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 @c It could be done by overriding
163 @c the BreakAlignment property. Want a separate example?
164 If you want to start a repeat at the beginning of a line and have a
165 double bar at the end of the previous line, use @code{\bar}. For more
166 information, see @ref{Bar lines}.
168 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
171 \repeat volta 2 { c4 d e f }
177 Music Glossary: @rglos{repeat}, @rglos{volta}.
179 Notation Reference: @ref{Bar lines}, @ref{Modifying context plug-ins}.
181 Snippets: @rlsr{Repeats}.
183 Internals Reference: @rinternals{VoltaBracket},
184 @rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic},
185 @rinternals{UnfoldedRepeatedMusic}.
189 @cindex repeat, ambiguous
200 is ambiguous, since it is is not clear to which @code{\repeat} the
201 @code{\alternative} belongs. This ambiguity is resolved by always
202 having the @code{\alternative} belong to the inner @code{\repeat}.
203 For clarity, it is advisable to use braces in such situations.
205 Timing information is not remembered at the start of an alternative,
206 so after a repeat timing information must be reset by hand; for
207 example, by setting @code{Score.measurePosition} or entering
208 @code{\partial}. Similarly, slurs are also not repeated.
212 @node Manual repeat marks
213 @subsubsection Manual repeat marks
215 @funindex repeatCommands
217 In some cases, manual repeat marks can be created by simply
218 printing the relevant bar lines. For more information, see
221 The property @code{repeatCommands} can be used to control the
222 layout of repeats. Its value is a Scheme list of repeat commands.
225 @item @code{start-repeat}
226 Print a @code{|:} bar line:
228 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
230 \set Score.repeatCommands = #'( start-repeat )
235 In order to print a @code{|:} bar line at the beginning of a piece,
236 the @code{BreakAlignment} property must be overridden:
238 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
239 \once \override Score.BreakAlignment #'break-align-orders =
259 @item @code{end-repeat}
260 Print a @code{:|} bar line:
262 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
265 \set Score.repeatCommands = #'( end-repeat )
269 @item @code{(volta #f)}
270 Stop a running volta bracket.
273 @c TODO: Modify and insert <Test volta.ly>.
275 @item @code{(volta @var{number})}
276 Change the volta number.
278 FIXME: simple example?
279 @c Test volta text.ly works
281 @c @lilypond[verbatim,quote,relative=2]
287 @c FIXME: Should this be a ``selected snippet''?
288 @c TODO: the example will be fixed.
290 By using Scheme, @var{text} can be included with the volta
291 bracket. The text can be a number or numbers or markup text, see
292 @ref{Formatting text}. The simplest way to use markup text is to
293 define the markup first, then include the the markup in a Scheme
294 list. When manually creating a volta bracket, the bracket must be
295 explicitly terminated or an error will be generated.
297 Manual control of the volte, including a @code{|:} bar line at the
298 beginning and explicit volta numbers:
300 @lilypond[verbatim,quote,relative=2]
301 @c FIXME: I can't believe this is right.
302 @c TODO: I think it is. I plan
303 @c to delete this example, since it's
304 @c already been given at L238. rp
306 \set Score.repeatCommands = #'( start-repeat )
309 \set Score.repeatCommands = #'( ( volta "1, 2, 5" ) )
311 \set Score.repeatCommands = #'( ( volta #f ) ( volta "95" ) end-repeat )
313 \set Score.repeatCommands = #'( ( volta #f ) )
317 Manual control of the volte, including markup text:
319 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
321 \set Score.repeatCommands = #'( start-repeat )
325 %\set Score.repeatCommands = #(list (list 'volta voltaChorus ) )
327 \set Score.repeatCommands = #'( ( volta #f ) ( volta "4" ) end-repeat )
329 \set Score.repeatCommands = #'( ( volta #f ) )
337 @ref{Formatting text}.
343 @rinternals{VoltaBracket},
344 @rinternals{RepeatedMusic},
345 @rinternals{VoltaRepeatedMusic}.
348 @node Written-out repeats
349 @subsubsection Written-out repeats
351 @cindex written-out repeats
352 @cindex repetitious music
353 @cindex repeats, written-out
355 By using the @code{unfold} command, repeats can be used to simplify
356 the writing out of repetitious music. The syntax is
359 \repeat unfold @var{repeatcount} @var{musicexpr}
362 where @var{musicexpr} is a music expression. Unfold repeats can be
363 made with or without alternate endings. If there are more repeats
364 than there are alternate endings, the first alternative ending is
365 applied to the earliest endings. Unfold repeats without alternate
368 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
370 \repeat unfold 2 { c4 d e f }
374 Unfold repeats with alternate endings:
376 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
378 \repeat unfold 2 { g4 f e d }
384 \repeat unfold 3 { d4 c b2 }
394 Snippets: @rlsr{Repeats}.
396 Internals Reference: @rinternals{RepeatedMusic},
397 @rinternals{UnfoldedRepeatedMusic}.
400 @subsection Short repeats
402 This section discusses how to input short repeats. Short repeats can
403 take two basic forms: repeats of a single note to two measures,
404 represented by slashes or percent signs; and tremolos.
411 @node Percent repeats
412 @subsubsection Percent repeats
414 @cindex percent repeats
415 @cindex measure repeats
417 Repeated short patterns of notes are supported. The music is printed
418 once, and the pattern is replaced with a special sign. Patterns that
419 are shorter than one measure are replaced by slashes, and patterns of
420 one or two measures are replaced by percent-like signs. The syntax is
423 @code{\repeat percent @var{number} @var{musicexpr}}
426 where @var{musicexpr} is a music expression.
428 @lilypond[quote,verbatim,ragged-right]
430 \repeat percent 4 { c4 }
431 \repeat percent 2 { b'4 a g f }
432 \repeat percent 2 { c2 es | f4 fis g c | }
436 Measure repeats of more than two repeats get a counter if you switch
437 on the @code{countPercentRepeats} property:
439 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
441 \set countPercentRepeats = ##t
442 \repeat percent 4 { c1 }
447 Isolated percents can also be printed. This is done by entering a
448 multi-measure rest with a different print function:
450 @lilypond[fragment,verbatim,quote]
451 \override MultiMeasureRest #'stencil
452 = #ly:multi-measure-rest::percent
459 Only three kinds of percent repeats are supported: a single slash
460 representing a single beat (regardless of the duration of the repeated
461 notes); a single slash with dots representing one full measure; and
462 two slashes with dots crossing a bar line representing two full
463 measures. Neither multiple slashes representing single beat repeats
464 consisting of sixteenth or shorter notes, nor two slashes with dots
465 representing single beat repeats consisting of notes of varying
466 durations, are supported.
471 Music Glossary: @rglos{percent repeat}, @rglos{simile}.
473 Snippets: @rlsr{Repeats}.
475 Internals Reference: @rinternals{RepeatSlash},
476 @rinternals{PercentRepeat}, @rinternals{DoublePercentRepeat},
477 @rinternals{DoublePercentRepeatCounter},
478 @rinternals{PercentRepeatCounter}, @rinternals{PercentRepeatedMusic}.
480 @node Tremolo repeats
481 @subsubsection Tremolo repeats
483 Tremolos can take two forms: alternation between two chords or two
484 notes, and rapid repetition of a single
485 note or chord. Tremolos consisting of an alternation are indicated by
486 adding beams between the notes or chords being alternated, while
487 tremolos consisting of the rapid repetition of a single note are
488 indicated by adding beams or slashes to a single note.
490 @cindex tremolo beams
492 To place tremolo marks between notes, use @code{\repeat} with
495 @lilypond[quote,verbatim,ragged-right]
497 \repeat tremolo 8 { c16 d }
498 \repeat tremolo 4 { c16 d }
499 \repeat tremolo 2 { c16 d }
503 The @code{\repeat tremolo} syntax expects exactly two notes within
504 the braces, and the number of repetitions must correspond to a
505 note value that can be expressed with plain or dotted notes. Thus,
506 @code{\repeat tremolo 7} is valid and produces a double dotted
507 note, but @code{\repeat tremolo 9} is not.
509 The duration of the tremolo equals the duration of the
510 braced expression multiplied by the number of repeats:
511 @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo,
512 notated as two whole notes joined by tremolo beams.
514 There are two ways to put tremolo marks on a single note. The
515 @code{\repeat tremolo} syntax is also used here, in which case
516 the note should not be surrounded by braces:
518 @lilypond[quote,verbatim,ragged-right]
519 \repeat tremolo 4 c'16
522 @cindex tremolo marks
523 @funindex tremoloFlags
525 The same output can be obtained by adding
526 @q{@code{:}[@var{number}]} after the note. The number indicates
527 the duration of the subdivision, and it must be at least 8. A
528 @var{number} value of 8 gives one line across the note stem. If
529 the length is omitted, the last value (stored in
530 @code{tremoloFlags}) is used
532 @lilypond[quote,ragged-right,verbatim,fragment]
533 c'2:8 c':32 | c': c': |
540 Tremolos entered with @q{@code{:}[@var{number}]} do not carry over
541 into the MIDI output.
546 Snippets: @rlsr{Repeats}.