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 1.2.3.4 Polymetric notation
15 Quite extensive changes. Could you please check through. Divided
17 sections. Necessarily uses tweaks.
23 @lilypondfile[quote]{rhythms-headword.ly}
25 This section discusses rhythms, rests, durations, beaming and bars.
30 * Displaying rhythms::
33 * Special rhythmic concerns::
38 @subsection Writing rhythms
48 @unnumberedsubsubsec Durations
50 @cindex durations, of notes
51 @cindex note durations
57 Durations are designated by numbers and dots.
58 Durations are entered as their reciprocal values. For example, a
59 quarter note is entered using a @code{4} (since it is a 1/4 note),
60 and a half note is entered using a @code{2} (since it is a 1/2
61 note). For notes longer than a whole you must use the
62 @code{\longa} (a double breve) and @code{\breve} commands.
63 Durations as short as 64th notes may be specified. Shorter values
64 are possible, but only as beamed notes.
66 @c Two 64th notes are needed to obtain beams
67 @lilypond[quote,verbatim,relative=2]
74 Here are the same durations with automatic beaming turned off.
76 @c not strictly "writing rhythms"; more of a "displaying" thing,
77 @c but it's ok here. -gp
78 @lilypond[quote,verbatim,relative=2]
85 A note with the duration of a quadruple breve may be entered with
86 @code{\maxima}, but this is supported only within ancient music
87 notation. For details, see @ref{Ancient notation}.
89 If the duration is omitted, it is set to the previously
90 entered duration. The default for the first note is a quarter
93 @lilypond[quote,verbatim,relative=2]
102 To obtain dotted note lengths, place a dot (@code{.}) after the
103 duration. Double-dotted notes are specified by appending two
106 @lilypond[quote,verbatim,relative=2]
107 a4 b c4. b8 a4. b4.. c8.
110 Some durations cannot be represented with just binary durations
111 and dots; they can be represented only by tying two or more
112 notes together. For details, see @ref{Ties}.
114 For ways of specifying durations for the syllables of lyrics and
115 ways of aligning lyrics to notes, see @ref{Vocal music}.
117 Optionally, notes can be spaced strictly proportionately to their
118 duration. For details of this and other settings which control
119 proportional notation, see @ref{Proportional notation}.
123 @funindex \dotsNeutral
125 Dots are normally moved up to avoid staff lines, except in
126 polyphonic situations. Predefined commands are available to
127 force a particular direction manually, for details
128 see @ref{Direction and placement}.
144 @rglos{Duration names notes and rests}.
147 @ref{Automatic beams},
149 @ref{Writing rhythms},
152 @ref{Ancient notation},
153 @ref{Proportional notation}.
160 @rinternals{DotColumn}.
165 @c Deliberately duplicated in Durations and Rests. -gp
166 There is no fundamental limit to rest durations (both in terms of
167 longest and shortest), but the number of glyphs is limited:
168 rests from 128th to maxima (8 x whole) may be printed.
172 @unnumberedsubsubsec Tuplets
178 Tuplets are made from a music expression by multiplying all the
179 durations with a fraction:
182 \times @var{fraction} @{ @var{music} @}
186 The duration of @var{music} will be multiplied by the
187 fraction. The fraction's denominator will be printed over or
188 under the notes, optionally with a bracket. The most common
189 tuplet is the triplet in which 3 notes have the duration of 2, so
190 the notes are 2/3 of their written length.
192 @lilypond[quote,verbatim,relative=2]
193 a2 \times 2/3 { b4 b b }
194 c4 c \times 2/3 { b4 a g }
198 @funindex \tupletDown
199 @funindex \tupletNeutral
201 The automatic placement of the tuplet bracket above or below the
202 notes may be overridden manually with predefined commands, for
203 details see @ref{Direction and placement}.
205 Tuplets may be nested:
207 @lilypond[quote,verbatim,relative=2]
209 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
212 Modifying nested tuplets which begin at the same musical moment
213 must be done with @code{\tweak}.
215 To modify the duration of notes without printing a tuplet bracket,
216 see @ref{Scaling durations}.
222 @code{\tupletNeutral}.
227 @cindex tuplet formatting
228 @cindex triplet formatting
230 @funindex tupletNumberFormatFunction
231 @funindex tupletSpannerDuration
233 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
234 {entering-several-tuplets-using-only-one--times-command.ly}
236 @funindex TupletNumber
238 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
239 {changing-the-tuplet-number.ly}
241 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
242 {permitting-line-breaks-within-beamed-tuplets.ly}
251 Learning Manual: @rlearning{Tweaking methods}.
254 @ref{Time administration},
255 @ref{Scaling durations},
256 @ref{The tweak command},
257 @ref{Polymetric notation}.
263 @rinternals{TupletBracket},
264 @rinternals{TupletNumber},
265 @rinternals{TimeScaledMusic}.
268 @cindex grace notes within tuplet brackets
269 When the first note on a staff is a grace note followed by a
270 tuplet the grace note must be placed before the @code{\times}
271 command to avoid errors. Anywhere else, grace notes may be
272 placed within tuplet brackets.
275 @node Scaling durations
276 @unnumberedsubsubsec Scaling durations
278 @cindex scaling durations
279 @cindex durations, scaling
281 You can alter the duration of single notes, rests or chords by a
282 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
283 @code{M} is 1) to the duration.
284 This will not affect the appearance of the notes or rests
285 produced, but the altered duration will be used in calculating the
286 position within the measure and setting the duration in the MIDI
287 output. Multiplying factors may be combined such as @code{*L*M/N}.
289 In the following example, the first three notes take up exactly
290 two beats, but no triplet bracket is printed.
292 @lilypond[quote,relative=2,verbatim]
294 % Alter durations to triplets
295 a4*2/3 gis4*2/3 a4*2/3
298 % Double the duration of chord
300 % Duration of quarter, appears like sixteenth
304 The duration of skip or spacing notes may also be modified by
305 a multiplier. This is useful for skipping many measures, e.g.,
308 @cindex compressing music
309 @funindex \scaleDurations
311 Longer stretches of music may be compressed by a fraction in the
312 same way, as if every note, chord or rest had the fraction as a
313 multiplier. This leaves the appearance of the music unchanged but
314 the internal duration of the notes will be multiplied by the
315 fraction @emph{num}/@emph{den}. The spaces around the dot are
316 required. Here is an example showing how music can be compressed
319 @lilypond[quote,relative=2,verbatim]
323 % Scale music by *2/3
324 \scaleDurations #'(2 . 3) {
328 \scaleDurations #'(2 . 1) {
334 One application of this command is in polymetric
335 notation, see @ref{Polymetric notation}.
342 @ref{Invisible rests},
343 @ref{Polymetric notation}.
350 @unnumberedsubsubsec Ties
355 A tie connects two adjacent note heads of the same pitch. The tie
356 in effect extends the duration of a note.
358 @warning{Ties should not be confused with @emph{slurs}, which
359 indicate articulation, or @emph{phrasing slurs}, which indicate
360 musical phrasing. A tie is just a way of extending a note
361 duration, similar to the augmentation dot.}
363 A tie is entered using the tilde symbol @code{~}
365 @lilypond[quote,verbatim,relative=2]
371 Ties are used either when the note crosses a bar line, or when
372 dots cannot be used to denote the rhythm. Ties should also be
373 used when note values cross larger subdivisions of the measure:
375 @lilypond[verbatim,quote]
382 If you need to tie many notes across bar lines, it may be
383 easier to use automatic note splitting, see @ref{Automatic note
384 splitting}. This mechanism automatically splits long notes, and
385 ties them across bar lines.
387 @cindex ties and chords
388 @cindex chords and ties
390 When a tie is applied to a chord, all note heads whose pitches
391 match are connected. When no note heads match, no ties will be
392 created. Chords may be partially tied by placing the tie inside
395 @lilypond[quote,verbatim,relative=1]
397 <c~ e g~ b> <c e g b>
401 @cindex repeating ties
402 @cindex ties, repeating
403 @cindex volta brackets and ties
404 @cindex ties and volta brackets
406 When a second alternative of a repeat starts with a tied note, you
407 have to specify the repeated tie as follows:
409 @lilypond[quote,relative=2,verbatim]
410 \repeat volta 2 { c g <c e>2 ~ }
412 % First alternative: following note is tied normally
414 % Second alternative: following note has a repeated tie
415 { <c e>2\repeatTie d4 c } }
418 @cindex laissez vibrer
419 @cindex ties, laissez vibrer
420 @funindex \laissezVibrer
422 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
423 notes must not be damped at the end. It is used in notation for
424 piano, harp and other string and percussion instruments. They can
425 be entered as follows:
427 @lilypond[quote,verbatim,relative=1]
428 <c f g>1\laissezVibrer
431 @cindex ties, placement
434 @funindex \tieNeutral
436 The vertical placement of ties may be controlled, see
437 Predefined commands, or for details, see
438 @ref{Direction and placement}.
440 @cindex ties, appearance
445 Solid, dotted or dashed ties may be specified, see Predefined
461 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
462 {using-ties-with-arpeggios.ly}
464 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
465 {engraving-ties-manually.ly}
472 @rglos{laissez vibrer}.
474 Notation Reference: @ref{Automatic note splitting}.
480 @rinternals{LaissezVibrerTie},
481 @rinternals{LaissezVibrerTieColumn},
482 @rinternals{TieColumn},
488 Switching staves when a tie is active will not produce a slanted
491 Changing clefs or octavations during a tie is not really
492 well-defined. In these cases, a slur may be preferable.
499 @subsection Writing rests
501 Rests are entered as part of the music in music expressions.
506 * Full measure rests::
510 @unnumberedsubsubsec Rests
512 @cindex rest, entering durations
523 Rests are entered like notes with the note name @code{r}.
524 Durations longer than a whole rest use the predefined
527 @c \time 16/1 is used to avoid spurious bar lines
528 @c and long tracts of empty measures
529 @lilypond[fragment,quote,verbatim]
531 % These two lines are just to prettify this example
533 \override Staff.TimeSignature #'stencil = ##f
534 % Print a maxima rest, equal to four breves
536 % Print a longa rest, equal to two breves
540 r1 r2 r4 r8 r16 r32 r64 r128
544 @cindex rest, multi-measure
545 @cindex rest, whole-measure
547 Whole measure rests, centered in the middle of the measure, must be
548 entered as multi-measure rests. They can be used for a single
549 measure as well as many measures and are discussed in @ref{Full
552 @cindex rest, specifying vertical position
554 To explicitly specify a rest's vertical position, write a note
555 followed by @code{\rest}. A rest of the duration of the note will
556 be placed at the staff position where the note would appear. This
557 allows for precise manual formatting of polyphonic music, since the
558 automatic rest collision formatter will not move these rests.
560 @lilypond[quote,verbatim,relative=2]
566 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
573 @ref{Full measure rests}.
584 @c Deliberately duplicated in Durations and Rests. -gp
585 There is no fundamental limit to rest durations (both in terms of
586 longest and shortest), but the number of glyphs is limited: there
587 are rests from 128th to maxima (8 x whole).
590 @node Invisible rests
591 @unnumberedsubsubsec Invisible rests
594 @cindex invisible rest
595 @cindex rest, invisible
600 An invisible rest (also called a @q{spacer rest}) can be entered
601 like a note with the note name@tie{}@code{s}:
603 @lilypond[verbatim,quote,relative=2]
610 Spacer rests are available only in note mode and chord mode. In
611 other situations, for example, when entering lyrics, @code{\skip}
612 is used to skip a musical moment. @code{\skip} requires an
615 @lilypond[quote,verbatim,relative=2]
628 A spacer rest implicitly causes @code{Staff} and @code{Voice}
629 contexts to be created if none exist, just like notes and rests
632 @lilypond[quote,verbatim,fragment]
636 @code{\skip} simply skips musical time; it creates no output of
639 @lilypond[quote,verbatim,fragment]
640 % This is valid input, but does nothing
641 \skip 1 \skip1 \skip 1
649 Internals Reference: @rinternals{SkipMusic}
652 @node Full measure rests
653 @unnumberedsubsubsec Full measure rests
655 @cindex multi-measure rests
656 @cindex full-measure rests
657 @cindex rest, multi-measure
658 @cindex rest, full-measure
659 @cindex whole rest for a full measure
662 Rests for one or more full measures are entered like notes with
663 the note name uppercase @code{R}:
665 @lilypond[quote,verbatim,relative=2]
666 % Rest measures contracted to single measure
667 \compressFullBarRests
674 The duration of full-measure rests is identical to the duration notation
675 used for notes. The duration in a multi-measure rest must always be an
676 integral number of measure-lengths, so augmentation
677 dots or fractions must often be used:
679 @lilypond[quote,fragment,verbatim]
680 \compressFullBarRests
686 R1*13/8 | R1*13/8*12 |
691 A full-measure rest is printed as either a whole
692 or breve rest, centered in the measure, depending on the time
695 @lilypond[quote,verbatim,fragment]
703 @funindex \expandFullBarRests
704 @funindex \compressFullBarRests
705 @cindex multi-measure rest, expanding
706 @cindex multi-measure rest, contracting
708 By default a multi-measure rest is expanded in the printed score
709 to show all the rest measures explicitly.
710 Alternatively, a mult-measure rest can be shown as a single measure
711 containing a multi-measure rest symbol, with the number of measures of rest
712 printed above the measure:
714 @lilypond[quote,fragment,verbatim]
716 \time 3/4 r2. | R2.*2 |
719 % Rest measures contracted to single measure
720 \compressFullBarRests
722 % Rest measures expanded
729 @cindex text on multi-measure rest
730 @cindex multi-measure rest, attaching text
731 @cindex script on multi-measure rest
732 @cindex multi-measure rest, script
733 @cindex fermata on multi-measure rest
734 @cindex multi-measure rest, attaching fermata
736 Markups can be added to multi-measure rests.
737 The predefined command @code{\fermataMarkup}
738 is provided for adding fermatas.
740 @lilypond[quote,verbatim,fragment]
741 \compressFullBarRests
743 R2.*10^\markup { \italic "ad lib." }
748 Markups attached to a multi-measure rest are
749 objects of type @code{MultiMeasureRestText}, not
750 @code{TextScript}. Overrides must be directed to the correct
751 object, or they will be ignored. See the following example.
754 @lilypond[quote,verbatim,fragment]
755 % This fails, as the wrong object name is specified
756 \override TextScript #'padding = #5
758 % This is correct and works
759 \override MultiMeasureRestText #'padding = #5
763 When a multi-measure rest immediately follows a @code{\partial}
764 setting, resulting bar-check warnings may not be displayed.
767 @code{\textLengthOn},
768 @code{\textLengthOff},
769 @code{\fermataMarkup},
770 @code{\compressFullBarRests},
771 @code{\expandFullBarRests}.
777 @cindex kirchenpausen
779 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
780 {changing-form-of-multi--measure-rests.ly}
782 @cindex multi-measure rests, positioning
783 @cindex positioning multi-measure rests
785 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
786 {positioning-multi--measure-rests.ly}
788 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
789 {multi--measure-rest-markup.ly}
794 @rglos{multi-measure rest}.
799 @ref{Formatting text},
806 @rinternals{MultiMeasureRest},
807 @rinternals{MultiMeasureRestNumber},
808 @rinternals{MultiMeasureRestText}.
813 If an attempt is made to use fingerings (e.g.,
814 @code{R1*10-4}) to put numbers over multi-measure rests, the
815 fingering numeral (4) may collide with the bar counter
818 @cindex condensing rests
819 @cindex rest, condensing ordinary
821 There is no way to automatically condense multiple ordinary rests
822 into a single multi-measure rest.
824 @cindex rest, collisions of
826 Multi-measure rests do not take part in rest collisions.
828 @node Displaying rhythms
829 @subsection Displaying rhythms
835 * Polymetric notation::
836 * Automatic note splitting::
837 * Showing melody rhythms::
841 @unnumberedsubsubsec Time signature
843 @cindex time signature
847 The time signature is set as follows:
849 @lilypond[quote,verbatim,relative=2]
854 @cindex Time signature, visibility of
856 Time signatures are printed at the beginning of a piece
857 and whenever the time signature changes. If a change takes place
858 at the end of a line a warning time signature sign is printed
859 there. This default behavior may be changed, see
860 @ref{Visibility of objects}.
862 @lilypond[quote,verbatim,relative=2]
872 @funindex \numericTimeSignature
873 @funindex \defaultTimeSignature
874 @cindex time signature style
876 The time signature symbol that is used in 2/2 and 4/4 time can be
877 changed to a numeric style:
879 @lilypond[quote,verbatim,relative=2]
883 % Change to numeric style
884 \numericTimeSignature
887 % Revert to default style
888 \defaultTimeSignature
894 Mensural time signatures are covered in
895 @ref{Mensural time signatures}.
899 @code{\numericTimeSignature},
900 @code{\defaultTimeSignature}.
904 @c TODO Send as snippet called "Changing the time signature without affecting the beat length"
906 The @code{\time} command sets the properties
907 @code{timeSignatureFraction}, @code{beatLength}, and
908 @code{measureLength} in the @code{Timing} context, which is
909 normally aliased to @code{Score}. Changing the value of
910 @code{timeSignatureFraction} causes the new time signature symbol
911 to be printed without changing the other properties:
913 @lilypond[quote,verbatim,relative=2]
915 a16 a a a a a a a a a a a
916 % Change time signature but keep 3/4 beaming
917 % due to unchanged beatLength
918 \set Score.timeSignatureFraction = #'(12 . 16)
919 a16 a a a a a a a a a a a
921 % Lose 3/4 beaming now beatLength has changed to 16
922 a16 a a a a a a a a a a a
925 @cindex compound time signatures
926 @cindex time signature, compound
928 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
929 {compound-time-signatures.ly}
935 @rglos{time signature}
938 @ref{Mensural time signatures},
939 @ref{Time administration}.
945 @rinternals{TimeSignature},
946 @rinternals{Timing_translator}.
950 @unnumberedsubsubsec Upbeats
954 @cindex partial measure
955 @cindex measure, partial
956 @cindex pickup measure
957 @cindex measure, change length
958 @cindex measurePosition
961 Partial or pick-up measures, such as an anacrusis or upbeat, are
962 entered using the @code{\partial} command, with the syntax
965 \partial @var{duration}
968 where @code{duration} is the rhythmic length of the interval
969 before the start of the first complete measure:
971 @lilypond[quote,verbatim,relative=2]
976 The partial measure can be any duration less than a full measure:
978 @lilypond[quote,verbatim,relative=2]
979 \partial 8*3 c8 d e |
983 Internally, this is translated into
986 \set Timing.measurePosition = -@var{duration}
989 The property @code{measurePosition} contains a rational number
990 indicating how much of the measure has passed at this point. Note
991 that this is set to a negative number by the @code{\partial}
992 command: i.e., @code{\partial 4} is internally translated to
993 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1007 @rinternals{Timing_translator}.
1011 The @code{\partial} command is intended to be used only at the
1012 beginning of a piece. If you use it after the beginning, some
1013 odd warnings may occur.
1015 @node Unmetered music
1016 @unnumberedsubsubsec Unmetered music
1018 @funindex \cadenzaOn
1019 @funindex \cadenzaOff
1020 @cindex bar lines, turning off
1021 @cindex bar numbering, turning off
1023 @cindex unmetered music
1025 Bar lines and bar numbers are calculated automatically. For
1026 unmetered music (some cadenzas, for example), this is not desirable.
1027 To turn off automatic calculation of bar lines and bar numbers,
1028 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1029 to turn them on again.
1031 @lilypond[verbatim,relative=2,fragment]
1040 Bar numbering is resumed at the end of the cadenza as if the
1041 cadenza were not there:
1043 @lilypond[verbatim,relative=2,fragment]
1044 % Show all bar numbers
1045 \override Score.BarNumber #'break-visibility = #all-visible
1065 @c ref{Controlling visibility of objects}.
1072 LilyPond will insert line breaks and page breaks only at a
1073 bar line. Unless the unmetered music ends before the end of the
1074 staff line, you will need to insert invisible bar lines with
1081 to indicate where breaks can occur.
1084 @node Polymetric notation
1085 @unnumberedsubsubsec Polymetric notation
1087 @cindex double time signatures
1088 @cindex signatures, polymetric
1089 @cindex polymetric signatures
1090 @cindex meter, polymetric
1092 Polymetric notation is supported, either explicitly or through
1093 clever use of markup features.
1095 @strong{Staves with different time signatures, equal measure lengths}
1097 This notation can be created by setting a common time signature
1098 for each staff but replacing the symbol manually by setting
1099 @code{timeSignatureFraction} to the desired fraction and scaling
1100 the printed durations in each staff to the common time
1101 signature. This is done with @code{\scaleDurations}, which
1102 is used in a similar way to @code{\times}, but does not create
1103 a tuplet bracket, see @ref{Scaling durations}.
1105 In this example, music with the time signatures of 3/4, 9/8, and
1106 10/8 are used in parallel. In the second staff, shown durations
1107 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1108 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1110 @lilypond[quote,verbatim,fragment]
1119 \set Staff.timeSignatureFraction = #'(9 . 8)
1120 \scaleDurations #'(2 . 3)
1121 \repeat unfold 6 { c8[ c c] }
1125 \set Staff.timeSignatureFraction = #'(10 . 8)
1126 \scaleDurations #'(3 . 5) {
1127 \repeat unfold 2 { c8[ c c] }
1128 \repeat unfold 2 { c8[ c] } |
1129 c4. c4. \times 2/3 { c8 c c } c4
1135 @strong{Staves with different time signatures, unequal bar lengths}
1137 Each staff can be given its own independent time signature by
1138 moving the @code{Timing_translator} to the @code{Staff} context.
1140 @lilypond[quote,verbatim]
1144 \remove "Timing_translator"
1145 \remove "Default_bar_line_engraver"
1149 \consists "Timing_translator"
1150 \consists "Default_bar_line_engraver"
1154 % Now each staff has its own time signature.
1180 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1181 {compound-time-signatures.ly}
1188 @rglos{polymetric time signature},
1191 Notation Reference: @ref{Scaling durations}
1196 Internals Reference:
1197 @rinternals{TimeSignature},
1198 @rinternals{Timing_translator},
1203 When using different time signatures in parallel, notes
1204 at the same moment will be be placed at the same horizontal
1205 location. However, the bar lines in the different staves
1206 will cause the note spacing to be less regular in each of the
1207 individual staves than would be normal without the different
1210 @node Automatic note splitting
1211 @unnumberedsubsubsec Automatic note splitting
1213 @cindex notes, splitting
1214 @cindex splitting notes
1216 Long notes which overrun bar lines can be converted automatically
1217 to tied notes. This is done by replacing the
1218 @code{Note_heads_engraver} with the
1219 @code{Completion_heads_engraver}. In the following
1220 example, notes crossing the bar lines are split and tied.
1222 @lilypond[quote,verbatim,relative=1]
1224 \remove "Note_heads_engraver"
1225 \consists "Completion_heads_engraver"
1228 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1231 This engraver splits all running notes at the bar line, and
1232 inserts ties. One of its uses is to debug complex scores: if the
1233 measures are not entirely filled, then the ties show exactly how
1234 much each measure is off.
1238 Music Glossary: @rglos{tie}
1241 @rlearning{Engravers explained},
1242 @rlearning{Adding and removing engravers}.
1247 Internals Reference:
1248 @rinternals{Note_heads_engraver},
1249 @rinternals{Completion_heads_engraver},
1250 @rinternals{Forbid_line_break_engraver}.
1255 Not all durations (especially those containing tuplets) can be
1256 represented exactly with normal notes and dots, but the
1257 @code{Completion_heads_engraver} will not insert tuplets.
1259 The @code{Completion_heads_engraver} only affects notes; it does not
1263 @node Showing melody rhythms
1264 @unnumberedsubsubsec Showing melody rhythms
1266 Sometimes you might want to show only the rhythm of a melody. This
1267 can be done with the rhythmic staff. All pitches of notes on such a
1268 staff are squashed, and the staff itself has a single line
1270 @lilypond[quote,relative=1,verbatim]
1272 \new RhythmicStaff {
1273 \new Voice = "myRhythm" {
1281 \lyricsto "myRhythm" {
1289 Guitar chord charts often show the strumming rhythms. This can
1290 be done with the @code{Pitch_squash_engraver} and
1291 @code{\improvisationOn}.
1294 @lilypond[quote,verbatim]
1303 \consists Pitch_squash_engraver
1315 @code{\improvisationOn},
1316 @code{\improvisationOff}.
1320 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1321 {guitar-strum-rhythms.ly}
1328 Internals Reference:
1329 @rinternals{RhythmicStaff},
1330 @rinternals{Pitch_squash_engraver}.
1337 * Setting automatic beam behavior::
1342 @node Automatic beams
1343 @unnumberedsubsubsec Automatic beams
1345 By default, beams are inserted automatically:
1347 @cindex beams, manual
1348 @cindex manual beams
1350 @lilypond[quote,verbatim,relative=2]
1352 \time 6/8 c c c c8. c16 c8
1355 If these automatic decisions are not satisfactory, beaming can be
1356 entered explicitly; see @ref{Manual beams}. It is also possible
1357 to define beaming patterns that differ from the defaults. The
1358 default beaming rules for most common time signatures are defined
1359 in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
1360 defined for the time signature being used the beaming is controlled
1361 by the values of three context properties, @code{measureLength},
1362 @code{beatLength} and @code{beatGrouping}. Both the beaming rules
1363 and the context properties can be overridden, see
1364 @ref{Setting automatic beam behavior}.
1369 @warning{If beams are used to indicate melismata in songs, then automatic
1370 beaming should be switched off with @code{\autoBeamOff} and the beams
1371 indicated manually.}
1375 Automatic beaming may be turned off and on with
1376 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1378 @lilypond[quote,relative=1,verbatim]
1379 c4 c8 c8. c16 c8. c16 c8
1387 @code{\autoBeamOff},
1396 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1397 {beams-across-line-breaks.ly}
1399 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1400 {changing-beam-knee-gap.ly}
1406 @ref{Setting automatic beam behavior}.
1409 @file{scm/auto-beam.scm}.
1414 Internals Reference: @rinternals{Beam}.
1419 Automatically kneed cross-staff beams cannot be used together with
1420 hidden staves. See @ref{Hiding staves}.
1422 Beams can collide with note heads and accidentals in other voices
1425 @node Setting automatic beam behavior
1426 @unnumberedsubsubsec Setting automatic beam behavior
1428 @funindex autoBeaming
1429 @funindex autoBeamSettings
1430 @funindex (end * * * *)
1431 @funindex (begin * * * *)
1433 @cindex automatic beams, tuning
1434 @cindex tuning automatic beaming
1435 @cindex automatic beam generation
1437 @cindex lyrics and beaming
1440 The placement of automatic beams is determined by the rules
1441 described in @ref{Automatic beams}. There are two mutually
1442 exclusive ways in which these rules may be modified. The
1443 first, modifying the grouping of beats, applies to uncommon time
1444 signatures, i.e. those for which there are no predefined rules
1445 defining the beam end points. The second method, modifying the
1446 beam end points, must be used for those time signatures for which
1447 beam ending rules are pre-defined. There are predefined rules for
1448 time signatures of 3/2, 3/4, 4/4, 2/4, 4/8, 4/16, 6/8, 9/8 and 12/8.
1450 @i{@strong{Modifying the grouping of beats}}
1452 If there are no beam-ending rules defined for the time signature
1453 in use the beaming is 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.
1458 These determine the beaming as follows:
1460 Beams may begin anywhere (unless a beam is already active). Beams
1461 end at a time determined by the values of @code{beatGrouping} and
1462 @code{beatLength}, as follows:
1466 @item If @code{beatGrouping} and @code{beatLength} are consistent
1467 with @code{measureLength}, @code{beatGrouping} is used to determine
1468 the end points of beams.
1470 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1471 with @code{measureLength}, @code{beatLength} is used to determine
1472 the end points of beams.
1476 By default these properties are derived from the time signature set
1477 by the @code{\time} command. The @code{measureLength} is, by
1478 default, exactly the same length as the measure length given by the
1479 time signature, and the default @code{beatLength} is given by the
1480 denominator of the time signature.
1482 Both @code{measureLength} and @code{beatLength} are @i{moments},
1483 units of musical duration. A quantity of type @i{moment} is
1484 created by the scheme function @code{ly:make-moment}. For more
1485 information about this function, see @ref{Time administration}.
1487 @code{beatGrouping} is a list of integers giving the number of
1488 beats in each group.
1492 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1495 @c TODO Convert to snippet called "Specifying context with beatGrouping"
1497 By specifying the context, the effect of @code{beatGrouping} can be
1498 limited to the context specified, and values set in higher-level
1499 contexts overridden:
1501 @lilypond[quote,verbatim]
1507 \set Staff.beatGrouping = #'(2 3 2)
1514 \set Voice.beatGrouping = #'(1 3 3)
1523 @c TODO Send as snippet?
1525 The property @code{measureLength} determines where bar lines
1526 should be inserted and, with @code{beatLength} and
1527 @code{beatGrouping}, how automatic beams should be generated
1528 for time signatures for which no beam end rules are defined.
1530 @lilypond[quote,verbatim,relative=2]
1531 \time 3/4 % auto beam on 1/4 note groups
1532 a16 a a a a a a a a a a a a a a a
1533 \time 12/16 % no defined auto-beaming for this time sig
1534 a16 a a a a a a a a a a a a a a a
1536 a16 a a a a a a a a a a a a a a a
1537 \set Score.timeSignatureFraction = #'(12 . 16) %keep 3/4 beaming
1539 a16 a a a a a a a a a a a a a a a
1540 \set Score.beatLength = #(ly:make-moment 1 8) %beam on 1/8 notes
1541 a16 a a a a a a a a a a a a a a a
1542 \set Score.beatLength = #(ly:make-moment 1 16)
1543 \set Score.beatGrouping = #'(3 4 2 3) %beam on 3/16, 7/16, 9/16, 12/16
1544 a16 a a a a a a a a a a a a a a a
1550 @funindex subdivideBeams
1552 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1553 {sub-dividing-beams.ly}
1555 @cindex measure groupings
1556 @cindex beats, grouping
1557 @cindex grouping beats
1558 @cindex measure sub-grouping
1560 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1561 {conducting-signs,-measure-grouping-signs.ly}
1564 @strong{@i{Modifying the beam end points}}
1566 In normal time signatures, automatic beams can start on any note but
1567 can end at only a few positions within the measure, namely at
1568 durations specified by the properties in @code{autoBeamSettings}.
1569 These properties consist of a list of rules defining where beams can
1570 end. The default @code{autoBeamSettings} rules are defined in
1571 @file{scm/@/auto@/-beam@/.scm}.
1573 This method @strong{must} be used for the common time signatures,
1574 and is also particularly suitable for many other time signatures
1575 if the time signature of the measures changes frequently. Because
1576 the rules can be written to apply to a specific time signature they
1577 need to be set up only once with rules for each time signature.
1578 Attempting to achieve the same result by modifying the beat grouping
1579 would require the insertion of @code{\set} commands every time the
1580 time signature changed, unless the default values in that time
1581 signature were suitable.
1583 In order to add a rule to the list, use
1586 #(override-auto-beam-setting
1588 beam-numerator beam-denominator
1589 time-signature-numerator time-signature-denominator)
1590 moment-numerator moment-denominator [context])
1598 @item @code{beam-limit} is the type of automatic beam limit
1599 defined. This can be either @code{begin} or @code{end} but
1600 only @code{end} is effective.
1602 @item @code{beam-numerator/beam-denominator} is the beam duration
1603 to which the rule is to apply. A beam is considered to have
1604 the duration of its shortest note. Set @code{beam-numerator}
1605 and @code{beam-denominator} to @code{'*'} to have this rule apply
1606 to beams of any duration.
1608 @item @code{time-signature-numerator/time-signature-denominator}
1609 specifies the time signature to which this rule should apply.
1610 If @code{time-signature-numerator} and
1611 @code{time-signature-denominator} are set to @code{'*'} this rule
1612 will apply in any time signature.
1614 @item @code{monent-numerator/moment-denominator} is the position
1615 in the bar at which the beam should end.
1617 @item @code{context} is optional, and it specifies the context at which
1618 the change should be made. The default is @code{'Voice}.
1620 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1621 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1625 For example, if automatic beams should always end on the first quarter
1626 note, whatever the time signature or beam duration, use
1628 @lilypond[quote,verbatim,relative=2]
1630 #(override-auto-beam-setting '(end * * * *) 1 4)
1634 You can force the beam settings to take effect only on beams whose shortest
1635 note is a certain duration
1637 @lilypond[quote,verbatim,relative=2]
1639 % end 1/16 beams for all time signatures at the 1/16 moment
1640 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1642 a32 a a a a16 a a a a a |
1643 % end 1/32 beams for all time signatures at the 1/16 moment
1644 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1645 a32 a a a a16 a a a a a |
1648 You can force the beam settings to take effect only in certain time
1651 @lilypond[quote,verbatim,relative=2]
1653 % end beams of all durations in 5/8 time signature at the 2/8 moment
1654 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1662 When multiple voices are used the @code{Staff} context must be
1663 specified if the beaming is to be applied to all voices in the
1666 @lilypond[quote,verbatim,relative=2]
1669 % Context not specified - does not work correctly
1670 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1671 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1672 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1673 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1675 % Works correctly with context specified
1676 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1677 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1678 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1679 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1682 @c TODO Add example using Score for multiple staves?
1683 @c Hmm. Not sure it works correctly. Needs more investigation.
1685 @warning{If any unexpected beam behavior occurs, check the default
1686 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1687 possible interference, because the beam endings defined there will
1688 still apply in addition to your own.}
1690 Any unwanted or conflicting default endings must be reverted for
1691 your time signature(s). Existing auto-beam rules are removed by
1695 #(revert-auto-beam-setting
1697 beam-numerator beam-denominator
1698 time-signature-numerator time-signature-denominator)
1699 moment-numerator moment-denominator [context])
1703 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1704 @code{time-signature-numerator}, @code{time-signature-denominator},
1705 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1706 are the same as above.
1708 @lilypond[quote,verbatim,relative=2]
1710 a16 a a a a a a a a a a a a a a a
1711 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1712 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1713 a16 a a a a a a a a a a a a a a a
1716 The rule in a @code{revert-auto-beam-setting} statement must exactly
1717 match the original rule. That is, no wildcard expansion is taken into
1720 @lilypond[quote,verbatim,relative=2]
1722 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1724 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1726 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1732 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1733 {beam-grouping-in-7-8-time.ly}
1737 @c TODO Does this example add anything?
1740 example, automatic beams can only end on a dotted quarter note
1742 #(override-auto-beam-setting '(end * * * *) 3 8)
1743 #(override-auto-beam-setting '(end * * * *) 1 2)
1744 #(override-auto-beam-setting '(end * * * *) 7 8)
1747 In 4/4 time signature, this means that automatic beams could end only on
1748 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1749 3/8, has passed within the measure).
1753 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1754 {reverting-default-beam-endings.ly}
1759 @funindex \autoBeamOff
1760 @code{\autoBeamOff},
1761 @funindex \autoBeamOn
1767 If a score ends while an automatic beam has not been ended and is
1768 still accepting notes, this last beam will not be typeset at all.
1769 The same holds for polyphonic voices, entered with @code{<<
1770 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1771 automatic beam is still accepting notes, it is not typeset.
1780 @unnumberedsubsubsec Manual beams
1782 @cindex beams, manual
1786 In some cases it may be necessary to override the automatic
1787 beaming algorithm. For example, the autobeamer will not put beams
1788 over rests or bar lines, and in choral scores the beaming is
1789 often set to follow the meter of the lyrics rather than the
1790 notes. Such beams can be specified manually by
1791 marking the begin and end point with @code{[} and @code{]}
1793 @lilypond[quote,relative=1,verbatim]
1795 r4 r8[ g' a r8] r8 g[ | a] r8
1800 Individual notes may be marked with @code{\noBeam} to prevent them
1803 @lilypond[quote,verbatim,relative=2]
1804 \time 2/4 c8 c\noBeam c c
1807 @funindex stemLeftBeamCount
1808 @funindex stemRightBeamCount
1810 Even more strict manual control with the beams can be achieved by
1811 setting the properties @code{stemLeftBeamCount} and
1812 @code{stemRightBeamCount}. They specify the number of beams to
1813 draw on the left and right side, respectively, of the next note.
1814 If either property is set, its value will be used only once, and
1815 then it is erased. In this example, the last @code{f} is printed
1816 with only one beam on the left side, i.e., the eighth-note beam of
1817 the group as a whole.
1819 @lilypond[quote,relative=2,verbatim]
1822 \set stemLeftBeamCount = #2
1823 \set stemRightBeamCount = #1
1825 \set stemLeftBeamCount = #1
1832 @c TODO Add snippet "Flat flags and beam nibs" when available
1833 @c Added to LSR 27 Oct 08
1835 @node Feathered beams
1836 @unnumberedsubsubsec Feathered beams
1838 @cindex beams, feathered
1839 @funindex \featherDurations
1841 Feathered beams are used to indicate that a small group of notes
1842 should be played at an increasing (or decreasing) tempo, without
1843 changing the overall tempo of the piece. The extent of the
1844 feathered beam must be indicated manually using @code{[} and
1845 @code{]}, and the beam feathering is turned on by specifying a
1846 direction to the @code{Beam} property @code{grow-direction}.
1848 If the placement of the notes and the sound in the MIDI output
1849 is to reflect the ritardando or accelerando indicated by the
1850 feathered beam the notes must be grouped as a
1851 music expression delimited by braces and preceded by a
1852 @code{featheredDurations} command which specifies the ratio
1853 between the durations of the first and last notes in the group.
1856 show the extent of the beam and the braces show
1857 which notes are to have their durations modified. Normally
1858 these would delimit the same group of notes, but this is not
1859 required: the two commands are independent.
1861 In the following example the eight 16th notes occupy exactly the
1862 same time as a half note, but the first note is one half as long
1863 as the last one, with the intermediate notes gradually
1864 lengthening. The first four 32nd notes gradually speed up, while
1865 the last four 32nd notes are at a constant tempo.
1867 @lilypond[relative=1,verbatim,quote]
1868 \override Beam #'grow-direction = #LEFT
1869 \featherDurations #(ly:make-moment 2 1)
1870 { c16[ c c c c c c c] }
1871 \override Beam #'grow-direction = #RIGHT
1872 \featherDurations #(ly:make-moment 2 3)
1874 % revert to non-feathered beams
1875 \override Beam #'grow-direction = #'()
1880 The spacing in the printed output represents the
1881 note durations only approximately, but the MIDI output is exact.
1885 The @code{\featherDurations} command only works with very short
1886 music snippets, and when numbers in the fraction are small.
1902 * Bar and bar number checks::
1907 @unnumberedsubsubsec Bar lines
1911 @cindex measure lines
1914 Bar lines delimit measures, and are also used to indicate
1915 repeats. Normally, simple bar lines are automatically inserted
1916 into the printed output at places based on the current time
1919 The simple bar lines inserted automatically can be changed to
1920 other types with the @code{\bar} command. For example, a closing
1921 double bar line is usually placed at the end of a piece:
1923 @lilypond[quote,relative=1,verbatim]
1927 It is not invalid if the final note in a measure does not
1928 end on the automatically entered bar line: the note is assumed
1929 to carry over into the next measure. But if a long sequence
1930 of such carry-over measures appears the music can appear compressed
1931 or even flowing off the page. This is because automatic line
1932 breaks happen only at the end of complete measures, i.e., where
1933 all notes end before the end of a measure.
1935 @warning{An incorrect duration can cause line breaks to be
1936 inhibited, leading to a line of highly compressed music or
1937 music which flows off the page.}
1940 @cindex bar lines, invisible
1941 @cindex measure lines, invisible
1943 Line breaks are also permitted at manually inserted bar lines
1944 even within incomplete measures. To allow a line break without
1945 printing a bar line, use
1952 This will insert an invisible bar line and allow (but not
1953 force) a line break to occur at this point. The bar number
1954 counter is not increased. To force a line break see
1955 @ref{Line breaking}.
1957 This and other special bar lines may be inserted manually at any
1958 point. When they coincide with the end of a measure they replace
1959 the simple bar line which would have been inserted there
1960 automatically. When they do not coincide
1961 with the end of a measure the specified bar line is inserted at that
1962 point in the printed output. Such insertions do not affect
1963 the calculation and placement of subsequent automatic bar lines.
1965 The simple bar line and five types of double bar line are available
1966 for manual insertion:
1968 @lilypond[quote,relative=1,verbatim]
1969 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
1973 together with dotted and dashed bar lines:
1975 @lilypond[quote,relative=1,verbatim]
1976 f1 \bar ":" g \bar "dashed" a
1980 and five types of repeat bar line:
1982 @lilypond[quote,relative=1,verbatim]
1983 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
1988 Although the bar line types signifying repeats may be inserted
1989 manually they do not in themselves cause LilyPond to recognize
1990 a repeated section. Such repeated sections are better entered
1991 using the various repeat commands (see @ref{Repeats}), which
1992 automatically print the appropriate bar lines.
1994 In addition, you can specify @code{"||:"}, which is equivalent to
1995 @code{"|:"} except at line breaks, where it gives a double bar
1996 line at the end of the line and a start repeat at the beginning of
1999 @lilypond[quote,relative=2,verbatim]
2000 \override Score.RehearsalMark #'padding = #3
2008 In scores with many staves, a @code{\bar} command in one staff is
2009 automatically applied to all staves. The resulting bar lines are
2010 connected between different staves of a @code{StaffGroup},
2011 @code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
2013 @lilypond[quote,fragment,verbatim]
2021 \new Staff { \clef bass c4 g e g }
2023 \new Staff { \clef bass c2 c2 }
2031 @funindex defaultBarType
2033 The command @code{\bar }@var{bartype} is a shortcut for
2034 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2035 created whenever the @code{whichBar} property is
2038 The default bar type used for automatically inserted bar lines is
2039 @code{"|"}. This may be changed at any time
2040 with @code{\set Timing.defaultBarType = }@var{bartype}.
2045 @ref{Line breaking},
2047 @ref{Grouping staves}.
2052 Internals Reference: @rinternals{BarLine} (created at
2053 @rinternals{Staff} level), @rinternals{SpanBar} (across
2054 staves), @rinternals{Timing_translator} (for Timing
2059 @unnumberedsubsubsec Bar numbers
2062 @cindex measure numbers
2063 @funindex currentBarNumber
2065 Bar numbers are typeset by default at the start of every line except
2066 the first line. The number itself is stored in the
2067 @code{currentBarNumber} property, which is normally updated
2068 automatically for every measure. It may also be set manually:
2070 @lilypond[verbatim,quote,fragment,relative=1]
2073 \set Score.currentBarNumber = #50
2080 @funindex barNumberVisibility
2081 @cindex bar numbers, regular spacing
2083 Bar numbers can be typeset at regular intervals instead of just at
2084 the beginning of every line. To do this the default behavior
2085 must be overridden to permit bar numbers to be printed at places
2086 other than the start of a line. This is controlled by the
2087 @code{break-visibility} property of @code{BarNumber}. This takes
2088 three values which may be set to @code{#t} or @code{#f} to specify
2089 whether the corresponding bar number is visible or not. The order
2090 of the three values is @code{end of line visible}, @code{middle of
2091 line visible}, @code{beginning of line visible}. In the following
2092 example bar numbers are printed at all possible places:
2094 @lilypond[verbatim,quote,relative=1]
2095 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2096 \set Score.currentBarNumber = #11
2097 \bar "" % Permit first bar number to be printed
2103 @c All the rest of these examples will be added to LSR
2104 @c and moved into the Snippets. -gp
2107 and here the bar numbers are printed every two measures
2108 except at the end of the line:
2110 @lilypond[verbatim,quote,relative=1]
2111 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2112 \set Score.currentBarNumber = #11
2113 \bar "" % Permit first bar number to be printed
2114 % Print a bar number every second measure
2115 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2121 @cindex measure number, format
2122 @cindex bar number, format
2124 The size of the bar number may be changed. This is illustrated
2125 in the following example, which also shows how to enclose bar
2126 numbers in boxes and circles, and shows an alternative way
2127 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2129 @lilypond[verbatim,quote,relative=1]
2130 % Prevent bar numbers at the end of a line and permit them elsewhere
2131 \override Score.BarNumber #'break-visibility
2132 = #end-of-line-invisible
2134 % Increase the size of the bar number by 2
2135 \override Score.BarNumber #'font-size = #2
2136 \repeat unfold 3 { c1 } \bar "|"
2138 % Draw a box round the following bar number(s)
2139 \override Score.BarNumber #'stencil
2140 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2141 \repeat unfold 3 { c1 } \bar "|"
2143 % Draw a circle round the following bar number(s)
2144 \override Score.BarNumber #'stencil
2145 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2146 \repeat unfold 4 { c1 } \bar "|."
2149 @cindex bar number alignment
2151 Bar numbers by default are left-aligned to their parent object.
2152 This is usually the left edge of a line or, if numbers are printed
2153 within a line, the left bar line of the measure. The numbers may also
2154 be positioned directly on the bar line or right-aligned to the
2157 @lilypond[verbatim,quote,relative=1]
2158 \set Score.currentBarNumber = #111
2159 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2160 % Increase the size of the bar number by 2
2161 \override Score.BarNumber #'font-size = #2
2162 % Print a bar number every second measure
2163 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2165 % Center-align bar numbers
2166 \override Score.BarNumber #'self-alignment-X = #0
2168 % Right-align bar numbers
2169 \override Score.BarNumber #'self-alignment-X = #-1
2173 Bar numbers can be removed entirely by removing the
2174 @code{Bar_number_engraver} from the @code{Score} context.
2176 @lilypond[verbatim,quote]
2180 \remove "Bar_number_engraver"
2195 Internals Reference: @rinternals{BarNumber}.
2200 Bar numbers may collide with the top of the
2201 @rinternals{StaffGroup} bracket, if there is one. To solve
2202 this, the @code{padding} property of @rinternals{BarNumber} can
2203 be used to position the number correctly.
2205 Bar numbers may only be printed at bar lines; to print a bar
2206 number at the beginning of a piece, an empty bar line must be
2207 inserted there, and a value other than @code{1} must be placed
2208 in @code{currentBarNumber}:
2210 @lilypond[verbatim,quote,relative=1]
2211 \set Score.currentBarNumber = #50
2220 @node Bar and bar number checks
2221 @unnumberedsubsubsec Bar and bar number checks
2224 @funindex barCheckSynchronize
2227 Bar checks help detect errors in the entered durations.
2228 A bar check may be entered using the bar symbol, @code{|},
2229 at any place where a bar line is expected to fall.
2230 If bar check lines are encountered at other places,
2231 a list of warnings is printed in the log file,
2232 showing the line numbers and lines
2233 in which the bar checks failed. In the next
2234 example, the second bar check will signal an error.
2237 \time 3/4 c2 e4 | g2 |
2240 Bar checks can also be used in lyrics, for example
2245 Twin -- kle | Twin -- kle |
2249 An incorrect duration can result in a completely garbled score,
2250 especially if the score is polyphonic, so a good place to start
2251 correcting input is by scanning for failed bar checks and
2252 incorrect durations.
2254 If successive bar checks are off by the same musical interval,
2255 only the first warning message is displayed. This allows the
2256 warning to focus on the source of the timing error.
2260 @funindex pipeSymbol
2262 It is also possible to redefine the action taken when a bar check
2263 or pipe symbol, @code{|}, is encountered in the input, so that
2264 it does something other than a bar check. This is done by
2265 assigning a music expression to @code{pipeSymbol}.
2266 In the following example @code{|} is set to insert a double bar
2267 line wherever it appears in the input, rather than checking
2270 @lilypond[quote,verbatim]
2271 pipeSymbol = \bar "||"
2280 When copying large pieces of music, it can be helpful to check
2281 that the LilyPond bar number corresponds to the original that you
2282 are entering from. This can be checked with
2283 @code{\barNumberCheck}, for example,
2286 \barNumberCheck #123
2290 will print a warning if the @code{currentBarNumber} is not 123
2291 when it is processed.
2299 @node Rehearsal marks
2300 @unnumberedsubsubsec Rehearsal marks
2302 @cindex rehearsal marks
2303 @cindex mark, rehearsal
2306 To print a rehearsal mark, use the @code{\mark} command
2308 @lilypond[quote,verbatim,relative=2]
2317 The letter@tie{}@q{I} is skipped in accordance with engraving
2318 traditions. If you wish to include the letter @q{I}, then use
2321 \set Score.markFormatter = #format-mark-alphabet
2324 The mark is incremented automatically if you use @code{\mark
2325 \default}, but you can also use an integer argument to set the
2326 mark manually. The value to use is stored in the property
2327 @code{rehearsalMark}.
2329 @cindex rehearsal mark format
2330 @cindex rehearsal mark style
2331 @cindex style, rehearsal mark
2332 @cindex format, rehearsal mark
2333 @cindex mark, rehearsal, style
2334 @cindex mark, rehearsal, format
2336 The style is defined by the property @code{markFormatter}. It is
2337 a function taking the current mark (an integer) and the current
2338 context as argument. It should return a markup object. In the
2339 following example, @code{markFormatter} is set to a pre-defined
2340 procedure. After a few measures, it is set to a procedure that
2341 produces a boxed number.
2343 @lilypond[quote,verbatim,relative=2]
2344 \set Score.markFormatter = #format-mark-numbers
2347 \set Score.markFormatter = #format-mark-box-numbers
2349 \set Score.markFormatter = #format-mark-circle-numbers
2351 \set Score.markFormatter = #format-mark-circle-letters
2355 The file @file{scm/@/translation@/-functions@/.scm} contains the
2356 definitions of @code{format-mark-numbers} (the default format),
2357 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2358 @code{format-mark-box-letters}. These can be used as inspiration
2359 for other formatting functions.
2361 You may use @code{format-mark-barnumbers},
2362 @code{format-mark-box-barnumbers}, and
2363 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2364 incremented numbers or letters.
2366 Other styles of rehearsal mark can be specified manually
2373 @code{Score.markFormatter} does not affect marks specified in this
2374 manner. However, it is possible to apply a @code{\markup} to the
2378 \mark \markup@{ \box A1 @}
2385 Music glyphs (such as the segno sign) may be printed inside a
2388 @lilypond[quote,verbatim,relative=1]
2389 c1 \mark \markup { \musicglyph #"scripts.segno" }
2390 c1 \mark \markup { \musicglyph #"scripts.coda" }
2391 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2396 See @ref{The Feta font}, for a list of symbols which may be
2397 printed with @code{\musicglyph}.
2399 For common tweaks to the positioning of rehearsal marks, see
2400 @ref{Formatting text}.
2405 @ref{The Feta font},
2406 @ref{Formatting text}.
2409 @file{scm/@/translation@/-functions@/.scm} contains
2410 the definition of @code{format-mark-numbers} and
2411 @code{format-mark-letters}. They can be used as inspiration for
2412 other formatting functions.
2417 Internals Reference: @rinternals{RehearsalMark}.
2419 @node Special rhythmic concerns
2420 @subsection Special rhythmic concerns
2425 * Aligning to cadenzas::
2426 * Time administration::
2430 @unnumberedsubsubsec Grace notes
2435 @cindex appoggiatura
2436 @cindex acciaccatura
2438 Grace notes are ornaments that are written out. Grace notes
2439 are printed in a smaller font and take up no logical time
2442 @lilypond[quote,relative=2,verbatim]
2444 \grace { c16[ d16] } c2
2447 Lilypond also supports two special types of grace notes, the
2448 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2449 small note with a slashed stem--and the @emph{appoggiatura}, which
2450 takes a fixed fraction of the main note and appears in small print
2453 @lilypond[quote,relative=2,verbatim]
2457 \acciaccatura { g16[ f] } e4
2460 The placement of grace notes is synchronized between different
2461 staves. In the following example, there are two sixteenth grace
2462 notes for every eighth grace note
2464 @lilypond[quote,relative=2,verbatim]
2465 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2466 \new Staff { c2 \grace { g8[ b] } c2 } >>
2469 @funindex \afterGrace
2471 @cindex grace notes, following
2473 If you want to end a note with a grace, use the @code{\afterGrace}
2474 command. It takes two arguments: the main note, and the grace
2475 notes following the main note.
2477 @lilypond[quote,verbatim,relative=2]
2478 c1 \afterGrace d1 { c16[ d] } c1
2481 This will put the grace notes after a space lasting 3/4 of the
2482 length of the main note. The default fraction 3/4 can be changed by
2483 setting @code{afterGraceFraction}. The following example shows
2484 the results from setting the space at the default, at 15/16, and
2485 finally at 1/2 of the main note.
2487 @lilypond[quote,verbatim,relative=2]
2490 c1 \afterGrace d1 { c16[ d] } c1
2493 #(define afterGraceFraction (cons 15 16))
2494 c1 \afterGrace d1 { c16[ d] } c1
2497 #(define afterGraceFraction (cons 1 2))
2498 c1 \afterGrace d1 { c16[ d] } c1
2503 The space between the main note and the grace note may also be
2504 specified using spacers. The following example places the grace
2505 note after a space lasting 7/8 of the main note.
2507 @lilypond[quote,verbatim,relative=2]
2510 { s2 s4. \grace { c16[ d] } } >>
2515 A @code{\grace} music expression will introduce special
2516 typesetting settings, for example, to produce smaller type, and
2517 set directions. Hence, when introducing layout tweaks to
2518 override the special settings, they should be placed inside
2519 the grace expression. The overrides should also be reverted
2520 inside the grace expression. Here, the grace note's default stem
2521 direction is overriden and then reverted.
2523 @lilypond[quote,verbatim,relative=2]
2535 @cindex stem, with slash
2540 The slash through the stem found in @emph{acciaccatura}s can be applied
2541 in other situations:
2543 @lilypond[quote,verbatim,relative=2]
2545 \override Stem #'stroke-style = #"grace"
2550 The layout of grace expressions can be changed throughout the
2551 music using the function @code{add-grace-property}. The following
2552 example undefines the @code{Stem} direction for this grace, so
2553 that stems do not always point up.
2555 @lilypond[quote,verbatim,relative=2]
2558 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2559 #(remove-grace-property 'Voice 'Stem 'direction)
2561 \acciaccatura { f16 } g4
2562 \grace { d16[ e] } f4
2563 \appoggiatura { a,32[ b c d] } e2
2569 Another option is to change the variables @code{startGraceMusic},
2570 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2571 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2572 @code{stopAppoggiaturaMusic}. The default values of these can be
2573 seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
2574 them other effects may be obtained.
2576 Grace notes may be forced to align with regular notes
2579 @lilypond[verbatim,quote]
2582 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2585 \afterGrace c4 { c16[ c8 c16] }
2589 c16 c c c c c c c c4 r
2599 @rglos{grace notes},
2600 @rglos{acciaccatura},
2601 @rglos{appoggiatura}.
2603 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2605 Snippets: @rlsr{Rhythms}.
2607 Internals Reference: @rinternals{GraceMusic}.
2612 A multi-note beamed @i{acciaccatura} is printed without a slash,
2613 and looks exactly the same as a multi-note beamed
2616 @c TODO Add link to LSR snippet to add slash when available
2618 Grace note synchronization can also lead to surprises. Staff
2619 notation, such as key signatures, bar lines, etc., are also
2620 synchronized. Take care when you mix staves with grace notes and
2621 staves without, for example,
2623 @lilypond[quote,relative=2,verbatim]
2624 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2625 \new Staff { c4 \bar "|:" d2. } >>
2629 This can be remedied by inserting grace skips of the corresponding
2630 durations in the other staves. For the above example
2632 @lilypond[quote,relative=2,verbatim]
2633 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2634 \new Staff { c4 \bar "|:" \grace s16 d2. } >>
2637 Grace sections should only be used within sequential music
2638 expressions. Nesting or juxtaposing grace sections is not
2639 supported, and might produce crashes or other errors.
2641 @node Aligning to cadenzas
2642 @unnumberedsubsubsec Aligning to cadenzas
2645 @cindex cadenza, aligning to
2646 @cindex aligning to cadenza
2648 In an orchestral context, cadenzas present a special problem: when
2649 constructing a score that includes a measured cadenza or other solo
2650 passage, all other instruments should skip just as many notes as the
2651 length of the cadenza, otherwise they will start too soon or too late.
2653 One solution to this problem is to use the functions
2654 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2655 functions take a defined piece of music as an argument and generate a
2656 multi-measure rest or @code{\skip} exactly as long as the piece.
2658 @lilypond[verbatim,quote]
2659 MyCadenza = \relative c' {
2670 #(ly:export (mmrest-of-length MyCadenza))
2672 #(ly:export (skip-of-length MyCadenza))
2687 @node Time administration
2688 @unnumberedsubsubsec Time administration
2690 @cindex time administration
2691 @cindex timing (within the score)
2692 @cindex music, unmetered
2693 @cindex unmetered music
2695 @funindex currentBarNumber
2696 @funindex measurePosition
2697 @funindex measureLength
2699 Time is administered by the @code{Timing_translator}, which by
2700 default is to be found in the @code{Score} context. An alias,
2701 @code{Timing}, is added to the context in which the
2702 @code{Timing_translator} is placed.
2704 The following properties of @code{Timing} are used
2705 to keep track of timing within the score.
2708 @cindex measure number
2711 @item currentBarNumber
2712 The current measure number. For an example showing the
2713 use of this property see @ref{Bar numbers}.
2716 The length of the measures in the current time signature. For a
2717 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2718 determines when bar lines are inserted and how automatic beams
2719 should be generated.
2721 @item measurePosition
2722 The point within the measure where we currently are. This
2723 quantity is reset by subtracting @code{measureLength} whenever
2724 @code{measureLength} is reached or exceeded. When that happens,
2725 @code{currentBarNumber} is incremented.
2728 If set to true, the above variables are updated for every time
2729 step. When set to false, the engraver stays in the current
2730 measure indefinitely.
2734 Timing can be changed by setting any of these variables
2735 explicitly. In the next example, the default 4/4 time
2736 signature is printed, but @code{measureLength} is set to 5/4.
2737 At 4/8 through the third measure, the @code{measurePosition} is
2738 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2739 The next bar line then falls at 9/8 rather than 5/4.
2741 @lilypond[quote,verbatim,relative=1]
2742 \set Score.measureLength = #(ly:make-moment 5 4)
2746 \set Score.measurePosition = #(ly:make-moment 5 8)
2752 As the example illustrates, @code{ly:make-moment n m} constructs a
2753 duration of n/m of a whole note. For example,
2754 @code{ly:make-moment 1 8} is an eighth note duration and
2755 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2761 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2766 Internals Reference: @rinternals{Timing_translator},