}
168 @c Is there a way to have a final bar ("|.") at the end of the
169 @c previous line? Doesn't seem to be.
170 If you want to start a repeat at the beginning of a line and have a
171 double bar at the end of the previous line, use @code{\bar}. For more
172 information, see @ref{Bar lines}.
174 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
177 \repeat volta 2 { c4 d e f }
183 Music Glossary: @rglos{repeat}, @rglos{volta}.
185 Notation Reference: @ref{Bar lines}, @ref{Modifying context plug-ins}.
187 Snippets: @lsrdir{Repeats,Repeats}.
189 Internals Reference: @internalsref{VoltaBracket},
190 @internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic},
191 @internalsref{UnfoldedRepeatedMusic}.
195 @cindex repeat, ambiguous
206 is ambiguous, since it is is not clear to which @code{\repeat} the
207 @code{\alternative} belongs. This ambiguity is resolved by always
208 having the @code{\alternative} belong to the inner @code{\repeat}.
209 For clarity, it is advisable to use braces in such situations.
211 Timing information is not remembered at the start of an alternative,
212 so after a repeat timing information must be reset by hand; for
213 example, by setting @code{Score.measurePosition} or entering
214 @code{\partial}. Similarly, slurs or ties are also not repeated.
218 @node Manual repeat marks
219 @subsubsection Manual repeat marks
221 @funindex repeatCommands
223 @c FIXME: Markup does not work in the "text" field
224 @c And how does one change the font?
225 @c On the whole, this section needs better documentation (why the
226 @c double parentheses around the volta expressions?)
228 The property @code{repeatCommands} can be used to control the
229 layout of repeats. Its value is a Scheme list of repeat commands.
232 @item @code{start-repeat}
233 Print a @code{|:} bar line.
235 @item @code{end-repeat}
236 Print a @code{:|} bar line.
238 @item @code{(volta @var{text})}
239 Print a volta bracket saying @var{text}. The text can be specified as
240 a text string or as a markup text, see @ref{Formatting text}. Do not
241 forget to change the font, as the default number font does not contain
242 alphabetic characters;
245 @item @code{(volta #f)}
246 Stop a running volta bracket.
249 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
251 \set Score.repeatCommands = #'((volta "93") end-repeat)
253 \set Score.repeatCommands = #'((volta #f))
257 @c FIXME: improve visibility of bar lines link?
261 Notation Reference: @ref{Bar lines}, @ref{Formatting text}.
263 Snippets: @lsrdir{Repeats,Repeats}
265 Internals Reference: @internalsref{VoltaBracket},
266 @internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic}.
269 @node Written-out repeats
270 @subsubsection Written-out repeats
272 @cindex written-out repeats
273 @cindex repetitious music
274 @cindex repeats, written-out
276 By using the @code{unfold} command, repeats can be used to simplify
277 the writing out of repetitious music. The syntax is
280 \repeat unfold @var{repeatcount} @var{repeatbody}
283 where @var{repeatbody} is a music expression. Unfold repeats can be
284 made with or without alternate endings. Unfold repeats without
287 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
289 \repeat unfold 2 { c4 d e f }
293 Unfold repeats with alternate endings:
295 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
297 \repeat unfold 2 { g f e d }
307 Snippets: @lsrdir{Repeats,Repeats}.
309 Internals Reference: @internalsref{RepeatedMusic},
310 @internalsref{UnfoldedRepeatedMusic}.
313 @subsection Short repeats
320 @node Percent repeats
321 @subsubsection Percent repeats
323 @cindex percent repeats
324 @cindex measure repeats
326 Repeated short patterns of notes are also supported. The music is
327 printed once, and the pattern is replaced with a special sign.
328 Patterns of one and two measures are replaced by percent-like signs,
329 patterns that are shorter than onee measure are replaced by slashes.
330 Percent repeats must be declared within a @code{Voice} context. The
334 @code{\repeat percent @var{number} @var{repeatbody}}
337 where @var{repeatbody} is a music expression.
339 @lilypond[quote,verbatim,ragged-right]
340 \new Voice \relative c' {
341 \repeat percent 4 { c4 }
342 \repeat percent 2 { c2 es2 f4 fis4 g4 c4 }
346 Measure repeats of more than two measures get a counter if you
347 switch on the @code{countPercentRepeats} property:
349 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
351 \set countPercentRepeats = ##t
352 \repeat percent 4 { c1 }
357 Isolated percents can also be printed. This is done by entering a
358 multi-measure rest with a different print function:
360 @lilypond[fragment,verbatim,quote]
361 \override MultiMeasureRest #'stencil
362 = #ly:multi-measure-rest::percent
369 Snippets: @lsrdir{Repeats,Repeats}
371 Internals Reference: @internalsref{RepeatSlash},
372 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
373 @internalsref{DoublePercentRepeatCounter},
374 @internalsref{PercentRepeatCounter},
375 @internalsref{PercentRepeatedMusic}.
377 @node Tremolo repeats
378 @subsubsection Tremolo repeats
380 @cindex tremolo beams
382 To place tremolo marks between notes, use @code{\repeat} with
385 @lilypond[quote,verbatim,ragged-right]
386 \new Voice \relative c' {
387 \repeat tremolo 8 { c16 d16 }
388 \repeat tremolo 4 { c16 d16 }
389 \repeat tremolo 2 { c16 d16 }
393 The @code{\repeat tremolo} syntax expects exactly two notes within
394 the braces, and the number of repetitions must correspond to a
395 note value that can be expressed with plain or dotted notes. Thus,
396 @code{\repeat tremolo 7} is valid and produces a double dotted
397 note, but @code{\repeat tremolo 9} is not.
399 The duration of the tremolo equals the duration of the
400 braced expression multiplied by the number of repeats:
401 @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo,
402 notated as two whole notes joined by tremolo beams.
404 There are two ways to put tremolo marks on a single note. The
405 @code{\repeat tremolo} syntax is also used here, in which case
406 the note should not be surrounded by braces:
408 @lilypond[quote,verbatim,ragged-right]
409 \repeat tremolo 4 c'16
412 @cindex tremolo marks
413 @funindex tremoloFlags
415 The same output can be obtained by adding
416 @q{@code{:}[@var{number}]} after the note. The number indicates
417 the duration of the subdivision, and it must be at least 8. A
418 @var{number} value of 8 gives one line across the note stem. If
419 the length is omitted, the last value (stored in
420 @code{tremoloFlags}) is used
422 @lilypond[quote,ragged-right,verbatim,fragment]
423 c'2:8 c':32 | c': c': |
430 Tremolos entered with @q{@code{:}[@var{number}]} do not carry over
431 into the MIDI output.
436 Notation Reference: @ref{Tremolo repeats}.
438 Internals Reference: @internalsref{Beam},
439 @internalsref{StemTremolo}.
441 Snippets: @lsrdir{Repeats,Repeats}
443 Elsewhere: @internalsref{StemTremolo}.