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 percent signs.
36 Percent repeats must be declared within a @code{Voice} context.
39 This is used to write tremolo beams.
44 LilyPond has one syntactic construct for specifying different
45 types of repeats. The syntax is
48 \repeat @var{variant} @var{repeatcount} @var{musicexpr}
51 where @var{musicexpr} 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{musicexpr}
103 where @var{musicexpr} 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}.
188 @lsrdir{Repeats,Repeats}
190 Internals Reference: @internalsref{VoltaBracket},
191 @internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic},
192 @internalsref{UnfoldedRepeatedMusic}.
196 @cindex repeat, ambiguous
207 is ambiguous, since it is is not clear to which @code{\repeat} the
208 @code{\alternative} belongs. This ambiguity is resolved by always
209 having the @code{\alternative} belong to the inner @code{\repeat}.
210 For clarity, it is advisable to use braces in such situations.
212 Timing information is not remembered at the start of an alternative,
213 so after a repeat timing information must be reset by hand; for
214 example, by setting @code{Score.measurePosition} or entering
215 @code{\partial}. Similarly, slurs or ties are also not repeated.
219 @node Manual repeat marks
220 @subsubsection Manual repeat marks
222 @funindex repeatCommands
224 @c FIXME: Markup does not work in the "text" field
225 @c And how does one change the font?
226 @c On the whole, this section needs better documentation (why the
227 @c double parentheses around the volta expressions?)
229 The property @code{repeatCommands} can be used to control the
230 layout of repeats. Its value is a Scheme list of repeat commands.
233 @item @code{start-repeat}
234 Print a @code{|:} bar line.
236 @item @code{end-repeat}
237 Print a @code{:|} bar line.
239 @item @code{(volta @var{text})}
240 Print a volta bracket saying @var{text}. The text can be specified as
241 a text string or as a markup text, see @ref{Formatting text}. Do not
242 forget to change the font, as the default number font does not contain
243 alphabetic characters;
246 @item @code{(volta #f)}
247 Stop a running volta bracket.
250 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
252 \set Score.repeatCommands = #'((volta "93") end-repeat)
254 \set Score.repeatCommands = #'((volta #f))
258 @c FIXME: improve visibility of bar lines link?
262 Notation Reference: @ref{Bar lines}, @ref{Formatting text}.
265 @lsrdir{Repeats,Repeats}
267 Internals Reference: @internalsref{VoltaBracket},
268 @internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic}.
271 @node Written-out repeats
272 @subsubsection Written-out repeats
274 @cindex written-out repeats
275 @cindex repetitious music
276 @cindex repeats, written-out
278 By using the @code{unfold} command, repeats can be used to simplify
279 the writing out of repetitious music. The syntax is
282 \repeat unfold @var{repeatcount} @var{musicexpr}
285 where @var{musicexpr} is a music expression. Unfold repeats can be
286 made with or without alternate endings. Unfold repeats without
289 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
291 \repeat unfold 2 { c4 d e f }
295 Unfold repeats with alternate endings:
297 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
299 \repeat unfold 2 { g4 f e d }
310 @lsrdir{Repeats,Repeats}
312 Internals Reference: @internalsref{RepeatedMusic},
313 @internalsref{UnfoldedRepeatedMusic}.
316 @subsection Short repeats
323 @node Percent repeats
324 @subsubsection Percent repeats
326 @cindex percent repeats
327 @cindex measure repeats
329 Repeated short patterns of notes are also supported. The music is
330 printed once, and the pattern is replaced with a special sign.
331 Patterns of one and two measures are replaced by percent-like signs,
332 patterns that are shorter than onee measure are replaced by slashes.
333 Percent repeats must be declared within a @code{Voice} context. The
337 @code{\repeat percent @var{number} @var{musicexpr}}
340 where @var{musicexpr} is a music expression.
342 @lilypond[quote,verbatim,ragged-right]
343 \new Voice \relative c' {
344 \repeat percent 4 { c4 }
345 \repeat percent 2 { b4 a4 g4 f4 }
346 \repeat percent 2 { c2 es2 f4 fis4 g4 c4 }
350 Measure repeats of more than two measures get a counter if you
351 switch on the @code{countPercentRepeats} property:
353 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
355 \set countPercentRepeats = ##t
356 \repeat percent 4 { c1 }
361 Isolated percents can also be printed. This is done by entering a
362 multi-measure rest with a different print function:
364 @lilypond[fragment,verbatim,quote]
365 \override MultiMeasureRest #'stencil
366 = #ly:multi-measure-rest::percent
374 @lsrdir{Repeats,Repeats}
376 Internals Reference: @internalsref{RepeatSlash},
377 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
378 @internalsref{DoublePercentRepeatCounter},
379 @internalsref{PercentRepeatCounter},
380 @internalsref{PercentRepeatedMusic}.
382 @node Tremolo repeats
383 @subsubsection Tremolo repeats
385 @cindex tremolo beams
387 To place tremolo marks between notes, use @code{\repeat} with
390 @lilypond[quote,verbatim,ragged-right]
391 \new Voice \relative c' {
392 \repeat tremolo 8 { c16 d16 }
393 \repeat tremolo 4 { c16 d16 }
394 \repeat tremolo 2 { c16 d16 }
398 The @code{\repeat tremolo} syntax expects exactly two notes within
399 the braces, and the number of repetitions must correspond to a
400 note value that can be expressed with plain or dotted notes. Thus,
401 @code{\repeat tremolo 7} is valid and produces a double dotted
402 note, but @code{\repeat tremolo 9} is not.
404 The duration of the tremolo equals the duration of the
405 braced expression multiplied by the number of repeats:
406 @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo,
407 notated as two whole notes joined by tremolo beams.
409 There are two ways to put tremolo marks on a single note. The
410 @code{\repeat tremolo} syntax is also used here, in which case
411 the note should not be surrounded by braces:
413 @lilypond[quote,verbatim,ragged-right]
414 \repeat tremolo 4 c'16
417 @cindex tremolo marks
418 @funindex tremoloFlags
420 The same output can be obtained by adding
421 @q{@code{:}[@var{number}]} after the note. The number indicates
422 the duration of the subdivision, and it must be at least 8. A
423 @var{number} value of 8 gives one line across the note stem. If
424 the length is omitted, the last value (stored in
425 @code{tremoloFlags}) is used
427 @lilypond[quote,ragged-right,verbatim,fragment]
428 c'2:8 c':32 | c': c': |
435 Tremolos entered with @q{@code{:}[@var{number}]} do not carry over
436 into the MIDI output.
441 Notation Reference: @ref{Tremolo repeats}.
443 Internals Reference: @internalsref{Beam},
444 @internalsref{StemTremolo}.
447 @lsrdir{Repeats,Repeats}
449 Elsewhere: @internalsref{StemTremolo}.