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
43 @cindex length of notes
53 Durations are designated by numbers and dots. Durations are entered
54 as their reciprocal values. For example, a quarter note is entered
55 using a @code{4} (since it is a 1/4 note), and a half note is entered
56 using a @code{2} (since it is a 1/2 note). For notes longer than a
57 whole you must use the @code{\longa} (a double breve) and
58 @code{\breve} commands. Durations as short as 128th notes may be
59 specified. Shorter values are possible, but only as beamed notes.
61 @c Two 64th notes are needed to obtain beams
62 @lilypond[quote,verbatim,relative=2]
65 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
149 @rglos{Duration names notes and rests}.
152 @ref{Automatic beams},
155 @ref{Writing rhythms},
158 @ref{Ancient notation},
159 @ref{Proportional notation}.
166 @rinternals{DotColumn}.
171 @c Deliberately duplicated in Durations and Rests. -gp
172 There is no fundamental limit to rest durations (both in terms of
173 longest and shortest), but the number of glyphs is limited:
174 rests from 128th to maxima (8 x whole) may be printed.
178 @unnumberedsubsubsec Tuplets
186 Tuplets are made from a music expression by multiplying all the
187 durations with a fraction:
190 \times @var{fraction} @{ @var{music} @}
194 The duration of @var{music} will be multiplied by the
195 fraction. The fraction's denominator will be printed over or
196 under the notes, optionally with a bracket. The most common
197 tuplet is the triplet in which 3 notes have the duration of 2, so
198 the notes are 2/3 of their written length.
200 @lilypond[quote,verbatim,relative=2]
201 a2 \times 2/3 { b4 b b }
202 c4 c \times 2/3 { b4 a g }
205 @cindex tuplet bracket placement
209 @funindex \tupletDown
211 @funindex \tupletNeutral
212 @funindex tupletNeutral
214 Tuplet brackets may be manually placed above or below the staff;
215 see @ref{Direction and placement}.
217 Tuplets may be nested:
219 @lilypond[quote,verbatim,relative=2]
221 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
224 Modifying nested tuplets which begin at the same musical moment
225 must be done with @code{\tweak}.
227 To modify the duration of notes without printing a tuplet bracket,
228 see @ref{Scaling durations}.
234 @code{\tupletNeutral}.
240 @cindex tuplet formatting
241 @cindex triplet formatting
243 @funindex tupletNumberFormatFunction
244 @funindex tupletSpannerDuration
246 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
247 {entering-several-tuplets-using-only-one--times-command.ly}
249 @cindex Tuplet number changes
251 @funindex TupletNumber
253 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
254 {changing-the-tuplet-number.ly}
256 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
257 {non-default-tuplet-numbers.ly}
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {permitting-line-breaks-within-beamed-tuplets.ly}
269 Learning Manual: @rlearning{Tweaking methods}.
272 @ref{Time administration},
273 @ref{Scaling durations},
274 @ref{The tweak command},
275 @ref{Polymetric notation}.
281 @rinternals{TupletBracket},
282 @rinternals{TupletNumber},
283 @rinternals{TimeScaledMusic}.
285 @cindex grace notes within tuplet brackets
288 When the first note on a staff is a grace note followed by a
289 tuplet the grace note must be placed before the @code{\times}
290 command to avoid errors. Anywhere else, grace notes may be
291 placed within tuplet brackets.
294 @node Scaling durations
295 @unnumberedsubsubsec Scaling durations
297 @cindex scaling durations
298 @cindex durations, scaling
300 You can alter the duration of single notes, rests or chords by a
301 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
302 is 1) to the duration. This will not affect the appearance of the
303 notes or rests produced, but the altered duration will be used in
304 calculating the position within the measure and setting the duration
305 in the MIDI output. Multiplying factors may be combined such as
308 In the following example, the first three notes take up exactly
309 two beats, but no triplet bracket is printed.
311 @lilypond[quote,relative=2,verbatim]
313 % Alter durations to triplets
314 a4*2/3 gis4*2/3 a4*2/3
317 % Double the duration of chord
319 % Duration of quarter, appears like sixteenth
323 The duration of skip or spacing notes may also be modified by
324 a multiplier. This is useful for skipping many measures, e.g.,
327 @cindex compressing music
328 @cindex expanding music
330 @funindex \scaleDurations
331 @funindex scaleDurations
333 Longer stretches of music may be compressed by a fraction in the
334 same way, as if every note, chord or rest had the fraction as a
335 multiplier. This leaves the appearance of the music unchanged but
336 the internal duration of the notes will be multiplied by the
337 fraction @emph{num}/@emph{den}. The spaces around the dot are
338 required. Here is an example showing how music can be compressed
341 @lilypond[quote,relative=2,verbatim]
345 % Scale music by *2/3
346 \scaleDurations #'(2 . 3) {
350 \scaleDurations #'(2 . 1) {
356 One application of this command is in polymetric
357 notation, see @ref{Polymetric notation}.
363 @ref{Invisible rests},
364 @ref{Polymetric notation}.
371 @unnumberedsubsubsec Ties
377 A tie connects two adjacent note heads of the same pitch. The tie
378 in effect extends the duration of a note.
380 @warning{Ties should not be confused with @emph{slurs}, which
381 indicate articulation, or @emph{phrasing slurs}, which indicate
382 musical phrasing. A tie is just a way of extending a note
383 duration, similar to the augmentation dot.}
385 A tie is entered using the tilde symbol (@code{~}).
387 @lilypond[quote,verbatim,relative=2]
393 Ties are used either when the note crosses a bar line, or when
394 dots cannot be used to denote the rhythm. Ties should also be
395 used when note values cross larger subdivisions of the measure:
397 @lilypond[verbatim,quote]
404 If you need to tie many notes across bar lines, it may be
405 easier to use automatic note splitting, see @ref{Automatic note
406 splitting}. This mechanism automatically splits long notes, and
407 ties them across bar lines.
409 @cindex ties and chords
410 @cindex chords and ties
412 When a tie is applied to a chord, all note heads whose pitches
413 match are connected. When no note heads match, no ties will be
414 created. Chords may be partially tied by placing the tie inside
417 @lilypond[quote,verbatim,relative=1]
419 <c~ e g~ b> <c e g b>
422 @cindex repeating ties
423 @cindex ties, repeating
424 @cindex volta brackets and ties
425 @cindex ties and volta brackets
430 When a second alternative of a repeat starts with a tied note, you
431 have to specify the repeated tie as follows:
433 @lilypond[quote,relative=2,verbatim]
434 \repeat volta 2 { c g <c e>2 ~ }
436 % First alternative: following note is tied normally
438 % Second alternative: following note has a repeated tie
439 { <c e>2\repeatTie d4 c } }
442 @cindex laissez vibrer
443 @cindex ties, laissez vibrer
445 @funindex \laissezVibrer
446 @funindex laissezVibrer
448 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
449 notes must not be damped at the end. It is used in notation for
450 piano, harp and other string and percussion instruments. They can
451 be entered as follows:
453 @lilypond[quote,verbatim,relative=1]
454 <c f g>1\laissezVibrer
457 @cindex ties, placement
463 @funindex \tieNeutral
466 Ties may be manually placed above or below the staff; see
467 @ref{Direction and placement}.
469 @cindex ties, appearance
482 Ties may be made dashed, dotted, or a combination of solid and
485 @lilypond[quote, verbatim, relative=1]
498 Custom dash patterns can be specified:
500 @lilypond[quote, verbatim, relative=1]
501 \tieDashPattern #0.3 #0.75
503 \tieDashPattern #0.7 #1.5
509 Dash pattern definitions for ties have the same structure as
510 dash pattern definitions for slurs.
511 For more information about complex dash patterns,
512 see the snippets under @ref{Slurs}.
520 @code{\tieDashPattern},
521 @code{\tieHalfDashed},
522 @code{\tieHalfSolid},
529 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
530 {using-ties-with-arpeggios.ly}
532 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
533 {engraving-ties-manually.ly}
539 @rglos{laissez vibrer}.
543 @ref{Automatic note splitting}.
549 @rinternals{LaissezVibrerTie},
550 @rinternals{LaissezVibrerTieColumn},
551 @rinternals{TieColumn},
557 Switching staves when a tie is active will not produce a slanted
560 Changing clefs or octavations during a tie is not really
561 well-defined. In these cases, a slur may be preferable.
566 @subsection Writing rests
568 Rests are entered as part of the music in music expressions.
573 * Full measure rests::
577 @unnumberedsubsubsec Rests
580 @cindex rest, entering durations
595 Rests are entered like notes with the note name @code{r}.
596 Durations longer than a whole rest use the predefined
599 @c \time 16/1 is used to avoid spurious bar lines
600 @c and long tracts of empty measures
601 @lilypond[fragment,quote,verbatim]
603 % These two lines are just to prettify this example
605 \override Staff.TimeSignature #'stencil = ##f
606 % Print a maxima rest, equal to four breves
608 % Print a longa rest, equal to two breves
612 r1 r2 r4 r8 r16 r32 r64 r128
616 @cindex rest, multi-measure
617 @cindex rest, whole-measure
619 Whole measure rests, centered in the middle of the measure, must be
620 entered as multi-measure rests. They can be used for a single
621 measure as well as many measures and are discussed in @ref{Full
624 @cindex rest, specifying vertical position
626 To explicitly specify a rest's vertical position, write a note
627 followed by @code{\rest}. A rest of the duration of the note will
628 be placed at the staff position where the note would appear. This
629 allows for precise manual formatting of polyphonic music, since the
630 automatic rest collision formatter will not move these rests.
632 @lilypond[quote,verbatim,relative=2]
638 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
649 @ref{Full measure rests}.
660 @c Deliberately duplicated in Durations and Rests. -gp
661 There is no fundamental limit to rest durations (both in terms of
662 longest and shortest), but the number of glyphs is limited: there
663 are rests from 128th to maxima (8 x whole).
666 @node Invisible rests
667 @unnumberedsubsubsec Invisible rests
670 @cindex invisible rest
671 @cindex rest, invisible
679 An invisible rest (also called a @q{spacer rest}) can be entered
680 like a note with the note name@tie{}@code{s}:
682 @lilypond[verbatim,quote,relative=2]
689 Spacer rests are available only in note mode and chord mode. In
690 other situations, for example, when entering lyrics, @code{\skip}
691 is used to skip a musical moment. @code{\skip} requires an
694 @lilypond[quote,verbatim,relative=2]
707 A spacer rest implicitly causes @code{Staff} and @code{Voice}
708 contexts to be created if none exist, just like notes and rests
711 @lilypond[quote,verbatim,fragment]
715 @code{\skip} simply skips musical time; it creates no output of
718 @lilypond[quote,verbatim,fragment]
719 % This is valid input, but does nothing
720 \skip 1 \skip1 \skip 1
728 Internals Reference: @rinternals{SkipMusic}
731 @node Full measure rests
732 @unnumberedsubsubsec Full measure rests
734 @cindex multi-measure rests
735 @cindex full-measure rests
736 @cindex rest, multi-measure
737 @cindex rest, full-measure
738 @cindex whole rest for a full measure
739 @cindex rest, whole for a full measure
743 Rests for one or more full measures are entered like notes with
744 the note name uppercase @code{R}:
746 @lilypond[quote,verbatim,relative=2]
747 % Rest measures contracted to single measure
748 \compressFullBarRests
755 The duration of full-measure rests is identical to the duration
756 notation used for notes. The duration in a multi-measure rest must
757 always be an integral number of measure-lengths, so augmentation dots
758 or fractions must often be used:
760 @lilypond[quote,fragment,verbatim]
761 \compressFullBarRests
767 R1*13/8 | R1*13/8*12 |
772 A full-measure rest is printed as either a whole or breve rest,
773 centered in the measure, depending on the time signature.
775 @lilypond[quote,verbatim,fragment]
784 @cindex multi-measure rest, expanding
785 @cindex multi-measure rest, contracting
787 @funindex \expandFullBarRests
788 @funindex expandFullBarRests
789 @funindex \compressFullBarRests
790 @funindex compressFullBarRests
792 By default a multi-measure rest is expanded in the printed score to
793 show all the rest measures explicitly. Alternatively, a multi-measure
794 rest can be shown as a single measure containing a multi-measure rest
795 symbol, with the number of measures of rest printed above the measure:
797 @lilypond[quote,fragment,verbatim]
799 \time 3/4 r2. | R2.*2 |
802 % Rest measures contracted to single measure
803 \compressFullBarRests
805 % Rest measures expanded
812 @cindex text on multi-measure rest
813 @cindex multi-measure rest, attaching text
814 @cindex script on multi-measure rest
815 @cindex multi-measure rest, script
816 @cindex fermata on multi-measure rest
817 @cindex multi-measure rest, attaching fermata
818 @cindex markup on multi-measure rest
819 @cindex multi-measure rest with markup
821 @funindex \fermataMarkup
822 @funindex fermataMarkup
823 @funindex MultiMeasureRestText
825 Markups can be added to multi-measure rests.
826 The predefined command @code{\fermataMarkup}
827 is provided for adding fermatas.
829 @lilypond[quote,verbatim,fragment]
830 \compressFullBarRests
832 R2.*10^\markup { \italic "ad lib." }
837 Markups attached to a multi-measure rest are
838 objects of type @code{MultiMeasureRestText}, not
839 @code{TextScript}. Overrides must be directed to the correct
840 object, or they will be ignored. See the following example.
843 @lilypond[quote,verbatim,fragment]
844 % This fails, as the wrong object name is specified
845 \override TextScript #'padding = #5
847 % This is correct and works
848 \override MultiMeasureRestText #'padding = #5
852 When a multi-measure rest immediately follows a @code{\partial}
853 setting, resulting bar-check warnings may not be displayed.
856 @funindex \textLengthOn
857 @funindex textLengthOn
858 @funindex \textLengthOff
859 @funindex textLenthOff
860 @funindex \fermataMarkup
861 @funindex fermataMarkup
862 @funindex \compressFullBarRests
863 @funindex compressFullBarRests
864 @funindex \expandFullBarRests
865 @funindex expandFullBarRests
868 @code{\textLengthOn},
869 @code{\textLengthOff},
870 @code{\fermataMarkup},
871 @code{\compressFullBarRests},
872 @code{\expandFullBarRests}.
880 @cindex kirchenpausen
882 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
883 {changing-form-of-multi-measure-rests.ly}
885 @cindex multi-measure rests, positioning
886 @cindex positioning multi-measure rests
888 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
889 {positioning-multi-measure-rests.ly}
891 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
892 {multi-measure-rest-markup.ly}
897 @rglos{multi-measure rest}.
902 @ref{Formatting text},
909 @rinternals{MultiMeasureRest},
910 @rinternals{MultiMeasureRestNumber},
911 @rinternals{MultiMeasureRestText}.
914 @cindex fingerings and multi-measure rests
915 @cindex multi-measure rests and fingerings
919 If an attempt is made to use fingerings (e.g.,
920 @code{R1*10-4}) to put numbers over multi-measure rests, the
921 fingering numeral (4) may collide with the bar counter
924 @cindex condensing rests
925 @cindex rest, condensing ordinary
927 There is no way to automatically condense multiple ordinary rests
928 into a single multi-measure rest.
930 @cindex rest, collisions of
932 Multi-measure rests do not take part in rest collisions.
934 @node Displaying rhythms
935 @subsection Displaying rhythms
941 * Polymetric notation::
942 * Automatic note splitting::
943 * Showing melody rhythms::
947 @unnumberedsubsubsec Time signature
949 @cindex time signature
955 The time signature is set as follows:
957 @lilypond[quote,verbatim,relative=2]
962 @cindex time signature, visibility of
964 Time signatures are printed at the beginning of a piece
965 and whenever the time signature changes. If a change takes place
966 at the end of a line a warning time signature sign is printed
967 there. This default behavior may be changed, see
968 @ref{Visibility of objects}.
970 @lilypond[quote,verbatim,relative=2]
980 @cindex time signature style
983 @funindex \numericTimeSignature
984 @funindex numericTimeSignature
985 @funindex \defaultTimeSignature
986 @funindex defaultTimeSignature
988 The time signature symbol that is used in 2/2 and 4/4 time can be
989 changed to a numeric style:
991 @lilypond[quote,verbatim,relative=2]
995 % Change to numeric style
996 \numericTimeSignature
999 % Revert to default style
1000 \defaultTimeSignature
1006 Mensural time signatures are covered in
1007 @ref{Mensural time signatures}.
1011 @code{\numericTimeSignature},
1012 @code{\defaultTimeSignature}.
1018 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1019 {changing-the-time-signature-without-affecting-the-beaming.ly}
1021 @cindex compound time signatures
1022 @cindex time signature, compound
1024 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1025 {compound-time-signatures.ly}
1030 @rglos{time signature}
1033 @ref{Mensural time signatures},
1034 @ref{Time administration}.
1039 Internals Reference:
1040 @rinternals{TimeSignature},
1041 @rinternals{Timing_translator}.
1045 @unnumberedsubsubsec Upbeats
1049 @cindex partial measure
1050 @cindex measure, partial
1051 @cindex pickup measure
1052 @cindex measure, change length
1054 @funindex measurePosition
1058 Partial or pick-up measures, such as an anacrusis or upbeat, are
1059 entered using the @code{\partial} command, with the syntax
1062 \partial @var{duration}
1065 where @code{duration} is the rhythmic length of the interval
1066 before the start of the first complete measure:
1068 @lilypond[quote,verbatim,relative=2]
1073 The partial measure can be any duration less than a full measure:
1075 @lilypond[quote,verbatim,relative=2]
1076 \partial 8*3 c8 d e |
1080 Internally, this is translated into
1083 \set Timing.measurePosition = -@var{duration}
1086 The property @code{measurePosition} contains a rational number
1087 indicating how much of the measure has passed at this point. Note
1088 that this is set to a negative number by the @code{\partial}
1089 command: i.e., @code{\partial 4} is internally translated to
1090 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1104 @rinternals{Timing_translator}.
1109 The @code{\partial} command is intended to be used only at the
1110 beginning of a piece. If you use it after the beginning, some
1111 odd warnings may occur.
1113 @node Unmetered music
1114 @unnumberedsubsubsec Unmetered music
1116 @cindex bar lines, turning off
1117 @cindex bar numbering, turning off
1119 @cindex unmetered music
1121 @funindex \cadenzaOn
1123 @funindex \cadenzaOff
1124 @funindex cadenzaOff
1126 Bar lines and bar numbers are calculated automatically. For
1127 unmetered music (some cadenzas, for example), this is not desirable.
1128 To turn off automatic calculation of bar lines and bar numbers,
1129 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1130 to turn them on again.
1132 @lilypond[verbatim,relative=2,fragment]
1141 Bar numbering is resumed at the end of the cadenza as if the
1142 cadenza were not there:
1144 @lilypond[verbatim,relative=2,fragment]
1145 % Show all bar numbers
1146 \override Score.BarNumber #'break-visibility = #all-visible
1167 @ref{Visibility of objects}.
1173 @cindex cadenza line breaks
1174 @cindex cadenza page breaks
1175 @cindex unmetered music, line breaks
1176 @cindex unmetered music, page breaks
1177 @cindex breaks in unmetered music
1178 @cindex line breaks in cadenzas
1179 @cindex page breaks in cadenzas
1180 @cindex line breaks in unmetered music
1181 @cindex page breaks in unmetered music
1185 LilyPond will insert line breaks and page breaks only at a
1186 bar line. Unless the unmetered music ends before the end of the
1187 staff line, you will need to insert invisible bar lines with
1194 to indicate where breaks can occur.
1197 @node Polymetric notation
1198 @unnumberedsubsubsec Polymetric notation
1200 @c This section necessarily uses \set
1201 @c This is acceptable -td
1203 @cindex double time signatures
1204 @cindex signatures, polymetric
1205 @cindex time signatures, polymetric
1206 @cindex time signatures, double
1207 @cindex polymetric signatures
1208 @cindex meter, polymetric
1210 @funindex timeSignatureFraction
1211 @funindex \scaleDurations
1212 @funindex scaleDurations
1216 Polymetric notation is supported, either explicitly or by modifying
1217 the visible time signature symbol and scaling the note durations.
1219 @strong{@i{Staves with different time signatures, equal measure lengths}}
1221 This notation can be created by setting a common time signature
1222 for each staff but replacing the symbol manually by setting
1223 @code{timeSignatureFraction} to the desired fraction and scaling
1224 the printed durations in each staff to the common time
1225 signature; see @ref{Time signature}. The scaling is done with
1226 @code{\scaleDurations}, which is used in a similar way to
1227 @code{\times}, but does not create a tuplet bracket; see
1228 @ref{Scaling durations}.
1230 @cindex beaming in polymetric music
1231 @cindex beaming in polymetric meter
1233 In this example, music with the time signatures of 3/4, 9/8, and
1234 10/8 are used in parallel. In the second staff, shown durations
1235 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1236 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1237 It will often be necessary to insert beams manually, as the
1238 duration scaling affects the autobeaming rules.
1240 @lilypond[quote,verbatim,fragment]
1249 \set Staff.timeSignatureFraction = #'(9 . 8)
1250 \scaleDurations #'(2 . 3)
1251 \repeat unfold 6 { c8[ c c] }
1255 \set Staff.timeSignatureFraction = #'(10 . 8)
1256 \scaleDurations #'(3 . 5) {
1257 \repeat unfold 2 { c8[ c c] }
1258 \repeat unfold 2 { c8[ c] } |
1259 c4. c4. \times 2/3 { c8[ c c] } c4
1265 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1267 Each staff can be given its own independent time signature by
1268 moving the @code{Timing_translator} and the
1269 @code{Default_bar_line_engraver} to the @code{Staff} context.
1271 @lilypond[quote,verbatim]
1275 \remove "Timing_translator"
1276 \remove "Default_bar_line_engraver"
1280 \consists "Timing_translator"
1281 \consists "Default_bar_line_engraver"
1285 % Now each staff has its own time signature.
1311 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1312 {compound-time-signatures.ly}
1318 @rglos{polymetric time signature},
1322 @ref{Time signature},
1323 @ref{Scaling durations}.
1328 Internals Reference:
1329 @rinternals{TimeSignature},
1330 @rinternals{Timing_translator},
1331 @rinternals{Default_bar_line_engraver},
1337 When using different time signatures in parallel, notes
1338 at the same moment will be be placed at the same horizontal
1339 location. However, the bar lines in the different staves
1340 will cause the note spacing to be less regular in each of the
1341 individual staves than would be normal without the different
1344 @node Automatic note splitting
1345 @unnumberedsubsubsec Automatic note splitting
1347 @cindex notes, splitting
1348 @cindex splitting notes
1350 @funindex Note_heads_engraver
1351 @funindex Completion_heads_engraver
1353 Long notes which overrun bar lines can be converted automatically
1354 to tied notes. This is done by replacing the
1355 @code{Note_heads_engraver} with the
1356 @code{Completion_heads_engraver}. In the following
1357 example, notes crossing the bar lines are split and tied.
1359 @lilypond[quote,verbatim,relative=1]
1361 \remove "Note_heads_engraver"
1362 \consists "Completion_heads_engraver"
1365 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1368 This engraver splits all running notes at the bar line, and
1369 inserts ties. One of its uses is to debug complex scores: if the
1370 measures are not entirely filled, then the ties show exactly how
1371 much each measure is off.
1375 Music Glossary: @rglos{tie}
1378 @rlearning{Engravers explained},
1379 @rlearning{Adding and removing engravers}.
1384 Internals Reference:
1385 @rinternals{Note_heads_engraver},
1386 @rinternals{Completion_heads_engraver},
1387 @rinternals{Forbid_line_break_engraver}.
1392 Not all durations (especially those containing tuplets) can be
1393 represented exactly with normal notes and dots, but the
1394 @code{Completion_heads_engraver} will not insert tuplets.
1396 The @code{Completion_heads_engraver} only affects notes; it does not
1400 @node Showing melody rhythms
1401 @unnumberedsubsubsec Showing melody rhythms
1403 @cindex melody rhythms, showing
1404 @cindex rhythms, showing melody
1406 Sometimes you might want to show only the rhythm of a melody. This
1407 can be done with the rhythmic staff. All pitches of notes on such a
1408 staff are squashed, and the staff itself has a single line
1410 @lilypond[quote,relative=1,verbatim]
1412 \new RhythmicStaff {
1413 \new Voice = "myRhythm" {
1421 \lyricsto "myRhythm" {
1429 @cindex guitar chord charts
1430 @cindex strumming rhythms, showing
1431 @cindex guitar strumming rhythms, showing
1433 @funindex Pitch_squash_engraver
1434 @funindex \improvisationOn
1435 @funindex improvisationOn
1436 @funindex \improvisationOff
1437 @funindex improvisationOff
1439 Guitar chord charts often show the strumming rhythms. This can
1440 be done with the @code{Pitch_squash_engraver} and
1441 @code{\improvisationOn}.
1444 @lilypond[quote,verbatim]
1453 \consists Pitch_squash_engraver
1466 @code{\improvisationOn},
1467 @code{\improvisationOff}.
1473 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1474 {guitar-strum-rhythms.ly}
1481 Internals Reference:
1482 @rinternals{RhythmicStaff},
1483 @rinternals{Pitch_squash_engraver}.
1491 * Setting automatic beam behavior::
1496 @node Automatic beams
1497 @unnumberedsubsubsec Automatic beams
1499 By default, beams are inserted automatically:
1501 @cindex beams, manual
1502 @cindex manual beams
1503 @cindex beams, setting rules for
1504 @cindex beams, custom rules for
1506 @funindex \autoBeamOn
1507 @funindex autoBeamOn
1508 @funindex \autoBeamOff
1509 @funindex autoBeamOff
1511 @lilypond[quote,verbatim,relative=2]
1513 \time 6/8 c c c c8. c16 c8
1516 If these automatic decisions are not satisfactory, beaming can be
1517 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1518 entered manually if beams are to be extended over rests.
1520 If automatic beaming is not required, it may be turned off with
1521 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1523 @lilypond[quote,relative=1,verbatim]
1524 c4 c8 c8. c16 c8. c16 c8
1531 @cindex melismata, beams
1532 @cindex beams and melismata
1534 @warning{If beams are used to indicate melismata in songs, then
1535 automatic beaming should be switched off with @code{\autoBeamOff}
1536 and the beams indicated manually.}
1538 Beaming patterns that differ from the automatic defaults may be
1539 created, see @ref{Setting automatic beam behavior}.
1543 @code{\autoBeamOff},
1550 @cindex line breaks and beams
1551 @cindex beams and line breaks
1555 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1556 {beams-across-line-breaks.ly}
1558 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1559 {changing-beam-knee-gap.ly}
1565 @ref{Setting automatic beam behavior}.
1568 @file{scm/@/auto@/-beam@/.scm}.
1573 Internals Reference: @rinternals{Beam}.
1578 Beams can collide with note heads and accidentals in other voices
1581 @node Setting automatic beam behavior
1582 @unnumberedsubsubsec Setting automatic beam behavior
1585 @cindex automatic beams, tuning
1586 @cindex tuning automatic beaming
1587 @cindex automatic beam generation
1589 @cindex lyrics and beaming
1591 @funindex autoBeaming
1592 @funindex autoBeamSettings
1593 @funindex (end * * * *)
1594 @funindex (begin * * * *)
1595 @funindex measureLength
1596 @funindex beatLength
1597 @funindex beatGrouping
1603 There are two types of beaming rules: @emph{beam-grouping}
1604 rules and @emph{beam-ending} rules. Beam-grouping rules are the
1605 simplest, but are over-ridden by any beam-ending rules which apply.
1607 The placement of automatic beams is determined by applying the
1608 following rules in order:
1612 @item If a manual beam is specified with @code{[..]} set the beam
1613 as specified, otherwise
1615 @item if @code{\autoBeamOff} is in force do not beam, otherwise
1617 @item if a beam-ending rule applies use it to determine the valid
1618 places where beams may end, otherwise
1620 @item if a valid (see below) beat-grouping rule applies use it to
1621 group notes with beams, otherwise
1623 @item use the value of @code{beatLength} to group notes with beams
1627 @i{@strong{Modifying the grouping of beats}}
1629 If there are no beam-ending rules defined for the beam duration of a
1630 particular beam in the time signature in use, its beaming is
1631 controlled by three context properties: @code{measureLength},
1632 @code{beatLength} and @code{beatGrouping}. These properties may be
1633 set in the @code{Score}, @code{Staff} or @code{Voice} contexts to
1634 delimit their scope. The default values are set while processing
1635 @code{\time} commands, so any @code{\set} commands to modify their
1636 value must be placed after all @code{\time} commands.
1638 @warning{These three properties become effective for a particular
1639 beam @strong{only} if there are no beam-ending rules predefined for
1640 that beam's duration in the time signature in use, or if these
1641 beam-ending rules have all been reverted.}
1643 These determine the beaming as follows:
1645 Beams may begin anywhere (unless a beam is already active). Beams
1646 end at a time determined by the values of @code{beatGrouping} and
1647 @code{beatLength}, as follows:
1651 @item If @code{beatGrouping} and @code{beatLength} are consistent
1652 with @code{measureLength}, @code{beatGrouping} is used to determine
1653 the end points of beams.
1655 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1656 with @code{measureLength}, @code{beatLength} is used to determine
1657 the end points of beams.
1661 By default the @code{measureLength} and @code{beatLength} are
1662 derived from the time signature set by the @code{\time} command.
1663 The @code{measureLength} is set to be exactly the same length as
1664 the measure length given by the time signature, and the
1665 @code{beatLength} is set to be the same as one over the denominator
1666 of the time signature.
1668 The default value of @code{beatGrouping} is taken from a table in
1669 @file{scm/@/music@/-functions@/.scm}. To find this, see
1670 @rlearning{Other sources of information}. It defines the beat
1671 grouping for 3/8, 4/8, 5/8, 8/8, and all the common compound time
1674 Both @code{measureLength} and @code{beatLength} are @i{moments},
1675 units of musical duration. A quantity of type @i{moment} is
1676 created by the scheme function @code{ly:make-moment}. For more
1677 information about this function, see @ref{Time administration}.
1679 @code{beatGrouping} is a list of integers giving the number of
1680 beats in each group.
1684 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1687 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1688 {specifying-context-with-beatgrouping.ly}
1690 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1691 {using-beatlength-and-beatgrouping.ly}
1693 @funindex subdivideBeams
1695 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1696 {sub-dividing-beams.ly}
1698 @cindex measure groupings
1699 @cindex beats, grouping
1700 @cindex grouping beats
1701 @cindex measure sub-grouping
1703 @funindex autoBeamSettings
1705 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1706 {conducting-signs,-measure-grouping-signs.ly}
1709 @strong{@i{Modifying the beam end points}}
1711 Beam-ending rules are required when beams of different durations are
1712 to end at different points within the measure. For example, it may
1713 be desirable for eighth-note beams in 4/4 time to end only at the
1714 end of the measure or half-way through it, but for sixteenth-note
1715 beams to end at quarter note positions to avoid overly long beamed
1716 runs. The rules work as follows:
1718 Automatic beams can start on any note but can end at only a few
1719 positions within the measure, namely at positions specified by the
1720 properties in @code{autoBeamSettings}. These properties consist of
1721 a list of rules defining where beams can end. The default
1722 @code{autoBeamSettings} rules are defined in
1723 @file{scm/@/auto@/-beam@/.scm}. To find this file, see
1724 @rlearning{Other sources of information}.
1726 In order to add a rule to the list, use
1729 #(override-auto-beam-setting
1731 beam-numerator beam-denominator
1732 time-signature-numerator time-signature-denominator)
1733 moment-numerator moment-denominator [context])
1741 @item @code{beam-limit} is the type of automatic beam limit
1742 defined. This can be either @code{begin} or @code{end} but
1743 only @code{end} is effective.
1745 @item @code{beam-numerator/beam-denominator} is the beam duration
1746 to which the rule is to apply. A beam is considered to have the
1747 duration of its shortest note. Set @code{beam-numerator} and
1748 @code{beam-denominator} to @code{'*'} to have this rule apply to beams
1751 @item @code{time-signature-numerator/time-signature-denominator}
1752 specifies the time signature to which this rule should apply. If
1753 @code{time-signature-numerator} and @code{time-signature-denominator}
1754 are set to @code{'*'} this rule will apply in any time signature.
1756 @item @code{moment-numerator/moment-denominator} is the position
1757 in the bar at which the beam should end.
1759 @funindex score-override-auto-beam-setting
1760 @funindex override-auto-beam-setting
1762 @item @code{context} is optional, and it specifies the context at which
1763 the change should be made. The default is @code{'Voice}.
1765 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1766 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1770 For example, if automatic beams should always end on the first quarter
1771 note, whatever the time signature or beam duration, use
1773 @lilypond[quote,verbatim,relative=2]
1775 #(override-auto-beam-setting '(end * * * *) 1 4)
1779 You can force the beam settings to take effect only on beams whose shortest
1780 note is a certain duration
1782 @lilypond[quote,verbatim,relative=2]
1784 % end 1/16 beams for all time signatures at the 1/16 moment
1785 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1787 a32 a a a a16 a a a a a |
1788 % end 1/32 beams for all time signatures at the 1/16 moment
1789 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1790 a32 a a a a16 a a a a a |
1793 You can force the beam settings to take effect only in certain time
1796 @lilypond[quote,verbatim,relative=2]
1798 % end beams of all durations in 5/8 time signature at the 2/8 moment
1799 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1807 When multiple voices are used the @code{Staff} context must be
1808 specified if the beaming is to be applied to all voices in the
1811 @lilypond[quote,verbatim,relative=2]
1814 % Context not specified - does not work correctly
1815 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1816 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1817 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1818 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1820 % Works correctly with context specified
1821 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1822 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1823 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1824 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1827 @warning{If any unexpected beam behavior occurs, check the default
1828 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1829 possible interference, because the beam endings defined there will
1830 still apply in addition to your own.}
1832 @funindex revert-auto-beam-setting
1834 Any unwanted or conflicting default endings must be reverted for
1835 your time signature(s). Existing default or user-defined
1836 beam-ending rules are removed by using
1839 #(revert-auto-beam-setting
1841 beam-numerator beam-denominator
1842 time-signature-numerator time-signature-denominator)
1843 moment-numerator moment-denominator [context])
1847 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1848 @code{time-signature-numerator}, @code{time-signature-denominator},
1849 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1850 are the same as above.
1852 @lilypond[quote,verbatim,relative=2]
1854 a16 a a a a a a a a a a a a a a a
1855 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1856 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1857 a16 a a a a a a a a a a a a a a a
1860 The rule in a @code{revert-auto-beam-setting} statement must exactly
1861 match the original rule. That is, no wildcard expansion is taken into
1864 @lilypond[quote,verbatim,relative=2]
1866 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1868 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1870 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1876 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1877 {beam-grouping-in-7-8-time.ly}
1879 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1880 {reverting-default-beam-endings.ly}
1882 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1883 {beam-endings-in-score-context.ly}
1885 @funindex \autoBeamOff
1886 @funindex autoBeamOff
1887 @funindex \autoBeamOn
1888 @funindex autoBeamOn
1891 @code{\autoBeamOff},
1896 @cindex beam, last in score
1897 @cindex beam, last in polyphonic voice
1901 If a score ends while an automatic beam has not been ended and is
1902 still accepting notes, this last beam will not be typeset at all.
1903 The same holds for polyphonic voices, entered with @code{<<
1904 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1905 automatic beam is still accepting notes, it is not typeset.
1914 @unnumberedsubsubsec Manual beams
1916 @cindex beams, manual
1917 @cindex manual beams
1922 In some cases it may be necessary to override the automatic
1923 beaming algorithm. For example, the autobeamer will not put beams
1924 over rests or bar lines, and in choral scores the beaming is
1925 often set to follow the meter of the lyrics rather than the
1926 notes. Such beams can be specified manually by
1927 marking the begin and end point with @code{[} and @code{]}
1929 @lilypond[quote,relative=1,verbatim]
1931 r4 r8[ g' a r8] r8 g[ | a] r8
1939 Individual notes may be marked with @code{\noBeam} to prevent them
1942 @lilypond[quote,verbatim,relative=2]
1943 \time 2/4 c8 c\noBeam c c
1946 @funindex stemLeftBeamCount
1947 @funindex stemRightBeamCount
1949 Even more strict manual control with the beams can be achieved by
1950 setting the properties @code{stemLeftBeamCount} and
1951 @code{stemRightBeamCount}. They specify the number of beams to
1952 draw on the left and right side, respectively, of the next note.
1953 If either property is set, its value will be used only once, and
1954 then it is erased. In this example, the last @code{f} is printed
1955 with only one beam on the left side, i.e., the eighth-note beam of
1956 the group as a whole.
1958 @lilypond[quote,relative=2,verbatim]
1961 \set stemLeftBeamCount = #2
1962 \set stemRightBeamCount = #1
1964 \set stemLeftBeamCount = #1
1971 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1972 {flat-flags-and-beam-nibs.ly}
1974 @node Feathered beams
1975 @unnumberedsubsubsec Feathered beams
1977 @cindex beams, feathered
1978 @cindex feathered beams
1980 @funindex \featherDurations
1981 @funindex featherDurations
1982 @funindex grow-direction
1984 Feathered beams are used to indicate that a small group of notes
1985 should be played at an increasing (or decreasing) tempo, without
1986 changing the overall tempo of the piece. The extent of the
1987 feathered beam must be indicated manually using @code{[} and
1988 @code{]}, and the beam feathering is turned on by specifying a
1989 direction to the @code{Beam} property @code{grow-direction}.
1991 If the placement of the notes and the sound in the MIDI output is to
1992 reflect the ritardando or accelerando indicated by the feathered beam
1993 the notes must be grouped as a music expression delimited by braces
1994 and preceded by a @code{featherDurations} command which specifies
1995 the ratio between the durations of the first and last notes in the
1998 The square brackets show the extent of the beam and the braces show
1999 which notes are to have their durations modified. Normally these
2000 would delimit the same group of notes, but this is not required: the
2001 two commands are independent.
2003 In the following example the eight 16th notes occupy exactly the
2004 same time as a half note, but the first note is one half as long
2005 as the last one, with the intermediate notes gradually
2006 lengthening. The first four 32nd notes gradually speed up, while
2007 the last four 32nd notes are at a constant tempo.
2009 @lilypond[relative=1,verbatim,quote]
2010 \override Beam #'grow-direction = #LEFT
2011 \featherDurations #(ly:make-moment 2 1)
2012 { c16[ c c c c c c c] }
2013 \override Beam #'grow-direction = #RIGHT
2014 \featherDurations #(ly:make-moment 2 3)
2016 % revert to non-feathered beams
2017 \override Beam #'grow-direction = #'()
2022 The spacing in the printed output represents the
2023 note durations only approximately, but the MIDI output is exact.
2027 The @code{\featherDurations} command only works with very short
2028 music snippets, and when numbers in the fraction are small.
2043 * Bar and bar number checks::
2048 @unnumberedsubsubsec Bar lines
2051 @cindex measure lines
2052 @cindex closing bar lines
2053 @cindex bar lines, closing
2054 @cindex double bar lines
2055 @cindex bar lines, double
2061 Bar lines delimit measures, and are also used to indicate
2062 repeats. Normally, simple bar lines are automatically inserted
2063 into the printed output at places based on the current time
2066 The simple bar lines inserted automatically can be changed to
2067 other types with the @code{\bar} command. For example, a closing
2068 double bar line is usually placed at the end of a piece:
2070 @lilypond[quote,relative=1,verbatim]
2074 It is not invalid if the final note in a measure does not
2075 end on the automatically entered bar line: the note is assumed
2076 to carry over into the next measure. But if a long sequence
2077 of such carry-over measures appears the music can appear compressed
2078 or even flowing off the page. This is because automatic line
2079 breaks happen only at the end of complete measures, i.e., where
2080 all notes end before the end of a measure.
2082 @warning{An incorrect duration can cause line breaks to be
2083 inhibited, leading to a line of highly compressed music or
2084 music which flows off the page.}
2087 @cindex bar lines, invisible
2088 @cindex measure lines, invisible
2090 Line breaks are also permitted at manually inserted bar lines
2091 even within incomplete measures. To allow a line break without
2092 printing a bar line, use
2099 This will insert an invisible bar line and allow (but not
2100 force) a line break to occur at this point. The bar number
2101 counter is not increased. To force a line break see
2102 @ref{Line breaking}.
2104 @cindex manual bar lines
2105 @cindex manual measure lines
2106 @cindex bar lines, manual
2107 @cindex measure lines, manual
2109 This and other special bar lines may be inserted manually at any
2110 point. When they coincide with the end of a measure they replace the
2111 simple bar line which would have been inserted there automatically.
2112 When they do not coincide with the end of a measure the specified bar
2113 line is inserted at that point in the printed output. Such insertions
2114 do not affect the calculation and placement of subsequent automatic
2117 Two types of simple bar lines and five types of double bar lines are available
2118 for manual insertion:
2120 @lilypond[quote,relative=1,verbatim]
2121 f1 \bar "|" f \bar "." g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
2125 together with dotted and dashed bar lines:
2127 @lilypond[quote,relative=1,verbatim]
2128 f1 \bar ":" g \bar "dashed" a
2132 and five types of repeat bar line:
2134 @lilypond[quote,relative=1,verbatim]
2135 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
2138 Additionally, a bar line can be printed as a simple tick:
2139 @lilypond[quote,relative=1,verbatim]
2142 However, as such ticks are typically used in Gregorian chant, it is preferable
2143 to use @code{\divisioMinima} there instead, described in the section
2144 @ref{Divisiones} in Gregorian chant.
2149 Although the bar line types signifying repeats may be inserted
2150 manually they do not in themselves cause LilyPond to recognize
2151 a repeated section. Such repeated sections are better entered
2152 using the various repeat commands (see @ref{Repeats}), which
2153 automatically print the appropriate bar lines.
2155 In addition, you can specify @code{"||:"}, which is equivalent to
2156 @code{"|:"} except at line breaks, where it gives a double bar
2157 line at the end of the line and a start repeat at the beginning of
2160 @lilypond[quote,relative=2,verbatim]
2161 \override Score.RehearsalMark #'padding = #3
2169 In scores with many staves, a @code{\bar} command in one staff is
2170 automatically applied to all staves. The resulting bar lines are
2171 connected between different staves of a @code{StaffGroup},
2172 @code{PianoStaff}, or @code{GrandStaff}.
2174 @lilypond[quote,fragment,verbatim]
2182 \new Staff { \clef bass c4 g e g }
2184 \new Staff { \clef bass c2 c2 }
2189 @cindex default bar lines, changing
2190 @cindex bar lines, default, changing
2195 @funindex defaultBarType
2200 The command @code{\bar }@var{bartype} is a shortcut for
2201 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2202 created whenever the @code{whichBar} property is
2205 The default bar type used for automatically inserted bar lines is
2206 @code{"|"}. This may be changed at any time
2207 with @code{\set Timing.defaultBarType = }@var{bartype}.
2212 @ref{Line breaking},
2214 @ref{Grouping staves}.
2219 Internals Reference: @rinternals{BarLine} (created at
2220 @rinternals{Staff} level), @rinternals{SpanBar} (across
2221 staves), @rinternals{Timing_translator} (for Timing
2226 @unnumberedsubsubsec Bar numbers
2229 @cindex measure numbers
2230 @cindex numbers, bar
2231 @cindex numbers, measure
2233 @funindex currentBarNumber
2235 Bar numbers are typeset by default at the start of every line except
2236 the first line. The number itself is stored in the
2237 @code{currentBarNumber} property, which is normally updated
2238 automatically for every measure. It may also be set manually:
2240 @lilypond[verbatim,quote,fragment,relative=1]
2243 \set Score.currentBarNumber = #50
2247 @cindex bar numbers, regular spacing
2249 @funindex barNumberVisibility
2252 Bar numbers can be typeset at regular intervals instead of just at
2253 the beginning of every line. To do this the default behavior
2254 must be overridden to permit bar numbers to be printed at places
2255 other than the start of a line. This is controlled by the
2256 @code{break-visibility} property of @code{BarNumber}. This takes
2257 three values which may be set to @code{#t} or @code{#f} to specify
2258 whether the corresponding bar number is visible or not. The order
2259 of the three values is @code{end of line visible}, @code{middle of
2260 line visible}, @code{beginning of line visible}. In the following
2261 example bar numbers are printed at all possible places:
2263 @lilypond[verbatim,quote,relative=1]
2264 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2265 \set Score.currentBarNumber = #11
2266 % Permit first bar number to be printed
2276 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2277 {printing-the-bar-number-for-the-first-measure.ly}
2279 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2280 {printing-bar-numbers-at-regular-intervals.ly}
2282 @cindex measure number, format
2283 @cindex bar number, format
2285 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2286 {printing-bar-numbers-inside-boxes-or-circles.ly}
2288 @cindex bar number alignment
2290 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2291 {aligning-bar-numbers.ly}
2293 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2294 {removing-bar-numbers-from-a-score.ly}
2301 Internals Reference: @rinternals{BarNumber}.
2304 @cindex bar number collision
2305 @cindex collision, bar number
2309 Bar numbers may collide with the top of the
2310 @rinternals{StaffGroup} bracket, if there is one. To solve
2311 this, the @code{padding} property of @rinternals{BarNumber} can
2312 be used to position the number correctly.
2316 @node Bar and bar number checks
2317 @unnumberedsubsubsec Bar and bar number checks
2320 @cindex bar number check
2321 @cindex measure check
2322 @cindex measure number check
2324 @funindex barCheckSynchronize
2327 Bar checks help detect errors in the entered durations. A bar check
2328 may be entered using the bar symbol, @code{|}, at any place where a
2329 bar line is expected to fall. If bar check lines are encountered at
2330 other places, a list of warnings is printed in the log file, showing
2331 the line numbers and lines in which the bar checks failed. In the
2332 next example, the second bar check will signal an error.
2335 \time 3/4 c2 e4 | g2 |
2338 Bar checks can also be used in lyrics, for example
2343 Twin -- kle | Twin -- kle |
2347 An incorrect duration can result in a completely garbled score,
2348 especially if the score is polyphonic, so a good place to start
2349 correcting input is by scanning for failed bar checks and
2350 incorrect durations.
2352 If successive bar checks are off by the same musical interval,
2353 only the first warning message is displayed. This allows the
2354 warning to focus on the source of the timing error.
2358 @funindex pipeSymbol
2360 It is also possible to redefine the action taken when a bar check
2361 or pipe symbol, @code{|}, is encountered in the input, so that
2362 it does something other than a bar check. This is done by
2363 assigning a music expression to @code{pipeSymbol}.
2364 In the following example @code{|} is set to insert a double bar
2365 line wherever it appears in the input, rather than checking
2368 @lilypond[quote,verbatim]
2369 pipeSymbol = \bar "||"
2378 @funindex \barNumberCheck
2379 @funindex barNumberCheck
2381 When copying large pieces of music, it can be helpful to check that
2382 the LilyPond bar number corresponds to the original that you are
2383 entering from. This can be checked with @code{\barNumberCheck}, for
2387 \barNumberCheck #123
2391 will print a warning if the @code{currentBarNumber} is not 123
2392 when it is processed.
2400 @node Rehearsal marks
2401 @unnumberedsubsubsec Rehearsal marks
2403 @cindex rehearsal marks
2404 @cindex mark, rehearsal
2409 To print a rehearsal mark, use the @code{\mark} command
2411 @lilypond[quote,verbatim,relative=2]
2420 The letter@tie{}@q{I} is skipped in accordance with engraving
2421 traditions. If you wish to include the letter @q{I}, then use
2424 \set Score.markFormatter = #format-mark-alphabet
2427 The mark is incremented automatically if you use @code{\mark
2428 \default}, but you can also use an integer argument to set the
2429 mark manually. The value to use is stored in the property
2430 @code{rehearsalMark}.
2432 @cindex rehearsal mark format
2433 @cindex rehearsal mark style
2434 @cindex style, rehearsal mark
2435 @cindex format, rehearsal mark
2436 @cindex mark, rehearsal, style
2437 @cindex mark, rehearsal, format
2438 @cindex rehearsal mark, manual
2439 @cindex mark, rehearsal, manual
2440 @cindex custom rehearsal mark
2441 @cindex manual rehearsal mark
2443 The style is defined by the property @code{markFormatter}. It is
2444 a function taking the current mark (an integer) and the current
2445 context as argument. It should return a markup object. In the
2446 following example, @code{markFormatter} is set to a pre-defined
2447 procedure. After a few measures, it is set to a procedure that
2448 produces a boxed number.
2450 @lilypond[quote,verbatim,relative=2]
2451 \set Score.markFormatter = #format-mark-numbers
2454 \set Score.markFormatter = #format-mark-box-numbers
2456 \set Score.markFormatter = #format-mark-circle-numbers
2458 \set Score.markFormatter = #format-mark-circle-letters
2462 The file @file{scm/@/translation@/-functions@/.scm} contains the
2463 definitions of @code{format-mark-numbers} (the default format),
2464 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2465 @code{format-mark-box-letters}. These can be used as inspiration
2466 for other formatting functions.
2468 You may use @code{format-mark-barnumbers},
2469 @code{format-mark-box-barnumbers}, and
2470 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2471 incremented numbers or letters.
2473 Other styles of rehearsal mark can be specified manually
2480 @code{Score.markFormatter} does not affect marks specified in this
2481 manner. However, it is possible to apply a @code{\markup} to the
2485 \mark \markup@{ \box A1 @}
2490 @cindex D.S. al Fine
2492 @cindex music glyphs
2493 @cindex glyphs, music
2495 @funindex \musicglyph
2496 @funindex musicglyph
2498 Music glyphs (such as the segno sign) may be printed inside a
2501 @lilypond[quote,verbatim,relative=1]
2502 c1 \mark \markup { \musicglyph #"scripts.segno" }
2503 c1 \mark \markup { \musicglyph #"scripts.coda" }
2504 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2509 See @ref{The Feta font}, for a list of symbols which may be
2510 printed with @code{\musicglyph}.
2512 For common tweaks to the positioning of rehearsal marks, see
2513 @ref{Formatting text}.
2518 @ref{The Feta font},
2519 @ref{Formatting text}.
2522 @file{scm/@/translation@/-functions@/.scm} contains
2523 the definition of @code{format-mark-numbers} and
2524 @code{format-mark-letters}. They can be used as inspiration for
2525 other formatting functions.
2530 Internals Reference: @rinternals{RehearsalMark}.
2533 @node Special rhythmic concerns
2534 @subsection Special rhythmic concerns
2539 * Aligning to cadenzas::
2540 * Time administration::
2544 @unnumberedsubsubsec Grace notes
2548 @cindex appoggiatura
2549 @cindex acciaccatura
2554 Grace notes are ornaments that are written out. Grace notes
2555 are printed in a smaller font and take up no logical time
2558 @lilypond[quote,relative=2,verbatim]
2560 \grace { c16[ d16] } c2
2563 LilyPond also supports two special types of grace notes, the
2564 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2565 small note with a slashed stem--and the @emph{appoggiatura}, which
2566 takes a fixed fraction of the main note and appears in small print
2569 @lilypond[quote,relative=2,verbatim]
2573 \acciaccatura { g16[ f] } e4
2576 The placement of grace notes is synchronized between different
2577 staves. In the following example, there are two sixteenth grace
2578 notes for every eighth grace note
2580 @lilypond[quote,relative=2,verbatim]
2581 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2582 \new Staff { c2 \grace { g8[ b] } c2 } >>
2585 @cindex grace notes, following
2587 @funindex \afterGrace
2588 @funindex afterGrace
2590 If you want to end a note with a grace, use the @code{\afterGrace}
2591 command. It takes two arguments: the main note, and the grace
2592 notes following the main note.
2594 @lilypond[quote,verbatim,relative=2]
2595 c1 \afterGrace d1 { c16[ d] } c1
2598 This will put the grace notes after a space lasting 3/4 of the
2599 length of the main note. The default fraction 3/4 can be changed by
2600 setting @code{afterGraceFraction}. The following example shows
2601 the results from setting the space at the default, at 15/16, and
2602 finally at 1/2 of the main note.
2604 @lilypond[quote,verbatim,relative=2]
2607 c1 \afterGrace d1 { c16[ d] } c1
2610 #(define afterGraceFraction (cons 15 16))
2611 c1 \afterGrace d1 { c16[ d] } c1
2614 #(define afterGraceFraction (cons 1 2))
2615 c1 \afterGrace d1 { c16[ d] } c1
2620 The space between the main note and the grace note may also be
2621 specified using spacers. The following example places the grace
2622 note after a space lasting 7/8 of the main note.
2624 @lilypond[quote,verbatim,relative=2]
2627 { s2 s4. \grace { c16[ d] } } >>
2632 @cindex tweaking grace notes
2633 @cindex grace notes, tweaking
2634 @cindex grace notes, changing layout settings
2636 A @code{\grace} music expression will introduce special
2637 typesetting settings, for example, to produce smaller type, and
2638 set directions. Hence, when introducing layout tweaks to
2639 override the special settings, they should be placed inside
2640 the grace expression. The overrides should also be reverted
2641 inside the grace expression. Here, the grace note's default stem
2642 direction is overridden and then reverted.
2644 @lilypond[quote,verbatim,relative=2]
2656 @cindex stem, with slash
2661 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2662 {using-grace-note-slashes-with-normal-heads.ly}
2664 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2665 {tweaking-grace-layout-within-music.ly}
2667 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2668 {redefining-grace-note-global-defaults.ly}
2670 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2671 {positioning-grace-notes-with-floating-space.ly}
2676 @rglos{grace notes},
2677 @rglos{acciaccatura},
2678 @rglos{appoggiatura}.
2680 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2682 Snippets: @rlsr{Rhythms}.
2684 Internals Reference: @rinternals{GraceMusic}.
2689 @cindex acciaccatura, multi-note
2690 @cindex multi-note acciaccatura
2691 @cindex grace-note synchronization
2693 A multi-note beamed @i{acciaccatura} is printed without a slash,
2694 and looks exactly the same as a multi-note beamed
2697 @c TODO Add link to LSR snippet to add slash when available
2699 Grace note synchronization can also lead to surprises. Staff
2700 notation, such as key signatures, bar lines, etc., are also
2701 synchronized. Take care when you mix staves with grace notes and
2702 staves without, for example,
2704 @lilypond[quote,relative=2,verbatim]
2706 \new Staff { e4 \bar "|:" \grace c16 d2. }
2707 \new Staff { c4 \bar "|:" d2. }
2712 This can be remedied by inserting grace skips of the corresponding
2713 durations in the other staves. For the above example
2715 @lilypond[quote,relative=2,verbatim]
2717 \new Staff { e4 \bar "|:" \grace c16 d2. }
2718 \new Staff { c4 \bar "|:" \grace s16 d2. }
2722 Grace sections should only be used within sequential music
2723 expressions. Nesting or juxtaposing grace sections is not
2724 supported, and might produce crashes or other errors.
2726 @node Aligning to cadenzas
2727 @unnumberedsubsubsec Aligning to cadenzas
2730 @cindex cadenza, aligning to
2731 @cindex aligning to cadenza
2733 In an orchestral context, cadenzas present a special problem: when
2734 constructing a score that includes a measured cadenza or other solo
2735 passage, all other instruments should skip just as many notes as the
2736 length of the cadenza, otherwise they will start too soon or too late.
2738 One solution to this problem is to use the functions
2739 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2740 functions take a defined piece of music as an argument and generate a
2741 multi-measure rest or @code{\skip} exactly as long as the piece.
2743 @lilypond[verbatim,quote]
2744 MyCadenza = \relative c' {
2755 #(ly:export (mmrest-of-length MyCadenza))
2757 #(ly:export (skip-of-length MyCadenza))
2772 @node Time administration
2773 @unnumberedsubsubsec Time administration
2775 @cindex time administration
2776 @cindex timing (within the score)
2777 @cindex music, unmetered
2778 @cindex unmetered music
2780 @funindex currentBarNumber
2781 @funindex measurePosition
2782 @funindex measureLength
2784 Time is administered by the @code{Timing_translator}, which by
2785 default is to be found in the @code{Score} context. An alias,
2786 @code{Timing}, is added to the context in which the
2787 @code{Timing_translator} is placed.
2789 The following properties of @code{Timing} are used
2790 to keep track of timing within the score.
2793 @cindex measure number
2796 @item currentBarNumber
2797 The current measure number. For an example showing the
2798 use of this property see @ref{Bar numbers}.
2801 The length of the measures in the current time signature. For a
2802 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2803 determines when bar lines are inserted and how automatic beams
2804 should be generated.
2806 @item measurePosition
2807 The point within the measure where we currently are. This
2808 quantity is reset by subtracting @code{measureLength} whenever
2809 @code{measureLength} is reached or exceeded. When that happens,
2810 @code{currentBarNumber} is incremented.
2813 If set to true, the above variables are updated for every time
2814 step. When set to false, the engraver stays in the current
2815 measure indefinitely.
2819 Timing can be changed by setting any of these variables
2820 explicitly. In the next example, the default 4/4 time
2821 signature is printed, but @code{measureLength} is set to 5/4.
2822 At 4/8 through the third measure, the @code{measurePosition} is
2823 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2824 The next bar line then falls at 9/8 rather than 5/4.
2826 @lilypond[quote,verbatim,relative=1]
2827 \set Score.measureLength = #(ly:make-moment 5 4)
2831 \set Score.measurePosition = #(ly:make-moment 5 8)
2837 As the example illustrates, @code{ly:make-moment n m} constructs a
2838 duration of n/m of a whole note. For example,
2839 @code{ly:make-moment 1 8} is an eighth note duration and
2840 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2845 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2850 Internals Reference: @rinternals{Timing_translator},