1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
14 @lilypondfile[quote]{rhythms-headword.ly}
16 This section discusses rhythms, rests, durations, beaming and bars.
21 * Displaying rhythms::
24 * Special rhythmic concerns::
29 @subsection Writing rhythms
39 @unnumberedsubsubsec Durations
41 @cindex durations, of notes
42 @cindex note durations
48 Durations are designated by numbers and dots.
49 Durations are entered as their reciprocal values. For example, a
50 quarter note is entered using a @code{4} (since it is a 1/4 note),
51 and a half note is entered using a @code{2} (since it is a 1/2
52 note). For notes longer than a whole you must use the
53 @code{\longa} (a double breve) and @code{\breve} commands.
54 Durations as short as 64th notes may be specified. Shorter values
55 are possible, but only as beamed notes.
57 @c Two 64th notes are needed to obtain beams
58 @lilypond[quote,verbatim,relative=2]
65 Here are the same durations with automatic beaming turned off.
67 @c not strictly "writing rhythms"; more of a "displaying" thing,
68 @c but it's ok here. -gp
69 @lilypond[quote,verbatim,relative=2]
76 A note with the duration of a quadruple breve may be entered with
77 @code{\maxima}, but this is supported only within ancient music
78 notation. For details, see @ref{Ancient notation}.
80 If the duration is omitted, it is set to the previously
81 entered duration. The default for the first note is a quarter
84 @lilypond[quote,verbatim,relative=2]
93 To obtain dotted note lengths, place a dot (@code{.}) after the
94 duration. Double-dotted notes are specified by appending two
97 @lilypond[quote,verbatim,relative=2]
98 a4 b c4. b8 a4. b4.. c8.
101 Some durations cannot be represented with just binary durations
102 and dots; they can be represented only by tying two or more
103 notes together. For details, see @ref{Ties}.
105 For ways of specifying durations for the syllables of lyrics and
106 ways of aligning lyrics to notes, see @ref{Vocal music}.
108 Optionally, notes can be spaced strictly proportionately to their
109 duration. For details of this and other settings which control
110 proportional notation, see @ref{Proportional notation}.
114 @funindex \dotsNeutral
116 Dots are normally moved up to avoid staff lines, except in
117 polyphonic situations. Predefined commands are available to
118 force a particular direction manually, for details
119 see @ref{Direction and placement}.
135 @rglos{Duration names notes and rests}.
138 @ref{Automatic beams},
140 @ref{Writing rhythms},
143 @ref{Ancient notation},
144 @ref{Proportional notation}.
151 @rinternals{DotColumn}.
156 @c Deliberately duplicated in Durations and Rests. -gp
157 There is no fundamental limit to rest durations (both in terms of
158 longest and shortest), but the number of glyphs is limited:
159 rests from 128th to maxima (8 x whole) may be printed.
163 @unnumberedsubsubsec Tuplets
169 Tuplets are made from a music expression by multiplying all the
170 durations with a fraction:
173 \times @var{fraction} @{ @var{music} @}
177 The duration of @var{music} will be multiplied by the
178 fraction. The fraction's denominator will be printed over or
179 under the notes, optionally with a bracket. The most common
180 tuplet is the triplet in which 3 notes have the duration of 2, so
181 the notes are 2/3 of their written length.
183 @lilypond[quote,verbatim,relative=2]
184 a2 \times 2/3 { b4 b b }
185 c4 c \times 2/3 { b4 a g }
189 @funindex \tupletDown
190 @funindex \tupletNeutral
192 The automatic placement of the tuplet bracket above or below the
193 notes may be overridden manually with predefined commands, for
194 details see @ref{Direction and placement}.
196 Tuplets may be nested:
198 @lilypond[quote,verbatim,relative=2]
200 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
203 Modifying nested tuplets which begin at the same musical moment
204 must be done with @code{\tweak}.
206 To modify the duration of notes without printing a tuplet bracket,
207 see @ref{Scaling durations}.
213 @code{\tupletNeutral}.
218 @cindex tuplet formatting
219 @cindex triplet formatting
221 @funindex tupletNumberFormatFunction
222 @funindex tupletSpannerDuration
224 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
225 {entering-several-tuplets-using-only-one--times-command.ly}
227 @funindex TupletNumber
229 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
230 {changing-the-tuplet-number.ly}
232 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
233 {permitting-line-breaks-within-beamed-tuplets.ly}
242 Learning Manual: @rlearning{Tweaking methods}.
245 @ref{Time administration},
246 @ref{Scaling durations},
247 @ref{The tweak command},
248 @ref{Polymetric notation}.
254 @rinternals{TupletBracket},
255 @rinternals{TupletNumber},
256 @rinternals{TimeScaledMusic}.
259 @cindex grace notes within tuplet brackets
260 When the first note on a staff is a grace note followed by a
261 tuplet the grace note must be placed before the @code{\times}
262 command to avoid errors. Anywhere else, grace notes may be
263 placed within tuplet brackets.
266 @node Scaling durations
267 @unnumberedsubsubsec Scaling durations
269 @cindex scaling durations
270 @cindex durations, scaling
272 You can alter the duration of single notes, rests or chords by a
273 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
274 @code{M} is 1) to the duration.
275 This will not affect the appearance of the notes or rests
276 produced, but the altered duration will be used in calculating the
277 position within the measure and setting the duration in the MIDI
278 output. Multiplying factors may be combined such as @code{*L*M/N}.
280 In the following example, the first three notes take up exactly
281 two beats, but no triplet bracket is printed.
283 @lilypond[quote,relative=2,verbatim]
285 % Alter durations to triplets
286 a4*2/3 gis4*2/3 a4*2/3
289 % Double the duration of chord
291 % Duration of quarter, appears like sixteenth
295 The duration of skip or spacing notes may also be modified by
296 a multiplier. This is useful for skipping many measures, e.g.,
299 @cindex compressing music
300 @funindex \scaleDurations
302 Longer stretches of music may be compressed by a fraction in the
303 same way, as if every note, chord or rest had the fraction as a
304 multiplier. This leaves the appearance of the music unchanged but
305 the internal duration of the notes will be multiplied by the
306 fraction @emph{num}/@emph{den}. The spaces around the dot are
307 required. Here is an example showing how music can be compressed
310 @lilypond[quote,relative=2,verbatim]
314 % Scale music by *2/3
315 \scaleDurations #'(2 . 3) {
319 \scaleDurations #'(2 . 1) {
325 One application of this command is in polymetric
326 notation, see @ref{Polymetric notation}.
333 @ref{Invisible rests},
334 @ref{Polymetric notation}.
341 @unnumberedsubsubsec Ties
346 A tie connects two adjacent note heads of the same pitch. The tie
347 in effect extends the duration of a note.
349 @warning{Ties should not be confused with @emph{slurs}, which
350 indicate articulation, or @emph{phrasing slurs}, which indicate
351 musical phrasing. A tie is just a way of extending a note
352 duration, similar to the augmentation dot.}
354 A tie is entered using the tilde symbol @code{~}
356 @lilypond[quote,verbatim,relative=2]
362 Ties are used either when the note crosses a bar line, or when
363 dots cannot be used to denote the rhythm. Ties should also be
364 used when note values cross larger subdivisions of the measure:
366 @lilypond[verbatim,quote]
373 If you need to tie many notes across bar lines, it may be
374 easier to use automatic note splitting, see @ref{Automatic note
375 splitting}. This mechanism automatically splits long notes, and
376 ties them across bar lines.
378 @cindex ties and chords
379 @cindex chords and ties
381 When a tie is applied to a chord, all note heads whose pitches
382 match are connected. When no note heads match, no ties will be
383 created. Chords may be partially tied by placing the tie inside
386 @lilypond[quote,verbatim,relative=1]
388 <c~ e g~ b> <c e g b>
392 @cindex repeating ties
393 @cindex ties, repeating
394 @cindex volta brackets and ties
395 @cindex ties and volta brackets
397 When a second alternative of a repeat starts with a tied note, you
398 have to specify the repeated tie as follows:
400 @lilypond[quote,relative=2,verbatim]
401 \repeat volta 2 { c g <c e>2 ~ }
403 % First alternative: following note is tied normally
405 % Second alternative: following note has a repeated tie
406 { <c e>2\repeatTie d4 c } }
409 @cindex laissez vibrer
410 @cindex ties, laissez vibrer
411 @funindex \laissezVibrer
413 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
414 notes must not be damped at the end. It is used in notation for
415 piano, harp and other string and percussion instruments. They can
416 be entered as follows:
418 @lilypond[quote,verbatim,relative=1]
419 <c f g>1\laissezVibrer
422 @cindex ties, placement
425 @funindex \tieNeutral
427 The vertical placement of ties may be controlled, see
428 Predefined commands, or for details, see
429 @ref{Direction and placement}.
431 @cindex ties, appearance
436 Solid, dotted or dashed ties may be specified, see Predefined
452 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
453 {using-ties-with-arpeggios.ly}
455 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
456 {engraving-ties-manually.ly}
463 @rglos{laissez vibrer}.
465 Notation Reference: @ref{Automatic note splitting}.
471 @rinternals{LaissezVibrerTie},
472 @rinternals{LaissezVibrerTieColumn},
473 @rinternals{TieColumn},
479 Switching staves when a tie is active will not produce a slanted
482 Changing clefs or octavations during a tie is not really
483 well-defined. In these cases, a slur may be preferable.
490 @subsection Writing rests
492 Rests are entered as part of the music in music expressions.
497 * Full measure rests::
501 @unnumberedsubsubsec Rests
503 @cindex rest, entering durations
514 Rests are entered like notes with the note name @code{r}.
515 Durations longer than a whole rest use the predefined
518 @c \time 16/1 is used to avoid spurious bar lines
519 @c and long tracts of empty measures
520 @lilypond[fragment,quote,verbatim]
522 % These two lines are just to prettify this example
524 \override Staff.TimeSignature #'stencil = ##f
525 % Print a maxima rest, equal to four breves
527 % Print a longa rest, equal to two breves
531 r1 r2 r4 r8 r16 r32 r64 r128
535 @cindex rest, multi-measure
536 @cindex rest, whole-measure
538 Whole measure rests, centered in the middle of the measure, must be
539 entered as multi-measure rests. They can be used for a single
540 measure as well as many measures and are discussed in @ref{Full
543 @cindex rest, specifying vertical position
545 To explicitly specify a rest's vertical position, write a note
546 followed by @code{\rest}. A rest of the duration of the note will
547 be placed at the staff position where the note would appear. This
548 allows for precise manual formatting of polyphonic music, since the
549 automatic rest collision formatter will not move these rests.
551 @lilypond[quote,verbatim,relative=2]
557 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
564 @ref{Full measure rests}.
575 @c Deliberately duplicated in Durations and Rests. -gp
576 There is no fundamental limit to rest durations (both in terms of
577 longest and shortest), but the number of glyphs is limited: there
578 are rests from 128th to maxima (8 x whole).
581 @node Invisible rests
582 @unnumberedsubsubsec Invisible rests
585 @cindex invisible rest
586 @cindex rest, invisible
591 An invisible rest (also called a @q{spacer rest}) can be entered
592 like a note with the note name@tie{}@code{s}:
594 @lilypond[verbatim,quote,relative=2]
601 Spacer rests are available only in note mode and chord mode. In
602 other situations, for example, when entering lyrics, @code{\skip}
603 is used to skip a musical moment. @code{\skip} requires an
606 @lilypond[quote,verbatim,relative=2]
619 A spacer rest implicitly causes @code{Staff} and @code{Voice}
620 contexts to be created if none exist, just like notes and rests
623 @lilypond[quote,verbatim,fragment]
627 @code{\skip} simply skips musical time; it creates no output of
630 @lilypond[quote,verbatim,fragment]
631 % This is valid input, but does nothing
632 \skip 1 \skip1 \skip 1
640 Internals Reference: @rinternals{SkipMusic}
643 @node Full measure rests
644 @unnumberedsubsubsec Full measure rests
646 @cindex multi-measure rests
647 @cindex full-measure rests
648 @cindex rest, multi-measure
649 @cindex rest, full-measure
650 @cindex whole rest for a full measure
653 Rests for one or more full measures are entered like notes with
654 the note name uppercase @code{R}:
656 @lilypond[quote,verbatim,relative=2]
657 % Rest measures contracted to single measure
658 \compressFullBarRests
665 The duration of full-measure rests is identical to the duration notation
666 used for notes. The duration in a multi-measure rest must always be an
667 integral number of measure-lengths, so augmentation
668 dots or fractions must often be used:
670 @lilypond[quote,fragment,verbatim]
671 \compressFullBarRests
677 R1*13/8 | R1*13/8*12 |
682 A full-measure rest is printed as either a whole
683 or breve rest, centered in the measure, depending on the time
686 @lilypond[quote,verbatim,fragment]
694 @funindex \expandFullBarRests
695 @funindex \compressFullBarRests
696 @cindex multi-measure rest, expanding
697 @cindex multi-measure rest, contracting
699 By default a multi-measure rest is expanded in the printed score
700 to show all the rest measures explicitly.
701 Alternatively, a mult-measure rest can be shown as a single measure
702 containing a multi-measure rest symbol, with the number of measures of rest
703 printed above the measure:
705 @lilypond[quote,fragment,verbatim]
707 \time 3/4 r2. | R2.*2 |
710 % Rest measures contracted to single measure
711 \compressFullBarRests
713 % Rest measures expanded
720 @cindex text on multi-measure rest
721 @cindex multi-measure rest, attaching text
722 @cindex script on multi-measure rest
723 @cindex multi-measure rest, script
724 @cindex fermata on multi-measure rest
725 @cindex multi-measure rest, attaching fermata
727 Markups can be added to multi-measure rests.
728 The predefined command @code{\fermataMarkup}
729 is provided for adding fermatas.
731 @lilypond[quote,verbatim,fragment]
732 \compressFullBarRests
734 R2.*10^\markup { \italic "ad lib." }
739 Markups attached to a multi-measure rest are
740 objects of type @code{MultiMeasureRestText}, not
741 @code{TextScript}. Overrides must be directed to the correct
742 object, or they will be ignored. See the following example.
745 @lilypond[quote,verbatim,fragment]
746 % This fails, as the wrong object name is specified
747 \override TextScript #'padding = #5
749 % This is correct and works
750 \override MultiMeasureRestText #'padding = #5
754 When a multi-measure rest immediately follows a @code{\partial}
755 setting, resulting bar-check warnings may not be displayed.
758 @code{\textLengthOn},
759 @code{\textLengthOff},
760 @code{\fermataMarkup},
761 @code{\compressFullBarRests},
762 @code{\expandFullBarRests}.
768 @cindex kirchenpausen
770 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
771 {changing-form-of-multi--measure-rests.ly}
773 @cindex multi-measure rests, positioning
774 @cindex positioning multi-measure rests
776 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
777 {positioning-multi--measure-rests.ly}
779 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
780 {multi--measure-rest-markup.ly}
785 @rglos{multi-measure rest}.
790 @ref{Formatting text},
797 @rinternals{MultiMeasureRest},
798 @rinternals{MultiMeasureRestNumber},
799 @rinternals{MultiMeasureRestText}.
804 If an attempt is made to use fingerings (e.g.,
805 @code{R1*10-4}) to put numbers over multi-measure rests, the
806 fingering numeral (4) may collide with the bar counter
809 @cindex condensing rests
810 @cindex rest, condensing ordinary
812 There is no way to automatically condense multiple ordinary rests
813 into a single multi-measure rest.
815 @cindex rest, collisions of
817 Multi-measure rests do not take part in rest collisions.
819 @node Displaying rhythms
820 @subsection Displaying rhythms
826 * Polymetric notation::
827 * Automatic note splitting::
828 * Showing melody rhythms::
832 @unnumberedsubsubsec Time signature
834 @cindex time signature
838 The time signature is set as follows:
840 @lilypond[quote,verbatim,relative=2]
845 @cindex Time signature, visibility of
847 Time signatures are printed at the beginning of a piece
848 and whenever the time signature changes. If a change takes place
849 at the end of a line a warning time signature sign is printed
850 there. This default behavior may be changed, see
851 @ref{Visibility of objects}.
853 @lilypond[quote,verbatim,relative=2]
863 @funindex \numericTimeSignature
864 @funindex \defaultTimeSignature
865 @cindex time signature style
867 The time signature symbol that is used in 2/2 and 4/4 time can be
868 changed to a numeric style:
870 @lilypond[quote,verbatim,relative=2]
874 % Change to numeric style
875 \numericTimeSignature
878 % Revert to default style
879 \defaultTimeSignature
885 Mensural time signatures are covered in
886 @ref{Mensural time signatures}.
890 @code{\numericTimeSignature},
891 @code{\defaultTimeSignature}.
895 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
896 {changing-the-time-signature-without-affecting-the-beaming.ly}
898 @cindex compound time signatures
899 @cindex time signature, compound
901 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
902 {compound-time-signatures.ly}
908 @rglos{time signature}
911 @ref{Mensural time signatures},
912 @ref{Time administration}.
918 @rinternals{TimeSignature},
919 @rinternals{Timing_translator}.
923 @unnumberedsubsubsec Upbeats
927 @cindex partial measure
928 @cindex measure, partial
929 @cindex pickup measure
930 @cindex measure, change length
931 @cindex measurePosition
934 Partial or pick-up measures, such as an anacrusis or upbeat, are
935 entered using the @code{\partial} command, with the syntax
938 \partial @var{duration}
941 where @code{duration} is the rhythmic length of the interval
942 before the start of the first complete measure:
944 @lilypond[quote,verbatim,relative=2]
949 The partial measure can be any duration less than a full measure:
951 @lilypond[quote,verbatim,relative=2]
952 \partial 8*3 c8 d e |
956 Internally, this is translated into
959 \set Timing.measurePosition = -@var{duration}
962 The property @code{measurePosition} contains a rational number
963 indicating how much of the measure has passed at this point. Note
964 that this is set to a negative number by the @code{\partial}
965 command: i.e., @code{\partial 4} is internally translated to
966 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
980 @rinternals{Timing_translator}.
984 The @code{\partial} command is intended to be used only at the
985 beginning of a piece. If you use it after the beginning, some
986 odd warnings may occur.
988 @node Unmetered music
989 @unnumberedsubsubsec Unmetered music
992 @funindex \cadenzaOff
993 @cindex bar lines, turning off
994 @cindex bar numbering, turning off
996 @cindex unmetered music
998 Bar lines and bar numbers are calculated automatically. For
999 unmetered music (some cadenzas, for example), this is not desirable.
1000 To turn off automatic calculation of bar lines and bar numbers,
1001 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1002 to turn them on again.
1004 @lilypond[verbatim,relative=2,fragment]
1013 Bar numbering is resumed at the end of the cadenza as if the
1014 cadenza were not there:
1016 @lilypond[verbatim,relative=2,fragment]
1017 % Show all bar numbers
1018 \override Score.BarNumber #'break-visibility = #all-visible
1038 @c ref{Controlling visibility of objects}.
1045 LilyPond will insert line breaks and page breaks only at a
1046 bar line. Unless the unmetered music ends before the end of the
1047 staff line, you will need to insert invisible bar lines with
1054 to indicate where breaks can occur.
1057 @node Polymetric notation
1058 @unnumberedsubsubsec Polymetric notation
1060 @c This section necessarily uses \set
1061 @c This is acceptable -td
1063 @cindex double time signatures
1064 @cindex signatures, polymetric
1065 @cindex polymetric signatures
1066 @cindex meter, polymetric
1068 Polymetric notation is supported, either explicitly or by modifying
1069 the visible time signature symbol and scaling the note durations.
1071 @strong{@i{Staves with different time signatures, equal measure lengths}}
1073 This notation can be created by setting a common time signature
1074 for each staff but replacing the symbol manually by setting
1075 @code{timeSignatureFraction} to the desired fraction and scaling
1076 the printed durations in each staff to the common time
1077 signature; see @ref{Time signature}. The scaling is done with
1078 @code{\scaleDurations}, which is used in a similar way to
1079 @code{\times}, but does not create a tuplet bracket; see
1080 @ref{Scaling durations}.
1082 In this example, music with the time signatures of 3/4, 9/8, and
1083 10/8 are used in parallel. In the second staff, shown durations
1084 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1085 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1086 It will often be necessary to insert beams manually, as the
1087 duration scaling affects the autobeaming rules.
1089 @lilypond[quote,verbatim,fragment]
1098 \set Staff.timeSignatureFraction = #'(9 . 8)
1099 \scaleDurations #'(2 . 3)
1100 \repeat unfold 6 { c8[ c c] }
1104 \set Staff.timeSignatureFraction = #'(10 . 8)
1105 \scaleDurations #'(3 . 5) {
1106 \repeat unfold 2 { c8[ c c] }
1107 \repeat unfold 2 { c8[ c] } |
1108 c4. c4. \times 2/3 { c8[ c c] } c4
1114 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1116 Each staff can be given its own independent time signature by
1117 moving the @code{Timing_translator} and the
1118 @code{Default_bar_line_engraver} to the @code{Staff} context.
1120 @lilypond[quote,verbatim]
1124 \remove "Timing_translator"
1125 \remove "Default_bar_line_engraver"
1129 \consists "Timing_translator"
1130 \consists "Default_bar_line_engraver"
1134 % Now each staff has its own time signature.
1160 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1161 {compound-time-signatures.ly}
1168 @rglos{polymetric time signature},
1172 @ref{Time signature},
1173 @ref{Scaling durations}.
1178 Internals Reference:
1179 @rinternals{TimeSignature},
1180 @rinternals{Timing_translator},
1181 @rinternals{Default_bar_line_engraver},
1186 When using different time signatures in parallel, notes
1187 at the same moment will be be placed at the same horizontal
1188 location. However, the bar lines in the different staves
1189 will cause the note spacing to be less regular in each of the
1190 individual staves than would be normal without the different
1193 @node Automatic note splitting
1194 @unnumberedsubsubsec Automatic note splitting
1196 @cindex notes, splitting
1197 @cindex splitting notes
1199 Long notes which overrun bar lines can be converted automatically
1200 to tied notes. This is done by replacing the
1201 @code{Note_heads_engraver} with the
1202 @code{Completion_heads_engraver}. In the following
1203 example, notes crossing the bar lines are split and tied.
1205 @lilypond[quote,verbatim,relative=1]
1207 \remove "Note_heads_engraver"
1208 \consists "Completion_heads_engraver"
1211 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1214 This engraver splits all running notes at the bar line, and
1215 inserts ties. One of its uses is to debug complex scores: if the
1216 measures are not entirely filled, then the ties show exactly how
1217 much each measure is off.
1221 Music Glossary: @rglos{tie}
1224 @rlearning{Engravers explained},
1225 @rlearning{Adding and removing engravers}.
1230 Internals Reference:
1231 @rinternals{Note_heads_engraver},
1232 @rinternals{Completion_heads_engraver},
1233 @rinternals{Forbid_line_break_engraver}.
1238 Not all durations (especially those containing tuplets) can be
1239 represented exactly with normal notes and dots, but the
1240 @code{Completion_heads_engraver} will not insert tuplets.
1242 The @code{Completion_heads_engraver} only affects notes; it does not
1246 @node Showing melody rhythms
1247 @unnumberedsubsubsec Showing melody rhythms
1249 Sometimes you might want to show only the rhythm of a melody. This
1250 can be done with the rhythmic staff. All pitches of notes on such a
1251 staff are squashed, and the staff itself has a single line
1253 @lilypond[quote,relative=1,verbatim]
1255 \new RhythmicStaff {
1256 \new Voice = "myRhythm" {
1264 \lyricsto "myRhythm" {
1272 Guitar chord charts often show the strumming rhythms. This can
1273 be done with the @code{Pitch_squash_engraver} and
1274 @code{\improvisationOn}.
1277 @lilypond[quote,verbatim]
1286 \consists Pitch_squash_engraver
1298 @code{\improvisationOn},
1299 @code{\improvisationOff}.
1303 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1304 {guitar-strum-rhythms.ly}
1311 Internals Reference:
1312 @rinternals{RhythmicStaff},
1313 @rinternals{Pitch_squash_engraver}.
1320 * Setting automatic beam behavior::
1325 @node Automatic beams
1326 @unnumberedsubsubsec Automatic beams
1328 By default, beams are inserted automatically:
1330 @cindex beams, manual
1331 @cindex manual beams
1333 @lilypond[quote,verbatim,relative=2]
1335 \time 6/8 c c c c8. c16 c8
1338 If these automatic decisions are not satisfactory, beaming can be
1339 entered explicitly; see @ref{Manual beams}. It is also possible
1340 to define beaming patterns that differ from the defaults. The
1341 default beaming rules for most common time signatures are defined
1342 in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
1343 defined for a particular beam's duration in the time signature being
1344 used, its beaming is controlled by the values of three context
1345 properties, @code{measureLength}, @code{beatLength} and
1346 @code{beatGrouping}. Both the beaming rules and the context
1347 properties can be overridden, see @ref{Setting automatic beam behavior}.
1352 @warning{If beams are used to indicate melismata in songs, then automatic
1353 beaming should be switched off with @code{\autoBeamOff} and the beams
1354 indicated manually.}
1358 Automatic beaming may be turned off and on with
1359 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1361 @lilypond[quote,relative=1,verbatim]
1362 c4 c8 c8. c16 c8. c16 c8
1370 @code{\autoBeamOff},
1379 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1380 {beams-across-line-breaks.ly}
1382 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1383 {changing-beam-knee-gap.ly}
1389 @ref{Setting automatic beam behavior}.
1392 @file{scm/@/auto@/-beam@/.scm}.
1397 Internals Reference: @rinternals{Beam}.
1402 Automatically kneed cross-staff beams cannot be used together with
1403 hidden staves. See @ref{Hiding staves}.
1405 Beams can collide with note heads and accidentals in other voices
1408 @node Setting automatic beam behavior
1409 @unnumberedsubsubsec Setting automatic beam behavior
1411 @funindex autoBeaming
1412 @funindex autoBeamSettings
1413 @funindex (end * * * *)
1414 @funindex (begin * * * *)
1416 @cindex automatic beams, tuning
1417 @cindex tuning automatic beaming
1418 @cindex automatic beam generation
1420 @cindex lyrics and beaming
1423 The placement of automatic beams is determined by the rules
1424 described in @ref{Automatic beams}. There are two mutually
1425 exclusive ways in which these rules may be modified. The
1426 first, modifying the grouping of beats, applies to uncommon time
1427 signatures, i.e. those for which there are no predefined rules
1428 defining the beam end points. The second method, modifying the
1429 specification of the beam end points, can be used for any time
1430 signature. This second method @strong{must} be used for those time
1431 signatures and beam durations combinations for which beam ending
1432 rules are pre-defined, unless these have all been reverted. There
1433 are predefined rules for time signatures of 3/2, 3/4, 4/4, 2/4,
1434 4/8, 4/16, 6/8, 9/8 and 12/8.
1436 @i{@strong{Modifying the grouping of beats}}
1438 If there are no beam-ending rules defined for the beam duration of a
1439 particular beam in the time signature in use, its beaming is
1440 controlled by three context properties:
1441 @code{measureLength}, @code{beatLength} and @code{beatGrouping}.
1442 These properties may be set in the @code{Score}, @code{Staff} or
1443 @code{Voice} contexts to delimit their scope.
1445 These determine the beaming as follows:
1447 Beams may begin anywhere (unless a beam is already active). Beams
1448 end at a time determined by the values of @code{beatGrouping} and
1449 @code{beatLength}, as follows:
1453 @item If @code{beatGrouping} and @code{beatLength} are consistent
1454 with @code{measureLength}, @code{beatGrouping} is used to determine
1455 the end points of beams.
1457 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1458 with @code{measureLength}, @code{beatLength} is used to determine
1459 the end points of beams.
1463 @warning{These three properties become effective for a particular
1464 beam @strong{only} if there are no beam-ending rules predefined for
1465 that beam's duration in the time signature in use, or if these
1466 beam-ending rules have all been reverted.}
1468 By default the @code{measureLength} and @code{beatLength} are
1469 derived from the time signature set by the @code{\time} command.
1470 The @code{measureLength} is set to be exactly the same length as
1471 the measure length given by the time signature, and the
1472 @code{beatLength} is set to be the same as one over the denominator
1473 of the time signature.
1475 The default value of @code{beatGrouping} is taken from a table in
1476 @file{scm/@/music@/-functions@/.scm}. To find this, see
1477 @rlearning{Other sources of information}. It defines the beat
1478 grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
1480 Both @code{measureLength} and @code{beatLength} are @i{moments},
1481 units of musical duration. A quantity of type @i{moment} is
1482 created by the scheme function @code{ly:make-moment}. For more
1483 information about this function, see @ref{Time administration}.
1485 @code{beatGrouping} is a list of integers giving the number of
1486 beats in each group.
1490 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1493 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1494 {specifying-context-with-beatgrouping.ly}
1496 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1497 {using-beatlength-and-beatgrouping.ly}
1499 @funindex subdivideBeams
1501 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1502 {sub-dividing-beams.ly}
1504 @cindex measure groupings
1505 @cindex beats, grouping
1506 @cindex grouping beats
1507 @cindex measure sub-grouping
1509 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1510 {conducting-signs,-measure-grouping-signs.ly}
1513 @strong{@i{Modifying the beam end points}}
1515 In common time signatures, automatic beams can start on any note
1516 but can end at only a few positions within the measure, namely at
1517 durations specified by the properties in @code{autoBeamSettings}.
1518 These properties consist of a list of rules defining where beams can
1519 end. The default @code{autoBeamSettings} rules are defined in
1520 @file{scm/@/auto@/-beam@/.scm}. To find this, see
1521 @rlearning{Other sources of information}.
1523 This method @strong{must} be used for the time signatures for which
1524 beam-ending rules are defined by default, unless these have all
1525 been reverted. It is also particularly suitable for many other time
1526 signatures if the time signature of the measures changes frequently,
1527 or if the beaming should be different for different beam durations.
1529 In order to add a rule to the list, use
1532 #(override-auto-beam-setting
1534 beam-numerator beam-denominator
1535 time-signature-numerator time-signature-denominator)
1536 moment-numerator moment-denominator [context])
1544 @item @code{beam-limit} is the type of automatic beam limit
1545 defined. This can be either @code{begin} or @code{end} but
1546 only @code{end} is effective.
1548 @item @code{beam-numerator/beam-denominator} is the beam duration
1549 to which the rule is to apply. A beam is considered to have
1550 the duration of its shortest note. Set @code{beam-numerator}
1551 and @code{beam-denominator} to @code{'*'} to have this rule apply
1552 to beams of any duration.
1554 @item @code{time-signature-numerator/time-signature-denominator}
1555 specifies the time signature to which this rule should apply.
1556 If @code{time-signature-numerator} and
1557 @code{time-signature-denominator} are set to @code{'*'} this rule
1558 will apply in any time signature.
1560 @item @code{monent-numerator/moment-denominator} is the position
1561 in the bar at which the beam should end.
1563 @item @code{context} is optional, and it specifies the context at which
1564 the change should be made. The default is @code{'Voice}.
1566 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1567 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1571 For example, if automatic beams should always end on the first quarter
1572 note, whatever the time signature or beam duration, use
1574 @lilypond[quote,verbatim,relative=2]
1576 #(override-auto-beam-setting '(end * * * *) 1 4)
1580 You can force the beam settings to take effect only on beams whose shortest
1581 note is a certain duration
1583 @lilypond[quote,verbatim,relative=2]
1585 % end 1/16 beams for all time signatures at the 1/16 moment
1586 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1588 a32 a a a a16 a a a a a |
1589 % end 1/32 beams for all time signatures at the 1/16 moment
1590 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1591 a32 a a a a16 a a a a a |
1594 You can force the beam settings to take effect only in certain time
1597 @lilypond[quote,verbatim,relative=2]
1599 % end beams of all durations in 5/8 time signature at the 2/8 moment
1600 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1608 When multiple voices are used the @code{Staff} context must be
1609 specified if the beaming is to be applied to all voices in the
1612 @lilypond[quote,verbatim,relative=2]
1615 % Context not specified - does not work correctly
1616 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1617 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1618 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1619 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1621 % Works correctly with context specified
1622 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1623 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1624 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1625 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1628 @warning{If any unexpected beam behavior occurs, check the default
1629 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1630 possible interference, because the beam endings defined there will
1631 still apply in addition to your own.}
1633 Any unwanted or conflicting default endings must be reverted for
1634 your time signature(s). Existing auto-beam rules are removed by
1638 #(revert-auto-beam-setting
1640 beam-numerator beam-denominator
1641 time-signature-numerator time-signature-denominator)
1642 moment-numerator moment-denominator [context])
1646 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1647 @code{time-signature-numerator}, @code{time-signature-denominator},
1648 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1649 are the same as above.
1651 @lilypond[quote,verbatim,relative=2]
1653 a16 a a a a a a a a a a a a a a a
1654 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1655 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1656 a16 a a a a a a a a a a a a a a a
1659 The rule in a @code{revert-auto-beam-setting} statement must exactly
1660 match the original rule. That is, no wildcard expansion is taken into
1663 @lilypond[quote,verbatim,relative=2]
1665 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1667 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1669 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1675 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1676 {beam-grouping-in-7-8-time.ly}
1678 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1679 {reverting-default-beam-endings.ly}
1681 @c TODO Convert to snippet called "Beam endings in Score context"
1682 @c Submitted to LSR 3 Nov 08
1684 Beam-ending rules specified in the Score context apply to all
1685 staves, but can be modified at both Staff and Voice levels:
1687 @lilypond[quote,verbatim,relative=2]
1689 % Set default beaming for all staves
1690 #(override-auto-beam-setting '(end * * 5 4) 3 8 'Score)
1691 #(override-auto-beam-setting '(end * * 5 4) 7 8 'Score)
1694 c8 c c c c c c c c c
1697 % Modify beaming for just this staff
1698 #(override-auto-beam-setting '(end * * 5 4) 6 8 'Staff)
1699 #(revert-auto-beam-setting '(end * * 5 4) 7 8 'Staff)
1700 c8 c c c c c c c c c
1703 % Inherit beaming from Score context
1704 c8 c c c c c c c c c
1712 @funindex \autoBeamOff
1713 @code{\autoBeamOff},
1714 @funindex \autoBeamOn
1720 If a score ends while an automatic beam has not been ended and is
1721 still accepting notes, this last beam will not be typeset at all.
1722 The same holds for polyphonic voices, entered with @code{<<
1723 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1724 automatic beam is still accepting notes, it is not typeset.
1733 @unnumberedsubsubsec Manual beams
1735 @cindex beams, manual
1739 In some cases it may be necessary to override the automatic
1740 beaming algorithm. For example, the autobeamer will not put beams
1741 over rests or bar lines, and in choral scores the beaming is
1742 often set to follow the meter of the lyrics rather than the
1743 notes. Such beams can be specified manually by
1744 marking the begin and end point with @code{[} and @code{]}
1746 @lilypond[quote,relative=1,verbatim]
1748 r4 r8[ g' a r8] r8 g[ | a] r8
1753 Individual notes may be marked with @code{\noBeam} to prevent them
1756 @lilypond[quote,verbatim,relative=2]
1757 \time 2/4 c8 c\noBeam c c
1760 @funindex stemLeftBeamCount
1761 @funindex stemRightBeamCount
1763 Even more strict manual control with the beams can be achieved by
1764 setting the properties @code{stemLeftBeamCount} and
1765 @code{stemRightBeamCount}. They specify the number of beams to
1766 draw on the left and right side, respectively, of the next note.
1767 If either property is set, its value will be used only once, and
1768 then it is erased. In this example, the last @code{f} is printed
1769 with only one beam on the left side, i.e., the eighth-note beam of
1770 the group as a whole.
1772 @lilypond[quote,relative=2,verbatim]
1775 \set stemLeftBeamCount = #2
1776 \set stemRightBeamCount = #1
1778 \set stemLeftBeamCount = #1
1785 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1786 {flat-flags-and-beam-nibs.ly}
1788 @node Feathered beams
1789 @unnumberedsubsubsec Feathered beams
1791 @cindex beams, feathered
1792 @funindex \featherDurations
1794 Feathered beams are used to indicate that a small group of notes
1795 should be played at an increasing (or decreasing) tempo, without
1796 changing the overall tempo of the piece. The extent of the
1797 feathered beam must be indicated manually using @code{[} and
1798 @code{]}, and the beam feathering is turned on by specifying a
1799 direction to the @code{Beam} property @code{grow-direction}.
1801 If the placement of the notes and the sound in the MIDI output
1802 is to reflect the ritardando or accelerando indicated by the
1803 feathered beam the notes must be grouped as a
1804 music expression delimited by braces and preceded by a
1805 @code{featheredDurations} command which specifies the ratio
1806 between the durations of the first and last notes in the group.
1809 show the extent of the beam and the braces show
1810 which notes are to have their durations modified. Normally
1811 these would delimit the same group of notes, but this is not
1812 required: the two commands are independent.
1814 In the following example the eight 16th notes occupy exactly the
1815 same time as a half note, but the first note is one half as long
1816 as the last one, with the intermediate notes gradually
1817 lengthening. The first four 32nd notes gradually speed up, while
1818 the last four 32nd notes are at a constant tempo.
1820 @lilypond[relative=1,verbatim,quote]
1821 \override Beam #'grow-direction = #LEFT
1822 \featherDurations #(ly:make-moment 2 1)
1823 { c16[ c c c c c c c] }
1824 \override Beam #'grow-direction = #RIGHT
1825 \featherDurations #(ly:make-moment 2 3)
1827 % revert to non-feathered beams
1828 \override Beam #'grow-direction = #'()
1833 The spacing in the printed output represents the
1834 note durations only approximately, but the MIDI output is exact.
1838 The @code{\featherDurations} command only works with very short
1839 music snippets, and when numbers in the fraction are small.
1855 * Bar and bar number checks::
1860 @unnumberedsubsubsec Bar lines
1864 @cindex measure lines
1867 Bar lines delimit measures, and are also used to indicate
1868 repeats. Normally, simple bar lines are automatically inserted
1869 into the printed output at places based on the current time
1872 The simple bar lines inserted automatically can be changed to
1873 other types with the @code{\bar} command. For example, a closing
1874 double bar line is usually placed at the end of a piece:
1876 @lilypond[quote,relative=1,verbatim]
1880 It is not invalid if the final note in a measure does not
1881 end on the automatically entered bar line: the note is assumed
1882 to carry over into the next measure. But if a long sequence
1883 of such carry-over measures appears the music can appear compressed
1884 or even flowing off the page. This is because automatic line
1885 breaks happen only at the end of complete measures, i.e., where
1886 all notes end before the end of a measure.
1888 @warning{An incorrect duration can cause line breaks to be
1889 inhibited, leading to a line of highly compressed music or
1890 music which flows off the page.}
1893 @cindex bar lines, invisible
1894 @cindex measure lines, invisible
1896 Line breaks are also permitted at manually inserted bar lines
1897 even within incomplete measures. To allow a line break without
1898 printing a bar line, use
1905 This will insert an invisible bar line and allow (but not
1906 force) a line break to occur at this point. The bar number
1907 counter is not increased. To force a line break see
1908 @ref{Line breaking}.
1910 This and other special bar lines may be inserted manually at any
1911 point. When they coincide with the end of a measure they replace
1912 the simple bar line which would have been inserted there
1913 automatically. When they do not coincide
1914 with the end of a measure the specified bar line is inserted at that
1915 point in the printed output. Such insertions do not affect
1916 the calculation and placement of subsequent automatic bar lines.
1918 The simple bar line and five types of double bar line are available
1919 for manual insertion:
1921 @lilypond[quote,relative=1,verbatim]
1922 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
1926 together with dotted and dashed bar lines:
1928 @lilypond[quote,relative=1,verbatim]
1929 f1 \bar ":" g \bar "dashed" a
1933 and five types of repeat bar line:
1935 @lilypond[quote,relative=1,verbatim]
1936 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
1941 Although the bar line types signifying repeats may be inserted
1942 manually they do not in themselves cause LilyPond to recognize
1943 a repeated section. Such repeated sections are better entered
1944 using the various repeat commands (see @ref{Repeats}), which
1945 automatically print the appropriate bar lines.
1947 In addition, you can specify @code{"||:"}, which is equivalent to
1948 @code{"|:"} except at line breaks, where it gives a double bar
1949 line at the end of the line and a start repeat at the beginning of
1952 @lilypond[quote,relative=2,verbatim]
1953 \override Score.RehearsalMark #'padding = #3
1961 In scores with many staves, a @code{\bar} command in one staff is
1962 automatically applied to all staves. The resulting bar lines are
1963 connected between different staves of a @code{StaffGroup},
1964 @code{PianoStaff}, or @code{GrandStaff}.
1966 @lilypond[quote,fragment,verbatim]
1974 \new Staff { \clef bass c4 g e g }
1976 \new Staff { \clef bass c2 c2 }
1984 @funindex defaultBarType
1986 The command @code{\bar }@var{bartype} is a shortcut for
1987 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1988 created whenever the @code{whichBar} property is
1991 The default bar type used for automatically inserted bar lines is
1992 @code{"|"}. This may be changed at any time
1993 with @code{\set Timing.defaultBarType = }@var{bartype}.
1998 @ref{Line breaking},
2000 @ref{Grouping staves}.
2005 Internals Reference: @rinternals{BarLine} (created at
2006 @rinternals{Staff} level), @rinternals{SpanBar} (across
2007 staves), @rinternals{Timing_translator} (for Timing
2012 @unnumberedsubsubsec Bar numbers
2015 @cindex measure numbers
2016 @funindex currentBarNumber
2018 Bar numbers are typeset by default at the start of every line except
2019 the first line. The number itself is stored in the
2020 @code{currentBarNumber} property, which is normally updated
2021 automatically for every measure. It may also be set manually:
2023 @lilypond[verbatim,quote,fragment,relative=1]
2026 \set Score.currentBarNumber = #50
2033 @funindex barNumberVisibility
2034 @cindex bar numbers, regular spacing
2036 Bar numbers can be typeset at regular intervals instead of just at
2037 the beginning of every line. To do this the default behavior
2038 must be overridden to permit bar numbers to be printed at places
2039 other than the start of a line. This is controlled by the
2040 @code{break-visibility} property of @code{BarNumber}. This takes
2041 three values which may be set to @code{#t} or @code{#f} to specify
2042 whether the corresponding bar number is visible or not. The order
2043 of the three values is @code{end of line visible}, @code{middle of
2044 line visible}, @code{beginning of line visible}. In the following
2045 example bar numbers are printed at all possible places:
2047 @lilypond[verbatim,quote,relative=1]
2048 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2049 \set Score.currentBarNumber = #11
2050 \bar "" % Permit first bar number to be printed
2056 @c All the rest of these examples will be added to LSR
2057 @c and moved into the Snippets. -gp
2060 and here the bar numbers are printed every two measures
2061 except at the end of the line:
2063 @lilypond[verbatim,quote,relative=1]
2064 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2065 \set Score.currentBarNumber = #11
2066 \bar "" % Permit first bar number to be printed
2067 % Print a bar number every second measure
2068 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2074 @cindex measure number, format
2075 @cindex bar number, format
2077 The size of the bar number may be changed. This is illustrated
2078 in the following example, which also shows how to enclose bar
2079 numbers in boxes and circles, and shows an alternative way
2080 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2082 @lilypond[verbatim,quote,relative=1]
2083 % Prevent bar numbers at the end of a line and permit them elsewhere
2084 \override Score.BarNumber #'break-visibility
2085 = #end-of-line-invisible
2087 % Increase the size of the bar number by 2
2088 \override Score.BarNumber #'font-size = #2
2089 \repeat unfold 3 { c1 } \bar "|"
2091 % Draw a box round the following bar number(s)
2092 \override Score.BarNumber #'stencil
2093 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2094 \repeat unfold 3 { c1 } \bar "|"
2096 % Draw a circle round the following bar number(s)
2097 \override Score.BarNumber #'stencil
2098 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2099 \repeat unfold 4 { c1 } \bar "|."
2102 @cindex bar number alignment
2104 Bar numbers by default are left-aligned to their parent object.
2105 This is usually the left edge of a line or, if numbers are printed
2106 within a line, the left bar line of the measure. The numbers may also
2107 be positioned directly on the bar line or right-aligned to the
2110 @lilypond[verbatim,quote,relative=1]
2111 \set Score.currentBarNumber = #111
2112 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2113 % Increase the size of the bar number by 2
2114 \override Score.BarNumber #'font-size = #2
2115 % Print a bar number every second measure
2116 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2118 % Center-align bar numbers
2119 \override Score.BarNumber #'self-alignment-X = #0
2121 % Right-align bar numbers
2122 \override Score.BarNumber #'self-alignment-X = #-1
2126 Bar numbers can be removed entirely by removing the
2127 @code{Bar_number_engraver} from the @code{Score} context.
2129 @lilypond[verbatim,quote]
2133 \remove "Bar_number_engraver"
2148 Internals Reference: @rinternals{BarNumber}.
2153 Bar numbers may collide with the top of the
2154 @rinternals{StaffGroup} bracket, if there is one. To solve
2155 this, the @code{padding} property of @rinternals{BarNumber} can
2156 be used to position the number correctly.
2158 Bar numbers may only be printed at bar lines; to print a bar
2159 number at the beginning of a piece, an empty bar line must be
2160 inserted there, and a value other than @code{1} must be placed
2161 in @code{currentBarNumber}:
2163 @lilypond[verbatim,quote,relative=1]
2164 \set Score.currentBarNumber = #50
2173 @node Bar and bar number checks
2174 @unnumberedsubsubsec Bar and bar number checks
2177 @funindex barCheckSynchronize
2180 Bar checks help detect errors in the entered durations.
2181 A bar check may be entered using the bar symbol, @code{|},
2182 at any place where a bar line is expected to fall.
2183 If bar check lines are encountered at other places,
2184 a list of warnings is printed in the log file,
2185 showing the line numbers and lines
2186 in which the bar checks failed. In the next
2187 example, the second bar check will signal an error.
2190 \time 3/4 c2 e4 | g2 |
2193 Bar checks can also be used in lyrics, for example
2198 Twin -- kle | Twin -- kle |
2202 An incorrect duration can result in a completely garbled score,
2203 especially if the score is polyphonic, so a good place to start
2204 correcting input is by scanning for failed bar checks and
2205 incorrect durations.
2207 If successive bar checks are off by the same musical interval,
2208 only the first warning message is displayed. This allows the
2209 warning to focus on the source of the timing error.
2213 @funindex pipeSymbol
2215 It is also possible to redefine the action taken when a bar check
2216 or pipe symbol, @code{|}, is encountered in the input, so that
2217 it does something other than a bar check. This is done by
2218 assigning a music expression to @code{pipeSymbol}.
2219 In the following example @code{|} is set to insert a double bar
2220 line wherever it appears in the input, rather than checking
2223 @lilypond[quote,verbatim]
2224 pipeSymbol = \bar "||"
2233 When copying large pieces of music, it can be helpful to check
2234 that the LilyPond bar number corresponds to the original that you
2235 are entering from. This can be checked with
2236 @code{\barNumberCheck}, for example,
2239 \barNumberCheck #123
2243 will print a warning if the @code{currentBarNumber} is not 123
2244 when it is processed.
2252 @node Rehearsal marks
2253 @unnumberedsubsubsec Rehearsal marks
2255 @cindex rehearsal marks
2256 @cindex mark, rehearsal
2259 To print a rehearsal mark, use the @code{\mark} command
2261 @lilypond[quote,verbatim,relative=2]
2270 The letter@tie{}@q{I} is skipped in accordance with engraving
2271 traditions. If you wish to include the letter @q{I}, then use
2274 \set Score.markFormatter = #format-mark-alphabet
2277 The mark is incremented automatically if you use @code{\mark
2278 \default}, but you can also use an integer argument to set the
2279 mark manually. The value to use is stored in the property
2280 @code{rehearsalMark}.
2282 @cindex rehearsal mark format
2283 @cindex rehearsal mark style
2284 @cindex style, rehearsal mark
2285 @cindex format, rehearsal mark
2286 @cindex mark, rehearsal, style
2287 @cindex mark, rehearsal, format
2289 The style is defined by the property @code{markFormatter}. It is
2290 a function taking the current mark (an integer) and the current
2291 context as argument. It should return a markup object. In the
2292 following example, @code{markFormatter} is set to a pre-defined
2293 procedure. After a few measures, it is set to a procedure that
2294 produces a boxed number.
2296 @lilypond[quote,verbatim,relative=2]
2297 \set Score.markFormatter = #format-mark-numbers
2300 \set Score.markFormatter = #format-mark-box-numbers
2302 \set Score.markFormatter = #format-mark-circle-numbers
2304 \set Score.markFormatter = #format-mark-circle-letters
2308 The file @file{scm/@/translation@/-functions@/.scm} contains the
2309 definitions of @code{format-mark-numbers} (the default format),
2310 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2311 @code{format-mark-box-letters}. These can be used as inspiration
2312 for other formatting functions.
2314 You may use @code{format-mark-barnumbers},
2315 @code{format-mark-box-barnumbers}, and
2316 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2317 incremented numbers or letters.
2319 Other styles of rehearsal mark can be specified manually
2326 @code{Score.markFormatter} does not affect marks specified in this
2327 manner. However, it is possible to apply a @code{\markup} to the
2331 \mark \markup@{ \box A1 @}
2338 Music glyphs (such as the segno sign) may be printed inside a
2341 @lilypond[quote,verbatim,relative=1]
2342 c1 \mark \markup { \musicglyph #"scripts.segno" }
2343 c1 \mark \markup { \musicglyph #"scripts.coda" }
2344 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2349 See @ref{The Feta font}, for a list of symbols which may be
2350 printed with @code{\musicglyph}.
2352 For common tweaks to the positioning of rehearsal marks, see
2353 @ref{Formatting text}.
2358 @ref{The Feta font},
2359 @ref{Formatting text}.
2362 @file{scm/@/translation@/-functions@/.scm} contains
2363 the definition of @code{format-mark-numbers} and
2364 @code{format-mark-letters}. They can be used as inspiration for
2365 other formatting functions.
2370 Internals Reference: @rinternals{RehearsalMark}.
2372 @node Special rhythmic concerns
2373 @subsection Special rhythmic concerns
2378 * Aligning to cadenzas::
2379 * Time administration::
2383 @unnumberedsubsubsec Grace notes
2388 @cindex appoggiatura
2389 @cindex acciaccatura
2391 Grace notes are ornaments that are written out. Grace notes
2392 are printed in a smaller font and take up no logical time
2395 @lilypond[quote,relative=2,verbatim]
2397 \grace { c16[ d16] } c2
2400 Lilypond also supports two special types of grace notes, the
2401 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2402 small note with a slashed stem--and the @emph{appoggiatura}, which
2403 takes a fixed fraction of the main note and appears in small print
2406 @lilypond[quote,relative=2,verbatim]
2410 \acciaccatura { g16[ f] } e4
2413 The placement of grace notes is synchronized between different
2414 staves. In the following example, there are two sixteenth grace
2415 notes for every eighth grace note
2417 @lilypond[quote,relative=2,verbatim]
2418 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2419 \new Staff { c2 \grace { g8[ b] } c2 } >>
2422 @funindex \afterGrace
2424 @cindex grace notes, following
2426 If you want to end a note with a grace, use the @code{\afterGrace}
2427 command. It takes two arguments: the main note, and the grace
2428 notes following the main note.
2430 @lilypond[quote,verbatim,relative=2]
2431 c1 \afterGrace d1 { c16[ d] } c1
2434 This will put the grace notes after a space lasting 3/4 of the
2435 length of the main note. The default fraction 3/4 can be changed by
2436 setting @code{afterGraceFraction}. The following example shows
2437 the results from setting the space at the default, at 15/16, and
2438 finally at 1/2 of the main note.
2440 @lilypond[quote,verbatim,relative=2]
2443 c1 \afterGrace d1 { c16[ d] } c1
2446 #(define afterGraceFraction (cons 15 16))
2447 c1 \afterGrace d1 { c16[ d] } c1
2450 #(define afterGraceFraction (cons 1 2))
2451 c1 \afterGrace d1 { c16[ d] } c1
2456 The space between the main note and the grace note may also be
2457 specified using spacers. The following example places the grace
2458 note after a space lasting 7/8 of the main note.
2460 @lilypond[quote,verbatim,relative=2]
2463 { s2 s4. \grace { c16[ d] } } >>
2468 A @code{\grace} music expression will introduce special
2469 typesetting settings, for example, to produce smaller type, and
2470 set directions. Hence, when introducing layout tweaks to
2471 override the special settings, they should be placed inside
2472 the grace expression. The overrides should also be reverted
2473 inside the grace expression. Here, the grace note's default stem
2474 direction is overriden and then reverted.
2476 @lilypond[quote,verbatim,relative=2]
2488 @cindex stem, with slash
2493 The slash through the stem found in @emph{acciaccatura}s can be applied
2494 in other situations:
2496 @lilypond[quote,verbatim,relative=2]
2498 \override Stem #'stroke-style = #"grace"
2503 The layout of grace expressions can be changed throughout the
2504 music using the function @code{add-grace-property}. The following
2505 example undefines the @code{Stem} direction for this grace, so
2506 that stems do not always point up.
2508 @lilypond[quote,verbatim,relative=2]
2511 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2512 #(remove-grace-property 'Voice 'Stem 'direction)
2514 \acciaccatura { f16 } g4
2515 \grace { d16[ e] } f4
2516 \appoggiatura { a,32[ b c d] } e2
2522 Another option is to change the variables @code{startGraceMusic},
2523 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2524 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2525 @code{stopAppoggiaturaMusic}. The default values of these can be
2526 seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
2527 them other effects may be obtained.
2529 Grace notes may be forced to align with regular notes
2532 @lilypond[verbatim,quote]
2535 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2538 \afterGrace c4 { c16[ c8 c16] }
2542 c16 c c c c c c c c4 r
2552 @rglos{grace notes},
2553 @rglos{acciaccatura},
2554 @rglos{appoggiatura}.
2556 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2558 Snippets: @rlsr{Rhythms}.
2560 Internals Reference: @rinternals{GraceMusic}.
2565 A multi-note beamed @i{acciaccatura} is printed without a slash,
2566 and looks exactly the same as a multi-note beamed
2569 @c TODO Add link to LSR snippet to add slash when available
2571 Grace note synchronization can also lead to surprises. Staff
2572 notation, such as key signatures, bar lines, etc., are also
2573 synchronized. Take care when you mix staves with grace notes and
2574 staves without, for example,
2576 @lilypond[quote,relative=2,verbatim]
2577 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2578 \new Staff { c4 \bar "|:" d2. } >>
2582 This can be remedied by inserting grace skips of the corresponding
2583 durations in the other staves. For the above example
2585 @lilypond[quote,relative=2,verbatim]
2586 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2587 \new Staff { c4 \bar "|:" \grace s16 d2. } >>
2590 Grace sections should only be used within sequential music
2591 expressions. Nesting or juxtaposing grace sections is not
2592 supported, and might produce crashes or other errors.
2594 @node Aligning to cadenzas
2595 @unnumberedsubsubsec Aligning to cadenzas
2598 @cindex cadenza, aligning to
2599 @cindex aligning to cadenza
2601 In an orchestral context, cadenzas present a special problem: when
2602 constructing a score that includes a measured cadenza or other solo
2603 passage, all other instruments should skip just as many notes as the
2604 length of the cadenza, otherwise they will start too soon or too late.
2606 One solution to this problem is to use the functions
2607 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2608 functions take a defined piece of music as an argument and generate a
2609 multi-measure rest or @code{\skip} exactly as long as the piece.
2611 @lilypond[verbatim,quote]
2612 MyCadenza = \relative c' {
2623 #(ly:export (mmrest-of-length MyCadenza))
2625 #(ly:export (skip-of-length MyCadenza))
2640 @node Time administration
2641 @unnumberedsubsubsec Time administration
2643 @cindex time administration
2644 @cindex timing (within the score)
2645 @cindex music, unmetered
2646 @cindex unmetered music
2648 @funindex currentBarNumber
2649 @funindex measurePosition
2650 @funindex measureLength
2652 Time is administered by the @code{Timing_translator}, which by
2653 default is to be found in the @code{Score} context. An alias,
2654 @code{Timing}, is added to the context in which the
2655 @code{Timing_translator} is placed.
2657 The following properties of @code{Timing} are used
2658 to keep track of timing within the score.
2661 @cindex measure number
2664 @item currentBarNumber
2665 The current measure number. For an example showing the
2666 use of this property see @ref{Bar numbers}.
2669 The length of the measures in the current time signature. For a
2670 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2671 determines when bar lines are inserted and how automatic beams
2672 should be generated.
2674 @item measurePosition
2675 The point within the measure where we currently are. This
2676 quantity is reset by subtracting @code{measureLength} whenever
2677 @code{measureLength} is reached or exceeded. When that happens,
2678 @code{currentBarNumber} is incremented.
2681 If set to true, the above variables are updated for every time
2682 step. When set to false, the engraver stays in the current
2683 measure indefinitely.
2687 Timing can be changed by setting any of these variables
2688 explicitly. In the next example, the default 4/4 time
2689 signature is printed, but @code{measureLength} is set to 5/4.
2690 At 4/8 through the third measure, the @code{measurePosition} is
2691 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2692 The next bar line then falls at 9/8 rather than 5/4.
2694 @lilypond[quote,verbatim,relative=1]
2695 \set Score.measureLength = #(ly:make-moment 5 4)
2699 \set Score.measurePosition = #(ly:make-moment 5 8)
2705 As the example illustrates, @code{ly:make-moment n m} constructs a
2706 duration of n/m of a whole note. For example,
2707 @code{ly:make-moment 1 8} is an eighth note duration and
2708 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2714 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2719 Internals Reference: @rinternals{Timing_translator},