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 128th 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}.
219 @cindex tuplet formatting
220 @cindex triplet formatting
222 @funindex tupletNumberFormatFunction
223 @funindex tupletSpannerDuration
225 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
226 {entering-several-tuplets-using-only-one--times-command.ly}
228 @funindex TupletNumber
230 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
231 {changing-the-tuplet-number.ly}
233 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
234 {permitting-line-breaks-within-beamed-tuplets.ly}
243 Learning Manual: @rlearning{Tweaking methods}.
246 @ref{Time administration},
247 @ref{Scaling durations},
248 @ref{The tweak command},
249 @ref{Polymetric notation}.
255 @rinternals{TupletBracket},
256 @rinternals{TupletNumber},
257 @rinternals{TimeScaledMusic}.
261 @cindex grace notes within tuplet brackets
262 When the first note on a staff is a grace note followed by a
263 tuplet the grace note must be placed before the @code{\times}
264 command to avoid errors. Anywhere else, grace notes may be
265 placed within tuplet brackets.
268 @node Scaling durations
269 @unnumberedsubsubsec Scaling durations
271 @cindex scaling durations
272 @cindex durations, scaling
274 You can alter the duration of single notes, rests or chords by a
275 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
276 @code{M} is 1) to the duration.
277 This will not affect the appearance of the notes or rests
278 produced, but the altered duration will be used in calculating the
279 position within the measure and setting the duration in the MIDI
280 output. Multiplying factors may be combined such as @code{*L*M/N}.
282 In the following example, the first three notes take up exactly
283 two beats, but no triplet bracket is printed.
285 @lilypond[quote,relative=2,verbatim]
287 % Alter durations to triplets
288 a4*2/3 gis4*2/3 a4*2/3
291 % Double the duration of chord
293 % Duration of quarter, appears like sixteenth
297 The duration of skip or spacing notes may also be modified by
298 a multiplier. This is useful for skipping many measures, e.g.,
301 @cindex compressing music
302 @funindex \scaleDurations
304 Longer stretches of music may be compressed by a fraction in the
305 same way, as if every note, chord or rest had the fraction as a
306 multiplier. This leaves the appearance of the music unchanged but
307 the internal duration of the notes will be multiplied by the
308 fraction @emph{num}/@emph{den}. The spaces around the dot are
309 required. Here is an example showing how music can be compressed
312 @lilypond[quote,relative=2,verbatim]
316 % Scale music by *2/3
317 \scaleDurations #'(2 . 3) {
321 \scaleDurations #'(2 . 1) {
327 One application of this command is in polymetric
328 notation, see @ref{Polymetric notation}.
334 @ref{Invisible rests},
335 @ref{Polymetric notation}.
342 @unnumberedsubsubsec Ties
347 A tie connects two adjacent note heads of the same pitch. The tie
348 in effect extends the duration of a note.
350 @warning{Ties should not be confused with @emph{slurs}, which
351 indicate articulation, or @emph{phrasing slurs}, which indicate
352 musical phrasing. A tie is just a way of extending a note
353 duration, similar to the augmentation dot.}
355 A tie is entered using the tilde symbol @code{~}
357 @lilypond[quote,verbatim,relative=2]
363 Ties are used either when the note crosses a bar line, or when
364 dots cannot be used to denote the rhythm. Ties should also be
365 used when note values cross larger subdivisions of the measure:
367 @lilypond[verbatim,quote]
374 If you need to tie many notes across bar lines, it may be
375 easier to use automatic note splitting, see @ref{Automatic note
376 splitting}. This mechanism automatically splits long notes, and
377 ties them across bar lines.
379 @cindex ties and chords
380 @cindex chords and ties
382 When a tie is applied to a chord, all note heads whose pitches
383 match are connected. When no note heads match, no ties will be
384 created. Chords may be partially tied by placing the tie inside
387 @lilypond[quote,verbatim,relative=1]
389 <c~ e g~ b> <c e g b>
393 @cindex repeating ties
394 @cindex ties, repeating
395 @cindex volta brackets and ties
396 @cindex ties and volta brackets
398 When a second alternative of a repeat starts with a tied note, you
399 have to specify the repeated tie as follows:
401 @lilypond[quote,relative=2,verbatim]
402 \repeat volta 2 { c g <c e>2 ~ }
404 % First alternative: following note is tied normally
406 % Second alternative: following note has a repeated tie
407 { <c e>2\repeatTie d4 c } }
410 @cindex laissez vibrer
411 @cindex ties, laissez vibrer
412 @funindex \laissezVibrer
414 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
415 notes must not be damped at the end. It is used in notation for
416 piano, harp and other string and percussion instruments. They can
417 be entered as follows:
419 @lilypond[quote,verbatim,relative=1]
420 <c f g>1\laissezVibrer
423 @cindex ties, placement
426 @funindex \tieNeutral
428 The vertical placement of ties may be controlled, see
429 Predefined commands, or for details, see
430 @ref{Direction and placement}.
432 @cindex ties, appearance
437 Solid, dotted or dashed ties may be specified, see Predefined
453 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
454 {using-ties-with-arpeggios.ly}
456 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
457 {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]
563 @ref{Full measure rests}.
574 @c Deliberately duplicated in Durations and Rests. -gp
575 There is no fundamental limit to rest durations (both in terms of
576 longest and shortest), but the number of glyphs is limited: there
577 are rests from 128th to maxima (8 x whole).
580 @node Invisible rests
581 @unnumberedsubsubsec Invisible rests
584 @cindex invisible rest
585 @cindex rest, invisible
590 An invisible rest (also called a @q{spacer rest}) can be entered
591 like a note with the note name@tie{}@code{s}:
593 @lilypond[verbatim,quote,relative=2]
600 Spacer rests are available only in note mode and chord mode. In
601 other situations, for example, when entering lyrics, @code{\skip}
602 is used to skip a musical moment. @code{\skip} requires an
605 @lilypond[quote,verbatim,relative=2]
618 A spacer rest implicitly causes @code{Staff} and @code{Voice}
619 contexts to be created if none exist, just like notes and rests
622 @lilypond[quote,verbatim,fragment]
626 @code{\skip} simply skips musical time; it creates no output of
629 @lilypond[quote,verbatim,fragment]
630 % This is valid input, but does nothing
631 \skip 1 \skip1 \skip 1
639 Internals Reference: @rinternals{SkipMusic}
642 @node Full measure rests
643 @unnumberedsubsubsec Full measure rests
645 @cindex multi-measure rests
646 @cindex full-measure rests
647 @cindex rest, multi-measure
648 @cindex rest, full-measure
649 @cindex whole rest for a full measure
652 Rests for one or more full measures are entered like notes with
653 the note name uppercase @code{R}:
655 @lilypond[quote,verbatim,relative=2]
656 % Rest measures contracted to single measure
657 \compressFullBarRests
664 The duration of full-measure rests is identical to the duration notation
665 used for notes. The duration in a multi-measure rest must always be an
666 integral number of measure-lengths, so augmentation
667 dots or fractions must often be used:
669 @lilypond[quote,fragment,verbatim]
670 \compressFullBarRests
676 R1*13/8 | R1*13/8*12 |
681 A full-measure rest is printed as either a whole
682 or breve rest, centered in the measure, depending on the time
685 @lilypond[quote,verbatim,fragment]
693 @funindex \expandFullBarRests
694 @funindex \compressFullBarRests
695 @cindex multi-measure rest, expanding
696 @cindex multi-measure rest, contracting
698 By default a multi-measure rest is expanded in the printed score
699 to show all the rest measures explicitly.
700 Alternatively, a mult-measure rest can be shown as a single measure
701 containing a multi-measure rest symbol, with the number of measures of rest
702 printed above the measure:
704 @lilypond[quote,fragment,verbatim]
706 \time 3/4 r2. | R2.*2 |
709 % Rest measures contracted to single measure
710 \compressFullBarRests
712 % Rest measures expanded
719 @cindex text on multi-measure rest
720 @cindex multi-measure rest, attaching text
721 @cindex script on multi-measure rest
722 @cindex multi-measure rest, script
723 @cindex fermata on multi-measure rest
724 @cindex multi-measure rest, attaching fermata
726 Markups can be added to multi-measure rests.
727 The predefined command @code{\fermataMarkup}
728 is provided for adding fermatas.
730 @lilypond[quote,verbatim,fragment]
731 \compressFullBarRests
733 R2.*10^\markup { \italic "ad lib." }
738 Markups attached to a multi-measure rest are
739 objects of type @code{MultiMeasureRestText}, not
740 @code{TextScript}. Overrides must be directed to the correct
741 object, or they will be ignored. See the following example.
744 @lilypond[quote,verbatim,fragment]
745 % This fails, as the wrong object name is specified
746 \override TextScript #'padding = #5
748 % This is correct and works
749 \override MultiMeasureRestText #'padding = #5
753 When a multi-measure rest immediately follows a @code{\partial}
754 setting, resulting bar-check warnings may not be displayed.
758 @code{\textLengthOn},
759 @code{\textLengthOff},
760 @code{\fermataMarkup},
761 @code{\compressFullBarRests},
762 @code{\expandFullBarRests}.
770 @cindex kirchenpausen
772 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
773 {changing-form-of-multi--measure-rests.ly}
775 @cindex multi-measure rests, positioning
776 @cindex positioning multi-measure rests
778 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
779 {positioning-multi--measure-rests.ly}
781 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
782 {multi--measure-rest-markup.ly}
787 @rglos{multi-measure rest}.
792 @ref{Formatting text},
799 @rinternals{MultiMeasureRest},
800 @rinternals{MultiMeasureRestNumber},
801 @rinternals{MultiMeasureRestText}.
806 If an attempt is made to use fingerings (e.g.,
807 @code{R1*10-4}) to put numbers over multi-measure rests, the
808 fingering numeral (4) may collide with the bar counter
811 @cindex condensing rests
812 @cindex rest, condensing ordinary
814 There is no way to automatically condense multiple ordinary rests
815 into a single multi-measure rest.
817 @cindex rest, collisions of
819 Multi-measure rests do not take part in rest collisions.
821 @node Displaying rhythms
822 @subsection Displaying rhythms
828 * Polymetric notation::
829 * Automatic note splitting::
830 * Showing melody rhythms::
834 @unnumberedsubsubsec Time signature
836 @cindex time signature
840 The time signature is set as follows:
842 @lilypond[quote,verbatim,relative=2]
847 @cindex Time signature, visibility of
849 Time signatures are printed at the beginning of a piece
850 and whenever the time signature changes. If a change takes place
851 at the end of a line a warning time signature sign is printed
852 there. This default behavior may be changed, see
853 @ref{Visibility of objects}.
855 @lilypond[quote,verbatim,relative=2]
865 @funindex \numericTimeSignature
866 @funindex \defaultTimeSignature
867 @cindex time signature style
869 The time signature symbol that is used in 2/2 and 4/4 time can be
870 changed to a numeric style:
872 @lilypond[quote,verbatim,relative=2]
876 % Change to numeric style
877 \numericTimeSignature
880 % Revert to default style
881 \defaultTimeSignature
887 Mensural time signatures are covered in
888 @ref{Mensural time signatures}.
892 @code{\numericTimeSignature},
893 @code{\defaultTimeSignature}.
899 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
900 {changing-the-time-signature-without-affecting-the-beaming.ly}
902 @cindex compound time signatures
903 @cindex time signature, compound
905 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
906 {compound-time-signatures.ly}
911 @rglos{time signature}
914 @ref{Mensural time signatures},
915 @ref{Time administration}.
921 @rinternals{TimeSignature},
922 @rinternals{Timing_translator}.
926 @unnumberedsubsubsec Upbeats
930 @cindex partial measure
931 @cindex measure, partial
932 @cindex pickup measure
933 @cindex measure, change length
934 @cindex measurePosition
937 Partial or pick-up measures, such as an anacrusis or upbeat, are
938 entered using the @code{\partial} command, with the syntax
941 \partial @var{duration}
944 where @code{duration} is the rhythmic length of the interval
945 before the start of the first complete measure:
947 @lilypond[quote,verbatim,relative=2]
952 The partial measure can be any duration less than a full measure:
954 @lilypond[quote,verbatim,relative=2]
955 \partial 8*3 c8 d e |
959 Internally, this is translated into
962 \set Timing.measurePosition = -@var{duration}
965 The property @code{measurePosition} contains a rational number
966 indicating how much of the measure has passed at this point. Note
967 that this is set to a negative number by the @code{\partial}
968 command: i.e., @code{\partial 4} is internally translated to
969 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
983 @rinternals{Timing_translator}.
988 The @code{\partial} command is intended to be used only at the
989 beginning of a piece. If you use it after the beginning, some
990 odd warnings may occur.
992 @node Unmetered music
993 @unnumberedsubsubsec Unmetered music
996 @funindex \cadenzaOff
997 @cindex bar lines, turning off
998 @cindex bar numbering, turning off
1000 @cindex unmetered music
1002 Bar lines and bar numbers are calculated automatically. For
1003 unmetered music (some cadenzas, for example), this is not desirable.
1004 To turn off automatic calculation of bar lines and bar numbers,
1005 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1006 to turn them on again.
1008 @lilypond[verbatim,relative=2,fragment]
1017 Bar numbering is resumed at the end of the cadenza as if the
1018 cadenza were not there:
1020 @lilypond[verbatim,relative=2,fragment]
1021 % Show all bar numbers
1022 \override Score.BarNumber #'break-visibility = #all-visible
1043 @c ref{Controlling visibility of objects}.
1051 LilyPond will insert line breaks and page breaks only at a
1052 bar line. Unless the unmetered music ends before the end of the
1053 staff line, you will need to insert invisible bar lines with
1060 to indicate where breaks can occur.
1063 @node Polymetric notation
1064 @unnumberedsubsubsec Polymetric notation
1066 @c This section necessarily uses \set
1067 @c This is acceptable -td
1069 @cindex double time signatures
1070 @cindex signatures, polymetric
1071 @cindex polymetric signatures
1072 @cindex meter, polymetric
1074 Polymetric notation is supported, either explicitly or by modifying
1075 the visible time signature symbol and scaling the note durations.
1077 @strong{@i{Staves with different time signatures, equal measure lengths}}
1079 This notation can be created by setting a common time signature
1080 for each staff but replacing the symbol manually by setting
1081 @code{timeSignatureFraction} to the desired fraction and scaling
1082 the printed durations in each staff to the common time
1083 signature; see @ref{Time signature}. The scaling is done with
1084 @code{\scaleDurations}, which is used in a similar way to
1085 @code{\times}, but does not create a tuplet bracket; see
1086 @ref{Scaling durations}.
1088 In this example, music with the time signatures of 3/4, 9/8, and
1089 10/8 are used in parallel. In the second staff, shown durations
1090 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1091 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1092 It will often be necessary to insert beams manually, as the
1093 duration scaling affects the autobeaming rules.
1095 @lilypond[quote,verbatim,fragment]
1104 \set Staff.timeSignatureFraction = #'(9 . 8)
1105 \scaleDurations #'(2 . 3)
1106 \repeat unfold 6 { c8[ c c] }
1110 \set Staff.timeSignatureFraction = #'(10 . 8)
1111 \scaleDurations #'(3 . 5) {
1112 \repeat unfold 2 { c8[ c c] }
1113 \repeat unfold 2 { c8[ c] } |
1114 c4. c4. \times 2/3 { c8[ c c] } c4
1120 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1122 Each staff can be given its own independent time signature by
1123 moving the @code{Timing_translator} and the
1124 @code{Default_bar_line_engraver} to the @code{Staff} context.
1126 @lilypond[quote,verbatim]
1130 \remove "Timing_translator"
1131 \remove "Default_bar_line_engraver"
1135 \consists "Timing_translator"
1136 \consists "Default_bar_line_engraver"
1140 % Now each staff has its own time signature.
1166 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1167 {compound-time-signatures.ly}
1173 @rglos{polymetric time signature},
1177 @ref{Time signature},
1178 @ref{Scaling durations}.
1183 Internals Reference:
1184 @rinternals{TimeSignature},
1185 @rinternals{Timing_translator},
1186 @rinternals{Default_bar_line_engraver},
1192 When using different time signatures in parallel, notes
1193 at the same moment will be be placed at the same horizontal
1194 location. However, the bar lines in the different staves
1195 will cause the note spacing to be less regular in each of the
1196 individual staves than would be normal without the different
1199 @node Automatic note splitting
1200 @unnumberedsubsubsec Automatic note splitting
1202 @cindex notes, splitting
1203 @cindex splitting notes
1205 Long notes which overrun bar lines can be converted automatically
1206 to tied notes. This is done by replacing the
1207 @code{Note_heads_engraver} with the
1208 @code{Completion_heads_engraver}. In the following
1209 example, notes crossing the bar lines are split and tied.
1211 @lilypond[quote,verbatim,relative=1]
1213 \remove "Note_heads_engraver"
1214 \consists "Completion_heads_engraver"
1217 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1220 This engraver splits all running notes at the bar line, and
1221 inserts ties. One of its uses is to debug complex scores: if the
1222 measures are not entirely filled, then the ties show exactly how
1223 much each measure is off.
1227 Music Glossary: @rglos{tie}
1230 @rlearning{Engravers explained},
1231 @rlearning{Adding and removing engravers}.
1236 Internals Reference:
1237 @rinternals{Note_heads_engraver},
1238 @rinternals{Completion_heads_engraver},
1239 @rinternals{Forbid_line_break_engraver}.
1244 Not all durations (especially those containing tuplets) can be
1245 represented exactly with normal notes and dots, but the
1246 @code{Completion_heads_engraver} will not insert tuplets.
1248 The @code{Completion_heads_engraver} only affects notes; it does not
1252 @node Showing melody rhythms
1253 @unnumberedsubsubsec Showing melody rhythms
1255 Sometimes you might want to show only the rhythm of a melody. This
1256 can be done with the rhythmic staff. All pitches of notes on such a
1257 staff are squashed, and the staff itself has a single line
1259 @lilypond[quote,relative=1,verbatim]
1261 \new RhythmicStaff {
1262 \new Voice = "myRhythm" {
1270 \lyricsto "myRhythm" {
1278 Guitar chord charts often show the strumming rhythms. This can
1279 be done with the @code{Pitch_squash_engraver} and
1280 @code{\improvisationOn}.
1283 @lilypond[quote,verbatim]
1292 \consists Pitch_squash_engraver
1305 @code{\improvisationOn},
1306 @code{\improvisationOff}.
1312 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1313 {guitar-strum-rhythms.ly}
1320 Internals Reference:
1321 @rinternals{RhythmicStaff},
1322 @rinternals{Pitch_squash_engraver}.
1330 * Setting automatic beam behavior::
1335 @node Automatic beams
1336 @unnumberedsubsubsec Automatic beams
1338 By default, beams are inserted automatically:
1340 @cindex beams, manual
1341 @cindex manual beams
1343 @lilypond[quote,verbatim,relative=2]
1345 \time 6/8 c c c c8. c16 c8
1348 If these automatic decisions are not satisfactory, beaming can be
1349 entered explicitly; see @ref{Manual beams}. It is also possible
1350 to define beaming patterns that differ from the defaults. The
1351 default beaming rules for most common time signatures are defined
1352 in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
1353 defined for a particular beam's duration in the time signature being
1354 used, its beaming is controlled by the values of three context
1355 properties, @code{measureLength}, @code{beatLength} and
1356 @code{beatGrouping}. Both the beaming rules and the context
1357 properties can be overridden, see @ref{Setting automatic beam behavior}.
1362 @warning{If beams are used to indicate melismata in songs, then automatic
1363 beaming should be switched off with @code{\autoBeamOff} and the beams
1364 indicated manually.}
1368 Automatic beaming may be turned off and on with
1369 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1371 @lilypond[quote,relative=1,verbatim]
1372 c4 c8 c8. c16 c8. c16 c8
1381 @code{\autoBeamOff},
1392 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1393 {beams-across-line-breaks.ly}
1395 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1396 {changing-beam-knee-gap.ly}
1402 @ref{Setting automatic beam behavior}.
1405 @file{scm/@/auto@/-beam@/.scm}.
1410 Internals Reference: @rinternals{Beam}.
1415 Automatically kneed cross-staff beams cannot be used together with
1416 hidden staves. See @ref{Hiding staves}.
1418 Beams can collide with note heads and accidentals in other voices
1421 @node Setting automatic beam behavior
1422 @unnumberedsubsubsec Setting automatic beam behavior
1424 @funindex autoBeaming
1425 @funindex autoBeamSettings
1426 @funindex (end * * * *)
1427 @funindex (begin * * * *)
1429 @cindex automatic beams, tuning
1430 @cindex tuning automatic beaming
1431 @cindex automatic beam generation
1433 @cindex lyrics and beaming
1436 The placement of automatic beams is determined by the rules
1437 described in @ref{Automatic beams}. There are two mutually
1438 exclusive ways in which these rules may be modified. The
1439 first, modifying the grouping of beats, applies to uncommon time
1440 signatures, i.e. those for which there are no predefined rules
1441 defining the beam end points. The second method, modifying the
1442 specification of the beam end points, can be used for any time
1443 signature. This second method @strong{must} be used for those time
1444 signatures and beam durations combinations for which beam ending
1445 rules are pre-defined, unless these have all been reverted. There
1446 are predefined rules for time signatures of 3/2, 3/4, 4/4, 2/4,
1447 4/8, 4/16, 6/8, 9/8 and 12/8.
1449 @i{@strong{Modifying the grouping of beats}}
1451 If there are no beam-ending rules defined for the beam duration of a
1452 particular beam in the time signature in use, its beaming is
1453 controlled by three context properties:
1454 @code{measureLength}, @code{beatLength} and @code{beatGrouping}.
1455 These properties may be set in the @code{Score}, @code{Staff} or
1456 @code{Voice} contexts to delimit their scope. The default values
1457 are set while processing @code{\time} commands, so the @code{\set}
1458 commands must be placed after all @code{\time} commands.
1460 These determine the beaming as follows:
1462 Beams may begin anywhere (unless a beam is already active). Beams
1463 end at a time determined by the values of @code{beatGrouping} and
1464 @code{beatLength}, as follows:
1468 @item If @code{beatGrouping} and @code{beatLength} are consistent
1469 with @code{measureLength}, @code{beatGrouping} is used to determine
1470 the end points of beams.
1472 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1473 with @code{measureLength}, @code{beatLength} is used to determine
1474 the end points of beams.
1478 @warning{These three properties become effective for a particular
1479 beam @strong{only} if there are no beam-ending rules predefined for
1480 that beam's duration in the time signature in use, or if these
1481 beam-ending rules have all been reverted.}
1483 By default the @code{measureLength} and @code{beatLength} are
1484 derived from the time signature set by the @code{\time} command.
1485 The @code{measureLength} is set to be exactly the same length as
1486 the measure length given by the time signature, and the
1487 @code{beatLength} is set to be the same as one over the denominator
1488 of the time signature.
1490 The default value of @code{beatGrouping} is taken from a table in
1491 @file{scm/@/music@/-functions@/.scm}. To find this, see
1492 @rlearning{Other sources of information}. It defines the beat
1493 grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
1495 Both @code{measureLength} and @code{beatLength} are @i{moments},
1496 units of musical duration. A quantity of type @i{moment} is
1497 created by the scheme function @code{ly:make-moment}. For more
1498 information about this function, see @ref{Time administration}.
1500 @code{beatGrouping} is a list of integers giving the number of
1501 beats in each group.
1505 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1508 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1509 {specifying-context-with-beatgrouping.ly}
1511 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1512 {using-beatlength-and-beatgrouping.ly}
1514 @funindex subdivideBeams
1516 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1517 {sub-dividing-beams.ly}
1519 @cindex measure groupings
1520 @cindex beats, grouping
1521 @cindex grouping beats
1522 @cindex measure sub-grouping
1524 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1525 {conducting-signs,-measure-grouping-signs.ly}
1528 @strong{@i{Modifying the beam end points}}
1530 In common time signatures, automatic beams can start on any note
1531 but can end at only a few positions within the measure, namely at
1532 durations specified by the properties in @code{autoBeamSettings}.
1533 These properties consist of a list of rules defining where beams can
1534 end. The default @code{autoBeamSettings} rules are defined in
1535 @file{scm/@/auto@/-beam@/.scm}. To find this, see
1536 @rlearning{Other sources of information}.
1538 This method @strong{must} be used for the time signatures for which
1539 beam-ending rules are defined by default, unless these have all
1540 been reverted. It is also particularly suitable for many other time
1541 signatures if the time signature of the measures changes frequently,
1542 or if the beaming should be different for different beam durations.
1544 In order to add a rule to the list, use
1547 #(override-auto-beam-setting
1549 beam-numerator beam-denominator
1550 time-signature-numerator time-signature-denominator)
1551 moment-numerator moment-denominator [context])
1559 @item @code{beam-limit} is the type of automatic beam limit
1560 defined. This can be either @code{begin} or @code{end} but
1561 only @code{end} is effective.
1563 @item @code{beam-numerator/beam-denominator} is the beam duration
1564 to which the rule is to apply. A beam is considered to have
1565 the duration of its shortest note. Set @code{beam-numerator}
1566 and @code{beam-denominator} to @code{'*'} to have this rule apply
1567 to beams of any duration.
1569 @item @code{time-signature-numerator/time-signature-denominator}
1570 specifies the time signature to which this rule should apply.
1571 If @code{time-signature-numerator} and
1572 @code{time-signature-denominator} are set to @code{'*'} this rule
1573 will apply in any time signature.
1575 @item @code{monent-numerator/moment-denominator} is the position
1576 in the bar at which the beam should end.
1578 @item @code{context} is optional, and it specifies the context at which
1579 the change should be made. The default is @code{'Voice}.
1581 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1582 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1586 For example, if automatic beams should always end on the first quarter
1587 note, whatever the time signature or beam duration, use
1589 @lilypond[quote,verbatim,relative=2]
1591 #(override-auto-beam-setting '(end * * * *) 1 4)
1595 You can force the beam settings to take effect only on beams whose shortest
1596 note is a certain duration
1598 @lilypond[quote,verbatim,relative=2]
1600 % end 1/16 beams for all time signatures at the 1/16 moment
1601 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1603 a32 a a a a16 a a a a a |
1604 % end 1/32 beams for all time signatures at the 1/16 moment
1605 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1606 a32 a a a a16 a a a a a |
1609 You can force the beam settings to take effect only in certain time
1612 @lilypond[quote,verbatim,relative=2]
1614 % end beams of all durations in 5/8 time signature at the 2/8 moment
1615 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1623 When multiple voices are used the @code{Staff} context must be
1624 specified if the beaming is to be applied to all voices in the
1627 @lilypond[quote,verbatim,relative=2]
1630 % Context not specified - does not work correctly
1631 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1632 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1633 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1634 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1636 % Works correctly with context specified
1637 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1638 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1639 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1640 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1643 @warning{If any unexpected beam behavior occurs, check the default
1644 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1645 possible interference, because the beam endings defined there will
1646 still apply in addition to your own.}
1648 Any unwanted or conflicting default endings must be reverted for
1649 your time signature(s). Existing auto-beam rules are removed by
1653 #(revert-auto-beam-setting
1655 beam-numerator beam-denominator
1656 time-signature-numerator time-signature-denominator)
1657 moment-numerator moment-denominator [context])
1661 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1662 @code{time-signature-numerator}, @code{time-signature-denominator},
1663 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1664 are the same as above.
1666 @lilypond[quote,verbatim,relative=2]
1668 a16 a a a a a a a a a a a a a a a
1669 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1670 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1671 a16 a a a a a a a a a a a a a a a
1674 The rule in a @code{revert-auto-beam-setting} statement must exactly
1675 match the original rule. That is, no wildcard expansion is taken into
1678 @lilypond[quote,verbatim,relative=2]
1680 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1682 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1684 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1690 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1691 {beam-grouping-in-7-8-time.ly}
1693 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1694 {reverting-default-beam-endings.ly}
1696 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1697 {beam-endings-in-score-context.ly}
1701 @funindex \autoBeamOff
1702 @code{\autoBeamOff},
1703 @funindex \autoBeamOn
1710 If a score ends while an automatic beam has not been ended and is
1711 still accepting notes, this last beam will not be typeset at all.
1712 The same holds for polyphonic voices, entered with @code{<<
1713 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1714 automatic beam is still accepting notes, it is not typeset.
1723 @unnumberedsubsubsec Manual beams
1725 @cindex beams, manual
1729 In some cases it may be necessary to override the automatic
1730 beaming algorithm. For example, the autobeamer will not put beams
1731 over rests or bar lines, and in choral scores the beaming is
1732 often set to follow the meter of the lyrics rather than the
1733 notes. Such beams can be specified manually by
1734 marking the begin and end point with @code{[} and @code{]}
1736 @lilypond[quote,relative=1,verbatim]
1738 r4 r8[ g' a r8] r8 g[ | a] r8
1743 Individual notes may be marked with @code{\noBeam} to prevent them
1746 @lilypond[quote,verbatim,relative=2]
1747 \time 2/4 c8 c\noBeam c c
1750 @funindex stemLeftBeamCount
1751 @funindex stemRightBeamCount
1753 Even more strict manual control with the beams can be achieved by
1754 setting the properties @code{stemLeftBeamCount} and
1755 @code{stemRightBeamCount}. They specify the number of beams to
1756 draw on the left and right side, respectively, of the next note.
1757 If either property is set, its value will be used only once, and
1758 then it is erased. In this example, the last @code{f} is printed
1759 with only one beam on the left side, i.e., the eighth-note beam of
1760 the group as a whole.
1762 @lilypond[quote,relative=2,verbatim]
1765 \set stemLeftBeamCount = #2
1766 \set stemRightBeamCount = #1
1768 \set stemLeftBeamCount = #1
1775 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1776 {flat-flags-and-beam-nibs.ly}
1778 @node Feathered beams
1779 @unnumberedsubsubsec Feathered beams
1781 @cindex beams, feathered
1782 @funindex \featherDurations
1784 Feathered beams are used to indicate that a small group of notes
1785 should be played at an increasing (or decreasing) tempo, without
1786 changing the overall tempo of the piece. The extent of the
1787 feathered beam must be indicated manually using @code{[} and
1788 @code{]}, and the beam feathering is turned on by specifying a
1789 direction to the @code{Beam} property @code{grow-direction}.
1791 If the placement of the notes and the sound in the MIDI output
1792 is to reflect the ritardando or accelerando indicated by the
1793 feathered beam the notes must be grouped as a
1794 music expression delimited by braces and preceded by a
1795 @code{featheredDurations} command which specifies the ratio
1796 between the durations of the first and last notes in the group.
1799 show the extent of the beam and the braces show
1800 which notes are to have their durations modified. Normally
1801 these would delimit the same group of notes, but this is not
1802 required: the two commands are independent.
1804 In the following example the eight 16th notes occupy exactly the
1805 same time as a half note, but the first note is one half as long
1806 as the last one, with the intermediate notes gradually
1807 lengthening. The first four 32nd notes gradually speed up, while
1808 the last four 32nd notes are at a constant tempo.
1810 @lilypond[relative=1,verbatim,quote]
1811 \override Beam #'grow-direction = #LEFT
1812 \featherDurations #(ly:make-moment 2 1)
1813 { c16[ c c c c c c c] }
1814 \override Beam #'grow-direction = #RIGHT
1815 \featherDurations #(ly:make-moment 2 3)
1817 % revert to non-feathered beams
1818 \override Beam #'grow-direction = #'()
1823 The spacing in the printed output represents the
1824 note durations only approximately, but the MIDI output is exact.
1828 The @code{\featherDurations} command only works with very short
1829 music snippets, and when numbers in the fraction are small.
1844 * Bar and bar number checks::
1849 @unnumberedsubsubsec Bar lines
1853 @cindex measure lines
1856 Bar lines delimit measures, and are also used to indicate
1857 repeats. Normally, simple bar lines are automatically inserted
1858 into the printed output at places based on the current time
1861 The simple bar lines inserted automatically can be changed to
1862 other types with the @code{\bar} command. For example, a closing
1863 double bar line is usually placed at the end of a piece:
1865 @lilypond[quote,relative=1,verbatim]
1869 It is not invalid if the final note in a measure does not
1870 end on the automatically entered bar line: the note is assumed
1871 to carry over into the next measure. But if a long sequence
1872 of such carry-over measures appears the music can appear compressed
1873 or even flowing off the page. This is because automatic line
1874 breaks happen only at the end of complete measures, i.e., where
1875 all notes end before the end of a measure.
1877 @warning{An incorrect duration can cause line breaks to be
1878 inhibited, leading to a line of highly compressed music or
1879 music which flows off the page.}
1882 @cindex bar lines, invisible
1883 @cindex measure lines, invisible
1885 Line breaks are also permitted at manually inserted bar lines
1886 even within incomplete measures. To allow a line break without
1887 printing a bar line, use
1894 This will insert an invisible bar line and allow (but not
1895 force) a line break to occur at this point. The bar number
1896 counter is not increased. To force a line break see
1897 @ref{Line breaking}.
1899 This and other special bar lines may be inserted manually at any
1900 point. When they coincide with the end of a measure they replace
1901 the simple bar line which would have been inserted there
1902 automatically. When they do not coincide
1903 with the end of a measure the specified bar line is inserted at that
1904 point in the printed output. Such insertions do not affect
1905 the calculation and placement of subsequent automatic bar lines.
1907 The simple bar line and five types of double bar line are available
1908 for manual insertion:
1910 @lilypond[quote,relative=1,verbatim]
1911 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
1915 together with dotted and dashed bar lines:
1917 @lilypond[quote,relative=1,verbatim]
1918 f1 \bar ":" g \bar "dashed" a
1922 and five types of repeat bar line:
1924 @lilypond[quote,relative=1,verbatim]
1925 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
1930 Although the bar line types signifying repeats may be inserted
1931 manually they do not in themselves cause LilyPond to recognize
1932 a repeated section. Such repeated sections are better entered
1933 using the various repeat commands (see @ref{Repeats}), which
1934 automatically print the appropriate bar lines.
1936 In addition, you can specify @code{"||:"}, which is equivalent to
1937 @code{"|:"} except at line breaks, where it gives a double bar
1938 line at the end of the line and a start repeat at the beginning of
1941 @lilypond[quote,relative=2,verbatim]
1942 \override Score.RehearsalMark #'padding = #3
1950 In scores with many staves, a @code{\bar} command in one staff is
1951 automatically applied to all staves. The resulting bar lines are
1952 connected between different staves of a @code{StaffGroup},
1953 @code{PianoStaff}, or @code{GrandStaff}.
1955 @lilypond[quote,fragment,verbatim]
1963 \new Staff { \clef bass c4 g e g }
1965 \new Staff { \clef bass c2 c2 }
1973 @funindex defaultBarType
1975 The command @code{\bar }@var{bartype} is a shortcut for
1976 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1977 created whenever the @code{whichBar} property is
1980 The default bar type used for automatically inserted bar lines is
1981 @code{"|"}. This may be changed at any time
1982 with @code{\set Timing.defaultBarType = }@var{bartype}.
1987 @ref{Line breaking},
1989 @ref{Grouping staves}.
1994 Internals Reference: @rinternals{BarLine} (created at
1995 @rinternals{Staff} level), @rinternals{SpanBar} (across
1996 staves), @rinternals{Timing_translator} (for Timing
2001 @unnumberedsubsubsec Bar numbers
2004 @cindex measure numbers
2005 @funindex currentBarNumber
2007 Bar numbers are typeset by default at the start of every line except
2008 the first line. The number itself is stored in the
2009 @code{currentBarNumber} property, which is normally updated
2010 automatically for every measure. It may also be set manually:
2012 @lilypond[verbatim,quote,fragment,relative=1]
2015 \set Score.currentBarNumber = #50
2022 @funindex barNumberVisibility
2023 @cindex bar numbers, regular spacing
2025 Bar numbers can be typeset at regular intervals instead of just at
2026 the beginning of every line. To do this the default behavior
2027 must be overridden to permit bar numbers to be printed at places
2028 other than the start of a line. This is controlled by the
2029 @code{break-visibility} property of @code{BarNumber}. This takes
2030 three values which may be set to @code{#t} or @code{#f} to specify
2031 whether the corresponding bar number is visible or not. The order
2032 of the three values is @code{end of line visible}, @code{middle of
2033 line visible}, @code{beginning of line visible}. In the following
2034 example bar numbers are printed at all possible places:
2036 @lilypond[verbatim,quote,relative=1]
2037 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2038 \set Score.currentBarNumber = #11
2039 \bar "" % Permit first bar number to be printed
2045 @c All the rest of these examples will be added to LSR
2046 @c and moved into the Snippets. -gp
2049 and here the bar numbers are printed every two measures
2050 except at the end of the line:
2052 @lilypond[verbatim,quote,relative=1]
2053 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2054 \set Score.currentBarNumber = #11
2055 \bar "" % Permit first bar number to be printed
2056 % Print a bar number every second measure
2057 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2063 @cindex measure number, format
2064 @cindex bar number, format
2066 The size of the bar number may be changed. This is illustrated
2067 in the following example, which also shows how to enclose bar
2068 numbers in boxes and circles, and shows an alternative way
2069 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2071 @lilypond[verbatim,quote,relative=1]
2072 % Prevent bar numbers at the end of a line and permit them elsewhere
2073 \override Score.BarNumber #'break-visibility
2074 = #end-of-line-invisible
2076 % Increase the size of the bar number by 2
2077 \override Score.BarNumber #'font-size = #2
2078 \repeat unfold 3 { c1 } \bar "|"
2080 % Draw a box round the following bar number(s)
2081 \override Score.BarNumber #'stencil
2082 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2083 \repeat unfold 3 { c1 } \bar "|"
2085 % Draw a circle round the following bar number(s)
2086 \override Score.BarNumber #'stencil
2087 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2088 \repeat unfold 4 { c1 } \bar "|."
2091 @cindex bar number alignment
2093 Bar numbers by default are left-aligned to their parent object.
2094 This is usually the left edge of a line or, if numbers are printed
2095 within a line, the left bar line of the measure. The numbers may also
2096 be positioned directly on the bar line or right-aligned to the
2099 @lilypond[verbatim,quote,relative=1]
2100 \set Score.currentBarNumber = #111
2101 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2102 % Increase the size of the bar number by 2
2103 \override Score.BarNumber #'font-size = #2
2104 % Print a bar number every second measure
2105 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2107 % Center-align bar numbers
2108 \override Score.BarNumber #'self-alignment-X = #0
2110 % Right-align bar numbers
2111 \override Score.BarNumber #'self-alignment-X = #-1
2115 Bar numbers can be removed entirely by removing the
2116 @code{Bar_number_engraver} from the @code{Score} context.
2118 @lilypond[verbatim,quote]
2122 \remove "Bar_number_engraver"
2136 Internals Reference: @rinternals{BarNumber}.
2141 Bar numbers may collide with the top of the
2142 @rinternals{StaffGroup} bracket, if there is one. To solve
2143 this, the @code{padding} property of @rinternals{BarNumber} can
2144 be used to position the number correctly.
2146 Bar numbers may only be printed at bar lines; to print a bar
2147 number at the beginning of a piece, an empty bar line must be
2148 inserted there, and a value other than @code{1} must be placed
2149 in @code{currentBarNumber}:
2151 @lilypond[verbatim,quote,relative=1]
2152 \set Score.currentBarNumber = #50
2161 @node Bar and bar number checks
2162 @unnumberedsubsubsec Bar and bar number checks
2165 @funindex barCheckSynchronize
2168 Bar checks help detect errors in the entered durations.
2169 A bar check may be entered using the bar symbol, @code{|},
2170 at any place where a bar line is expected to fall.
2171 If bar check lines are encountered at other places,
2172 a list of warnings is printed in the log file,
2173 showing the line numbers and lines
2174 in which the bar checks failed. In the next
2175 example, the second bar check will signal an error.
2178 \time 3/4 c2 e4 | g2 |
2181 Bar checks can also be used in lyrics, for example
2186 Twin -- kle | Twin -- kle |
2190 An incorrect duration can result in a completely garbled score,
2191 especially if the score is polyphonic, so a good place to start
2192 correcting input is by scanning for failed bar checks and
2193 incorrect durations.
2195 If successive bar checks are off by the same musical interval,
2196 only the first warning message is displayed. This allows the
2197 warning to focus on the source of the timing error.
2201 @funindex pipeSymbol
2203 It is also possible to redefine the action taken when a bar check
2204 or pipe symbol, @code{|}, is encountered in the input, so that
2205 it does something other than a bar check. This is done by
2206 assigning a music expression to @code{pipeSymbol}.
2207 In the following example @code{|} is set to insert a double bar
2208 line wherever it appears in the input, rather than checking
2211 @lilypond[quote,verbatim]
2212 pipeSymbol = \bar "||"
2221 When copying large pieces of music, it can be helpful to check
2222 that the LilyPond bar number corresponds to the original that you
2223 are entering from. This can be checked with
2224 @code{\barNumberCheck}, for example,
2227 \barNumberCheck #123
2231 will print a warning if the @code{currentBarNumber} is not 123
2232 when it is processed.
2240 @node Rehearsal marks
2241 @unnumberedsubsubsec Rehearsal marks
2243 @cindex rehearsal marks
2244 @cindex mark, rehearsal
2247 To print a rehearsal mark, use the @code{\mark} command
2249 @lilypond[quote,verbatim,relative=2]
2258 The letter@tie{}@q{I} is skipped in accordance with engraving
2259 traditions. If you wish to include the letter @q{I}, then use
2262 \set Score.markFormatter = #format-mark-alphabet
2265 The mark is incremented automatically if you use @code{\mark
2266 \default}, but you can also use an integer argument to set the
2267 mark manually. The value to use is stored in the property
2268 @code{rehearsalMark}.
2270 @cindex rehearsal mark format
2271 @cindex rehearsal mark style
2272 @cindex style, rehearsal mark
2273 @cindex format, rehearsal mark
2274 @cindex mark, rehearsal, style
2275 @cindex mark, rehearsal, format
2277 The style is defined by the property @code{markFormatter}. It is
2278 a function taking the current mark (an integer) and the current
2279 context as argument. It should return a markup object. In the
2280 following example, @code{markFormatter} is set to a pre-defined
2281 procedure. After a few measures, it is set to a procedure that
2282 produces a boxed number.
2284 @lilypond[quote,verbatim,relative=2]
2285 \set Score.markFormatter = #format-mark-numbers
2288 \set Score.markFormatter = #format-mark-box-numbers
2290 \set Score.markFormatter = #format-mark-circle-numbers
2292 \set Score.markFormatter = #format-mark-circle-letters
2296 The file @file{scm/@/translation@/-functions@/.scm} contains the
2297 definitions of @code{format-mark-numbers} (the default format),
2298 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2299 @code{format-mark-box-letters}. These can be used as inspiration
2300 for other formatting functions.
2302 You may use @code{format-mark-barnumbers},
2303 @code{format-mark-box-barnumbers}, and
2304 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2305 incremented numbers or letters.
2307 Other styles of rehearsal mark can be specified manually
2314 @code{Score.markFormatter} does not affect marks specified in this
2315 manner. However, it is possible to apply a @code{\markup} to the
2319 \mark \markup@{ \box A1 @}
2326 Music glyphs (such as the segno sign) may be printed inside a
2329 @lilypond[quote,verbatim,relative=1]
2330 c1 \mark \markup { \musicglyph #"scripts.segno" }
2331 c1 \mark \markup { \musicglyph #"scripts.coda" }
2332 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2337 See @ref{The Feta font}, for a list of symbols which may be
2338 printed with @code{\musicglyph}.
2340 For common tweaks to the positioning of rehearsal marks, see
2341 @ref{Formatting text}.
2346 @ref{The Feta font},
2347 @ref{Formatting text}.
2350 @file{scm/@/translation@/-functions@/.scm} contains
2351 the definition of @code{format-mark-numbers} and
2352 @code{format-mark-letters}. They can be used as inspiration for
2353 other formatting functions.
2358 Internals Reference: @rinternals{RehearsalMark}.
2361 @node Special rhythmic concerns
2362 @subsection Special rhythmic concerns
2367 * Aligning to cadenzas::
2368 * Time administration::
2372 @unnumberedsubsubsec Grace notes
2377 @cindex appoggiatura
2378 @cindex acciaccatura
2380 Grace notes are ornaments that are written out. Grace notes
2381 are printed in a smaller font and take up no logical time
2384 @lilypond[quote,relative=2,verbatim]
2386 \grace { c16[ d16] } c2
2389 Lilypond also supports two special types of grace notes, the
2390 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2391 small note with a slashed stem--and the @emph{appoggiatura}, which
2392 takes a fixed fraction of the main note and appears in small print
2395 @lilypond[quote,relative=2,verbatim]
2399 \acciaccatura { g16[ f] } e4
2402 The placement of grace notes is synchronized between different
2403 staves. In the following example, there are two sixteenth grace
2404 notes for every eighth grace note
2406 @lilypond[quote,relative=2,verbatim]
2407 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2408 \new Staff { c2 \grace { g8[ b] } c2 } >>
2411 @funindex \afterGrace
2413 @cindex grace notes, following
2415 If you want to end a note with a grace, use the @code{\afterGrace}
2416 command. It takes two arguments: the main note, and the grace
2417 notes following the main note.
2419 @lilypond[quote,verbatim,relative=2]
2420 c1 \afterGrace d1 { c16[ d] } c1
2423 This will put the grace notes after a space lasting 3/4 of the
2424 length of the main note. The default fraction 3/4 can be changed by
2425 setting @code{afterGraceFraction}. The following example shows
2426 the results from setting the space at the default, at 15/16, and
2427 finally at 1/2 of the main note.
2429 @lilypond[quote,verbatim,relative=2]
2432 c1 \afterGrace d1 { c16[ d] } c1
2435 #(define afterGraceFraction (cons 15 16))
2436 c1 \afterGrace d1 { c16[ d] } c1
2439 #(define afterGraceFraction (cons 1 2))
2440 c1 \afterGrace d1 { c16[ d] } c1
2445 The space between the main note and the grace note may also be
2446 specified using spacers. The following example places the grace
2447 note after a space lasting 7/8 of the main note.
2449 @lilypond[quote,verbatim,relative=2]
2452 { s2 s4. \grace { c16[ d] } } >>
2457 A @code{\grace} music expression will introduce special
2458 typesetting settings, for example, to produce smaller type, and
2459 set directions. Hence, when introducing layout tweaks to
2460 override the special settings, they should be placed inside
2461 the grace expression. The overrides should also be reverted
2462 inside the grace expression. Here, the grace note's default stem
2463 direction is overriden and then reverted.
2465 @lilypond[quote,verbatim,relative=2]
2477 @cindex stem, with slash
2482 The slash through the stem found in @emph{acciaccatura}s can be applied
2483 in other situations:
2485 @lilypond[quote,verbatim,relative=2]
2487 \override Stem #'stroke-style = #"grace"
2492 The layout of grace expressions can be changed throughout the
2493 music using the function @code{add-grace-property}. The following
2494 example undefines the @code{Stem} direction for this grace, so
2495 that stems do not always point up.
2497 @lilypond[quote,verbatim,relative=2]
2500 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2501 #(remove-grace-property 'Voice 'Stem 'direction)
2503 \acciaccatura { f16 } g4
2504 \grace { d16[ e] } f4
2505 \appoggiatura { a,32[ b c d] } e2
2511 Another option is to change the variables @code{startGraceMusic},
2512 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2513 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2514 @code{stopAppoggiaturaMusic}. The default values of these can be
2515 seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
2516 them other effects may be obtained.
2518 Grace notes may be forced to align with regular notes
2521 @lilypond[verbatim,quote]
2524 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2527 \afterGrace c4 { c16[ c8 c16] }
2531 c16 c c c c c c c c4 r
2540 @rglos{grace notes},
2541 @rglos{acciaccatura},
2542 @rglos{appoggiatura}.
2544 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2546 Snippets: @rlsr{Rhythms}.
2548 Internals Reference: @rinternals{GraceMusic}.
2553 A multi-note beamed @i{acciaccatura} is printed without a slash,
2554 and looks exactly the same as a multi-note beamed
2557 @c TODO Add link to LSR snippet to add slash when available
2559 Grace note synchronization can also lead to surprises. Staff
2560 notation, such as key signatures, bar lines, etc., are also
2561 synchronized. Take care when you mix staves with grace notes and
2562 staves without, for example,
2564 @lilypond[quote,relative=2,verbatim]
2565 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2566 \new Staff { c4 \bar "|:" d2. } >>
2570 This can be remedied by inserting grace skips of the corresponding
2571 durations in the other staves. For the above example
2573 @lilypond[quote,relative=2,verbatim]
2574 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2575 \new Staff { c4 \bar "|:" \grace s16 d2. } >>
2578 Grace sections should only be used within sequential music
2579 expressions. Nesting or juxtaposing grace sections is not
2580 supported, and might produce crashes or other errors.
2582 @node Aligning to cadenzas
2583 @unnumberedsubsubsec Aligning to cadenzas
2586 @cindex cadenza, aligning to
2587 @cindex aligning to cadenza
2589 In an orchestral context, cadenzas present a special problem: when
2590 constructing a score that includes a measured cadenza or other solo
2591 passage, all other instruments should skip just as many notes as the
2592 length of the cadenza, otherwise they will start too soon or too late.
2594 One solution to this problem is to use the functions
2595 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2596 functions take a defined piece of music as an argument and generate a
2597 multi-measure rest or @code{\skip} exactly as long as the piece.
2599 @lilypond[verbatim,quote]
2600 MyCadenza = \relative c' {
2611 #(ly:export (mmrest-of-length MyCadenza))
2613 #(ly:export (skip-of-length MyCadenza))
2628 @node Time administration
2629 @unnumberedsubsubsec Time administration
2631 @cindex time administration
2632 @cindex timing (within the score)
2633 @cindex music, unmetered
2634 @cindex unmetered music
2636 @funindex currentBarNumber
2637 @funindex measurePosition
2638 @funindex measureLength
2640 Time is administered by the @code{Timing_translator}, which by
2641 default is to be found in the @code{Score} context. An alias,
2642 @code{Timing}, is added to the context in which the
2643 @code{Timing_translator} is placed.
2645 The following properties of @code{Timing} are used
2646 to keep track of timing within the score.
2649 @cindex measure number
2652 @item currentBarNumber
2653 The current measure number. For an example showing the
2654 use of this property see @ref{Bar numbers}.
2657 The length of the measures in the current time signature. For a
2658 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2659 determines when bar lines are inserted and how automatic beams
2660 should be generated.
2662 @item measurePosition
2663 The point within the measure where we currently are. This
2664 quantity is reset by subtracting @code{measureLength} whenever
2665 @code{measureLength} is reached or exceeded. When that happens,
2666 @code{currentBarNumber} is incremented.
2669 If set to true, the above variables are updated for every time
2670 step. When set to false, the engraver stays in the current
2671 measure indefinitely.
2675 Timing can be changed by setting any of these variables
2676 explicitly. In the next example, the default 4/4 time
2677 signature is printed, but @code{measureLength} is set to 5/4.
2678 At 4/8 through the third measure, the @code{measurePosition} is
2679 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2680 The next bar line then falls at 9/8 rather than 5/4.
2682 @lilypond[quote,verbatim,relative=1]
2683 \set Score.measureLength = #(ly:make-moment 5 4)
2687 \set Score.measurePosition = #(ly:make-moment 5 8)
2693 As the example illustrates, @code{ly:make-moment n m} constructs a
2694 duration of n/m of a whole note. For example,
2695 @code{ly:make-moment 1 8} is an eighth note duration and
2696 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2701 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2706 Internals Reference: @rinternals{Timing_translator},