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[quote]{rhythms-headword.ly}
16 This section discusses rhythms, rests, durations, beaming and bars.
21 * Displaying rhythms::
24 * Special rhythmic concerns::
29 @subsection Writing rhythms
39 @unnumberedsubsubsec Durations
41 @cindex durations, of notes
42 @cindex note durations
48 Durations are designated by numbers and dots.
49 Durations are entered as their reciprocal values. For example, a
50 quarter note is entered using a @code{4} (since it is a 1/4 note),
51 and a half note is entered using a @code{2} (since it is a 1/2
52 note). For notes longer than a whole you must use the
53 @code{\longa} (a double breve) and @code{\breve} commands.
54 Durations as short as 64th notes may be specified. Shorter values
55 are possible, but only as beamed notes.
57 @c Two 64th notes are needed to obtain beams
58 @lilypond[quote,verbatim,relative=2]
65 Here are the same durations with automatic beaming turned off.
67 @c not strictly "writing rhythms"; more of a "displaying" thing,
68 @c but it's ok here. -gp
69 @lilypond[quote,verbatim,relative=2]
76 A note with the duration of a quadruple breve may be entered with
77 @code{\maxima}, but this is supported only within ancient music
78 notation. For details, see @ref{Ancient notation}.
80 If the duration is omitted, it is set to the previously
81 entered duration. The default for the first note is a quarter
84 @lilypond[quote,verbatim,relative=2]
93 To obtain dotted note lengths, place a dot (@code{.}) after the
94 duration. Double-dotted notes are specified by appending two
97 @lilypond[quote,verbatim,relative=2]
98 a4 b c4. b8 a4. b4.. c8.
101 Some durations cannot be represented with just binary durations
102 and dots; they can be represented only by tying two or more
103 notes together. For details, see @ref{Ties}.
105 For ways of specifying durations for the syllables of lyrics and
106 ways of aligning lyrics to notes, see @ref{Vocal music}.
108 Optionally, notes can be spaced strictly proportionately to their
109 duration. For details of this and other settings which control
110 proportional notation, see @ref{Proportional notation}.
114 @funindex \dotsNeutral
116 Dots are normally moved up to avoid staff lines, except in
117 polyphonic situations. Predefined commands are available to
118 force a particular direction manually, for details
119 see @ref{Direction and placement}.
135 @rglos{Duration names notes and rests}.
138 @ref{Automatic beams},
140 @ref{Writing rhythms},
143 @ref{Ancient notation},
144 @ref{Proportional notation}.
151 @rinternals{DotColumn}.
156 @c Deliberately duplicated in Durations and Rests. -gp
157 There is no fundamental limit to rest durations (both in terms of
158 longest and shortest), but the number of glyphs is limited:
159 rests from 128th to maxima (8 x whole) may be printed.
163 @unnumberedsubsubsec Tuplets
169 Tuplets are made from a music expression by multiplying all the
170 durations with a fraction:
173 \times @var{fraction} @{ @var{music} @}
177 The duration of @var{music} will be multiplied by the
178 fraction. The fraction's denominator will be printed over or
179 under the notes, optionally with a bracket. The most common
180 tuplet is the triplet in which 3 notes have the duration of 2, so
181 the notes are 2/3 of their written length.
183 @lilypond[quote,verbatim,relative=2]
184 a2 \times 2/3 { b4 b b }
185 c4 c \times 2/3 { b4 a g }
189 @funindex \tupletDown
190 @funindex \tupletNeutral
192 The automatic placement of the tuplet bracket above or below the
193 notes may be overridden manually with predefined commands, for
194 details see @ref{Direction and placement}.
196 Tuplets may be nested:
198 @lilypond[quote,verbatim,relative=2]
200 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
203 Modifying nested tuplets which begin at the same musical moment
204 must be done with @code{\tweak}.
206 To modify the duration of notes without printing a tuplet bracket,
207 see @ref{Scaling durations}.
213 @code{\tupletNeutral}.
218 @cindex tuplet formatting
219 @cindex triplet formatting
221 @funindex tupletNumberFormatFunction
222 @funindex tupletSpannerDuration
224 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
225 {entering-several-tuplets-using-only-one--times-command.ly}
227 @funindex TupletNumber
229 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
230 {changing-the-tuplet-number.ly}
232 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
233 {permitting-line-breaks-within-beamed-tuplets.ly}
242 Learning Manual: @rlearning{Tweaking methods}.
245 @ref{Time administration},
246 @ref{Scaling durations},
247 @ref{The tweak command},
248 @ref{Polymetric notation}.
254 @rinternals{TupletBracket},
255 @rinternals{TupletNumber},
256 @rinternals{TimeScaledMusic}.
259 @cindex grace notes within tuplet brackets
260 When the first note on a staff is a grace note followed by a
261 tuplet the grace note must be placed before the @code{\times}
262 command to avoid errors. Anywhere else, grace notes may be
263 placed within tuplet brackets.
266 @node Scaling durations
267 @unnumberedsubsubsec Scaling durations
269 @cindex scaling durations
270 @cindex durations, scaling
272 You can alter the duration of single notes, rests or chords by a
273 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
274 @code{M} is 1) to the duration.
275 This will not affect the appearance of the notes or rests
276 produced, but the altered duration will be used in calculating the
277 position within the measure and setting the duration in the MIDI
278 output. Multiplying factors may be combined such as @code{*L*M/N}.
280 In the following example, the first three notes take up exactly
281 two beats, but no triplet bracket is printed.
283 @lilypond[quote,relative=2,verbatim]
285 % Alter durations to triplets
286 a4*2/3 gis4*2/3 a4*2/3
289 % Double the duration of chord
291 % Duration of quarter, appears like sixteenth
295 The duration of skip or spacing notes may also be modified by
296 a multiplier. This is useful for skipping many measures, e.g.,
299 @cindex compressing music
300 @funindex \scaleDurations
302 Longer stretches of music may be compressed by a fraction in the
303 same way, as if every note, chord or rest had the fraction as a
304 multiplier. This leaves the appearance of the music unchanged but
305 the internal duration of the notes will be multiplied by the
306 fraction @emph{num}/@emph{den}. The spaces around the dot are
307 required. Here is an example showing how music can be compressed
310 @lilypond[quote,relative=2,verbatim]
314 % Scale music by *2/3
315 \scaleDurations #'(2 . 3) {
319 \scaleDurations #'(2 . 1) {
325 One application of this command is in polymetric
326 notation, see @ref{Polymetric notation}.
333 @ref{Invisible rests},
334 @ref{Polymetric notation}.
341 @unnumberedsubsubsec Ties
346 A tie connects two adjacent note heads of the same pitch. The tie
347 in effect extends the duration of a note.
349 @warning{Ties should not be confused with @emph{slurs}, which
350 indicate articulation, or @emph{phrasing slurs}, which indicate
351 musical phrasing. A tie is just a way of extending a note
352 duration, similar to the augmentation dot.}
354 A tie is entered using the tilde symbol @code{~}
356 @lilypond[quote,verbatim,relative=2]
362 Ties are used either when the note crosses a bar line, or when
363 dots cannot be used to denote the rhythm. Ties should also be
364 used when note values cross larger subdivisions of the measure:
366 @lilypond[verbatim,quote]
373 If you need to tie many notes across bar lines, it may be
374 easier to use automatic note splitting, see @ref{Automatic note
375 splitting}. This mechanism automatically splits long notes, and
376 ties them across bar lines.
378 @cindex ties and chords
379 @cindex chords and ties
381 When a tie is applied to a chord, all note heads whose pitches
382 match are connected. When no note heads match, no ties will be
383 created. Chords may be partially tied by placing the tie inside
386 @lilypond[quote,verbatim,relative=1]
388 <c~ e g~ b> <c e g b>
392 @cindex repeating ties
393 @cindex ties, repeating
394 @cindex volta brackets and ties
395 @cindex ties and volta brackets
397 When a second alternative of a repeat starts with a tied note, you
398 have to specify the repeated tie as follows:
400 @lilypond[quote,relative=2,verbatim]
401 \repeat volta 2 { c g <c e>2 ~ }
403 % First alternative: following note is tied normally
405 % Second alternative: following note has a repeated tie
406 { <c e>2\repeatTie d4 c } }
409 @cindex laissez vibrer
410 @cindex ties, laissez vibrer
411 @funindex \laissezVibrer
413 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
414 notes must not be damped at the end. It is used in notation for
415 piano, harp and other string and percussion instruments. They can
416 be entered as follows:
418 @lilypond[quote,verbatim,relative=1]
419 <c f g>1\laissezVibrer
422 @cindex ties, placement
425 @funindex \tieNeutral
427 The vertical placement of ties may be controlled, see
428 Predefined commands, or for details, see
429 @ref{Direction and placement}.
431 @cindex ties, appearance
436 Solid, dotted or dashed ties may be specified, see Predefined
452 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
453 {using-ties-with-arpeggios.ly}
455 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
456 {engraving-ties-manually.ly}
463 @rglos{laissez vibrer}.
465 Notation Reference: @ref{Automatic note splitting}.
471 @rinternals{LaissezVibrerTie},
472 @rinternals{LaissezVibrerTieColumn},
473 @rinternals{TieColumn},
479 Switching staves when a tie is active will not produce a slanted
482 Changing clefs or octavations during a tie is not really
483 well-defined. In these cases, a slur may be preferable.
490 @subsection Writing rests
492 Rests are entered as part of the music in music expressions.
497 * Full measure rests::
501 @unnumberedsubsubsec Rests
503 @cindex rest, entering durations
514 Rests are entered like notes with the note name @code{r}.
515 Durations longer than a whole rest use the predefined
518 @c \time 16/1 is used to avoid spurious bar lines
519 @c and long tracts of empty measures
520 @lilypond[fragment,quote,verbatim]
522 % These two lines are just to prettify this example
524 \override Staff.TimeSignature #'stencil = ##f
525 % Print a maxima rest, equal to four breves
527 % Print a longa rest, equal to two breves
531 r1 r2 r4 r8 r16 r32 r64 r128
535 @cindex rest, multi-measure
536 @cindex rest, whole-measure
538 Whole measure rests, centered in the middle of the measure, must be
539 entered as multi-measure rests. They can be used for a single
540 measure as well as many measures and are discussed in @ref{Full
543 @cindex rest, specifying vertical position
545 To explicitly specify a rest's vertical position, write a note
546 followed by @code{\rest}. A rest of the duration of the note will
547 be placed at the staff position where the note would appear. This
548 allows for precise manual formatting of polyphonic music, since the
549 automatic rest collision formatter will not move these rests.
551 @lilypond[quote,verbatim,relative=2]
557 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
564 @ref{Full measure rests}.
575 @c Deliberately duplicated in Durations and Rests. -gp
576 There is no fundamental limit to rest durations (both in terms of
577 longest and shortest), but the number of glyphs is limited: there
578 are rests from 128th to maxima (8 x whole).
581 @node Invisible rests
582 @unnumberedsubsubsec Invisible rests
585 @cindex invisible rest
586 @cindex rest, invisible
591 An invisible rest (also called a @q{spacer rest}) can be entered
592 like a note with the note name@tie{}@code{s}:
594 @lilypond[verbatim,quote,relative=2]
601 Spacer rests are available only in note mode and chord mode. In
602 other situations, for example, when entering lyrics, @code{\skip}
603 is used to skip a musical moment. @code{\skip} requires an
606 @lilypond[quote,verbatim,relative=2]
619 A spacer rest implicitly causes @code{Staff} and @code{Voice}
620 contexts to be created if none exist, just like notes and rests
623 @lilypond[quote,verbatim,fragment]
627 @code{\skip} simply skips musical time; it creates no output of
630 @lilypond[quote,verbatim,fragment]
631 % This is valid input, but does nothing
632 \skip 1 \skip1 \skip 1
640 Internals Reference: @rinternals{SkipMusic}
643 @node Full measure rests
644 @unnumberedsubsubsec Full measure rests
646 @cindex multi-measure rests
647 @cindex full-measure rests
648 @cindex rest, multi-measure
649 @cindex rest, full-measure
650 @cindex whole rest for a full measure
653 Rests for one or more full measures are entered like notes with
654 the note name uppercase @code{R}:
656 @lilypond[quote,verbatim,relative=2]
657 % Rest measures contracted to single measure
658 \compressFullBarRests
665 The duration of full-measure rests is identical to the duration notation
666 used for notes. The duration in a multi-measure rest must always be an
667 integral number of measure-lengths, so augmentation
668 dots or fractions must often be used:
670 @lilypond[quote,fragment,verbatim]
671 \compressFullBarRests
677 R1*13/8 | R1*13/8*12 |
682 A full-measure rest is printed as either a whole
683 or breve rest, centered in the measure, depending on the time
686 @lilypond[quote,verbatim,fragment]
694 @funindex \expandFullBarRests
695 @funindex \compressFullBarRests
696 @cindex multi-measure rest, expanding
697 @cindex multi-measure rest, contracting
699 By default a multi-measure rest is expanded in the printed score
700 to show all the rest measures explicitly.
701 Alternatively, a mult-measure rest can be shown as a single measure
702 containing a multi-measure rest symbol, with the number of measures of rest
703 printed above the measure:
705 @lilypond[quote,fragment,verbatim]
707 \time 3/4 r2. | R2.*2 |
710 % Rest measures contracted to single measure
711 \compressFullBarRests
713 % Rest measures expanded
720 @cindex text on multi-measure rest
721 @cindex multi-measure rest, attaching text
722 @cindex script on multi-measure rest
723 @cindex multi-measure rest, script
724 @cindex fermata on multi-measure rest
725 @cindex multi-measure rest, attaching fermata
727 Markups can be added to multi-measure rests.
728 The predefined command @code{\fermataMarkup}
729 is provided for adding fermatas.
731 @lilypond[quote,verbatim,fragment]
732 \compressFullBarRests
734 R2.*10^\markup { \italic "ad lib." }
739 Markups attached to a multi-measure rest are
740 objects of type @code{MultiMeasureRestText}, not
741 @code{TextScript}. Overrides must be directed to the correct
742 object, or they will be ignored. See the following example.
745 @lilypond[quote,verbatim,fragment]
746 % This fails, as the wrong object name is specified
747 \override TextScript #'padding = #5
749 % This is correct and works
750 \override MultiMeasureRestText #'padding = #5
754 When a multi-measure rest immediately follows a @code{\partial}
755 setting, resulting bar-check warnings may not be displayed.
758 @code{\textLengthOn},
759 @code{\textLengthOff},
760 @code{\fermataMarkup},
761 @code{\compressFullBarRests},
762 @code{\expandFullBarRests}.
768 @cindex kirchenpausen
770 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
771 {changing-form-of-multi--measure-rests.ly}
773 @cindex multi-measure rests, positioning
774 @cindex positioning multi-measure rests
776 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
777 {positioning-multi--measure-rests.ly}
779 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
780 {multi--measure-rest-markup.ly}
785 @rglos{multi-measure rest}.
790 @ref{Formatting text},
797 @rinternals{MultiMeasureRest},
798 @rinternals{MultiMeasureRestNumber},
799 @rinternals{MultiMeasureRestText}.
804 If an attempt is made to use fingerings (e.g.,
805 @code{R1*10-4}) to put numbers over multi-measure rests, the
806 fingering numeral (4) may collide with the bar counter
809 @cindex condensing rests
810 @cindex rest, condensing ordinary
812 There is no way to automatically condense multiple ordinary rests
813 into a single multi-measure rest.
815 @cindex rest, collisions of
817 Multi-measure rests do not take part in rest collisions.
819 @node Displaying rhythms
820 @subsection Displaying rhythms
826 * Polymetric notation::
827 * Automatic note splitting::
828 * Showing melody rhythms::
832 @unnumberedsubsubsec Time signature
834 @cindex time signature
838 The time signature is set as follows:
840 @lilypond[quote,verbatim,relative=2]
845 @cindex Time signature, visibility of
847 Time signatures are printed at the beginning of a piece
848 and whenever the time signature changes. If a change takes place
849 at the end of a line a warning time signature sign is printed
850 there. This default behavior may be changed, see
851 @ref{Visibility of objects}.
853 @lilypond[quote,verbatim,relative=2]
863 @funindex \numericTimeSignature
864 @funindex \defaultTimeSignature
865 @cindex time signature style
867 The time signature symbol that is used in 2/2 and 4/4 time can be
868 changed to a numeric style:
870 @lilypond[quote,verbatim,relative=2]
874 % Change to numeric style
875 \numericTimeSignature
878 % Revert to default style
879 \defaultTimeSignature
885 Mensural time signatures are covered in
886 @ref{Mensural time signatures}.
890 @code{\numericTimeSignature},
891 @code{\defaultTimeSignature}.
895 @c TODO Send as snippet called "Changing the time signature without affecting the beat length"
897 The @code{\time} command sets the properties
898 @code{timeSignatureFraction}, @code{beatLength}, and
899 @code{measureLength} in the @code{Timing} context, which is
900 normally aliased to @code{Score}. Changing the value of
901 @code{timeSignatureFraction} causes the new time signature symbol
902 to be printed without changing the other properties:
904 @lilypond[quote,verbatim,relative=2]
906 a16 a a a a a a a a a a a
907 % Change time signature but keep 3/4 beaming
908 % due to unchanged beatLength
909 \set Score.timeSignatureFraction = #'(12 . 16)
910 a16 a a a a a a a a a a a
912 % Lose 3/4 beaming now beatLength has changed to 16
913 a16 a a a a a a a a a a a
916 @cindex compound time signatures
917 @cindex time signature, compound
919 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
920 {compound-time-signatures.ly}
926 @rglos{time signature}
929 @ref{Mensural time signatures},
930 @ref{Time administration}.
936 @rinternals{TimeSignature},
937 @rinternals{Timing_translator}.
941 @unnumberedsubsubsec Upbeats
945 @cindex partial measure
946 @cindex measure, partial
947 @cindex pickup measure
948 @cindex measure, change length
949 @cindex measurePosition
952 Partial or pick-up measures, such as an anacrusis or upbeat, are
953 entered using the @code{\partial} command, with the syntax
956 \partial @var{duration}
959 where @code{duration} is the rhythmic length of the interval
960 before the start of the first complete measure:
962 @lilypond[quote,verbatim,relative=2]
967 The partial measure can be any duration less than a full measure:
969 @lilypond[quote,verbatim,relative=2]
970 \partial 8*3 c8 d e |
974 Internally, this is translated into
977 \set Timing.measurePosition = -@var{duration}
980 The property @code{measurePosition} contains a rational number
981 indicating how much of the measure has passed at this point. Note
982 that this is set to a negative number by the @code{\partial}
983 command: i.e., @code{\partial 4} is internally translated to
984 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
998 @rinternals{Timing_translator}.
1002 The @code{\partial} command is intended to be used only at the
1003 beginning of a piece. If you use it after the beginning, some
1004 odd warnings may occur.
1006 @node Unmetered music
1007 @unnumberedsubsubsec Unmetered music
1009 @funindex \cadenzaOn
1010 @funindex \cadenzaOff
1011 @cindex bar lines, turning off
1012 @cindex bar numbering, turning off
1014 @cindex unmetered music
1016 Bar lines and bar numbers are calculated automatically. For
1017 unmetered music (some cadenzas, for example), this is not desirable.
1018 To turn off automatic calculation of bar lines and bar numbers,
1019 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1020 to turn them on again.
1022 @lilypond[verbatim,relative=2,fragment]
1031 Bar numbering is resumed at the end of the cadenza as if the
1032 cadenza were not there:
1034 @lilypond[verbatim,relative=2,fragment]
1035 % Show all bar numbers
1036 \override Score.BarNumber #'break-visibility = #all-visible
1056 @c ref{Controlling visibility of objects}.
1063 LilyPond will insert line breaks and page breaks only at a
1064 bar line. Unless the unmetered music ends before the end of the
1065 staff line, you will need to insert invisible bar lines with
1072 to indicate where breaks can occur.
1075 @node Polymetric notation
1076 @unnumberedsubsubsec Polymetric notation
1078 @c This section necessarily uses \set
1079 @c This is acceptable -td
1081 @cindex double time signatures
1082 @cindex signatures, polymetric
1083 @cindex polymetric signatures
1084 @cindex meter, polymetric
1086 Polymetric notation is supported, either explicitly or by modifying
1087 the visible time signature symbol and scaling the note durations.
1089 @strong{@i{Staves with different time signatures, equal measure lengths}}
1091 This notation can be created by setting a common time signature
1092 for each staff but replacing the symbol manually by setting
1093 @code{timeSignatureFraction} to the desired fraction and scaling
1094 the printed durations in each staff to the common time
1095 signature; see @ref{Time signature}. The scaling is done with
1096 @code{\scaleDurations}, which is used in a similar way to
1097 @code{\times}, but does not create a tuplet bracket; see
1098 @ref{Scaling durations}.
1100 In this example, music with the time signatures of 3/4, 9/8, and
1101 10/8 are used in parallel. In the second staff, shown durations
1102 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1103 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1104 It will often be necessary to insert beams manually, as the
1105 duration scaling affects the autobeaming rules.
1107 @lilypond[quote,verbatim,fragment]
1116 \set Staff.timeSignatureFraction = #'(9 . 8)
1117 \scaleDurations #'(2 . 3)
1118 \repeat unfold 6 { c8[ c c] }
1122 \set Staff.timeSignatureFraction = #'(10 . 8)
1123 \scaleDurations #'(3 . 5) {
1124 \repeat unfold 2 { c8[ c c] }
1125 \repeat unfold 2 { c8[ c] } |
1126 c4. c4. \times 2/3 { c8[ c c] } c4
1132 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1134 Each staff can be given its own independent time signature by
1135 moving the @code{Timing_translator} and the
1136 @code{Default_bar_line_engraver} to the @code{Staff} context.
1138 @lilypond[quote,verbatim]
1142 \remove "Timing_translator"
1143 \remove "Default_bar_line_engraver"
1147 \consists "Timing_translator"
1148 \consists "Default_bar_line_engraver"
1152 % Now each staff has its own time signature.
1178 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1179 {compound-time-signatures.ly}
1186 @rglos{polymetric time signature},
1190 @ref{Time signature},
1191 @ref{Scaling durations}.
1196 Internals Reference:
1197 @rinternals{TimeSignature},
1198 @rinternals{Timing_translator},
1199 @rinternals{Default_bar_line_engraver},
1204 When using different time signatures in parallel, notes
1205 at the same moment will be be placed at the same horizontal
1206 location. However, the bar lines in the different staves
1207 will cause the note spacing to be less regular in each of the
1208 individual staves than would be normal without the different
1211 @node Automatic note splitting
1212 @unnumberedsubsubsec Automatic note splitting
1214 @cindex notes, splitting
1215 @cindex splitting notes
1217 Long notes which overrun bar lines can be converted automatically
1218 to tied notes. This is done by replacing the
1219 @code{Note_heads_engraver} with the
1220 @code{Completion_heads_engraver}. In the following
1221 example, notes crossing the bar lines are split and tied.
1223 @lilypond[quote,verbatim,relative=1]
1225 \remove "Note_heads_engraver"
1226 \consists "Completion_heads_engraver"
1229 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1232 This engraver splits all running notes at the bar line, and
1233 inserts ties. One of its uses is to debug complex scores: if the
1234 measures are not entirely filled, then the ties show exactly how
1235 much each measure is off.
1239 Music Glossary: @rglos{tie}
1242 @rlearning{Engravers explained},
1243 @rlearning{Adding and removing engravers}.
1248 Internals Reference:
1249 @rinternals{Note_heads_engraver},
1250 @rinternals{Completion_heads_engraver},
1251 @rinternals{Forbid_line_break_engraver}.
1256 Not all durations (especially those containing tuplets) can be
1257 represented exactly with normal notes and dots, but the
1258 @code{Completion_heads_engraver} will not insert tuplets.
1260 The @code{Completion_heads_engraver} only affects notes; it does not
1264 @node Showing melody rhythms
1265 @unnumberedsubsubsec Showing melody rhythms
1267 Sometimes you might want to show only the rhythm of a melody. This
1268 can be done with the rhythmic staff. All pitches of notes on such a
1269 staff are squashed, and the staff itself has a single line
1271 @lilypond[quote,relative=1,verbatim]
1273 \new RhythmicStaff {
1274 \new Voice = "myRhythm" {
1282 \lyricsto "myRhythm" {
1290 Guitar chord charts often show the strumming rhythms. This can
1291 be done with the @code{Pitch_squash_engraver} and
1292 @code{\improvisationOn}.
1295 @lilypond[quote,verbatim]
1304 \consists Pitch_squash_engraver
1316 @code{\improvisationOn},
1317 @code{\improvisationOff}.
1321 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1322 {guitar-strum-rhythms.ly}
1329 Internals Reference:
1330 @rinternals{RhythmicStaff},
1331 @rinternals{Pitch_squash_engraver}.
1338 * Setting automatic beam behavior::
1343 @node Automatic beams
1344 @unnumberedsubsubsec Automatic beams
1346 By default, beams are inserted automatically:
1348 @cindex beams, manual
1349 @cindex manual beams
1351 @lilypond[quote,verbatim,relative=2]
1353 \time 6/8 c c c c8. c16 c8
1356 If these automatic decisions are not satisfactory, beaming can be
1357 entered explicitly; see @ref{Manual beams}. It is also possible
1358 to define beaming patterns that differ from the defaults. The
1359 default beaming rules for most common time signatures are defined
1360 in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
1361 defined for the time signature being used the beaming is controlled
1362 by the values of three context properties, @code{measureLength},
1363 @code{beatLength} and @code{beatGrouping}. Both the beaming rules
1364 and the context properties can be overridden, see
1365 @ref{Setting automatic beam behavior}.
1370 @warning{If beams are used to indicate melismata in songs, then automatic
1371 beaming should be switched off with @code{\autoBeamOff} and the beams
1372 indicated manually.}
1376 Automatic beaming may be turned off and on with
1377 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1379 @lilypond[quote,relative=1,verbatim]
1380 c4 c8 c8. c16 c8. c16 c8
1388 @code{\autoBeamOff},
1397 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1398 {beams-across-line-breaks.ly}
1400 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1401 {changing-beam-knee-gap.ly}
1407 @ref{Setting automatic beam behavior}.
1410 @file{scm/@/auto@/-beam@/.scm}.
1415 Internals Reference: @rinternals{Beam}.
1420 Automatically kneed cross-staff beams cannot be used together with
1421 hidden staves. See @ref{Hiding staves}.
1423 Beams can collide with note heads and accidentals in other voices
1426 @node Setting automatic beam behavior
1427 @unnumberedsubsubsec Setting automatic beam behavior
1429 @funindex autoBeaming
1430 @funindex autoBeamSettings
1431 @funindex (end * * * *)
1432 @funindex (begin * * * *)
1434 @cindex automatic beams, tuning
1435 @cindex tuning automatic beaming
1436 @cindex automatic beam generation
1438 @cindex lyrics and beaming
1441 The placement of automatic beams is determined by the rules
1442 described in @ref{Automatic beams}. There are two mutually
1443 exclusive ways in which these rules may be modified. The
1444 first, modifying the grouping of beats, applies to uncommon time
1445 signatures, i.e. those for which there are no predefined rules
1446 defining the beam end points. The second method, modifying the
1447 specification of the beam end points, can be used for any time
1448 signature. This second method @strong{must} be used for those time
1449 signatures for which beam ending rules are pre-defined, unless
1450 these have all been reverted. There are predefined rules for time
1451 signatures of 3/2, 3/4, 4/4, 2/4, 4/8, 4/16, 6/8, 9/8 and 12/8.
1453 @i{@strong{Modifying the grouping of beats}}
1455 If there are no beam-ending rules defined for the time signature
1456 in use the beaming is controlled by three context properties:
1457 @code{measureLength}, @code{beatLength} and @code{beatGrouping}.
1458 These properties may be set in the @code{Score}, @code{Staff} or
1459 @code{Voice} contexts to delimit their scope.
1461 These determine the beaming as follows:
1463 Beams may begin anywhere (unless a beam is already active). Beams
1464 end at a time determined by the values of @code{beatGrouping} and
1465 @code{beatLength}, as follows:
1469 @item If @code{beatGrouping} and @code{beatLength} are consistent
1470 with @code{measureLength}, @code{beatGrouping} is used to determine
1471 the end points of beams.
1473 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1474 with @code{measureLength}, @code{beatLength} is used to determine
1475 the end points of beams.
1479 @warning{These three properties are effective @strong{only} if
1480 there are no beam-ending rules defined for the time signature in
1481 force, or if these beam-ending rules have all been reverted.}
1483 By default the @code{measureLength} and @code{beatLength} are
1484 derived from the time signature set by the @code{\time} command.
1485 The @code{measureLength} is set to be exactly the same length as
1486 the measure length given by the time signature, and the
1487 @code{beatLength} is set to be the same as one over the denominator
1488 of the time signature.
1490 The default value of @code{beatGrouping} is taken from a table in
1491 @file{scm/@/music@/-functions@/.scm}. To find this, see
1492 @rlearning{Other sources of information}. It defines the beat
1493 grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
1495 Both @code{measureLength} and @code{beatLength} are @i{moments},
1496 units of musical duration. A quantity of type @i{moment} is
1497 created by the scheme function @code{ly:make-moment}. For more
1498 information about this function, see @ref{Time administration}.
1500 @code{beatGrouping} is a list of integers giving the number of
1501 beats in each group.
1505 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1508 @c TODO Convert to snippet called "Specifying context with beatGrouping"
1510 By specifying the context, the effect of @code{beatGrouping} can be
1511 limited to the context specified, and the values set in higher-level
1512 contexts overridden:
1514 @lilypond[quote,verbatim]
1520 \set Staff.beatGrouping = #'(2 3 2)
1527 \set Voice.beatGrouping = #'(1 3 3)
1536 @c TODO Send as snippet?
1538 The property @code{measureLength} determines where bar lines
1539 should be inserted and, with @code{beatLength} and
1540 @code{beatGrouping}, how automatic beams should be generated
1541 for time signatures for which no beam-ending rules are defined.
1543 @lilypond[quote,verbatim,relative=2]
1544 \time 3/4 % auto beam on 1/4 note groups
1545 a16 a a a a a a a a a a a a a a a
1546 \time 12/16 % no defined auto-beaming for this time sig
1547 a16 a a a a a a a a a a a a a a a
1549 a16 a a a a a a a a a a a a a a a
1550 \set Score.timeSignatureFraction = #'(12 . 16) %keep 3/4 beaming
1552 a16 a a a a a a a a a a a a a a a
1553 \set Score.beatLength = #(ly:make-moment 1 8) %beam on 1/8 notes
1554 a16 a a a a a a a a a a a a a a a
1555 \set Score.beatLength = #(ly:make-moment 1 16)
1556 \set Score.beatGrouping = #'(3 4 2 3) %beam on 3/16, 7/16, 9/16, 12/16
1557 a16 a a a a a a a a a a a a a a a
1563 @funindex subdivideBeams
1565 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1566 {sub-dividing-beams.ly}
1568 @cindex measure groupings
1569 @cindex beats, grouping
1570 @cindex grouping beats
1571 @cindex measure sub-grouping
1573 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1574 {conducting-signs,-measure-grouping-signs.ly}
1577 @strong{@i{Modifying the beam end points}}
1579 In common time signatures, automatic beams can start on any note
1580 but can end at only a few positions within the measure, namely at
1581 durations specified by the properties in @code{autoBeamSettings}.
1582 These properties consist of a list of rules defining where beams can
1583 end. The default @code{autoBeamSettings} rules are defined in
1584 @file{scm/@/auto@/-beam@/.scm}. To find this, see
1585 @rlearning{Other sources of information}.
1587 This method @strong{must} be used for the time signatures for which
1588 beam-ending rules are defined by default, unless these have all
1589 been reverted. It is also particularly suitable for many other time
1590 signatures if the time signature of the measures changes frequently,
1591 or if the beaming should be different for different beam durations.
1593 In order to add a rule to the list, use
1596 #(override-auto-beam-setting
1598 beam-numerator beam-denominator
1599 time-signature-numerator time-signature-denominator)
1600 moment-numerator moment-denominator [context])
1608 @item @code{beam-limit} is the type of automatic beam limit
1609 defined. This can be either @code{begin} or @code{end} but
1610 only @code{end} is effective.
1612 @item @code{beam-numerator/beam-denominator} is the beam duration
1613 to which the rule is to apply. A beam is considered to have
1614 the duration of its shortest note. Set @code{beam-numerator}
1615 and @code{beam-denominator} to @code{'*'} to have this rule apply
1616 to beams of any duration.
1618 @item @code{time-signature-numerator/time-signature-denominator}
1619 specifies the time signature to which this rule should apply.
1620 If @code{time-signature-numerator} and
1621 @code{time-signature-denominator} are set to @code{'*'} this rule
1622 will apply in any time signature.
1624 @item @code{monent-numerator/moment-denominator} is the position
1625 in the bar at which the beam should end.
1627 @item @code{context} is optional, and it specifies the context at which
1628 the change should be made. The default is @code{'Voice}.
1630 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1631 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1635 For example, if automatic beams should always end on the first quarter
1636 note, whatever the time signature or beam duration, use
1638 @lilypond[quote,verbatim,relative=2]
1640 #(override-auto-beam-setting '(end * * * *) 1 4)
1644 You can force the beam settings to take effect only on beams whose shortest
1645 note is a certain duration
1647 @lilypond[quote,verbatim,relative=2]
1649 % end 1/16 beams for all time signatures at the 1/16 moment
1650 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1652 a32 a a a a16 a a a a a |
1653 % end 1/32 beams for all time signatures at the 1/16 moment
1654 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1655 a32 a a a a16 a a a a a |
1658 You can force the beam settings to take effect only in certain time
1661 @lilypond[quote,verbatim,relative=2]
1663 % end beams of all durations in 5/8 time signature at the 2/8 moment
1664 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1672 When multiple voices are used the @code{Staff} context must be
1673 specified if the beaming is to be applied to all voices in the
1676 @lilypond[quote,verbatim,relative=2]
1679 % Context not specified - does not work correctly
1680 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1681 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1682 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1683 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1685 % Works correctly with context specified
1686 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1687 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1688 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1689 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1692 @c TODO Add example using Score for multiple staves?
1693 @c Hmm. Not sure it works correctly. Needs more investigation.
1695 @warning{If any unexpected beam behavior occurs, check the default
1696 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1697 possible interference, because the beam endings defined there will
1698 still apply in addition to your own.}
1700 Any unwanted or conflicting default endings must be reverted for
1701 your time signature(s). Existing auto-beam rules are removed by
1705 #(revert-auto-beam-setting
1707 beam-numerator beam-denominator
1708 time-signature-numerator time-signature-denominator)
1709 moment-numerator moment-denominator [context])
1713 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1714 @code{time-signature-numerator}, @code{time-signature-denominator},
1715 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1716 are the same as above.
1718 @lilypond[quote,verbatim,relative=2]
1720 a16 a a a a a a a a a a a a a a a
1721 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1722 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1723 a16 a a a a a a a a a a a a a a a
1726 The rule in a @code{revert-auto-beam-setting} statement must exactly
1727 match the original rule. That is, no wildcard expansion is taken into
1730 @lilypond[quote,verbatim,relative=2]
1732 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1734 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1736 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1742 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1743 {beam-grouping-in-7-8-time.ly}
1747 @c TODO Does this example add anything?
1750 example, automatic beams can only end on a dotted quarter note
1752 #(override-auto-beam-setting '(end * * * *) 3 8)
1753 #(override-auto-beam-setting '(end * * * *) 1 2)
1754 #(override-auto-beam-setting '(end * * * *) 7 8)
1757 In 4/4 time signature, this means that automatic beams could end only on
1758 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1759 3/8, has passed within the measure).
1763 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1764 {reverting-default-beam-endings.ly}
1769 @funindex \autoBeamOff
1770 @code{\autoBeamOff},
1771 @funindex \autoBeamOn
1777 If a score ends while an automatic beam has not been ended and is
1778 still accepting notes, this last beam will not be typeset at all.
1779 The same holds for polyphonic voices, entered with @code{<<
1780 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1781 automatic beam is still accepting notes, it is not typeset.
1790 @unnumberedsubsubsec Manual beams
1792 @cindex beams, manual
1796 In some cases it may be necessary to override the automatic
1797 beaming algorithm. For example, the autobeamer will not put beams
1798 over rests or bar lines, and in choral scores the beaming is
1799 often set to follow the meter of the lyrics rather than the
1800 notes. Such beams can be specified manually by
1801 marking the begin and end point with @code{[} and @code{]}
1803 @lilypond[quote,relative=1,verbatim]
1805 r4 r8[ g' a r8] r8 g[ | a] r8
1810 Individual notes may be marked with @code{\noBeam} to prevent them
1813 @lilypond[quote,verbatim,relative=2]
1814 \time 2/4 c8 c\noBeam c c
1817 @funindex stemLeftBeamCount
1818 @funindex stemRightBeamCount
1820 Even more strict manual control with the beams can be achieved by
1821 setting the properties @code{stemLeftBeamCount} and
1822 @code{stemRightBeamCount}. They specify the number of beams to
1823 draw on the left and right side, respectively, of the next note.
1824 If either property is set, its value will be used only once, and
1825 then it is erased. In this example, the last @code{f} is printed
1826 with only one beam on the left side, i.e., the eighth-note beam of
1827 the group as a whole.
1829 @lilypond[quote,relative=2,verbatim]
1832 \set stemLeftBeamCount = #2
1833 \set stemRightBeamCount = #1
1835 \set stemLeftBeamCount = #1
1842 @c TODO Add snippet "Flat flags and beam nibs" when available
1843 @c Added to LSR 27 Oct 08
1845 @node Feathered beams
1846 @unnumberedsubsubsec Feathered beams
1848 @cindex beams, feathered
1849 @funindex \featherDurations
1851 Feathered beams are used to indicate that a small group of notes
1852 should be played at an increasing (or decreasing) tempo, without
1853 changing the overall tempo of the piece. The extent of the
1854 feathered beam must be indicated manually using @code{[} and
1855 @code{]}, and the beam feathering is turned on by specifying a
1856 direction to the @code{Beam} property @code{grow-direction}.
1858 If the placement of the notes and the sound in the MIDI output
1859 is to reflect the ritardando or accelerando indicated by the
1860 feathered beam the notes must be grouped as a
1861 music expression delimited by braces and preceded by a
1862 @code{featheredDurations} command which specifies the ratio
1863 between the durations of the first and last notes in the group.
1866 show the extent of the beam and the braces show
1867 which notes are to have their durations modified. Normally
1868 these would delimit the same group of notes, but this is not
1869 required: the two commands are independent.
1871 In the following example the eight 16th notes occupy exactly the
1872 same time as a half note, but the first note is one half as long
1873 as the last one, with the intermediate notes gradually
1874 lengthening. The first four 32nd notes gradually speed up, while
1875 the last four 32nd notes are at a constant tempo.
1877 @lilypond[relative=1,verbatim,quote]
1878 \override Beam #'grow-direction = #LEFT
1879 \featherDurations #(ly:make-moment 2 1)
1880 { c16[ c c c c c c c] }
1881 \override Beam #'grow-direction = #RIGHT
1882 \featherDurations #(ly:make-moment 2 3)
1884 % revert to non-feathered beams
1885 \override Beam #'grow-direction = #'()
1890 The spacing in the printed output represents the
1891 note durations only approximately, but the MIDI output is exact.
1895 The @code{\featherDurations} command only works with very short
1896 music snippets, and when numbers in the fraction are small.
1912 * Bar and bar number checks::
1917 @unnumberedsubsubsec Bar lines
1921 @cindex measure lines
1924 Bar lines delimit measures, and are also used to indicate
1925 repeats. Normally, simple bar lines are automatically inserted
1926 into the printed output at places based on the current time
1929 The simple bar lines inserted automatically can be changed to
1930 other types with the @code{\bar} command. For example, a closing
1931 double bar line is usually placed at the end of a piece:
1933 @lilypond[quote,relative=1,verbatim]
1937 It is not invalid if the final note in a measure does not
1938 end on the automatically entered bar line: the note is assumed
1939 to carry over into the next measure. But if a long sequence
1940 of such carry-over measures appears the music can appear compressed
1941 or even flowing off the page. This is because automatic line
1942 breaks happen only at the end of complete measures, i.e., where
1943 all notes end before the end of a measure.
1945 @warning{An incorrect duration can cause line breaks to be
1946 inhibited, leading to a line of highly compressed music or
1947 music which flows off the page.}
1950 @cindex bar lines, invisible
1951 @cindex measure lines, invisible
1953 Line breaks are also permitted at manually inserted bar lines
1954 even within incomplete measures. To allow a line break without
1955 printing a bar line, use
1962 This will insert an invisible bar line and allow (but not
1963 force) a line break to occur at this point. The bar number
1964 counter is not increased. To force a line break see
1965 @ref{Line breaking}.
1967 This and other special bar lines may be inserted manually at any
1968 point. When they coincide with the end of a measure they replace
1969 the simple bar line which would have been inserted there
1970 automatically. When they do not coincide
1971 with the end of a measure the specified bar line is inserted at that
1972 point in the printed output. Such insertions do not affect
1973 the calculation and placement of subsequent automatic bar lines.
1975 The simple bar line and five types of double bar line are available
1976 for manual insertion:
1978 @lilypond[quote,relative=1,verbatim]
1979 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
1983 together with dotted and dashed bar lines:
1985 @lilypond[quote,relative=1,verbatim]
1986 f1 \bar ":" g \bar "dashed" a
1990 and five types of repeat bar line:
1992 @lilypond[quote,relative=1,verbatim]
1993 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
1998 Although the bar line types signifying repeats may be inserted
1999 manually they do not in themselves cause LilyPond to recognize
2000 a repeated section. Such repeated sections are better entered
2001 using the various repeat commands (see @ref{Repeats}), which
2002 automatically print the appropriate bar lines.
2004 In addition, you can specify @code{"||:"}, which is equivalent to
2005 @code{"|:"} except at line breaks, where it gives a double bar
2006 line at the end of the line and a start repeat at the beginning of
2009 @lilypond[quote,relative=2,verbatim]
2010 \override Score.RehearsalMark #'padding = #3
2018 In scores with many staves, a @code{\bar} command in one staff is
2019 automatically applied to all staves. The resulting bar lines are
2020 connected between different staves of a @code{StaffGroup},
2021 @code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
2023 @lilypond[quote,fragment,verbatim]
2031 \new Staff { \clef bass c4 g e g }
2033 \new Staff { \clef bass c2 c2 }
2041 @funindex defaultBarType
2043 The command @code{\bar }@var{bartype} is a shortcut for
2044 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2045 created whenever the @code{whichBar} property is
2048 The default bar type used for automatically inserted bar lines is
2049 @code{"|"}. This may be changed at any time
2050 with @code{\set Timing.defaultBarType = }@var{bartype}.
2055 @ref{Line breaking},
2057 @ref{Grouping staves}.
2062 Internals Reference: @rinternals{BarLine} (created at
2063 @rinternals{Staff} level), @rinternals{SpanBar} (across
2064 staves), @rinternals{Timing_translator} (for Timing
2069 @unnumberedsubsubsec Bar numbers
2072 @cindex measure numbers
2073 @funindex currentBarNumber
2075 Bar numbers are typeset by default at the start of every line except
2076 the first line. The number itself is stored in the
2077 @code{currentBarNumber} property, which is normally updated
2078 automatically for every measure. It may also be set manually:
2080 @lilypond[verbatim,quote,fragment,relative=1]
2083 \set Score.currentBarNumber = #50
2090 @funindex barNumberVisibility
2091 @cindex bar numbers, regular spacing
2093 Bar numbers can be typeset at regular intervals instead of just at
2094 the beginning of every line. To do this the default behavior
2095 must be overridden to permit bar numbers to be printed at places
2096 other than the start of a line. This is controlled by the
2097 @code{break-visibility} property of @code{BarNumber}. This takes
2098 three values which may be set to @code{#t} or @code{#f} to specify
2099 whether the corresponding bar number is visible or not. The order
2100 of the three values is @code{end of line visible}, @code{middle of
2101 line visible}, @code{beginning of line visible}. In the following
2102 example bar numbers are printed at all possible places:
2104 @lilypond[verbatim,quote,relative=1]
2105 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2106 \set Score.currentBarNumber = #11
2107 \bar "" % Permit first bar number to be printed
2113 @c All the rest of these examples will be added to LSR
2114 @c and moved into the Snippets. -gp
2117 and here the bar numbers are printed every two measures
2118 except at the end of the line:
2120 @lilypond[verbatim,quote,relative=1]
2121 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2122 \set Score.currentBarNumber = #11
2123 \bar "" % Permit first bar number to be printed
2124 % Print a bar number every second measure
2125 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2131 @cindex measure number, format
2132 @cindex bar number, format
2134 The size of the bar number may be changed. This is illustrated
2135 in the following example, which also shows how to enclose bar
2136 numbers in boxes and circles, and shows an alternative way
2137 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2139 @lilypond[verbatim,quote,relative=1]
2140 % Prevent bar numbers at the end of a line and permit them elsewhere
2141 \override Score.BarNumber #'break-visibility
2142 = #end-of-line-invisible
2144 % Increase the size of the bar number by 2
2145 \override Score.BarNumber #'font-size = #2
2146 \repeat unfold 3 { c1 } \bar "|"
2148 % Draw a box round the following bar number(s)
2149 \override Score.BarNumber #'stencil
2150 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2151 \repeat unfold 3 { c1 } \bar "|"
2153 % Draw a circle round the following bar number(s)
2154 \override Score.BarNumber #'stencil
2155 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2156 \repeat unfold 4 { c1 } \bar "|."
2159 @cindex bar number alignment
2161 Bar numbers by default are left-aligned to their parent object.
2162 This is usually the left edge of a line or, if numbers are printed
2163 within a line, the left bar line of the measure. The numbers may also
2164 be positioned directly on the bar line or right-aligned to the
2167 @lilypond[verbatim,quote,relative=1]
2168 \set Score.currentBarNumber = #111
2169 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2170 % Increase the size of the bar number by 2
2171 \override Score.BarNumber #'font-size = #2
2172 % Print a bar number every second measure
2173 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2175 % Center-align bar numbers
2176 \override Score.BarNumber #'self-alignment-X = #0
2178 % Right-align bar numbers
2179 \override Score.BarNumber #'self-alignment-X = #-1
2183 Bar numbers can be removed entirely by removing the
2184 @code{Bar_number_engraver} from the @code{Score} context.
2186 @lilypond[verbatim,quote]
2190 \remove "Bar_number_engraver"
2205 Internals Reference: @rinternals{BarNumber}.
2210 Bar numbers may collide with the top of the
2211 @rinternals{StaffGroup} bracket, if there is one. To solve
2212 this, the @code{padding} property of @rinternals{BarNumber} can
2213 be used to position the number correctly.
2215 Bar numbers may only be printed at bar lines; to print a bar
2216 number at the beginning of a piece, an empty bar line must be
2217 inserted there, and a value other than @code{1} must be placed
2218 in @code{currentBarNumber}:
2220 @lilypond[verbatim,quote,relative=1]
2221 \set Score.currentBarNumber = #50
2230 @node Bar and bar number checks
2231 @unnumberedsubsubsec Bar and bar number checks
2234 @funindex barCheckSynchronize
2237 Bar checks help detect errors in the entered durations.
2238 A bar check may be entered using the bar symbol, @code{|},
2239 at any place where a bar line is expected to fall.
2240 If bar check lines are encountered at other places,
2241 a list of warnings is printed in the log file,
2242 showing the line numbers and lines
2243 in which the bar checks failed. In the next
2244 example, the second bar check will signal an error.
2247 \time 3/4 c2 e4 | g2 |
2250 Bar checks can also be used in lyrics, for example
2255 Twin -- kle | Twin -- kle |
2259 An incorrect duration can result in a completely garbled score,
2260 especially if the score is polyphonic, so a good place to start
2261 correcting input is by scanning for failed bar checks and
2262 incorrect durations.
2264 If successive bar checks are off by the same musical interval,
2265 only the first warning message is displayed. This allows the
2266 warning to focus on the source of the timing error.
2270 @funindex pipeSymbol
2272 It is also possible to redefine the action taken when a bar check
2273 or pipe symbol, @code{|}, is encountered in the input, so that
2274 it does something other than a bar check. This is done by
2275 assigning a music expression to @code{pipeSymbol}.
2276 In the following example @code{|} is set to insert a double bar
2277 line wherever it appears in the input, rather than checking
2280 @lilypond[quote,verbatim]
2281 pipeSymbol = \bar "||"
2290 When copying large pieces of music, it can be helpful to check
2291 that the LilyPond bar number corresponds to the original that you
2292 are entering from. This can be checked with
2293 @code{\barNumberCheck}, for example,
2296 \barNumberCheck #123
2300 will print a warning if the @code{currentBarNumber} is not 123
2301 when it is processed.
2309 @node Rehearsal marks
2310 @unnumberedsubsubsec Rehearsal marks
2312 @cindex rehearsal marks
2313 @cindex mark, rehearsal
2316 To print a rehearsal mark, use the @code{\mark} command
2318 @lilypond[quote,verbatim,relative=2]
2327 The letter@tie{}@q{I} is skipped in accordance with engraving
2328 traditions. If you wish to include the letter @q{I}, then use
2331 \set Score.markFormatter = #format-mark-alphabet
2334 The mark is incremented automatically if you use @code{\mark
2335 \default}, but you can also use an integer argument to set the
2336 mark manually. The value to use is stored in the property
2337 @code{rehearsalMark}.
2339 @cindex rehearsal mark format
2340 @cindex rehearsal mark style
2341 @cindex style, rehearsal mark
2342 @cindex format, rehearsal mark
2343 @cindex mark, rehearsal, style
2344 @cindex mark, rehearsal, format
2346 The style is defined by the property @code{markFormatter}. It is
2347 a function taking the current mark (an integer) and the current
2348 context as argument. It should return a markup object. In the
2349 following example, @code{markFormatter} is set to a pre-defined
2350 procedure. After a few measures, it is set to a procedure that
2351 produces a boxed number.
2353 @lilypond[quote,verbatim,relative=2]
2354 \set Score.markFormatter = #format-mark-numbers
2357 \set Score.markFormatter = #format-mark-box-numbers
2359 \set Score.markFormatter = #format-mark-circle-numbers
2361 \set Score.markFormatter = #format-mark-circle-letters
2365 The file @file{scm/@/translation@/-functions@/.scm} contains the
2366 definitions of @code{format-mark-numbers} (the default format),
2367 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2368 @code{format-mark-box-letters}. These can be used as inspiration
2369 for other formatting functions.
2371 You may use @code{format-mark-barnumbers},
2372 @code{format-mark-box-barnumbers}, and
2373 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2374 incremented numbers or letters.
2376 Other styles of rehearsal mark can be specified manually
2383 @code{Score.markFormatter} does not affect marks specified in this
2384 manner. However, it is possible to apply a @code{\markup} to the
2388 \mark \markup@{ \box A1 @}
2395 Music glyphs (such as the segno sign) may be printed inside a
2398 @lilypond[quote,verbatim,relative=1]
2399 c1 \mark \markup { \musicglyph #"scripts.segno" }
2400 c1 \mark \markup { \musicglyph #"scripts.coda" }
2401 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2406 See @ref{The Feta font}, for a list of symbols which may be
2407 printed with @code{\musicglyph}.
2409 For common tweaks to the positioning of rehearsal marks, see
2410 @ref{Formatting text}.
2415 @ref{The Feta font},
2416 @ref{Formatting text}.
2419 @file{scm/@/translation@/-functions@/.scm} contains
2420 the definition of @code{format-mark-numbers} and
2421 @code{format-mark-letters}. They can be used as inspiration for
2422 other formatting functions.
2427 Internals Reference: @rinternals{RehearsalMark}.
2429 @node Special rhythmic concerns
2430 @subsection Special rhythmic concerns
2435 * Aligning to cadenzas::
2436 * Time administration::
2440 @unnumberedsubsubsec Grace notes
2445 @cindex appoggiatura
2446 @cindex acciaccatura
2448 Grace notes are ornaments that are written out. Grace notes
2449 are printed in a smaller font and take up no logical time
2452 @lilypond[quote,relative=2,verbatim]
2454 \grace { c16[ d16] } c2
2457 Lilypond also supports two special types of grace notes, the
2458 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2459 small note with a slashed stem--and the @emph{appoggiatura}, which
2460 takes a fixed fraction of the main note and appears in small print
2463 @lilypond[quote,relative=2,verbatim]
2467 \acciaccatura { g16[ f] } e4
2470 The placement of grace notes is synchronized between different
2471 staves. In the following example, there are two sixteenth grace
2472 notes for every eighth grace note
2474 @lilypond[quote,relative=2,verbatim]
2475 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2476 \new Staff { c2 \grace { g8[ b] } c2 } >>
2479 @funindex \afterGrace
2481 @cindex grace notes, following
2483 If you want to end a note with a grace, use the @code{\afterGrace}
2484 command. It takes two arguments: the main note, and the grace
2485 notes following the main note.
2487 @lilypond[quote,verbatim,relative=2]
2488 c1 \afterGrace d1 { c16[ d] } c1
2491 This will put the grace notes after a space lasting 3/4 of the
2492 length of the main note. The default fraction 3/4 can be changed by
2493 setting @code{afterGraceFraction}. The following example shows
2494 the results from setting the space at the default, at 15/16, and
2495 finally at 1/2 of the main note.
2497 @lilypond[quote,verbatim,relative=2]
2500 c1 \afterGrace d1 { c16[ d] } c1
2503 #(define afterGraceFraction (cons 15 16))
2504 c1 \afterGrace d1 { c16[ d] } c1
2507 #(define afterGraceFraction (cons 1 2))
2508 c1 \afterGrace d1 { c16[ d] } c1
2513 The space between the main note and the grace note may also be
2514 specified using spacers. The following example places the grace
2515 note after a space lasting 7/8 of the main note.
2517 @lilypond[quote,verbatim,relative=2]
2520 { s2 s4. \grace { c16[ d] } } >>
2525 A @code{\grace} music expression will introduce special
2526 typesetting settings, for example, to produce smaller type, and
2527 set directions. Hence, when introducing layout tweaks to
2528 override the special settings, they should be placed inside
2529 the grace expression. The overrides should also be reverted
2530 inside the grace expression. Here, the grace note's default stem
2531 direction is overriden and then reverted.
2533 @lilypond[quote,verbatim,relative=2]
2545 @cindex stem, with slash
2550 The slash through the stem found in @emph{acciaccatura}s can be applied
2551 in other situations:
2553 @lilypond[quote,verbatim,relative=2]
2555 \override Stem #'stroke-style = #"grace"
2560 The layout of grace expressions can be changed throughout the
2561 music using the function @code{add-grace-property}. The following
2562 example undefines the @code{Stem} direction for this grace, so
2563 that stems do not always point up.
2565 @lilypond[quote,verbatim,relative=2]
2568 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2569 #(remove-grace-property 'Voice 'Stem 'direction)
2571 \acciaccatura { f16 } g4
2572 \grace { d16[ e] } f4
2573 \appoggiatura { a,32[ b c d] } e2
2579 Another option is to change the variables @code{startGraceMusic},
2580 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2581 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2582 @code{stopAppoggiaturaMusic}. The default values of these can be
2583 seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
2584 them other effects may be obtained.
2586 Grace notes may be forced to align with regular notes
2589 @lilypond[verbatim,quote]
2592 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2595 \afterGrace c4 { c16[ c8 c16] }
2599 c16 c c c c c c c c4 r
2609 @rglos{grace notes},
2610 @rglos{acciaccatura},
2611 @rglos{appoggiatura}.
2613 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2615 Snippets: @rlsr{Rhythms}.
2617 Internals Reference: @rinternals{GraceMusic}.
2622 A multi-note beamed @i{acciaccatura} is printed without a slash,
2623 and looks exactly the same as a multi-note beamed
2626 @c TODO Add link to LSR snippet to add slash when available
2628 Grace note synchronization can also lead to surprises. Staff
2629 notation, such as key signatures, bar lines, etc., are also
2630 synchronized. Take care when you mix staves with grace notes and
2631 staves without, for example,
2633 @lilypond[quote,relative=2,verbatim]
2634 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2635 \new Staff { c4 \bar "|:" d2. } >>
2639 This can be remedied by inserting grace skips of the corresponding
2640 durations in the other staves. For the above example
2642 @lilypond[quote,relative=2,verbatim]
2643 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2644 \new Staff { c4 \bar "|:" \grace s16 d2. } >>
2647 Grace sections should only be used within sequential music
2648 expressions. Nesting or juxtaposing grace sections is not
2649 supported, and might produce crashes or other errors.
2651 @node Aligning to cadenzas
2652 @unnumberedsubsubsec Aligning to cadenzas
2655 @cindex cadenza, aligning to
2656 @cindex aligning to cadenza
2658 In an orchestral context, cadenzas present a special problem: when
2659 constructing a score that includes a measured cadenza or other solo
2660 passage, all other instruments should skip just as many notes as the
2661 length of the cadenza, otherwise they will start too soon or too late.
2663 One solution to this problem is to use the functions
2664 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2665 functions take a defined piece of music as an argument and generate a
2666 multi-measure rest or @code{\skip} exactly as long as the piece.
2668 @lilypond[verbatim,quote]
2669 MyCadenza = \relative c' {
2680 #(ly:export (mmrest-of-length MyCadenza))
2682 #(ly:export (skip-of-length MyCadenza))
2697 @node Time administration
2698 @unnumberedsubsubsec Time administration
2700 @cindex time administration
2701 @cindex timing (within the score)
2702 @cindex music, unmetered
2703 @cindex unmetered music
2705 @funindex currentBarNumber
2706 @funindex measurePosition
2707 @funindex measureLength
2709 Time is administered by the @code{Timing_translator}, which by
2710 default is to be found in the @code{Score} context. An alias,
2711 @code{Timing}, is added to the context in which the
2712 @code{Timing_translator} is placed.
2714 The following properties of @code{Timing} are used
2715 to keep track of timing within the score.
2718 @cindex measure number
2721 @item currentBarNumber
2722 The current measure number. For an example showing the
2723 use of this property see @ref{Bar numbers}.
2726 The length of the measures in the current time signature. For a
2727 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2728 determines when bar lines are inserted and how automatic beams
2729 should be generated.
2731 @item measurePosition
2732 The point within the measure where we currently are. This
2733 quantity is reset by subtracting @code{measureLength} whenever
2734 @code{measureLength} is reached or exceeded. When that happens,
2735 @code{currentBarNumber} is incremented.
2738 If set to true, the above variables are updated for every time
2739 step. When set to false, the engraver stays in the current
2740 measure indefinitely.
2744 Timing can be changed by setting any of these variables
2745 explicitly. In the next example, the default 4/4 time
2746 signature is printed, but @code{measureLength} is set to 5/4.
2747 At 4/8 through the third measure, the @code{measurePosition} is
2748 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2749 The next bar line then falls at 9/8 rather than 5/4.
2751 @lilypond[quote,verbatim,relative=1]
2752 \set Score.measureLength = #(ly:make-moment 5 4)
2756 \set Score.measurePosition = #(ly:make-moment 5 8)
2762 As the example illustrates, @code{ly:make-moment n m} constructs a
2763 duration of n/m of a whole note. For example,
2764 @code{ly:make-moment 1 8} is an eighth note duration and
2765 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2771 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2776 Internals Reference: @rinternals{Timing_translator},