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.
12 @lilypondfile[ragged-right,line-width=16\cm,staffsize=14,quote]
15 This section discusses rhythms, durations, and bars.
20 * Displaying rhythms::
23 * Special rhythmic concerns::
28 @subsection Writing rhythms
38 @unnumberedsubsubsec Durations
41 @cindex beams, automatic
46 When entering notes, durations are designated by numbers and dots:
47 durations are entered as their reciprocal values. For example, a
48 quarter note is entered using a @code{4} (since it is a 1/4 note),
49 while a half note is entered using a @code{2} (since it is a 1/2
50 note). For notes longer than a whole you must use the
51 @code{\longa} (a double breve) and @code{\breve} commands. Note
52 durations as short as 64th notes may be specified. Shorter values
53 are possible, but only as beamed notes.
55 @c Two 64th notes are needed to obtain beams
56 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
63 and the same durations with automatic beaming turned off
64 see @ref{Automatic beams}:
66 @c not strictly "writing rhythms"; more of a "displaying" thing,
67 @c but it's ok here. -gp
68 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
75 If the duration is omitted then it is set to the previously
76 entered duration. The default for the first note is a quarter
79 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
86 To obtain dotted note lengths, simply add a dot (@code{.}) to the
87 number. Double-dotted notes are produced in a similar way.
89 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
90 a4 b c4. b8 a4. b4.. c8.
93 Some durations cannot be entered using only binary durations
94 and dots, and can only be represented by tying two or more
95 notes together. Tied notes are covered in @ref{Ties}.
99 Dots are normally moved up to avoid staff lines, except in
100 polyphonic situations. The following commands may be used to
101 force a particular direction manually:
107 @funindex \dotsNeutral
110 For ways of specifying durations for the syllables of lyrics and
111 ways of aligning lyrics to notes see @ref{Vocal music}.
113 A note with the duration of a quadruple breve may be entered with
114 @code{\maxima}, but this is supported only within ancient music
115 notation; see @ref{Ancient notation}.
117 Optionally, notes can be spaced proportionately to their duration.
118 For details of this and other settings which control proportional
119 notation see @ref{Proportional notation}.
124 Music Glossary: @rglos{breve}, @rglos{longa}.
126 Notation Reference:@ref{Automatic beams}, @ref{Ties}, @ref{Writing rests}, @ref{Vocal music},
127 @ref{Ancient notation}, @ref{Proportional notation}.
129 Snippets: @lsrdir{Rhythms,Rhythms}
131 Internals Reference: @internalsref{Dots},
132 @internalsref{DotColumn}.
137 @c duplicated in Durations and Rests. -gp
138 There is no fundamental limit to rest durations (both in terms of
139 longest and shortest), but the number of glyphs is limited: there
140 are rests from 128th to maxima (8 x whole).
144 @unnumberedsubsubsec Tuplets
150 Tuplets are made out of a music expression by multiplying all
151 durations with a fraction:
154 \times @var{fraction} @var{musicexpr}
158 The duration of @var{musicexpr} will be multiplied by the
159 fraction. The fraction's denominator will be printed over or
160 under the notes, optionally with a bracket. The most common
161 tuplet is the triplet in which 3 notes have the length of 2, so
162 the notes are 2/3 of their written length.
164 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
165 g4 \times 2/3 {c4 c c} d4 d4
168 Tuplets may be nested; for example,
170 @lilypond[fragment,ragged-right,verbatim,relative=2]
173 \times 3/5 { a a a a a }
181 @funindex \tupletDown
183 @funindex \tupletNeutral
184 @code{\tupletNeutral}.
189 @funindex tupletNumberFormatFunction
190 @funindex tupletSpannerDuration
191 @cindex tuplet formatting
193 The property @code{tupletSpannerDuration} specifies how long each
194 bracket should last. With this, you can make lots of tuplets
195 while typing @code{\times} only once, thus saving lots of typing.
196 In the next example, there are two triplets shown, while
197 @code{\times} was only used once.
199 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
200 \set tupletSpannerDuration = #(ly:make-moment 1 4)
201 \times 2/3 { c8 c c c c c }
205 For more information about @code{make-moment}, see
206 @ref{Time administration}.
208 @funindex TupletNumber
210 The format of the number is determined by the property @code{text}
211 in @code{TupletNumber}. The default prints only the denominator,
212 but if the property is set with @code{\override
213 TupletNumber #'text = #tuplet-number::calc-fraction-text},
214 @var{num}:@var{den} will be printed instead.
216 To print tuplets without tuplet numbers, use
217 @code{\override TupletNumber #'transparent = ##t}:
219 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
220 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
221 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
222 \times 2/3 { c8 c c }
223 \override TupletNumber #'transparent = ##t
224 \times 2/3 { c8 c c }
227 To change the appearance of nested tuplets beginning at the same
228 music moment individually, the @code{\tweak} function must be used
229 (see @ref{Objects connected to the input}). In the following
230 example, @code{\tweak} specifies fraction text for the outer
231 @code{TupletNumber} and denominator text for the
232 @code{TupletNumber} of the first of the three inner tuplets.
234 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
235 \tweak #'text #tuplet-number::calc-fraction-text
237 \tweak #'text #tuplet-number::calc-denominator-text
238 \times 2/3 { c8[ c8 c8] }
239 \times 2/3 { c8[ c8 c8] }
240 \times 2/3 { c8[ c8 c8] }
244 @cindex bracket, tuplet
245 @funindex TupletBracket
247 @c FIXME: after LM 6 Tweaks includes \tweak info, look at this.-gp
248 @c It *should* be explained why \tweak must be used here, and why
249 @c \override doesn't work. I've made an attempt, but I'm not sure
250 @c if it is factually correct to say that \tweak must be used.
251 In the next example, @code{\tweak} and @code{\override} work
252 together to specify @code{TupletBracket} direction. The first
253 @code{\tweak} positions the @code{TupletBracket} of the outer
254 tuplet above the staff. The second @code{\tweak} positions the
255 @code{TupletBracket} of the first of the three inner tuplets below
256 the staff. Note that the @code{\tweak} function affects only
257 events that begin at the same music moment: the outer tuplet and
258 the first of the three inner tuplets. To position the
259 @code{TupletBrackets} of the second and third of the inner tuplets
260 below the staff, we use @code{\override} in the usual way.
262 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
263 \tweak #'text #tuplet-number::calc-fraction-text
264 \tweak #'direction #up
266 \tweak #'direction #down
267 \times 2/3 { c8[ c8 c8] }
268 \override TupletBracket #'direction = #down
269 \times 2/3 { c8[ c8 c8] }
270 \times 2/3 { c8[ c8 c8] }
274 Tuplet brackets can be made to run to prefatory matter or the next
277 @lilypond[ragged-right,verbatim,quote]
279 \set tupletFullLength = ##t
280 \set tupletFullLengthNote = ##t
282 \times 2/3 { c4 c c }
283 \set tupletFullLengthNote = ##f
291 @funindex \compressMusic
294 @code{\compressMusic} works similarly to \times, but does not
295 create a tuplet bracket; see @ref{Polymetric notation}.
300 Tuplets which cross bar lines will prevent a line break at that
305 Music Glossary: @rglos{tuplet}.
307 Notation Reference: @ref{Time administration},
308 @ref{Objects connected to the input}, @ref{Polymetric notation}.
310 Snippets: @lsrdir{Rhythms,Rhythms}.
312 Internals Reference: @internalsref{TupletBracket},
313 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
317 @node Scaling durations
318 @unnumberedsubsubsec Scaling durations
320 You can alter the length of a duration by a fraction @var{N/M}
321 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
322 This will not affect the appearance of the notes or rests
323 produced, but the altered duration will be used in calculating the
324 position within the measure and setting the duration in the MIDI
325 output. Multiplying factors may be combined
328 In the following example, the first three notes take up exactly
329 two beats, but no triplet bracket is printed.
331 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
333 a4*2/3 gis4*2/3 a4*2/3
338 The duration of skip or spacing notes may also be modified by
339 a multiplier. This is useful for skipping many measures, e.g.,
344 Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
346 Snippets: @lsrdir{Rhythms,Rhythms}
349 @unnumberedsubsubsec Ties
354 A tie connects two adjacent note heads of the same pitch. The tie
355 in effect extends the length of a note.
357 @warning{Ties should not be confused with @emph{slurs}, which
358 indicate articulation, or @emph{phrasing slurs}, which indicate
359 musical phrasing. A tie is just a way of extending a note
360 duration, similar to the augmentation dot.}
362 A tie is entered using the tilde symbol @code{~}
364 @lilypond[quote,ragged-right,fragment,verbatim]
370 Ties are used either when the note crosses a bar line, or when
371 dots cannot be used to denote the rhythm. Ties should also be
372 used when note values cross larger subdivisions of the measure:
374 @lilypond[fragment,quote,ragged-right]
376 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
380 If you need to tie a lot of notes across bar lines, it may be
381 easier to use automatic note splitting (see @ref{Automatic note
382 splitting}). This mechanism automatically splits long notes, and
383 ties them across bar lines.
386 @cindex repeating ties
387 @cindex volta brackets and ties
389 When a tie is applied to a chord, all note heads whose pitches
390 match are connected. When no note heads match, no ties will be
391 created. Chords may be partially tied by placing the tie inside
394 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
396 <c~ e g~ b> <c e g b>
399 When a second alternative of a repeat starts with a tied note, you
400 have to repeat the tie. This can be achieved with
403 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
404 \repeat volta 2 { c g <c e>2 ~ }
405 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
408 @cindex laissez vibrer
409 @cindex ties, laissez vibrer
410 @funindex \laissezVibrer
413 @funindex \tieNeutral
415 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
416 notes must not be damped at the end. It is used in notation for
417 piano, harp and other string and percussion instruments. They can
418 be entered using @code{\laissezVibrer}:
420 @lilypond[fragment,ragged-right,verbatim,relative=1]
421 <c f g>\laissezVibrer
424 The direction of a tie can be specified with @code{\tieUp} or
425 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
426 to the default behaviour again.
428 However, as with other music elements of this kind, there is a
429 convenient shorthand for forcing tie directions. By adding
430 @code{_} or @code{^} before the tilde, the direction is also set:
432 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
439 Music Glossary: @rglos{tie},
440 @c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
442 Snippets: @lsrdir{Rhythms,Rhythms}
445 @internalsref{LaissezVibrerTie}
446 @internalsref{LaissezVibrerTieColumn}
449 @c @lsr{connecting,laissez-vibrer-ties.ly}
454 Ties are sometimes used to write out arpeggios. In this case, two
455 tied notes need not be consecutive. This can be achieved by
456 setting the @code{tieWaitForNote} property to true. The same
457 feature is also useful, for example, to tie a tremolo to a chord,
458 but in principle, it can also be used for ordinary, consecutive
461 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
462 \set tieWaitForNote = ##t
463 \grace { c16[~ e~ g]~ } <c, e g>2
464 \repeat tremolo 8 { c32~ c'~ } <c c,>1
465 e8~ c~ a~ f~ <e' c a f>2
466 \tieUp c8~ a \tieDown \tieDotted g~ c g2
469 Ties may be engraved manually by changing the
470 @code{tie-configuration} property of the @code{TieColumn} object.
471 The first number indicates the distance from the center of the
472 staff in staff-spaces, and the second number indicates the
473 direction (1=up, -1=down).
475 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
477 \override TieColumn #'tie-configuration =
478 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
490 @funindex \tieNeutral
504 Notation Reference: @ref{Automatic note splitting}.
506 Snippets: @lsrdir{Rhythms,Rhythms}
508 Internals Reference: @internalsref{Tie}.
513 Switching staves when a tie is active will not produce a slanted
516 Changing clefs or octavations during a tie is not really
517 well-defined. In these cases, a slur may be preferable.
524 @subsection Writing rests
529 * Full measure rests::
533 @unnumberedsubsubsec Rests
545 Rests are entered like notes with the note name @code{r}:
547 @c \time 16/1 is used to avoid spurious bar lines
548 @c and long tracts of empty measures
549 @lilypond[fragment,quote,ragged-right,verbatim]
552 \override Staff.TimeSignature #'stencil = ##f
554 r\longa r\breve r1 r2
559 Whole measure rests, centered in middle of the measure, must be entered as
560 multi-measure rests. They can be used for a single measure as well as
561 many measures and are discussed in @ref{Full measure rests}.
563 To explicitly specify a rest's vertical position, write a note
564 followed by @code{\rest}. A rest will be placed in the position
565 where the note would appear. This allows for precise manual
566 formatting of polyphonic music, since the automatic rest collision
567 formatter will leave these rests alone.
569 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
576 Notation Reference: @ref{Full measure rests}.
578 Snippets: @lsrdir{Rhythms,Rhythms}.
580 Internals Reference: @internalsref{Rest}.
585 @c duplicated in Durations and Rests. -gp
586 There is no fundamental limit to rest durations (both in terms of
587 longest and shortest), but the number of glyphs is limited: there
588 are rests from 128th to maxima (8 x whole).
591 @unnumberedsubsubsec Skips
594 @cindex invisible rest
599 An invisible rest (also called a @q{skip}) can be entered like a
600 note with note name @code{s} or with @code{\skip @var{duration}}
602 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
603 a4 a4 s4 a4 \skip 1 a4
608 The @code{s} syntax is only available in note mode and chord mode.
609 In other situations, for example, when entering lyrics, one must
610 use the @code{\skip} command:
612 @lilypond[quote,ragged-right,verbatim,relative=2]
615 \new Lyrics \lyricmode { \skip 2 bla2 }
619 The skip command is merely an empty musical placeholder. It does
620 not produce any output, not even transparent output.
622 The @code{s} skip command does create @internalsref{Staff} and
623 @internalsref{Voice} when necessary, similar to note and rest
624 commands. For example, the following results in an empty staff.
626 @lilypond[quote,verbatim]
629 @c with ragged-right, the staff lines are cut BEFORE the time
630 @c signature, which makes for a VERY empty staff
632 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
633 @c Misleading -- it doesn't produce anything, not even an empty page.
634 @c Ppl who want to make empty sheets will see this and wonder what's
639 Snippets: @lsrdir{Rhythms,Rhythms}
641 Internals Reference: @internalsref{SkipMusic}.
644 @node Full measure rests
645 @unnumberedsubsubsec Full measure rests
647 @cindex multi measure rests
648 @cindex full measure rests
649 @cindex rest, multi measure
650 @cindex rest, full measure
651 @cindex whole rest for a full measure
654 Rests for one or more full measures are entered using @code{R}
655 followed by a duration (see @ref{Durations}). The duration should
656 correspond to an integral number of measures, otherwise a barcheck
657 warning is printed. A @rglos{multi-measure rest} is used
658 principally to indicate that a part in a multi-part score should
661 @lilypond[quote,fragment,verbatim,relative=2]
662 \set Score.skipBars = ##t
669 A multi-measure rest can be expanded in the printed score
670 to show all the rest measures explicitly, or, as above, it can be
671 condensed to a single measure
672 containing a multi-measure rest symbol, with the number of
673 measures of rest printed above the measure. This expansion
674 is controlled by the property @code{Score.skipBars}. If this is
675 set to true, empty measures will be condensed to a single measure.
677 @lilypond[quote,ragged-right,fragment,verbatim]
678 \time 4/4 r1 | R1 | R1*2 |
681 \set Score.skipBars = ##t
685 The @code{1} in @code{R1} is similar to the duration notation
686 used for notes and is the length of a measure in 2/2 or 4/4 time.
687 The duration in a multi-measure rest must always be an integral
688 number of measure-lengths, so in other time signatures augmentation
689 dots or fractions must be used:
691 @lilypond[quote,ragged-right,fragment,verbatim]
692 \set Score.skipBars = ##t
696 R1*13/8 | R1*13/8*12 |
701 An @code{R} spanning a single measure is printed as either a whole
702 or breve rest, centered in the measure, regardless of the time
707 @cindex kirchenpausen
709 If there are 10 or fewer measures of rest, LilyPond prints
710 a series of longa and breve rests (called in German
711 Kirchenpausen - @q{church rests}) within the staff and
712 prints a simple line otherwise. This default number of 10
713 may be changed by overriding
714 @code{MultiMeasureRest.expand-limit}.
716 @lilypond[quote,ragged-right,fragment,verbatim]
717 \set Score.skipBars = ##t
719 \override MultiMeasureRest #'expand-limit = 3
723 Note that unlike ordinary rests, the vertical position on the
724 staff of the multi-measure rest symbol of either form cannot be
727 @cindex text on multi-measure rest
728 @cindex script on multi-measure rest
729 @cindex fermata on multi-measure rest
731 Text can be added to multi-measure rests by using the
732 @var{note}-@code{markup} syntax described in @ref{Text markup}.
733 The variable @code{\fermataMarkup} is provided for adding
736 @lilypond[quote,ragged-right,verbatim,fragment]
737 \set Score.skipBars = ##t
739 R2.*10^\markup { \italic "ad lib." }
743 @warning{Text attached to a multi-measure rest is created
744 by @code{MultiMeasureRestText}, not
745 @code{TextScript}. Overrides must be directed to the correct
746 object, or they will be ignored. See the following example.}
748 @lilypond[quote,ragged-right,verbatim,fragment]
749 \override TextScript #'padding = #5
751 \override MultiMeasureRestText #'padding = #5
755 Text attached to a multi-measure rest will be centered above or
756 below it. Long text attached in this way does not cause the
757 measure to expand, and may collide with text in adjacent measures.
758 Long text is better attached to a zero-length skip note preceding
759 the rest, preceded by @code{\textLengthOn} (turn off again with
760 @code{\textLengthOff}), since this will cause the measure to expand to
761 accommodate the length of the text:
763 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
764 \set Score.skipBars = ##t
766 s1*0^\markup {[MAJOR GENERAL]}
768 s1*0^\markup {[MABEL] }
769 s1*0_\markup {\italic {Cue: ... it is yours}}
772 c4^\markup {CHORUS} d f c
776 Text attached to a skip note in this way is left-aligned to the
777 position where the note would be placed in the bar, and placed
778 above the bar count numeral, but because the bar length is
779 determined by the length of the text, the text will appear to be
780 centered. If two (or more) texts are
781 attached to skip notes in a bar the bar length is determined by
782 the longer text, and the shorter text is then clearly
783 left-aligned, as shown in the second bar above. If the shorter
784 text of two marks is short enough to fit it will be placed
785 alongside and to the left of the bar count numeral.
789 Notation Reference: @ref{Durations}, @ref{Text},
790 @ref{Text markup}, @ref{Text scripts}.
792 Snippets: @lsrdir{Rhythms,Rhythms}
794 Internals Reference: @internalsref{MultiMeasureRest}.
796 The layout object @internalsref{MultiMeasureRestNumber} is for the
797 default number, and @internalsref{MultiMeasureRestText} for user
803 If an attempt is made to use fingerings (e.g.,
804 @code{R1*10-4}) to put numbers over multi-measure rests, the
805 fingering numeral (4) may collide with the bar counter
808 @cindex condensing rests
810 There is no way to automatically condense multiple rests into a
811 single multi-measure rest. Multi-measure rests do not take part
814 Be careful when entering multi-measure rests followed by whole
815 notes. The following will enter two notes lasting four measures
823 @node Displaying rhythms
824 @subsection Displaying rhythms
830 * Polymetric notation::
831 * Automatic note splitting::
835 @unnumberedsubsubsec Time signature
837 @cindex time signature
841 The time signature is set with the @code{\time} command:
843 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
844 \time 2/4 c2 \time 3/4 c2.
849 The symbol that is printed can be customized with the @code{style}
850 property. Setting it to @code{#'()} uses fraction style for 4/4
853 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
856 \override Staff.TimeSignature #'style = #'()
861 A time signature symbol is normally printed whenever the time
862 signature changes. If this takes place at the end of a line a
863 warning time signature sign is printed at the end of the line and
864 again at the start of a new line. This default behaviour can be
865 modified by setting the value of the @code{break-visibility}
866 property. This takes three values which may be set to @code{#t}
867 or @code{#f} to specify whether the corresponding time signature
868 is visible or not. The order of the three values is @code{end of
869 line visible}, @code{middle of line visible}, @code{beginning of
872 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
873 % Do not print any time signatures at end of line
874 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
877 % Do not print the following 9/8 time signature
878 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
886 There are many more options for its layout. See @ref{Ancient time
887 signatures}, for more examples.
889 @code{\time} sets the properties @code{timeSignatureFraction},
890 @code{beatLength}, and @code{measureLength} in the @code{Timing}
891 context, which is normally aliased to @internalsref{Score}. The
892 property @code{measureLength} determines where bar lines should be
893 inserted, and how automatic beams should be generated. Changing
894 the value of @code{timeSignatureFraction} also causes the symbol
897 @cindex measure groupings
899 More options are available through the Scheme function
900 @code{set-time-signature}, which takes three arguments: the number
901 of beats, the beat length, and the internal grouping of beats in
902 the measure. If the @internalsref{Measure_grouping_engraver} is
903 included, the function will also create
904 @internalsref{MeasureGrouping} signs. Such signs ease reading
905 rhythmically complex modern music. In the following example, the
906 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
907 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
909 @lilypond[quote,ragged-right,verbatim]
912 #(set-time-signature 9 8 '(2 2 2 3))
913 g8[ g] d[ d] g[ g] a8[( bes g]) |
914 #(set-time-signature 5 8 '(3 2))
920 \consists "Measure_grouping_engraver"
929 Snippets: @lsrdir{Rhythms,Rhythms}
931 Internals Reference: @internalsref{TimeSignature}, and
932 @internalsref{Timing_translator}.
934 Examples: @c @lsr{contemporary,compound-time-signature.ly}.
939 Automatic beaming does not use the measure grouping specified with
940 @code{set-time-signature}.
944 @unnumberedsubsubsec Upbeats
948 @cindex partial measure
949 @cindex measure, partial
950 @cindex pickup measure
951 @cindex shorten measures
954 Partial or pickup measures, such as an anacrusis or upbeat, are
955 entered using the @code{\partial} command, with the syntax
958 \partial @var{duration}
961 where @code{duration} is the rhythmic length to be added before
964 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
965 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
968 Internally, this is translated into
971 \set Timing.measurePosition = -@var{length of duration}
974 The property @code{measurePosition} contains a rational number
975 indicating how much of the measure has passed at this point. Note
976 that this is a negative number; @code{\partial 4} is internally
977 translated to mean @qq{there is a quarter note left in the bar.}
982 This command does not take into account grace notes at the start
983 of the music. When a piece starts with grace notes in the
984 pickup, then the @code{\partial} should follow the grace notes:
986 @lilypond[verbatim,quote,ragged-right,relative,fragment]
993 @code{\partial} is only intended to be used at the beginning of a
994 piece. If you use it after the beginning, some odd warnings may
999 Snippets: @lsrdir{Rhythms,Rhythms}
1001 @node Unmetered music
1002 @unnumberedsubsubsec Unmetered music
1005 @funindex \cadenzaOn
1006 @funindex \cadenzaOff
1008 Bar lines and bar numbers are calculated automatically. For
1009 unmetered music (cadenzas, for example), this is not desirable.
1010 To turn off automatic bar lines and bar numbers, use the commands
1011 @code{\cadenzaOn} and @code{\cadenzaOff}.
1013 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1022 Bar numbering is resumed at the end of the cadenza as if the
1023 cadenza were not there:
1025 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1026 \override Score.BarNumber #'break-visibility = ##( #t #t #t )
1037 LilyPond will only insert line breaks and page breaks at a
1038 bar line. Unless the unmetered music ends before the end of the
1039 staff line, you will need to insert invisible bar lines with
1046 to indicate where breaks can occur.
1050 Snippets: @lsrdir{Rhythms,Rhythms}
1053 @node Polymetric notation
1054 @unnumberedsubsubsec Polymetric notation
1056 @cindex double time signatures
1057 @cindex signatures, polymetric
1058 @cindex polymetric signatures
1059 @cindex meter, polymetric
1063 @rglos{polymetric time signature}
1066 Double time signatures are not supported explicitly, but they can
1067 be faked. In the next example, the markup for the time signature
1068 is created with a markup text. This markup text is inserted in
1069 the @internalsref{TimeSignature} grob. See also
1070 @c @lsr{contemporary,compound-time-signature}.
1072 @lilypond[verbatim,ragged-right]
1074 tsMarkup = \markup {
1075 \override #'(baseline-skip . 2) \number {
1078 \bracket \column { "5" "8" }
1083 \override Staff.TimeSignature #'stencil =
1084 #ly:text-interface::print
1085 \override Staff.TimeSignature #'text = #tsMarkup
1087 c'2 \bar ":" c'4 c'4.
1091 Each staff can also have its own time signature. This is done by
1092 moving the @internalsref{Timing_translator} to the
1093 @internalsref{Staff} context.
1095 @lilypond[quote,verbatim,ragged-right]
1099 \remove "Timing_translator"
1100 \remove "Default_bar_line_engraver"
1104 \consists "Timing_translator"
1105 \consists "Default_bar_line_engraver"
1108 %Now, each staff has its own time signature.
1121 c4. c8 c c c4. c8 c c
1127 A different form of polymetric notation is where note lengths have
1128 different values across staves, but the measures are all the same
1131 This notation can be created by setting a common time signature
1132 for each staff but replacing it manually using
1133 @code{timeSignatureFraction} to the desired fraction. Then the
1134 printed durations in each staff are scaled to the common time
1135 signature. The latter is done with @code{\compressMusic}, which
1136 is used in a similar way to @code{\times}, but does not create
1137 a tuplet bracket. The syntax is
1139 @funindex \compressMusic
1143 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1148 In this example, music with the time signatures of 3/4, 9/8, and
1149 10/8 are used in parallel. In the second staff, shown durations
1150 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1151 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1154 @lilypond[quote,ragged-right,verbatim,fragment]
1162 \set Staff.timeSignatureFraction = #'(9 . 8)
1163 \compressMusic #'(2 . 3)
1164 \repeat unfold 6 { c8[ c c] }
1168 \set Staff.timeSignatureFraction = #'(10 . 8)
1169 \compressMusic #'(3 . 5) {
1170 \repeat unfold 2 { c8[ c c] }
1171 \repeat unfold 2 { c8[ c] }
1172 | c4. c4. \times 2/3 { c8 c c } c4
1181 When using different time signatures in parallel, the spacing is
1182 aligned vertically, but bar lines distort the regular spacing.
1186 Snippets: @lsrdir{Rhythms,Rhythms}, @c @lsr{contemporary,compound-time-signature}.
1188 Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
1191 @node Automatic note splitting
1192 @unnumberedsubsubsec Automatic note splitting
1194 Long notes which overrun bar lines can be converted automatically
1195 to tied notes. This is done by replacing the
1196 @internalsref{Note_heads_engraver} by the
1197 @internalsref{Completion_heads_engraver}. In the following
1198 examples, notes crossing the bar line are split and tied.
1200 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1202 \remove "Note_heads_engraver"
1203 \consists "Completion_heads_engraver"
1205 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1209 This engraver splits all running notes at the bar line, and
1210 inserts ties. One of its uses is to debug complex scores: if the
1211 measures are not entirely filled, then the ties exactly show how
1212 much each measure is off.
1214 If you want to allow line breaking on the bar lines where
1215 @internalsref{Completion_heads_engraver} splits notes, you must
1216 also remove @internalsref{Forbid_line_break_engraver}.
1221 Not all durations (especially those containing tuplets) can be
1222 represented exactly with normal notes and dots, but the engraver
1223 will not insert tuplets.
1225 @code{Completion_heads_engraver} only affects notes; it does not
1231 Snippets: @lsrdir{Rhythms,Rhythms}
1233 Internals Reference: @internalsref{Note_heads_engraver},
1234 @internalsref{Completion_heads_engraver},
1235 @internalsref{Forbid_line_break_engraver}.
1246 * Setting automatic beam behavior::
1251 @node Automatic beams
1252 @unnumberedsubsubsec Automatic beams
1254 By default, beams are inserted automatically:
1256 @cindex beams, manual
1257 @cindex manual beams
1259 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1261 \time 6/8 c c c c8. c16 c8
1264 If these automatic decisions are not satisfactory, beaming can be
1265 entered explicitly; see @ref{Manual beams}. It is also possible
1266 to define beaming patterns that differ from the defaults; see
1267 @ref{Setting automatic beam behavior}. The default beaming rules
1268 are defined in @file{scm/@/auto@/-beam@/.scm}.
1274 Automatic beaming may be turned off and on with
1275 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1277 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1278 c4 c8 c8. c16 c8. c16 c8
1288 Beaming patterns may be altered with the @code{beatGrouping} property,
1290 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1292 \set beatGrouping = #'(2 3)
1294 \set beatGrouping = #'(3 2)
1298 The beams of consecutive 16th (or shorter) notes are, by default,
1299 not sub-divided. That is, the three (or more) beams stretch
1300 unbroken over entire groups of notes. This behaviour can
1301 be modified to sub-divide the beams into sub-groups by setting
1302 the property @code{subdivideBeams}. When set, multiple beams
1303 will be sub-divided at intervals defined by the current value of
1304 @code{beatLength} by reducing the multiple beams to just one beam
1305 between the sub-groups. Note that @code{beatLength} lives in the
1306 @code{Score} context and defaults to a quarter note. It must be
1307 set to a fraction giving the duration of the beam sub-group
1308 using the @code{make-moment} function, as shown here:
1310 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1312 \set subdivideBeams = ##t
1314 % Set beam sub-group length to an eighth note
1315 \set Score.beatLength = #(ly:make-moment 1 8)
1317 % Set beam sub-group length to a sixteenth note
1318 \set Score.beatLength = #(ly:make-moment 1 16)
1321 @funindex subdivideBeams
1324 For more information about @code{make-moment}, see
1325 @ref{Time administration}.
1331 Line breaks are normally forbidden when beams cross bar lines.
1332 This behavior can be changed by setting the @code{breakable}
1333 property: @code{\override Beam #'breakable = ##t}.
1335 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1336 \override Beam #'breakable = ##t
1337 c8 \repeat unfold 15 {c[ c] } c
1340 @cindex beams and line breaks
1341 @cindex beams, kneed
1343 @cindex auto-knee-gap
1345 Kneed beams are inserted automatically when a large gap is
1346 detected between the note heads. This behavior can be tuned
1347 through the @code{auto-knee-gap} property. A kneed beam is
1348 drawn if the gap is larger than the value of
1349 @code{auto-knee-gap} plus the width of the beam object (which
1350 depends on the duration of the notes and the slope of the beam).
1351 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1353 @lilypond[fragment,ragged-right,quote,verbatim]
1355 \override Beam #'auto-knee-gap = #6
1362 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1364 Snippets: @lsrdir{Rhythms,Rhythms}
1366 Internals Reference: @internalsref{Beam}.
1371 Automatically kneed cross-staff beams cannot be used together with
1372 hidden staves. See @ref{Hiding staves}.
1374 Beams can collide with note heads and accidentals in other voices
1377 @node Setting automatic beam behavior
1378 @unnumberedsubsubsec Setting automatic beam behavior
1380 @funindex autoBeamSettings
1381 @funindex (end * * * *)
1382 @funindex (begin * * * *)
1383 @cindex automatic beams, tuning
1384 @cindex tuning automatic beaming
1386 @c [TODO: use \applyContext]
1388 In normal time signatures, automatic beams can start on any note
1389 but can end in only a few positions within the measure: beams can
1390 end on a beat, or at durations specified by the properties in
1391 @code{autoBeamSettings}. The properties in
1392 @code{autoBeamSettings} consist of a list of rules for where beams
1393 can begin and end. The default @code{autoBeamSettings} rules are
1394 defined in @file{scm/@/auto@/-beam@/.scm}.
1396 In order to add a rule to the list, use
1398 #(override-auto-beam-setting '(be p q n m) a b [context])
1403 @item @code{be} is either @code{begin} or @code{end}.
1405 @item @code{p/q} is the duration of the note for which you want
1406 to add a rule. A beam is considered to have the duration of its
1407 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1408 have this apply to any beam.
1410 @item @code{n/m} is the time signature to which
1411 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1412 to have this apply in any time signature.
1414 @item @code{a/b} is the position in the bar at which the beam should
1417 @item @code{context} is optional, and it specifies the context at which
1418 the change should be made. The default is @code{'Voice}.
1420 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1421 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1425 For example, if automatic beams should always end on the first quarter
1429 #(override-auto-beam-setting '(end * * * *) 1 4)
1432 You can force the beam settings to only take effect on beams whose shortest
1433 note is a certain duration
1435 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1437 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1439 a32 a a a a16 a a a a a |
1440 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1441 a32 a a a a16 a a a a a |
1444 You can force the beam settings to only take effect in certain time
1447 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1449 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1457 You can also remove a previously set beam-ending rule by using
1460 #(revert-auto-beam-setting '(be p q n m) a b [context])
1464 be, p, q, n, m, a, b and context are the same as above. Note that the
1465 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1466 so you can revert rules that you did not explicitly create.
1468 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1470 a16 a a a a a a a a a a a a a a a
1471 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1472 a16 a a a a a a a a a a a a a a a
1475 The rule in a revert-auto-beam-setting statement must exactly match the
1476 original rule. That is, no wildcard expansion is taken into account.
1478 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1480 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1482 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1484 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1490 @c TODO: old material -- not covered by above stuff, I think.
1491 If automatic beams should end on every quarter in 5/4 time, specify
1494 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1495 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1496 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1497 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1501 The same syntax can be used to specify beam starting points. In this
1502 example, automatic beams can only end on a dotted quarter note
1504 #(override-auto-beam-setting '(end * * * *) 3 8)
1505 #(override-auto-beam-setting '(end * * * *) 1 2)
1506 #(override-auto-beam-setting '(end * * * *) 7 8)
1508 In 4/4 time signature, this means that automatic beams could end only on
1509 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1510 3/8, has passed within the measure).
1512 If any unexpected beam behaviour occurs, check the default automatic beam
1513 settings in @file{scm/@/auto@/-beam@/.scm}
1514 for possible interference, because the beam
1515 endings defined there will still apply on top of your own overrides. Any
1516 unwanted endings in the default vales must be reverted for your time
1519 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1523 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1524 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1525 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1526 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1529 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1530 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1531 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1534 @cindex automatic beam generation
1536 @funindex autoBeaming
1539 If beams are used to indicate melismata in songs, then automatic
1540 beaming should be switched off with @code{\autoBeamOff}.
1545 @funindex \autoBeamOff
1546 @code{\autoBeamOff},
1547 @funindex \autoBeamOn
1553 If a score ends while an automatic beam has not been ended and is
1554 still accepting notes, this last beam will not be typeset at all.
1555 The same holds for polyphonic voices, entered with @code{<<
1556 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1557 automatic beam is still accepting notes, it is not typeset.
1561 Snippets: @lsrdir{Rhythms,Rhythms}
1565 @unnumberedsubsubsec Manual beams
1567 @cindex beams, manual
1569 In some cases it may be necessary to override the automatic
1570 beaming algorithm. For example, the autobeamer will not put beams
1571 over rests or bar lines, and in choral scores the beaming is
1572 often set to follow the meter of the lyrics rather than the
1573 notes. Such beams can be specified manually by
1574 marking the begin and end point with @code{[} and @code{]}
1576 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1578 r4 r8[ g' a r8] r8 g[ | a] r8
1583 Individual notes may be marked with @code{\noBeam} to prevent them
1586 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1587 \time 2/4 c8 c\noBeam c c
1593 @funindex stemLeftBeamCount
1594 @funindex stemRightBeamCount
1596 Even more strict manual control with the beams can be achieved by
1597 setting the properties @code{stemLeftBeamCount} and
1598 @code{stemRightBeamCount}. They specify the number of beams to
1599 draw on the left and right side, respectively, of the next note.
1600 If either property is set, its value will be used only once, and
1601 then it is erased. In this example, the last @code{f} is printed
1602 with only one beam on the left side, i.e. the eigth-note beam of
1603 the group as a whole.
1605 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1609 \set stemLeftBeamCount = #1
1617 @node Feathered beams
1618 @unnumberedsubsubsec Feathered beams
1620 @cindex beams, feathered
1621 @funindex \featherDurations
1623 Feathered beams are used to indicate that a small group of notes
1624 should be played at an increasing (or decreasing) tempo, without
1625 changing the overall tempo of the piece. The extent of the
1626 feathered beam must be indicated manually using @code{[} and
1627 @code{]}, and the beam feathering is turned on by specifying a
1628 direction to the Beam property @code{grow-direction}.
1630 If the placement of the notes and the sound in the MIDI output
1631 is to reflect the ritardando or accelerando indicated by the
1632 feathered beam the notes must be grouped as a
1633 music expression delimited by braces and preceded by a
1634 @code{featheredDurations} command which specifies the ratio
1635 between the durations of the first and last notes in the group.
1638 show the extent of the beam and the braces show
1639 which notes are to have their durations modified. Normally
1640 these would delimit the same group of notes, but this is not
1641 required: the two commands are independent.
1643 In the following example the eight 16th notes occupy exactly the
1644 same time as a half note, but the first note is one half as long
1645 as the last one, with the intermediate notes gradually
1646 lengthening. The first four 32nd notes gradually speed up, while
1647 the last four 32nd notes are at a constant tempo.
1649 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1650 \override Beam #'grow-direction = #LEFT
1651 \featherDurations #(ly:make-moment 2 1)
1652 { c16[ c c c c c c c] }
1653 \override Beam #'grow-direction = #RIGHT
1654 \featherDurations #(ly:make-moment 2 3)
1656 % revert to non-feathered beams
1657 \override Beam #'grow-direction = #'()
1662 The spacing in the printed output represents the
1663 note durations only approximately, but the midi output is exact.
1667 The @code{\featherDurations} command only works with very short
1668 music snippets, and when numbers in the fraction are small.
1672 Snippets: @lsrdir{Rhythms,Rhythms}
1683 * Bar and bar number checks::
1688 @unnumberedsubsubsec Bar lines
1692 @cindex measure lines
1695 Bar lines delimit measures, and are also used to indicate
1696 repeats. Normally, simple bar lines are automatically inserted
1697 into the printed output at places based on the current time
1700 The simple bar lines inserted automatically can be changed to
1701 other types with the @code{\bar} command. For example, a closing
1702 double bar line is usually placed at the end of a piece:
1704 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1708 @warning{An incorrect duration can lead to poorly formatted
1711 It is not invalid if the final note in a bar does not
1712 end on the automatically entered bar line: the note is assumed
1713 to carry over into the next bar. But if a long sequence
1714 of such carry-over bars appears the music can appear compressed
1715 or even flowing off the page. This is because automatic line
1716 breaks happen only at the end of complete bars, i.e. where
1717 the end of a note coincides with the end of a bar.
1720 @cindex bar lines, invisible
1721 @cindex measure lines, invisible
1723 Line breaks are also permitted at manually inserted bar lines
1724 even within incomplete bars. To allow a line break without
1725 printing a bar line, use
1732 This will insert an invisible bar line and allow (but not
1733 force) a line break to occur at this point. The bar number
1734 counter is not increased. To force a line break see
1735 @ref{Line breaking}.
1737 This and other special bar lines may be inserted manually at any
1738 point. When they coincide with the end of a bar they replace
1739 the simple bar line which would have been inserted there
1740 automatically. When they do not coincide
1741 with the end of a bar the specified bar line is inserted at that
1742 point in the printed output. Such insertions do not affect
1743 the calculation and placement of subsequent automatic bar lines.
1745 The simple bar line and four types of double bar line are available
1746 for manual insertion:
1748 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1749 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1753 together with dotted and dashed bar lines:
1755 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1756 f1 \bar ":" g \bar "dashed" a
1760 and three types of repeat bar line:
1762 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1763 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1768 Although the bar line types signifying repeats may be inserted
1769 manually they do not in themselves cause LilyPond to recognise
1770 a repeated section. Such repeated sections are better entered
1771 using the various repeat commands (see @ref{Repeats}), which
1772 automatically print the appropriate bar lines.
1774 In addition, you can specify @code{"||:"}, which is equivalent to
1775 @code{"|:"} except at line breaks, where it gives a double bar
1776 line at the end of the line and a start repeat at the beginning of
1779 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1780 \override Score.RehearsalMark #'padding = #3
1788 In scores with many staves, a @code{\bar} command in one staff is
1789 automatically applied to all staves. The resulting bar lines are
1790 connected between different staves of a @code{StaffGroup},
1791 @code{PianoStaff}, or @code{GrandStaff}.
1793 @lilypond[quote,ragged-right,fragment,verbatim]
1801 \new Staff { \clef bass c4 g e g }
1803 \new Staff { \clef bass c2 c2 }
1811 @funindex defaultBarType
1813 The command @code{\bar }@var{bartype} is a shortcut for
1814 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1815 created whenever the @code{whichBar} property is
1818 The default bar type used for automatically inserted bar lines is
1819 @code{"|"}. This may be changed at any time
1820 with @code{\set Timing.defaultBarType = }@var{bartype}.
1824 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1825 @ref{System start delimiters}.
1827 Snippets: @lsrdir{Rhythms,Rhythms}
1829 Internals Reference: @internalsref{BarLine} (created at
1830 @internalsref{Staff} level), @internalsref{SpanBar} (across
1831 staves), @internalsref{Timing_translator} (for Timing
1836 @unnumberedsubsubsec Bar numbers
1839 @cindex measure numbers
1840 @funindex currentBarNumber
1842 Bar numbers are typeset by default at the start of every line except
1843 the first line. The number itself is stored in the
1844 @code{currentBarNumber} property, which is normally updated
1845 automatically for every measure. It may also be set manually:
1847 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1850 \set Score.currentBarNumber = #50
1857 @funindex barNumberVisibility
1858 @cindex bar numbers, regular spacing
1860 Bar numbers can be typeset at regular intervals instead of just at
1861 the beginning of every line. To do this the default behaviour
1862 must be overridden to permit bar numbers to be printed at places
1863 other than the start of a line. This is controlled by the
1864 @code{break-visibility} property of @code{BarNumber}. This takes
1865 three values which may be set to @code{#t} or @code{#f} to specify
1866 whether the corresponding bar number is visible or not. The order
1867 of the three values is @code{end of line visible}, @code{middle of
1868 line visible}, @code{beginning of line visible}. In the following
1869 example bar numbers are printed at all possible places:
1871 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1872 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1873 \set Score.currentBarNumber = #11
1874 \bar "" % Permit first bar number to be printed
1880 @c All the rest of these examples will be added to LSR
1881 @c and moved into the Snippets. -gp
1884 and here the bar numbers are printed every two bars
1885 except at the end of the line:
1887 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1888 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1889 \set Score.currentBarNumber = #11
1890 \bar "" % Permit first bar number to be printed
1891 % Print a bar number every 2nd bar
1892 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1898 @cindex measure number, format
1899 @cindex bar number, format
1901 The size of the bar number may be changed. This is illustrated
1902 in the following example, which also shows how to enclose bar
1903 numbers in boxes and circles, and shows an alternative way
1904 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1906 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1907 % Prevent bar numbers at the end of a line and permit them elsewhere
1908 \override Score.BarNumber #'break-visibility
1909 = #end-of-line-invisible
1911 % Increase the size of the bar number by 2
1912 \override Score.BarNumber #'font-size = #2
1913 \repeat unfold 3 { c1 } \bar "|"
1915 % Draw a box round the following bar number(s)
1916 \override Score.BarNumber #'stencil
1917 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1918 \repeat unfold 3 { c1 } \bar "|"
1920 % Draw a circle round the following bar number(s)
1921 \override Score.BarNumber #'stencil
1922 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1923 \repeat unfold 4 { c1 } \bar "|."
1926 @cindex bar number alignment
1928 Bar numbers by default are left-aligned to their parent object.
1929 This is usually the left edge of a line or, if numbers are printed
1930 within a line, the left bar line of the bar. The numbers may also
1931 be positioned directly on the bar line or right-aligned to the
1934 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1935 \set Score.currentBarNumber = #111
1936 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1937 % Increase the size of the bar number by 2
1938 \override Score.BarNumber #'font-size = #2
1939 % Print a bar number every 2nd bar
1940 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1942 % Centre-align bar numbers
1943 \override Score.BarNumber #'self-alignment-X = #0
1945 % Right-align bar numbers
1946 \override Score.BarNumber #'self-alignment-X = #-1
1950 Bar numbers can be removed entirely by removing the Bar number
1951 engraver from the score context.
1953 @lilypond[verbatim,ragged-right,quote]
1957 \remove "Bar_number_engraver"
1969 Snippets: @lsrdir{Rhythms,Rhythms}
1971 Internals Reference: @internalsref{BarNumber}.
1976 Bar numbers may collide with the top of the
1977 @internalsref{StaffGroup} bracket, if there is one. To solve
1978 this, the @code{padding} property of @internalsref{BarNumber} can
1979 be used to position the number correctly.
1981 Bar numbers may only be printed at bar lines; to print a bar
1982 number at the beginning of a piece, an empty bar line must be
1983 inserted there, and a value other than @code{1} must be placed
1984 in @code{currentBarNumber}:
1986 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1987 \set Score.currentBarNumber = #50
1996 @node Bar and bar number checks
1997 @unnumberedsubsubsec Bar and bar number checks
2000 @funindex barCheckSynchronize
2003 Bar checks help detect errors in the entered durations.
2004 A bar check may be entered using the bar symbol, @code{|},
2005 at any place where a bar line is expected to fall.
2006 If bar check lines are encountered at other places,
2007 a list of warnings is printed in the log file,
2008 showing the line numbers and lines
2009 in which the bar checks failed. In the next
2010 example, the second bar check will signal an error.
2013 \time 3/4 c2 e4 | g2 |
2016 Bar checks can also be used in lyrics, for example
2021 Twin -- kle | Twin -- kle |
2025 An incorrect duration can result in a completely garbled score,
2026 especially if the score is polyphonic, so a good place to start
2027 correcting input is by scanning for failed bar checks and
2028 incorrect durations.
2031 @funindex pipeSymbol
2033 It is also possible to redefine the action taken when a bar check
2034 or pipe symbol, @code{|}, is encountered in the input, so that
2035 it does something other than a bar check. This is done by
2036 assigning a music expression to @code{pipeSymbol}.
2037 In the following example @code{|} is set to insert a double bar
2038 line wherever it appears in the input, rather than checking
2041 @lilypond[quote,ragged-right,verbatim]
2042 pipeSymbol = \bar "||"
2051 When copying large pieces of music, it can be helpful to check
2052 that the LilyPond bar number corresponds to the original that you
2053 are entering from. This can be checked with
2054 @code{\barNumberCheck}, for example,
2057 \barNumberCheck #123
2061 will print a warning if the @code{currentBarNumber} is not 123
2062 when it is processed.
2066 Snippets: @lsrdir{Rhythms,Rhythms}
2069 @node Rehearsal marks
2070 @unnumberedsubsubsec Rehearsal marks
2072 @cindex rehearsal marks
2073 @cindex mark, rehearsal
2076 To print a rehearsal mark, use the @code{\mark} command
2078 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2087 The letter@tie{}@q{I} is skipped in accordance with engraving
2088 traditions. If you wish to include the letter @q{I}, then use
2091 \set Score.markFormatter = #format-mark-alphabet
2094 The mark is incremented automatically if you use @code{\mark
2095 \default}, but you can also use an integer argument to set the
2096 mark manually. The value to use is stored in the property
2097 @code{rehearsalMark}.
2099 @cindex rehearsal mark format
2100 @cindex rehearsal mark style
2101 @cindex style, rehearsal mark
2102 @cindex format, rehearsal mark
2103 @cindex mark, rehearsal, style
2104 @cindex mark, rehearsal, format
2106 The style is defined by the property @code{markFormatter}. It is
2107 a function taking the current mark (an integer) and the current
2108 context as argument. It should return a markup object. In the
2109 following example, @code{markFormatter} is set to a pre-defined
2110 procedure. After a few measures, it is set to a procedure that
2111 produces a boxed number.
2113 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2114 \set Score.markFormatter = #format-mark-numbers
2117 \set Score.markFormatter = #format-mark-box-numbers
2123 The file @file{scm/@/translation@/-functions@/.scm} contains the
2124 definitions of @code{format-mark-numbers} (the default format),
2125 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2126 @code{format-mark-box-letters}. These can be used as inspiration
2127 for other formatting functions.
2129 You may use @code{format-mark-barnumbers},
2130 @code{format-mark-box-barnumbers}, and
2131 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2132 incremented numbers or letters.
2134 Other styles of rehearsal mark can be specified manually
2141 @code{Score.markFormatter} does not affect marks specified in this
2142 manner. However, it is possible to apply a @code{\markup} to the
2146 \mark \markup@{ \box A1 @}
2153 Music glyphs (such as the segno sign) may be printed inside a
2156 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2157 c1 \mark \markup { \musicglyph #"scripts.segno" }
2158 c1 \mark \markup { \musicglyph #"scripts.coda" }
2159 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2164 See @ref{The Feta font}, for a list of symbols which may be
2165 printed with @code{\musicglyph}.
2167 For common tweaks to the positioning of rehearsal marks, see
2172 Snippets: @lsrdir{Rhythms,Rhythms}
2174 This manual: @ref{The Feta font}, @ref{Text marks}.
2176 Internals Reference: @internalsref{RehearsalMark}.
2178 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2179 the definition of @code{format-mark-numbers} and
2180 @code{format-mark-letters}. They can be used as inspiration for
2181 other formatting functions.
2183 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2186 @node Special rhythmic concerns
2187 @subsection Special rhythmic concerns
2192 * Aligning to cadenzas::
2193 * Time administration::
2197 @unnumberedsubsubsec Grace notes
2202 @cindex appoggiatura
2203 @cindex acciaccatura
2205 Grace notes are ornaments that are written out. They are made with
2206 the @code{\grace} command. By prefixing this keyword to a music
2207 expression, a new one is formed, which will be printed in a
2208 smaller font and takes up no logical time in a measure.
2210 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2212 \grace { c16[ d16] } c2 c4
2215 Two special forms of the @code{\grace} command exist.
2216 An @emph{acciaccatura}, which should be played as very short,
2217 is denoted by a slurred small note with a slashed stem. The
2218 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2219 main note, is denoted as a slurred note in small print without
2220 a slash. They are entered with the commands @code{\acciaccatura}
2221 and @code{\appoggiatura}, as demonstrated in the following
2224 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2225 b4 \acciaccatura d8 c4
2227 \acciaccatura { g16[ f] } e4
2231 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2232 @code{\grace} does not.
2234 The placement of grace notes is synchronized between different
2235 staves. In the following example, there are two sixteenth grace
2236 notes for every eighth grace note
2238 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2239 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2240 \new Staff { c4 \grace { g8[ b] } c4 } >>
2243 @funindex \afterGrace
2245 @cindex grace notes, following
2247 If you want to end a note with a grace, use the @code{\afterGrace}
2248 command. It takes two arguments: the main note, and the grace
2249 notes following the main note.
2251 @lilypond[ragged-right, verbatim,relative=2,fragment]
2252 c1 \afterGrace d1 { c16[ d] } c4
2255 This will put the grace notes after a @q{space} lasting 3/4 of the
2256 length of the main note. The fraction 3/4 can be changed by
2257 setting @code{afterGraceFraction}, ie.
2260 #(define afterGraceFraction (cons 7 8))
2264 will put the grace note at 7/8 of the main note.
2266 The same effect can be achieved manually by doing
2268 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2271 { s2 \grace { c16[ d] } } >>
2277 By adjusting the duration of the skip note (here it is a
2278 half-note), the space between the main-note and the grace
2281 A @code{\grace} music expression will introduce special
2282 typesetting settings, for example, to produce smaller type, and
2283 set directions. Hence, when introducing layout tweaks, they
2284 should be inside the grace expression, for example,
2286 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2298 The overrides should also be reverted inside the grace expression.
2300 The layout of grace expressions can be changed throughout the
2301 music using the function @code{add-grace-property}. The following
2302 example undefines the @code{Stem} direction for this grace, so
2303 that stems do not always point up.
2307 #(add-grace-property 'Voice 'Stem 'direction '())
2313 Another option is to change the variables @code{startGraceMusic},
2314 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2315 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2316 @code{stopAppoggiaturaMusic}. The default values of these can be
2317 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2318 them other effects may be obtained.
2320 @cindex stem, with slash
2323 The slash through the stem in @emph{acciaccatura}s can be obtained in
2324 other situations by @code{\override Stem #'stroke-style =
2330 Grace notes may be forced to use align with regular notes
2331 in other staves by setting @code{strict-grace-spacing} to
2334 @lilypond[relative=2,ragged-right]
2336 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2345 c'16[ c'16 c'16 c'16]
2346 c'16[ c'16 c'16 c'16]
2356 @rglos{grace notes},
2357 @rglos{acciaccatura},
2358 @rglos{appoggiatura}
2360 Snippets: @lsrdir{Rhythms,Rhythms}
2362 Internals Reference: @internalsref{GraceMusic}.
2367 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2368 and looks exactly the same as a multi-note beamed
2369 @emph{appoggiatura}.
2370 @c TODO Add link to LSR snippet to add slash when available
2372 Grace note synchronization can also lead to surprises. Staff
2373 notation, such as key signatures, bar lines, etc., are also
2374 synchronized. Take care when you mix staves with grace notes and
2375 staves without, for example,
2377 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2378 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2379 \new Staff { c4 \bar "|:" d4 } >>
2383 This can be remedied by inserting grace skips of the corresponding
2384 durations in the other staves. For the above example
2386 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2387 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2388 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2391 Grace sections should only be used within sequential music
2392 expressions. Nesting or juxtaposing grace sections is not
2393 supported, and might produce crashes or other errors.
2395 @node Aligning to cadenzas
2396 @unnumberedsubsubsec Aligning to cadenzas
2399 @cindex cadenza, aligning to
2400 @cindex aligning to cadenza
2402 In an orchestral context, cadenzas present a special problem: when
2403 constructing a score that includes a cadenza, all other
2404 instruments should skip just as many notes as the length of the
2405 cadenza, otherwise they will start too soon or too late.
2407 A solution to this problem is to use the functions
2408 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2409 functions take a piece of music as argument, and generate a multi-rest
2410 or @code{\skip}, exactly as long as the piece. The use of
2411 @code{mmrest-of-length} is demonstrated in the following example.
2413 @lilypond[verbatim,ragged-right,quote]
2414 cadenza = \relative c' {
2415 c4 d8 << { e f g } \\ { d4. } >>
2420 \new Staff { \cadenza c'4 }
2422 #(ly:export (mmrest-of-length cadenza))
2430 Snippets: @lsrdir{Rhythms,Rhythms}
2433 @node Time administration
2434 @unnumberedsubsubsec Time administration
2436 @cindex time administration
2437 @cindex timing (within the score)
2438 @cindex music, unmetered
2439 @cindex unmetered music
2441 @funindex currentBarNumber
2442 @funindex measurePosition
2443 @funindex measureLength
2445 Time is administered by the @code{Timing_translator}, which by
2446 default is to be found in the @code{Score} context. An alias,
2447 @code{Timing}, is added to the context in which the
2448 @code{Timing_translator} is placed.
2450 The following properties of @code{Timing} are used
2451 to keep track of timing within the score.
2454 @cindex measure number
2457 @item currentBarNumber
2458 The current measure number. For an example showing the
2459 use of this property see @ref{Bar numbers}.
2462 The length of the measures in the current time signature. For a
2463 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2464 determines when bar lines are inserted and how automatic beams
2465 should be generated.
2467 @item measurePosition
2468 The point within the measure where we currently are. This
2469 quantity is reset by subtracting @code{measureLength} whenever
2470 @code{measureLength} is reached or exceeded. When that happens,
2471 @code{currentBarNumber} is incremented.
2474 If set to true, the above variables are updated for every time
2475 step. When set to false, the engraver stays in the current
2476 measure indefinitely.
2480 Timing can be changed by setting any of these variables
2481 explicitly. In the next example, the default 4/4 time
2482 signature is printed, but @code{measureLength} is set to 5/4.
2483 At 4/8 through the third measure, the @code{measurePosition} is
2484 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2485 The next bar line then falls at 9/8 rather than 5/4.
2487 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2488 \set Score.measureLength = #(ly:make-moment 5 4)
2492 \set Score.measurePosition = #(ly:make-moment 5 8)
2498 As the example illustrates, @code{ly:make-moment n m} constructs a
2499 duration of n/m of a whole note. For example,
2500 @code{ly:make-moment 1 8} is an eighth note duration and
2501 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2507 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2509 Snippets: @lsrdir{Rhythms,Rhythms}
2511 Internals Reference: @internalsref{Timing_translator},
2512 @internalsref{Score}