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=16,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}
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 @c TODO Add Tuplet to glossary
152 Tuplets are made out of a music expression by multiplying all
153 durations with a fraction:
156 \times @var{fraction} @var{musicexpr}
160 The duration of @var{musicexpr} will be multiplied by the
161 fraction. The fraction's denominator will be printed over or
162 under the notes, optionally with a bracket. The most common
163 tuplet is the triplet in which 3 notes have the length of 2, so
164 the notes are 2/3 of their written length.
166 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
167 g4 \times 2/3 {c4 c c} d4 d4
170 Tuplets may be nested; for example,
172 @lilypond[fragment,ragged-right,verbatim,relative=2]
175 \times 3/5 { a a a a a }
183 @funindex \tupletDown
185 @funindex \tupletNeutral
186 @code{\tupletNeutral}.
191 @funindex tupletNumberFormatFunction
192 @funindex tupletSpannerDuration
193 @cindex tuplet formatting
195 The property @code{tupletSpannerDuration} specifies how long each
196 bracket should last. With this, you can make lots of tuplets
197 while typing @code{\times} only once, thus saving lots of typing.
198 In the next example, there are two triplets shown, while
199 @code{\times} was only used once.
201 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
202 \set tupletSpannerDuration = #(ly:make-moment 1 4)
203 \times 2/3 { c8 c c c c c }
207 For more information about @code{make-moment}, see
208 @ref{Time administration}.
210 @funindex TupletNumber
212 The format of the number is determined by the property @code{text}
213 in @code{TupletNumber}. The default prints only the denominator,
214 but if the property is set with @code{\override
215 TupletNumber #'text = #tuplet-number::calc-fraction-text},
216 @var{num}:@var{den} will be printed instead.
218 To print tuplets without tuplet numbers, use
219 @code{\override TupletNumber #'transparent = ##t}:
221 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
222 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
223 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
224 \times 2/3 { c8 c c }
225 \override TupletNumber #'transparent = ##t
226 \times 2/3 { c8 c c }
229 To change the appearance of nested tuplets beginning at the same
230 music moment individually, the @code{\tweak} function must be used
231 (see @ref{Objects connected to the input}). In the following
232 example, @code{\tweak} specifies fraction text for the outer
233 @code{TupletNumber} and denominator text for the
234 @code{TupletNumber} of the first of the three inner tuplets.
236 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
237 \tweak #'text #tuplet-number::calc-fraction-text
239 \tweak #'text #tuplet-number::calc-denominator-text
240 \times 2/3 { c8[ c8 c8] }
241 \times 2/3 { c8[ c8 c8] }
242 \times 2/3 { c8[ c8 c8] }
246 @cindex bracket, tuplet
247 @funindex TupletBracket
249 @c TODO: after LM 6 Tweaks includes \tweak info, look at this.-gp
250 @c It *should* be explained why \tweak must be used here, and why
251 @c \override doesn't work. I've made an attempt, but I'm not sure
252 @c if it is factually correct to say that \tweak must be used.
253 In the next example, @code{\tweak} and @code{\override} work
254 together to specify @code{TupletBracket} direction. The first
255 @code{\tweak} positions the @code{TupletBracket} of the outer
256 tuplet above the staff. The second @code{\tweak} positions the
257 @code{TupletBracket} of the first of the three inner tuplets below
258 the staff. Note that the @code{\tweak} function affects only
259 events that begin at the same music moment: the outer tuplet and
260 the first of the three inner tuplets. To position the
261 @code{TupletBrackets} of the second and third of the inner tuplets
262 below the staff, we use @code{\override} in the usual way.
264 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
265 \tweak #'text #tuplet-number::calc-fraction-text
266 \tweak #'direction #up
268 \tweak #'direction #down
269 \times 2/3 { c8[ c8 c8] }
270 \override TupletBracket #'direction = #down
271 \times 2/3 { c8[ c8 c8] }
272 \times 2/3 { c8[ c8 c8] }
276 Tuplet brackets can be made to run to prefatory matter or the next
279 @lilypond[ragged-right,verbatim,quote]
281 \set tupletFullLength = ##t
282 \set tupletFullLengthNote = ##t
284 \times 2/3 { c4 c c }
285 \set tupletFullLengthNote = ##f
293 @funindex \compressMusic
296 @code{\compressMusic} works similarly to \times, but does not
297 create a tuplet bracket; see @ref{Polymetric notation}.
302 Tuplets which cross bar lines will prevent a line break at that
307 Music Glossary: @c TODO Add @rglos{Tuplet} when Tuplet has been added to the Glossary
309 Notation Reference: @ref{Time administration},
310 @ref{Objects connected to the input}, @ref{Polymetric notation}.
312 Snippets: @lsrdir{rhythms}.
314 Internals Reference: @internalsref{TupletBracket},
315 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
319 @node Scaling durations
320 @unnumberedsubsubsec Scaling durations
322 You can alter the length of a duration by a fraction @var{N/M}
323 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
324 This will not affect the appearance of the notes or rests
325 produced, but the altered duration will be used in calculating the
326 position within the measure and setting the duration in the MIDI
327 output. Multiplying factors may be combined
330 In the following example, the first three notes take up exactly
331 two beats, but no triplet bracket is printed.
333 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
335 a4*2/3 gis4*2/3 a4*2/3
340 The duration of skip or spacing notes may also be modified by
341 a multiplier. This is useful for skipping many measures, e.g.,
346 Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
348 Snippets: @lsrdir{rhythms}
351 @unnumberedsubsubsec Ties
356 A tie connects two adjacent note heads of the same pitch. The tie
357 in effect extends the length of a note.
359 @warning{Ties should not be confused with @emph{slurs}, which
360 indicate articulation, or @emph{phrasing slurs}, which indicate
361 musical phrasing. A tie is just a way of extending a note
362 duration, similar to the augmentation dot.}
364 A tie is entered using the tilde symbol @code{~}
366 @lilypond[quote,ragged-right,fragment,verbatim]
372 Ties are used either when the note crosses a bar line, or when
373 dots cannot be used to denote the rhythm. Ties should also be
374 used when note values cross larger subdivisions of the measure:
376 @lilypond[fragment,quote,ragged-right]
378 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
382 If you need to tie a lot of notes across bar lines, it may be
383 easier to use automatic note splitting (see @ref{Automatic note
384 splitting}). This mechanism automatically splits long notes, and
385 ties them across bar lines.
388 @cindex repeating ties
389 @cindex volta brackets and ties
391 When a tie is applied to a chord, all note heads whose pitches
392 match are connected. When no note heads match, no ties will be
393 created. Chords may be partially tied by placing the tie inside
396 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
398 <c~ e g~ b> <c e g b>
401 When a second alternative of a repeat starts with a tied note, you
402 have to repeat the tie. This can be achieved with
405 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
406 \repeat volta 2 { c g <c e>2 ~ }
407 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
410 @cindex laissez vibrer
411 @cindex ties, laissez vibrer
412 @funindex \laissezVibrer
415 @funindex \tieNeutral
417 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
418 notes must not be damped at the end. It is used in notation for
419 piano, harp and other string and percussion instruments. They can
420 be entered using @code{\laissezVibrer}:
422 @lilypond[fragment,ragged-right,verbatim,relative=1]
423 <c f g>\laissezVibrer
426 The direction of a tie can be specified with @code{\tieUp} or
427 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
428 to the default behaviour again.
430 However, as with other music elements of this kind, there is a
431 convenient shorthand for forcing tie directions. By adding
432 @code{_} or @code{^} before the tilde, the direction is also set:
434 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
441 Music Glossary: @rglos{tie}, @c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
443 Snippets: @lsrdir{rhythms}
446 @internalsref{LaissezVibrerTie}
447 @internalsref{LaissezVibrerTieColumn}
450 @lsr{connecting,laissez-vibrer-ties.ly}
455 Ties are sometimes used to write out arpeggios. In this case, two
456 tied notes need not be consecutive. This can be achieved by
457 setting the @code{tieWaitForNote} property to true. The same
458 feature is also useful, for example, to tie a tremolo to a chord,
459 but in principle, it can also be used for ordinary, consecutive
462 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
463 \set tieWaitForNote = ##t
464 \grace { c16[~ e~ g]~ } <c, e g>2
465 \repeat tremolo 8 { c32~ c'~ } <c c,>1
466 e8~ c~ a~ f~ <e' c a f>2
467 \tieUp c8~ a \tieDown \tieDotted g~ c g2
470 Ties may be engraved manually by changing the
471 @code{tie-configuration} property of the @code{TieColumn} object.
472 The first number indicates the distance from the center of the
473 staff in staff-spaces, and the second number indicates the
474 direction (1=up, -1=down).
476 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
478 \override TieColumn #'tie-configuration =
479 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
491 @funindex \tieNeutral
505 Notation Reference: @ref{Automatic note splitting}.
507 Snippets: @lsrdir{rhythms}
509 Internals Reference: @internalsref{Tie}.
514 Switching staves when a tie is active will not produce a slanted
517 Changing clefs or octavations during a tie is not really
518 well-defined. In these cases, a slur may be preferable.
525 @subsection Writing rests
530 * Multi measure rests::
534 @unnumberedsubsubsec Rests
546 Rests are entered like notes with the note name @code{r}:
548 @c \time 16/1 is used to avoid spurious bar lines
549 @c and long tracts of empty measures
550 @lilypond[fragment,quote,ragged-right,verbatim]
553 \override Staff.TimeSignature #'stencil = ##f
555 r\longa r\breve r1 r2
560 Whole measure rests, centered in middle of the measure, must be entered as
561 multi-measure rests. They can be used for a single measure as well as
562 many measures and are discussed in @ref{Multi measure rests}.
564 To explicitly specify a rest's vertical position, write a note
565 followed by @code{\rest}. A rest will be placed in the position
566 where the note would appear. This allows for precise manual
567 formatting of polyphonic music, since the automatic rest collision
568 formatter will leave these rests alone.
570 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
577 Notation Reference: @ref{Multi measure rests}.
579 Snippets: @lsrdir{rhythms}.
581 Internals Reference: @internalsref{Rest}.
586 @c duplicated in Durations and Rests. -gp
587 There is no fundamental limit to rest durations (both in terms of
588 longest and shortest), but the number of glyphs is limited: there
589 are rests from 128th to maxima (8 x whole).
592 @unnumberedsubsubsec Skips
595 @cindex invisible rest
600 An invisible rest (also called a @q{skip}) can be entered like a
601 note with note name @code{s} or with @code{\skip @var{duration}}
603 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
604 a4 a4 s4 a4 \skip 1 a4
609 The @code{s} syntax is only available in note mode and chord mode.
610 In other situations, for example, when entering lyrics, one must
611 use the @code{\skip} command:
613 @lilypond[quote,ragged-right,verbatim,relative=2]
616 \new Lyrics \lyricmode { \skip 2 bla2 }
620 The skip command is merely an empty musical placeholder. It does
621 not produce any output, not even transparent output.
623 The @code{s} skip command does create @internalsref{Staff} and
624 @internalsref{Voice} when necessary, similar to note and rest
625 commands. For example, the following results in an empty staff.
627 @lilypond[quote,verbatim]
630 @c with ragged-right, the staff lines are cut BEFORE the time
631 @c signature, which makes for a VERY empty staff
633 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
634 @c Misleading -- it doesn't produce anything, not even an empty page.
635 @c Ppl who want to make empty sheets will see this and wonder what's
640 Snippets: @lsrdir{rhythms}
642 Internals Reference: @internalsref{SkipMusic}.
645 @node Multi measure rests
646 @unnumberedsubsubsec Multi measure rests
648 @cindex multi measure rests
649 @cindex full measure rests
650 @cindex rest, multi measure
651 @cindex rest, full measure
652 @cindex whole rest for a full measure
655 Rests for one or more full measures are entered using @code{R}
656 followed by a duration (see @ref{Durations}). The duration should
657 correspond to an integral number of measures, otherwise a barcheck
658 warning is printed. A @rglos{multi-measure rest} is used
659 principally to indicate that a part in a multi-part score should
662 @lilypond[quote,fragment,verbatim,relative=2]
663 \set Score.skipBars = ##t
670 A multi-measure rest can be expanded in the printed score
671 to show all the rest measures explicitly, or, as above, it can be
672 condensed to a single measure
673 containing a multi-measure rest symbol, with the number of
674 measures of rest printed above the measure. This expansion
675 is controlled by the property @code{Score.skipBars}. If this is
676 set to true, empty measures will be condensed to a single measure.
678 @lilypond[quote,ragged-right,fragment,verbatim]
679 \time 4/4 r1 | R1 | R1*2 |
682 \set Score.skipBars = ##t
686 The @code{1} in @code{R1} is similar to the duration notation
687 used for notes and is the length of a measure in 2/2 or 4/4 time.
688 The duration in a multi-measure rest must always be an integral
689 number of measure-lengths, so in other time signatures augmentation
690 dots or fractions must be used:
692 @lilypond[quote,ragged-right,fragment,verbatim]
693 \set Score.skipBars = ##t
697 R1*13/8 | R1*13/8*12 |
702 An @code{R} spanning a single measure is printed as either a whole
703 or breve rest, centered in the measure, regardless of the time
708 @cindex kirchenpausen
710 If there are 10 or fewer measures of rest, LilyPond prints
711 a series of longa and breve rests (called in German
712 Kirchenpausen - @q{church rests}) within the staff and
713 prints a simple line otherwise. This default number of 10
714 may be changed by overriding
715 @code{MultiMeasureRest.expand-limit}.
717 @lilypond[quote,ragged-right,fragment,verbatim]
718 \set Score.skipBars = ##t
720 \override MultiMeasureRest #'expand-limit = 3
724 Note that unlike ordinary rests, the vertical position on the
725 staff of the multi-measure rest symbol of either form cannot be
728 @cindex text on multi-measure rest
729 @cindex script on multi-measure rest
730 @cindex fermata on multi-measure rest
732 Text can be added to multi-measure rests by using the
733 @var{note}-@code{markup} syntax described in @ref{Text markup}.
734 The variable @code{\fermataMarkup} is provided for adding
737 @lilypond[quote,ragged-right,verbatim,fragment]
738 \set Score.skipBars = ##t
740 R2.*10^\markup { \italic "ad lib." }
744 @warning{Text attached to a multi-measure rest is created
745 by @code{MultiMeasureRestText}, not
746 @code{TextScript}. Overrides must be directed to the correct
747 object, or they will be ignored. See the following example.}
749 @lilypond[quote,ragged-right,verbatim,fragment]
750 \override TextScript #'padding = #5
752 \override MultiMeasureRestText #'padding = #5
756 Text attached to a multi-measure rest will be centered above or
757 below it. Long text attached in this way does not cause the
758 measure to expand, and may collide with text in adjacent measures.
759 Long text is better attached to a zero-length skip note preceding
760 the rest, preceded by @code{\fatText} (turn off again with
761 @code{\emptyText}), since this will cause the measure to expand to
762 accommodate the length of the text:
764 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
765 \set Score.skipBars = ##t
767 s1*0^\markup {[MAJOR GENERAL]}
769 s1*0^\markup {[MABEL] }
770 s1*0_\markup {\italic {Cue: ... it is yours}}
772 c4^\markup {CHORUS} d f c
778 Notation Reference: @ref{Durations}, @ref{Text},
779 @ref{Text markup}, @ref{Text scripts}.
781 Snippets: @lsrdir{rhythms}
783 Internals Reference: @internalsref{MultiMeasureRest}.
785 The layout object @internalsref{MultiMeasureRestNumber} is for the
786 default number, and @internalsref{MultiMeasureRestText} for user
792 If an attempt is made to use fingerings (e.g.,
793 @code{R1*10-4}) to put numbers over multi-measure rests, the
794 fingering numeral (4) may collide with the bar counter
797 @cindex condensing rests
799 There is no way to automatically condense multiple rests into a
800 single multi-measure rest. Multi-measure rests do not take part
803 Be careful when entering multi-measure rests followed by whole
804 notes. The following will enter two notes lasting four measures
812 @node Displaying rhythms
813 @subsection Displaying rhythms
819 * Polymetric notation::
820 * Automatic note splitting::
824 @unnumberedsubsubsec Time signature
826 @cindex time signature
830 The time signature is set with the @code{\time} command:
832 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
833 \time 2/4 c2 \time 3/4 c2.
838 The symbol that is printed can be customized with the @code{style}
839 property. Setting it to @code{#'()} uses fraction style for 4/4
842 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
845 \override Staff.TimeSignature #'style = #'()
850 A time signature symbol is normally printed whenever the time
851 signature changes. If this takes place at the end of a line a
852 warning time signature sign is printed at the end of the line and
853 again at the start of a new line. This default behaviour can be
854 modified by setting the value of the @code{break-visibility}
855 property. This takes three values which may be set to @code{#t}
856 or @code{#f} to specify whether the corresponding time signature
857 is visible or not. The order of the three values is @code{end of
858 line visible}, @code{middle of line visible}, @code{beginning of
861 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
862 % Do not print any time signatures at end of line
863 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
866 % Do not print the following 9/8 time signature
867 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
875 There are many more options for its layout. See @ref{Ancient time
876 signatures}, for more examples.
878 @code{\time} sets the properties @code{timeSignatureFraction},
879 @code{beatLength}, and @code{measureLength} in the @code{Timing}
880 context, which is normally aliased to @internalsref{Score}. The
881 property @code{measureLength} determines where bar lines should be
882 inserted, and how automatic beams should be generated. Changing
883 the value of @code{timeSignatureFraction} also causes the symbol
886 @cindex measure groupings
888 More options are available through the Scheme function
889 @code{set-time-signature}, which takes three arguments: the number
890 of beats, the beat length, and the internal grouping of beats in
891 the measure. If the @internalsref{Measure_grouping_engraver} is
892 included, the function will also create
893 @internalsref{MeasureGrouping} signs. Such signs ease reading
894 rhythmically complex modern music. In the following example, the
895 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
896 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
898 @lilypond[quote,ragged-right,verbatim]
901 #(set-time-signature 9 8 '(2 2 2 3))
902 g8[ g] d[ d] g[ g] a8[( bes g]) |
903 #(set-time-signature 5 8 '(3 2))
909 \consists "Measure_grouping_engraver"
918 Snippets: @lsrdir{rhythms}
920 Internals Reference: @internalsref{TimeSignature}, and
921 @internalsref{Timing_translator}.
923 Examples: @lsr{contemporary,compound-time-signature.ly}.
928 Automatic beaming does not use the measure grouping specified with
929 @code{set-time-signature}.
933 @unnumberedsubsubsec Upbeats
937 @cindex partial measure
938 @cindex measure, partial
939 @cindex pickup measure
940 @cindex shorten measures
943 Partial or pickup measures, such as an anacrusis or upbeat, are
944 entered using the @code{\partial} command, with the syntax
947 \partial @var{duration}
950 where @code{duration} is the rhythmic length to be added before
953 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
954 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
957 Internally, this is translated into
960 \set Timing.measurePosition = -@var{length of duration}
963 The property @code{measurePosition} contains a rational number
964 indicating how much of the measure has passed at this point. Note
965 that this is a negative number; @code{\partial 4} is internally
966 translated to mean @qq{there is a quarter note left in the bar.}
971 This command does not take into account grace notes at the start
972 of the music. When a piece starts with grace notes in the
973 pickup, then the @code{\partial} should follow the grace notes:
975 @lilypond[verbatim,quote,ragged-right,relative,fragment]
982 @code{\partial} is only intended to be used at the beginning of a
983 piece. If you use it after the beginning, some odd warnings may
988 Snippets: @lsrdir{rhythms}
990 @node Unmetered music
991 @unnumberedsubsubsec Unmetered music
995 @funindex \cadenzaOff
997 Bar lines and bar numbers are calculated automatically. For
998 unmetered music (cadenzas, for example), this is not desirable.
999 To turn off automatic bar lines and bar numbers, use the commands
1000 @code{\cadenzaOn} and @code{\cadenzaOff}.
1002 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1014 LilyPond will only insert line breaks and page breaks at a
1015 bar line. Unless the unmetered music ends before the end of the
1016 staff line, you will need to insert invisible bar lines with
1023 to indicate where breaks can occur.
1027 Snippets: @lsrdir{rhythms}
1030 @node Polymetric notation
1031 @unnumberedsubsubsec Polymetric notation
1033 @cindex double time signatures
1034 @cindex signatures, polymetric
1035 @cindex polymetric signatures
1036 @cindex meter, polymetric
1038 Double time signatures are not supported explicitly, but they can
1039 be faked. In the next example, the markup for the time signature
1040 is created with a markup text. This markup text is inserted in
1041 the @internalsref{TimeSignature} grob. See also
1042 @lsr{contemporary,compound-time-signature}.
1044 @lilypond[verbatim,ragged-right]
1046 tsMarkup = \markup {
1047 \override #'(baseline-skip . 2) \number {
1050 \bracket \column { "5" "8" }
1055 \override Staff.TimeSignature #'stencil =
1056 #ly:text-interface::print
1057 \override Staff.TimeSignature #'text = #tsMarkup
1059 c'2 \bar ":" c'4 c'4.
1063 Each staff can also have its own time signature. This is done by
1064 moving the @internalsref{Timing_translator} to the
1065 @internalsref{Staff} context.
1067 @lilypond[quote,verbatim,ragged-right]
1071 \remove "Timing_translator"
1072 \remove "Default_bar_line_engraver"
1076 \consists "Timing_translator"
1077 \consists "Default_bar_line_engraver"
1080 %Now, each staff has its own time signature.
1093 c4. c8 c c c4. c8 c c
1099 A different form of polymetric notation is where note lengths have
1100 different values across staves, but the measures are all the same
1103 This notation can be created by setting a common time signature
1104 for each staff but replacing it manually using
1105 @code{timeSignatureFraction} to the desired fraction. Then the
1106 printed durations in each staff are scaled to the common time
1107 signature. The latter is done with @code{\compressMusic}, which
1108 is used in a similar way to @code{\times}, but does not create
1109 a tuplet bracket. The syntax is
1110 @funindex \compressMusic
1114 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1119 In this example, music with the time signatures of 3/4, 9/8, and
1120 10/8 are used in parallel. In the second staff, shown durations
1121 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1122 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1125 @lilypond[quote,ragged-right,verbatim,fragment]
1133 \set Staff.timeSignatureFraction = #'(9 . 8)
1134 \compressMusic #'(2 . 3)
1135 \repeat unfold 6 { c8[ c c] }
1139 \set Staff.timeSignatureFraction = #'(10 . 8)
1140 \compressMusic #'(3 . 5) {
1141 \repeat unfold 2 { c8[ c c] }
1142 \repeat unfold 2 { c8[ c] }
1143 | c4. c4. \times 2/3 { c8 c c } c4
1152 When using different time signatures in parallel, the spacing is
1153 aligned vertically, but bar lines distort the regular spacing.
1157 Snippets: @lsrdir{rhythms}
1160 @node Automatic note splitting
1161 @unnumberedsubsubsec Automatic note splitting
1163 Long notes which overrun bar lines can be converted automatically
1164 to tied notes. This is done by replacing the
1165 @internalsref{Note_heads_engraver} by the
1166 @internalsref{Completion_heads_engraver}. In the following
1167 examples, notes crossing the bar line are split and tied.
1169 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1171 \remove "Note_heads_engraver"
1172 \consists "Completion_heads_engraver"
1174 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1178 This engraver splits all running notes at the bar line, and
1179 inserts ties. One of its uses is to debug complex scores: if the
1180 measures are not entirely filled, then the ties exactly show how
1181 much each measure is off.
1183 If you want to allow line breaking on the bar lines where
1184 @internalsref{Completion_heads_engraver} splits notes, you must
1185 also remove @internalsref{Forbid_line_break_engraver}.
1190 Not all durations (especially those containing tuplets) can be
1191 represented exactly with normal notes and dots, but the engraver
1192 will not insert tuplets.
1194 @code{Completion_heads_engraver} only affects notes; it does not
1200 Snippets: @lsrdir{rhythms}
1202 Internals Reference: @internalsref{Completion_heads_engraver},
1203 @internalsref{Forbid_line_break_engraver}.
1214 * Setting automatic beam behavior::
1218 @node Automatic beams
1219 @unnumberedsubsubsec Automatic beams
1221 By default beams are inserted automatically:
1223 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1225 \time 6/8 c c c c8. c16 c8
1228 If these automatic decisions are not satisfactory, beaming can be
1229 entered explicitly; see @ref{Manual beams}. It is also possible
1230 to define beaming patterns that differ from the defaults; see
1231 @ref{Setting automatic beam behavior}. The default beaming rules
1232 are defined in @file{scm/@/auto@/-beam@/.scm}.
1238 Automatic beaming may be turned off and on with
1239 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1241 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1242 c4 c8 c8. c16 c8. c16 c8
1252 Beaming patterns may be altered with the @code{beatGrouping} property,
1254 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1256 \set beatGrouping = #'(2 3)
1258 \set beatGrouping = #'(3 2)
1262 The property @code{subdivideBeams} can be set in order to
1263 subdivide all 16th or shorter beams. When set, multiple beams
1264 will be sub-divided at beat positions, defined by the current
1265 value of @code{beatLength} (defaults to a quarter note), by
1266 drawing only one beam over the beat.
1268 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1270 \set subdivideBeams = ##t
1272 \set Score.beatLength = #(ly:make-moment 1 8)
1274 \set Score.beatLength = #(ly:make-moment 1 16)
1277 @funindex subdivideBeams
1280 For more information about @code{make-moment}, see
1281 @ref{Time administration}.
1285 Line breaks are normally forbidden when beams cross bar lines.
1286 This behavior can be changed by setting the @code{breakable}
1287 property: @code{\override Beam #'breakable = ##t}.
1289 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1290 \override Beam #'breakable = ##t
1291 c8 \repeat unfold 15 {c[ c] } c
1294 @cindex beams and line breaks
1295 @cindex beams, kneed
1297 @cindex auto-knee-gap
1299 Kneed beams are inserted automatically when a large gap is
1300 detected between the note heads. This behavior can be tuned
1301 through the @code{auto-knee-gap} property. A kneed beam is
1302 drawn if the gap is larger than the value of
1303 @code{auto-knee-gap} plus the width of the beam object (which
1304 depends on the duration of the notes and the slope of the beam).
1305 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1307 @lilypond[fragment,ragged-right,quote,verbatim]
1309 \override Beam #'auto-knee-gap = #6
1316 Snippets: @lsrdir{rhythms}
1318 Internals Reference: @internalsref{Beam}.
1323 Automatically kneed cross-staff beams cannot be used together with
1324 hidden staves. See @ref{Hiding staves}.
1326 Beams can collide with noteheads and accidentals in other voices
1329 @node Setting automatic beam behavior
1330 @unnumberedsubsubsec Setting automatic beam behavior
1332 @funindex autoBeamSettings
1333 @funindex (end * * * *)
1334 @funindex (begin * * * *)
1335 @cindex automatic beams, tuning
1336 @cindex tuning automatic beaming
1338 @c [TODO: use \applyContext]
1340 In normal time signatures, automatic beams can start on any note
1341 but can only end in a few positions within the measure: beams can
1342 end on a beat, or at durations specified by the properties in
1343 @code{autoBeamSettings}. The properties in
1344 @code{autoBeamSettings} consist of a list of rules for where beams
1345 can begin and end. The default @code{autoBeamSettings} rules are
1346 defined in @file{scm/@/auto@/-beam@/.scm}.
1348 In order to add a rule to the list, use
1350 #(override-auto-beam-setting '(be p q n m) a b [context])
1355 @item @code{be} is either @code{begin} or @code{end}.
1357 @item @code{p/q} is the duration of the note for which you want
1358 to add a rule. A beam is considered to have the duration of its
1359 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1360 have this apply to any beam.
1362 @item @code{n/m} is the time signature to which
1363 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1364 to have this apply in any time signature.
1366 @item @code{a/b} is the position in the bar at which the beam should
1369 @item @code{context} is optional, and it specifies the context at which
1370 the change should be made. The default is @code{'Voice}.
1372 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1373 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1377 For example, if automatic beams should always end on the first quarter
1381 #(override-auto-beam-setting '(end * * * *) 1 4)
1384 You can force the beam settings to only take effect on beams whose shortest
1385 note is a certain duration
1387 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1389 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1391 a32 a a a a16 a a a a a |
1392 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1393 a32 a a a a16 a a a a a |
1396 You can force the beam settings to only take effect in certain time
1399 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1401 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1409 You can also remove a previously set beam-ending rule by using
1412 #(revert-auto-beam-setting '(be p q n m) a b [context])
1416 be, p, q, n, m, a, b and context are the same as above. Note that the
1417 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1418 so you can revert rules that you did not explicitly create.
1420 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1422 a16 a a a a a a a a a a a a a a a
1423 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1424 a16 a a a a a a a a a a a a a a a
1427 The rule in a revert-auto-beam-setting statement must exactly match the
1428 original rule. That is, no wildcard expansion is taken into account.
1430 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1432 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1434 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1436 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1442 @c TODO: old material -- not covered by above stuff, I think.
1443 If automatic beams should end on every quarter in 5/4 time, specify
1446 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1447 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1448 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1449 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1453 The same syntax can be used to specify beam starting points. In this
1454 example, automatic beams can only end on a dotted quarter note
1456 #(override-auto-beam-setting '(end * * * *) 3 8)
1457 #(override-auto-beam-setting '(end * * * *) 1 2)
1458 #(override-auto-beam-setting '(end * * * *) 7 8)
1460 In 4/4 time signature, this means that automatic beams could end only on
1461 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1462 3/8, has passed within the measure).
1464 If any unexpected beam behaviour occurs, check the default automatic beam
1465 settings in @file{scm/@/auto@/-beam@/.scm}
1466 for possible interference, because the beam
1467 endings defined there will still apply on top of your own overrides. Any
1468 unwanted endings in the default vales must be reverted for your time
1471 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1475 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1476 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1477 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1478 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1481 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1482 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1483 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1486 @cindex automatic beam generation
1488 @funindex autoBeaming
1491 If beams are used to indicate melismata in songs, then automatic
1492 beaming should be switched off with @code{\autoBeamOff}.
1497 @funindex \autoBeamOff
1498 @code{\autoBeamOff},
1499 @funindex \autoBeamOn
1505 If a score ends while an automatic beam has not been ended and is
1506 still accepting notes, this last beam will not be typeset at all.
1507 The same holds for polyphonic voices, entered with @code{<<
1508 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1509 automatic beam is still accepting notes, it is not typeset.
1513 Snippets: @lsrdir{rhythms}
1517 @unnumberedsubsubsec Manual beams
1519 @cindex beams, manual
1521 In some cases it may be necessary to override the automatic
1522 beaming algorithm. For example, the autobeamer will not put beams
1523 over rests or bar lines, and in choral scores the beaming is
1524 often set to follow the meter of the lyrics rather than the
1525 notes. Such beams can be specified manually by
1526 marking the begin and end point with @code{[} and @code{]}
1528 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1530 r4 r8[ g' a r8] r8 g[ | a] r8
1535 Individual notes may be marked with @code{\noBeam} to prevent them
1538 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1539 \time 2/4 c8 c\noBeam c c
1545 @funindex stemLeftBeamCount
1546 @funindex stemRightBeamCount
1548 Even more strict manual control with the beams can be achieved by
1549 setting the properties @code{stemLeftBeamCount} and
1550 @code{stemRightBeamCount}. They specify the number of beams to
1551 draw on the left and right side, respectively, of the next note.
1552 If either property is set, its value will be used only once, and
1553 then it is erased. In this example, the last @code{f} is printed
1554 with only one beam on the left side, i.e. the eigth-note beam of
1555 the group as a whole.
1557 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1561 \set stemLeftBeamCount = #1
1569 @cindex beams, feathered
1570 @funindex \featherDurations
1572 Feathered beams are used to indicate that a small group of notes
1573 should be played at an increasing (or decreasing) tempo, without
1574 changing the overall tempo of the piece. The extent of the
1575 feathered beam must be indicated manually using @code{[} and
1576 @code{]}, and the beam feathering is turned on by specifying a
1577 direction to the Beam property @code{grow-direction}.
1579 If the placement of the notes and the sound in the MIDI output
1580 is to reflect the ritardando or accelerando indicated by the
1581 feathered beam the notes must be grouped as a
1582 music expression delimited by braces and preceded by a
1583 @code{featheredDurations} command which specifies the ratio
1584 between the durations of the first and last notes in the group.
1587 show the extent of the beam and the braces show
1588 which notes are to have their durations modified. Normally
1589 these would delimit the same group of notes, but this is not
1590 required: the two commands are independent.
1592 In the following example the eight 16th notes occupy exactly
1593 the same time as a half note, but the first note is twice
1594 as short as the last one, with the intermediate notes gradually
1595 lengthening. The first four 32nd notes gradually speed up,
1596 while the last four 32nd notes are at a constant tempo.
1598 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1599 \override Beam #'grow-direction = #LEFT
1600 \featherDurations #(ly:make-moment 2 1)
1601 { c16[ c c c c c c c] }
1602 \override Beam #'grow-direction = #RIGHT
1603 \featherDurations #(ly:make-moment 2 3)
1605 % revert to non-feathered beams
1606 \override Beam #'grow-direction = #'()
1611 The spacing in the printed output represents the
1612 note durations only approximately, but the midi output is exact.
1616 The @code{\featherDurations} command only works with very short
1617 music snippets, and when numbers in the fraction are small.
1621 Snippets: @lsrdir{rhythms}
1632 * Bar and bar number checks::
1637 @unnumberedsubsubsec Bar lines
1641 @cindex measure lines
1644 Bar lines delimit measures, and are also used to indicate
1645 repeats. Normally, simple bar lines are automatically inserted
1646 into the printed output at places based on the current time
1649 The simple bar lines inserted automatically can be changed to
1650 other types with the @code{\bar} command. For example, a closing
1651 double bar line is usually placed at the end of a piece:
1653 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1657 @warning{An incorrect duration can lead to poorly formatted
1660 It is not invalid if the final note in a bar does not
1661 end on the automatically entered bar line: the note is assumed
1662 to carry over into the next bar. But if a long sequence
1663 of such carry-over bars appears the music can appear compressed
1664 or even flowing off the page. This is because automatic line
1665 breaks happen only at the end of complete bars, i.e. where
1666 the end of a note coincides with the end of a bar.
1668 Line breaks are also permitted at manually inserted bar lines
1669 even within incomplete bars. To allow a line break without
1670 printing a bar line, use
1677 This will insert an invisible bar line and allow (but not
1678 force) a line break to occur at this point. The bar number
1679 counter is not increased. To force a line break see
1680 @ref{Line breaking}.
1682 This and other special bar lines may be inserted manually at any
1683 point. When they coincide with the end of a bar they replace
1684 the simple bar line which would have been inserted there
1685 automatically. When they do not coincide
1686 with the end of a bar the specified bar line is inserted at that
1687 point in the printed output. Such insertions do not affect
1688 the calculation and placement of subsequent automatic bar lines.
1690 The simple bar line and four types of double bar line are available
1691 for manual insertion:
1693 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1694 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1698 together with dotted and dashed bar lines:
1700 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1701 f1 \bar ":" g \bar "dashed" a
1705 and three types of repeat bar line:
1707 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1708 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1711 Although the bar line types signifying repeats may be inserted
1712 manually they do not in themselves cause LilyPond to recognise
1713 a repeated section. Such repeated sections are better entered
1714 using the various repeat commands (see @ref{Repeats}), which
1715 automatically print the appropriate bar lines.
1717 In addition, you can specify @code{"||:"}, which is equivalent to
1718 @code{"|:"} except at line breaks, where it gives a double bar
1719 line at the end of the line and a start repeat at the beginning of
1722 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1723 \override Score.RehearsalMark #'padding = #3
1731 In scores with many staves, a @code{\bar} command in one staff is
1732 automatically applied to all staves. The resulting bar lines are
1733 connected between different staves of a @code{StaffGroup},
1734 @code{PianoStaff}, or @code{GrandStaff}.
1736 @lilypond[quote,ragged-right,fragment,verbatim]
1744 \new Staff { \clef bass c4 g e g }
1746 \new Staff { \clef bass c2 c2 }
1754 @funindex defaultBarType
1756 The command @code{\bar }@var{bartype} is a shortcut for
1757 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1758 created whenever the @code{whichBar} property is
1761 The default bar type used for automatically inserted bar lines is
1762 @code{"|"}. This may be changed at any time
1763 with @code{\set Timing.defaultBarType = }@var{bartype}.
1767 Notation Reference: @ref{Repeats}, @ref{System start delimiters}.
1769 Snippets: @lsrdir{rhythms}
1771 Internals Reference: @internalsref{BarLine} (created at
1772 @internalsref{Staff} level), @internalsref{SpanBar} (across
1773 staves), @internalsref{Timing_translator} (for Timing
1778 @unnumberedsubsubsec Bar numbers
1781 @cindex measure numbers
1782 @funindex currentBarNumber
1784 Bar numbers are typeset by default at the start of every line
1785 except the first line. The
1786 number itself is stored in the @code{currentBarNumber} property,
1787 which is normally updated automatically for every measure. It
1788 may also be set manually:
1790 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1793 \set Score.currentBarNumber = #50
1800 @funindex barNumberVisibility
1801 @cindex bar numbers, regular spacing
1803 Bar numbers can be typeset at regular intervals instead of just at
1804 the beginning of every line. To do this the default behaviour
1805 must be overridden to permit bar numbers to be printed at places
1806 other than the start of a line. This is controlled by the
1807 @code{break-visibility} property of @code{BarNumber}. This takes
1808 three values which may be set to @code{#t} or @code{#f} to specify
1809 whether the corresponding bar number is visible or not. The order
1810 of the three values is @code{end of line visible}, @code{middle of
1811 line visible}, @code{beginning of line visible}. In the following
1812 example bar numbers are printed at all possible places:
1814 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1815 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1816 \set Score.currentBarNumber = #11
1817 \bar "" % Permit first bar number to be printed
1823 @c All the rest of these examples will be added to LSR
1824 @c and moved into the Snippets. -gp
1827 and here the bar numbers are printed every two bars
1828 except at the end of the line:
1830 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1831 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1832 \set Score.currentBarNumber = #11
1833 \bar "" % Permit first bar number to be printed
1834 % Print a bar number every 2nd bar
1835 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1841 The size of the bar number may be changed. This is illustrated
1842 in the following example, which also shows how to enclose bar
1843 numbers in boxes and circles, and shows an alternative way
1844 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1846 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1847 % Prevent bar numbers at the end of a line and permit them elsewhere
1848 \override Score.BarNumber #'break-visibility
1849 = #end-of-line-invisible
1851 % Increase the size of the bar number by 2
1852 \override Score.BarNumber #'font-size = #2
1853 \repeat unfold 3 { c1 } \bar "|"
1855 % Draw a box round the following bar number(s)
1856 \override Score.BarNumber #'stencil
1857 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1858 \repeat unfold 3 { c1 } \bar "|"
1860 % Draw a circle round the following bar number(s)
1861 \override Score.BarNumber #'stencil
1862 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1863 \repeat unfold 4 { c1 } \bar "|."
1866 @cindex bar number alignment
1868 Bar numbers by default are left-aligned to their parent object.
1869 This is usually the left edge of a line or, if numbers are printed
1870 within a line, the left bar line of the bar. The numbers may also
1871 be positioned directly on the bar line or right-aligned to the
1874 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1875 \set Score.currentBarNumber = #111
1876 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1877 % Increase the size of the bar number by 2
1878 \override Score.BarNumber #'font-size = #2
1879 % Print a bar number every 2nd bar
1880 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1882 % Centre-align bar numbers
1883 \override Score.BarNumber #'self-alignment-X = #0
1885 % Right-align bar numbers
1886 \override Score.BarNumber #'self-alignment-X = #-1
1890 Bar numbers can be removed entirely by removing the Bar number
1891 engraver from the score context.
1893 @lilypond[verbatim,ragged-right,quote]
1897 \remove "Bar_number_engraver"
1909 Snippets: @lsrdir{rhythms}
1911 Internals Reference: @internalsref{BarNumber}.
1913 Examples: @lsrdir{bar number}
1918 Bar numbers may collide with the top of the
1919 @internalsref{StaffGroup} bracket, if there is one. To solve
1920 this, the @code{padding} property of @internalsref{BarNumber} can
1921 be used to position the number correctly.
1923 Bar numbers may only be printed at bar lines; to print a bar
1924 number at the beginning of a piece, an empty bar line must be
1925 inserted there, and a value other than @code{1} must be placed
1926 in @code{currentBarNumber}:
1928 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1929 \set Score.currentBarNumber = #50
1938 @node Bar and bar number checks
1939 @unnumberedsubsubsec Bar and bar number checks
1942 @funindex barCheckSynchronize
1945 Bar checks help detect errors in the entered durations.
1946 A bar check may be entered using the bar symbol, @code{|},
1947 at any place where a bar line is expected to fall.
1948 If bar check lines are encountered at other places,
1949 a list of warnings is printed in the log file,
1950 showing the line numbers and lines
1951 in which the bar checks failed. In the next
1952 example, the second bar check will signal an error
1955 \time 3/4 c2 e4 | g2 |
1958 Bar checks can also be used in lyrics, for example
1963 Twin -- kle | Twin -- kle |
1967 An incorrect duration can result in a completely garbled score,
1968 especially if the score is polyphonic, so a good place to start
1969 correcting input is by scanning for failed bar checks and
1970 incorrect durations.
1973 @funindex pipeSymbol
1975 It is also possible to redefine the action taken when a bar check
1976 or pipe symbol, @code{|}, is encountered in the input, so that
1977 it does something other than a bar check. This is done by
1978 assigning a music expression to @code{pipeSymbol}.
1979 In the following example @code{|} is set to insert a double bar
1980 line wherever it appears in the input, rather than checking
1983 @lilypond[quote,ragged-right,verbatim]
1984 pipeSymbol = \bar "||"
1993 When copying large pieces of music, it can be helpful to check
1994 that the LilyPond bar number corresponds to the original that you
1995 are entering from. This can be checked with
1996 @code{\barNumberCheck}, for example,
1999 \barNumberCheck #123
2003 will print a warning if the @code{currentBarNumber} is not 123
2004 when it is processed.
2008 Snippets: @lsrdir{rhythms}
2011 @node Rehearsal marks
2012 @unnumberedsubsubsec Rehearsal marks
2014 @cindex rehearsal marks
2017 To print a rehearsal mark, use the @code{\mark} command
2019 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2028 The letter@tie{}@q{I} is skipped in accordance with engraving
2029 traditions. If you wish to include the letter @q{I}, then use
2032 \set Score.markFormatter = #format-mark-alphabet
2035 The mark is incremented automatically if you use @code{\mark
2036 \default}, but you can also use an integer argument to set the
2037 mark manually. The value to use is stored in the property
2038 @code{rehearsalMark}.
2040 The style is defined by the property @code{markFormatter}. It is
2041 a function taking the current mark (an integer) and the current
2042 context as argument. It should return a markup object. In the
2043 following example, @code{markFormatter} is set to a pre-defined
2044 procedure. After a few measures, it is set to a procedure that
2045 produces a boxed number.
2047 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2048 \set Score.markFormatter = #format-mark-numbers
2051 \set Score.markFormatter = #format-mark-box-numbers
2057 The file @file{scm/@/translation@/-functions@/.scm} contains the
2058 definitions of @code{format-mark-numbers} (the default format),
2059 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2060 @code{format-mark-box-letters}. These can be used as inspiration
2061 for other formatting functions.
2063 You may use @code{format-mark-barnumbers},
2064 @code{format-mark-box-barnumbers}, and
2065 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2066 incremented numbers or letters.
2068 Other styles of rehearsal mark can be specified manually
2075 @code{Score.markFormatter} does not affect marks specified in this
2076 manner. However, it is possible to apply a @code{\markup} to the
2080 \mark \markup@{ \box A1 @}
2087 Music glyphs (such as the segno sign) may be printed inside a
2090 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2091 c1 \mark \markup { \musicglyph #"scripts.segno" }
2092 c1 \mark \markup { \musicglyph #"scripts.coda" }
2093 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2098 See @ref{The Feta font}, for a list of symbols which may be
2099 printed with @code{\musicglyph}.
2101 For common tweaks to the positioning of rehearsal marks, see
2106 Snippets: @lsrdir{rhythms}
2108 This manual: @ref{Text marks}.
2110 Internals Reference: @internalsref{RehearsalMark}.
2112 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2113 the definition of @code{format-mark-numbers} and
2114 @code{format-mark-letters}. They can be used as inspiration for
2115 other formatting functions.
2117 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2120 @node Special rhythmic concerns
2121 @subsection Special rhythmic concerns
2126 * Aligning to cadenzas::
2127 * Time administration::
2131 @unnumberedsubsubsec Grace notes
2136 @cindex appoggiatura
2137 @cindex acciaccatura
2139 Grace notes are ornaments that are written out. They are made with
2140 the @code{\grace} command. By prefixing this keyword to a music
2141 expression, a new one is formed, which will be printed in a
2142 smaller font and takes up no logical time in a measure.
2144 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2146 \grace { c16[ d16] } c2 c4
2149 Two special forms of the @code{\grace} command exist.
2150 An @emph{acciaccatura}, which should be played as very short,
2151 is denoted by a slurred small note with a slashed stem. The
2152 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2153 main note, is denoted as a slurred note in small print without
2154 a slash. They are entered with the commands @code{\acciaccatura}
2155 and @code{\appoggiatura}, as demonstrated in the following
2158 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2159 b4 \acciaccatura d8 c4
2161 \acciaccatura { g16[ f] } e4
2165 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2166 @code{\grace} does not.
2168 The placement of grace notes is synchronized between different
2169 staves. In the following example, there are two sixteenth grace
2170 notes for every eighth grace note
2172 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2173 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2174 \new Staff { c4 \grace { g8[ b] } c4 } >>
2177 @funindex \afterGrace
2179 If you want to end a note with a grace, use the @code{\afterGrace}
2180 command. It takes two arguments: the main note, and the grace
2181 notes following the main note.
2183 @lilypond[ragged-right, verbatim,relative=2,fragment]
2184 c1 \afterGrace d1 { c16[ d] } c4
2187 This will put the grace notes after a @q{space} lasting 3/4 of the
2188 length of the main note. The fraction 3/4 can be changed by
2189 setting @code{afterGraceFraction}, ie.
2192 #(define afterGraceFraction (cons 7 8))
2196 will put the grace note at 7/8 of the main note.
2198 The same effect can be achieved manually by doing
2200 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2203 { s2 \grace { c16[ d] } } >>
2209 By adjusting the duration of the skip note (here it is a
2210 half-note), the space between the main-note and the grace
2213 A @code{\grace} music expression will introduce special
2214 typesetting settings, for example, to produce smaller type, and
2215 set directions. Hence, when introducing layout tweaks, they
2216 should be inside the grace expression, for example,
2218 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2230 The overrides should also be reverted inside the grace expression.
2232 The layout of grace expressions can be changed throughout the
2233 music using the function @code{add-grace-property}. The following
2234 example undefines the @code{Stem} direction for this grace, so
2235 that stems do not always point up.
2239 #(add-grace-property 'Voice 'Stem 'direction '())
2245 Another option is to change the variables @code{startGraceMusic},
2246 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2247 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2248 @code{stopAppoggiaturaMusic}. The default values of these can be
2249 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2250 them other effects may be obtained.
2253 The slash through the stem in @emph{acciaccatura}s can be obtained in
2254 other situations by @code{\override Stem #'stroke-style =
2260 Grace notes may be forced to use align with regular notes
2261 in other staves by setting @code{strict-grace-spacing} to
2264 @lilypond[relative=2,ragged-right]
2266 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2275 c'16[ c'16 c'16 c'16]
2276 c'16[ c'16 c'16 c'16]
2285 Snippets: @lsrdir{rhythms}
2287 Internals Reference: @internalsref{GraceMusic}.
2292 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2293 and looks exactly the same as a multi-note beamed
2294 @emph{appoggiatura}.
2295 @c TODO Add link to LSR snippet to add slash when available
2297 Grace note synchronization can also lead to surprises. Staff
2298 notation, such as key signatures, bar lines, etc., are also
2299 synchronized. Take care when you mix staves with grace notes and
2300 staves without, for example,
2302 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2303 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2304 \new Staff { c4 \bar "|:" d4 } >>
2308 This can be remedied by inserting grace skips of the corresponding
2309 durations in the other staves. For the above example
2311 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2312 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2313 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2316 Grace sections should only be used within sequential music
2317 expressions. Nesting or juxtaposing grace sections is not
2318 supported, and might produce crashes or other errors.
2320 @node Aligning to cadenzas
2321 @unnumberedsubsubsec Aligning to cadenzas
2323 In an orchestral context, cadenzas present a special problem: when
2324 constructing a score that includes a cadenza, all other
2325 instruments should skip just as many notes as the length of the
2326 cadenza, otherwise they will start too soon or too late.
2328 A solution to this problem are the functions
2329 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2330 functions take a piece of music as argument, and generate a
2331 multi-rest or @code{\skip}, exactly as long as the piece. The use
2332 of @code{mmrest-of-length} is demonstrated in the following
2335 @lilypond[verbatim,ragged-right,quote]
2336 cadenza = \relative c' {
2337 c4 d8 << { e f g } \\ { d4. } >>
2342 \new Staff { \cadenza c'4 }
2344 #(ly:export (mmrest-of-length cadenza))
2352 Snippets: @lsrdir{rhythms}
2355 @node Time administration
2356 @unnumberedsubsubsec Time administration
2358 @cindex time administration
2360 @funindex currentBarNumber
2361 @funindex measurePosition
2362 @funindex measureLength
2364 Time is administered by the @code{Timing_translator}, which by
2365 default is to be found in the @code{Score} context. An alias,
2366 @code{Timing}, is added to the context in which the
2367 @code{Timing_translator} is placed.
2369 The following properties of @code{Timing} are used
2370 to keep track of timing within the score.
2373 @item currentBarNumber
2374 The current measure number. For an example showing the
2375 use of this property see @ref{Bar numbers}.
2378 The length of the measures in the current time signature. For a
2379 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2380 determines when bar lines are inserted and how automatic beams
2381 should be generated.
2383 @item measurePosition
2384 The point within the measure where we currently are. This
2385 quantity is reset by subtracting @code{measureLength} whenever
2386 @code{measureLength} is reached or exceeded. When that happens,
2387 @code{currentBarNumber} is incremented.
2390 If set to true, the above variables are updated for every time
2391 step. When set to false, the engraver stays in the current
2392 measure indefinitely.
2396 Timing can be changed by setting any of these variables
2397 explicitly. In the next example, the default 4/4 time
2398 signature is printed, but @code{measureLength} is set to 5/4.
2399 At 4/8 through the third measure, the @code{measurePosition} is
2400 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2401 The next bar line then falls at 9/8 rather than 5/4.
2403 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2404 \set Score.measureLength = #(ly:make-moment 5 4)
2408 \set Score.measurePosition = #(ly:make-moment 5 8)
2414 As the example illustrates, @code{ly:make-moment n m} constructs a
2415 duration of n/m of a whole note. For example,
2416 @code{ly:make-moment 1 8} is an eighth note duration and
2417 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2423 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2425 Snippets: @lsrdir{rhythms}
2427 Internals Reference: @internalsref{Timing_translator},
2428 @internalsref{Score}