1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
12 @lilypondfile[ragged-right,line-width=16\cm,staffsize=14,quote]
15 This section discusses rhythms, rests, durations, beaming and bars.
20 * Displaying rhythms::
23 * Special rhythmic concerns::
28 @subsection Writing rhythms
38 @unnumberedsubsubsec Durations
40 @cindex durations, of notes
41 @cindex note durations
47 Durations are designated by numbers and dots.
48 Durations are entered as their reciprocal values. For example, a
49 quarter note is entered using a @code{4} (since it is a 1/4 note),
50 and a half note is entered using a @code{2} (since it is a 1/2
51 note). For notes longer than a whole you must use the
52 @code{\longa} (a double breve) and @code{\breve} commands.
53 Durations as short as 64th notes may be specified. Shorter values
54 are possible, but only as beamed notes:
56 @c Two 64th notes are needed to obtain beams
57 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
64 and the same durations with automatic beaming turned off;
65 see @ref{Automatic beams}:
67 @c not strictly "writing rhythms"; more of a "displaying" thing,
68 @c but it's ok here. -gp
69 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
76 A note with the duration of a quadruple breve may be entered with
77 @code{\maxima}, but this is supported only within ancient music
78 notation; see @ref{Ancient notation}.
80 If the duration is omitted then it is set to the previously
81 entered duration. The default for the first note is a quarter
84 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
93 To obtain dotted note lengths, place a dot (@code{.}) after the
94 duration. Double-dotted notes are specified by appending two
97 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
98 a4 b c4. b8 a4. b4.. c8.
101 Some durations cannot be represented with just binary durations
102 and dots; they can only be represented by tying two or more
103 notes together; see @ref{Ties}.
105 For ways of specifying durations for the syllables of lyrics and
106 ways of aligning lyrics to notes see @ref{Vocal music}.
108 Optionally, notes can be spaced proportionately to their duration.
109 For details of this and other settings which control proportional
110 notation see @ref{Proportional notation}.
114 Dots are normally moved up to avoid staff lines, except in
115 polyphonic situations. The following commands may be used to
116 force a particular direction manually, and to return to the
123 @funindex \dotsNeutral
129 Music Glossary: @rglos{breve}, @rglos{longa}, @rglos{note value}
130 @rglos{Duration names notes and rests}.
132 Notation Reference: @ref{Automatic beams}, @ref{Ties},
133 @ref{Writing rhythms}, @ref{Writing rests}, @ref{Vocal music},
134 @ref{Ancient notation}, @ref{Proportional notation}.
136 Snippets: @lsrdir{Rhythms,Rhythms}
138 Internals Reference: @internalsref{Dots},
139 @internalsref{DotColumn}.
144 @c deliberately duplicated in Durations and Rests. -gp
145 There is no fundamental limit to rest durations (both in terms of
146 longest and shortest), but the number of glyphs is limited: there
147 are rests from 128th to maxima (8 x whole).
151 @unnumberedsubsubsec Tuplets
157 Tuplets are made out of a music expression by multiplying all
158 durations with a fraction:
161 \times @var{fraction} @var{musicexpr}
165 The duration of @var{musicexpr} will be multiplied by the
166 fraction. The fraction's denominator will be printed over or
167 under the notes, optionally with a bracket. The most common
168 tuplet is the triplet in which 3 notes have the length of 2, so
169 the notes are 2/3 of their written length.
171 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
172 g4 \times 2/3 {c4 c c} d4 d4
175 Tuplets may be nested; for example,
177 @lilypond[fragment,ragged-right,verbatim,relative=2]
180 \times 3/5 { a a a a a }
188 @funindex \tupletDown
190 @funindex \tupletNeutral
191 @code{\tupletNeutral}.
196 @funindex tupletNumberFormatFunction
197 @funindex tupletSpannerDuration
198 @cindex tuplet formatting
200 The property @code{tupletSpannerDuration} specifies how long each
201 bracket should last. With this, you can make lots of tuplets
202 while typing @code{\times} only once, thus saving lots of typing.
203 In the next example, there are two triplets shown, while
204 @code{\times} was only used once.
206 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
207 \set tupletSpannerDuration = #(ly:make-moment 1 4)
208 \times 2/3 { c8 c c c c c }
212 For more information about @code{make-moment}, see
213 @ref{Time administration}.
215 @funindex TupletNumber
217 The format of the number is determined by the property @code{text}
218 in @code{TupletNumber}. The default prints only the denominator,
219 but if the property is set with @code{\override
220 TupletNumber #'text = #tuplet-number::calc-fraction-text},
221 @var{num}:@var{den} will be printed instead.
223 To print tuplets without tuplet numbers, use
224 @code{\override TupletNumber #'transparent = ##t}:
226 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
227 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
228 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
229 \times 2/3 { c8 c c }
230 \override TupletNumber #'transparent = ##t
231 \times 2/3 { c8 c c }
234 To change the appearance of nested tuplets beginning at the same
235 music moment individually, the @code{\tweak} function must be used
236 (see @ref{Objects connected to the input}). In the following
237 example, @code{\tweak} specifies fraction text for the outer
238 @code{TupletNumber} and denominator text for the
239 @code{TupletNumber} of the first of the three inner tuplets.
241 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
242 \tweak #'text #tuplet-number::calc-fraction-text
244 \tweak #'text #tuplet-number::calc-denominator-text
245 \times 2/3 { c8[ c8 c8] }
246 \times 2/3 { c8[ c8 c8] }
247 \times 2/3 { c8[ c8 c8] }
251 @cindex bracket, tuplet
252 @funindex TupletBracket
254 @c FIXME: after LM 6 Tweaks includes \tweak info, look at this.-gp
255 @c It *should* be explained why \tweak must be used here, and why
256 @c \override doesn't work. I've made an attempt, but I'm not sure
257 @c if it is factually correct to say that \tweak must be used.
258 In the next example, @code{\tweak} and @code{\override} work
259 together to specify @code{TupletBracket} direction. The first
260 @code{\tweak} positions the @code{TupletBracket} of the outer
261 tuplet above the staff. The second @code{\tweak} positions the
262 @code{TupletBracket} of the first of the three inner tuplets below
263 the staff. Note that the @code{\tweak} function affects only
264 events that begin at the same music moment: the outer tuplet and
265 the first of the three inner tuplets. To position the
266 @code{TupletBrackets} of the second and third of the inner tuplets
267 below the staff, we use @code{\override} in the usual way.
269 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
270 \tweak #'text #tuplet-number::calc-fraction-text
271 \tweak #'direction #up
273 \tweak #'direction #down
274 \times 2/3 { c8[ c8 c8] }
275 \override TupletBracket #'direction = #down
276 \times 2/3 { c8[ c8 c8] }
277 \times 2/3 { c8[ c8 c8] }
281 Tuplet brackets can be made to run to prefatory matter or the next
284 @lilypond[ragged-right,verbatim,quote]
286 \set tupletFullLength = ##t
287 \set tupletFullLengthNote = ##t
289 \times 2/3 { c4 c c }
290 \set tupletFullLengthNote = ##f
298 @funindex \compressMusic
301 @code{\compressMusic} works similarly to \times, but does not
302 create a tuplet bracket; see @ref{Polymetric notation}.
307 Tuplets which cross bar lines will prevent a line break at that
312 Music Glossary: @rglos{tuplet}.
314 Notation Reference: @ref{Time administration},
315 @ref{Objects connected to the input}, @ref{Polymetric notation}.
317 Snippets: @lsrdir{Rhythms,Rhythms}.
319 Internals Reference: @internalsref{TupletBracket},
320 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
324 @node Scaling durations
325 @unnumberedsubsubsec Scaling durations
327 You can alter the length of a duration by a fraction @var{N/M}
328 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
329 This will not affect the appearance of the notes or rests
330 produced, but the altered duration will be used in calculating the
331 position within the measure and setting the duration in the MIDI
332 output. Multiplying factors may be combined
335 In the following example, the first three notes take up exactly
336 two beats, but no triplet bracket is printed.
338 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
340 a4*2/3 gis4*2/3 a4*2/3
345 The duration of skip or spacing notes may also be modified by
346 a multiplier. This is useful for skipping many measures, e.g.,
351 Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
353 Snippets: @lsrdir{Rhythms,Rhythms}
356 @unnumberedsubsubsec Ties
361 A tie connects two adjacent note heads of the same pitch. The tie
362 in effect extends the length of a note.
364 @warning{Ties should not be confused with @emph{slurs}, which
365 indicate articulation, or @emph{phrasing slurs}, which indicate
366 musical phrasing. A tie is just a way of extending a note
367 duration, similar to the augmentation dot.}
369 A tie is entered using the tilde symbol @code{~}
371 @lilypond[quote,ragged-right,fragment,verbatim]
377 Ties are used either when the note crosses a bar line, or when
378 dots cannot be used to denote the rhythm. Ties should also be
379 used when note values cross larger subdivisions of the measure:
381 @lilypond[fragment,quote,ragged-right]
383 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
387 If you need to tie a lot of notes across bar lines, it may be
388 easier to use automatic note splitting (see @ref{Automatic note
389 splitting}). This mechanism automatically splits long notes, and
390 ties them across bar lines.
393 @cindex repeating ties
394 @cindex volta brackets and ties
396 When a tie is applied to a chord, all note heads whose pitches
397 match are connected. When no note heads match, no ties will be
398 created. Chords may be partially tied by placing the tie inside
401 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
403 <c~ e g~ b> <c e g b>
406 When a second alternative of a repeat starts with a tied note, you
407 have to repeat the tie. This can be achieved with
410 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
411 \repeat volta 2 { c g <c e>2 ~ }
412 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
415 @cindex laissez vibrer
416 @cindex ties, laissez vibrer
417 @funindex \laissezVibrer
420 @funindex \tieNeutral
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 using @code{\laissezVibrer}:
427 @lilypond[fragment,ragged-right,verbatim,relative=1]
428 <c f g>\laissezVibrer
431 The direction of a tie can be specified with @code{\tieUp} or
432 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
433 to the default behaviour again.
435 However, as with other music elements of this kind, there is a
436 convenient shorthand for forcing tie directions. By adding
437 @code{_} or @code{^} before the tilde, the direction is also set:
439 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
446 Music Glossary: @rglos{tie},
447 @c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
449 Snippets: @lsrdir{Rhythms,Rhythms}
452 @internalsref{LaissezVibrerTie}
453 @internalsref{LaissezVibrerTieColumn}
456 @c @lsr{connecting,laissez-vibrer-ties.ly}
461 Ties are sometimes used to write out arpeggios. In this case, two
462 tied notes need not be consecutive. This can be achieved by
463 setting the @code{tieWaitForNote} property to true. The same
464 feature is also useful, for example, to tie a tremolo to a chord,
465 but in principle, it can also be used for ordinary, consecutive
468 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
469 \set tieWaitForNote = ##t
470 \grace { c16[~ e~ g]~ } <c, e g>2
471 \repeat tremolo 8 { c32~ c'~ } <c c,>1
472 e8~ c~ a~ f~ <e' c a f>2
473 \tieUp c8~ a \tieDown \tieDotted g~ c g2
476 Ties may be engraved manually by changing the
477 @code{tie-configuration} property of the @code{TieColumn} object.
478 The first number indicates the distance from the center of the
479 staff in staff-spaces, and the second number indicates the
480 direction (1=up, -1=down).
482 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
484 \override TieColumn #'tie-configuration =
485 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
497 @funindex \tieNeutral
511 Notation Reference: @ref{Automatic note splitting}.
513 Snippets: @lsrdir{Rhythms,Rhythms}
515 Internals Reference: @internalsref{Tie}.
520 Switching staves when a tie is active will not produce a slanted
523 Changing clefs or octavations during a tie is not really
524 well-defined. In these cases, a slur may be preferable.
531 @subsection Writing rests
536 * Full measure rests::
540 @unnumberedsubsubsec Rests
552 Rests are entered like notes with the note name @code{r}:
554 @c \time 16/1 is used to avoid spurious bar lines
555 @c and long tracts of empty measures
556 @lilypond[fragment,quote,ragged-right,verbatim]
559 \override Staff.TimeSignature #'stencil = ##f
561 r\longa r\breve r1 r2
566 Whole measure rests, centered in middle of the measure, must be entered as
567 multi-measure rests. They can be used for a single measure as well as
568 many measures and are discussed in @ref{Full measure rests}.
570 To explicitly specify a rest's vertical position, write a note
571 followed by @code{\rest}. A rest will be placed in the position
572 where the note would appear. This allows for precise manual
573 formatting of polyphonic music, since the automatic rest collision
574 formatter will leave these rests alone.
576 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
583 Notation Reference: @ref{Full measure rests}.
585 Snippets: @lsrdir{Rhythms,Rhythms}.
587 Internals Reference: @internalsref{Rest}.
592 @c duplicated in Durations and Rests. -gp
593 There is no fundamental limit to rest durations (both in terms of
594 longest and shortest), but the number of glyphs is limited: there
595 are rests from 128th to maxima (8 x whole).
598 @unnumberedsubsubsec Skips
601 @cindex invisible rest
606 An invisible rest (also called a @q{skip}) can be entered like a
607 note with note name @code{s} or with @code{\skip @var{duration}}
609 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
610 a4 a4 s4 a4 \skip 1 a4
615 The @code{s} syntax is only available in note mode and chord mode.
616 In other situations, for example, when entering lyrics, one must
617 use the @code{\skip} command:
619 @lilypond[quote,ragged-right,verbatim,relative=2]
622 \new Lyrics \lyricmode { \skip 2 bla2 }
626 The skip command is merely an empty musical placeholder. It does
627 not produce any output, not even transparent output.
629 The @code{s} skip command does create @internalsref{Staff} and
630 @internalsref{Voice} when necessary, similar to note and rest
631 commands. For example, the following results in an empty staff.
633 @lilypond[quote,verbatim]
636 @c with ragged-right, the staff lines are cut BEFORE the time
637 @c signature, which makes for a VERY empty staff
639 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
640 @c Misleading -- it doesn't produce anything, not even an empty page.
641 @c Ppl who want to make empty sheets will see this and wonder what's
646 Snippets: @lsrdir{Rhythms,Rhythms}
648 Internals Reference: @internalsref{SkipMusic}.
651 @node Full measure rests
652 @unnumberedsubsubsec Full measure rests
654 @cindex multi measure rests
655 @cindex full measure rests
656 @cindex rest, multi measure
657 @cindex rest, full measure
658 @cindex whole rest for a full measure
661 Rests for one or more full measures are entered using @code{R}
662 followed by a duration (see @ref{Durations}). The duration should
663 correspond to an integral number of measures, otherwise a barcheck
664 warning is printed. A @rglos{multi-measure rest} is used
665 principally to indicate that a part in a multi-part score should
668 @lilypond[quote,fragment,verbatim,relative=2]
669 \set Score.skipBars = ##t
676 A multi-measure rest can be expanded in the printed score
677 to show all the rest measures explicitly, or, as above, it can be
678 condensed to a single measure
679 containing a multi-measure rest symbol, with the number of
680 measures of rest printed above the measure. This expansion
681 is controlled by the property @code{Score.skipBars}. If this is
682 set to true, empty measures will be condensed to a single measure.
684 @lilypond[quote,ragged-right,fragment,verbatim]
685 \time 4/4 r1 | R1 | R1*2 |
688 \set Score.skipBars = ##t
692 The @code{1} in @code{R1} is similar to the duration notation
693 used for notes and is the length of a measure in 2/2 or 4/4 time.
694 The duration in a multi-measure rest must always be an integral
695 number of measure-lengths, so in other time signatures augmentation
696 dots or fractions must be used:
698 @lilypond[quote,ragged-right,fragment,verbatim]
699 \set Score.skipBars = ##t
703 R1*13/8 | R1*13/8*12 |
708 An @code{R} spanning a single measure is printed as either a whole
709 or breve rest, centered in the measure, regardless of the time
714 @cindex kirchenpausen
716 If there are 10 or fewer measures of rest, LilyPond prints
717 a series of longa and breve rests (called in German
718 Kirchenpausen - @q{church rests}) within the staff and
719 prints a simple line otherwise. This default number of 10
720 may be changed by overriding
721 @code{MultiMeasureRest.expand-limit}.
723 @lilypond[quote,ragged-right,fragment,verbatim]
724 \set Score.skipBars = ##t
726 \override MultiMeasureRest #'expand-limit = 3
730 Note that unlike ordinary rests, the vertical position on the
731 staff of the multi-measure rest symbol of either form cannot be
734 @cindex text on multi-measure rest
735 @cindex script on multi-measure rest
736 @cindex fermata on multi-measure rest
738 Text can be added to multi-measure rests by using the
739 @var{note}-@code{markup} syntax described in @ref{Text markup}.
740 The variable @code{\fermataMarkup} is provided for adding
743 @lilypond[quote,ragged-right,verbatim,fragment]
744 \set Score.skipBars = ##t
746 R2.*10^\markup { \italic "ad lib." }
750 @warning{Text attached to a multi-measure rest is created
751 by @code{MultiMeasureRestText}, not
752 @code{TextScript}. Overrides must be directed to the correct
753 object, or they will be ignored. See the following example.}
755 @lilypond[quote,ragged-right,verbatim,fragment]
756 \override TextScript #'padding = #5
758 \override MultiMeasureRestText #'padding = #5
762 Text attached to a multi-measure rest will be centered above or
763 below it. Long text attached in this way does not cause the
764 measure to expand, and may collide with text in adjacent measures.
765 Long text is better attached to a zero-length skip note preceding
766 the rest, preceded by @code{\textLengthOn} (turn off again with
767 @code{\textLengthOff}), since this will cause the measure to expand to
768 accommodate the length of the text:
770 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
771 \set Score.skipBars = ##t
773 s1*0^\markup {[MAJOR GENERAL]}
775 s1*0^\markup {[MABEL] }
776 s1*0_\markup {\italic {Cue: ... it is yours}}
779 c4^\markup {CHORUS} d f c
783 Text attached to a skip note in this way is left-aligned to the
784 position where the note would be placed in the bar, and placed
785 above the bar count numeral, but because the bar length is
786 determined by the length of the text, the text will appear to be
787 centered. If two (or more) texts are
788 attached to skip notes in a bar the bar length is determined by
789 the longer text, and the shorter text is then clearly
790 left-aligned, as shown in the second bar above. If the shorter
791 text of two marks is short enough to fit it will be placed
792 alongside and to the left of the bar count numeral.
796 Notation Reference: @ref{Durations}, @ref{Text},
797 @ref{Text markup}, @ref{Text scripts}.
799 Snippets: @lsrdir{Rhythms,Rhythms}
801 Internals Reference: @internalsref{MultiMeasureRest}.
803 The layout object @internalsref{MultiMeasureRestNumber} is for the
804 default number, and @internalsref{MultiMeasureRestText} for user
810 If an attempt is made to use fingerings (e.g.,
811 @code{R1*10-4}) to put numbers over multi-measure rests, the
812 fingering numeral (4) may collide with the bar counter
815 @cindex condensing rests
817 There is no way to automatically condense multiple rests into a
818 single multi-measure rest. Multi-measure rests do not take part
821 Be careful when entering multi-measure rests followed by whole
822 notes. The following will enter two notes lasting four measures
830 @node Displaying rhythms
831 @subsection Displaying rhythms
837 * Polymetric notation::
838 * Automatic note splitting::
842 @unnumberedsubsubsec Time signature
844 @cindex time signature
848 The time signature is set with the @code{\time} command:
850 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
851 \time 2/4 c2 \time 3/4 c2.
856 The symbol that is printed can be customized with the @code{style}
857 property. Setting it to @code{#'()} uses fraction style for 4/4
860 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
863 \override Staff.TimeSignature #'style = #'()
868 A time signature symbol is normally printed whenever the time
869 signature changes. If this takes place at the end of a line a
870 warning time signature sign is printed at the end of the line and
871 again at the start of a new line. This default behaviour can be
872 modified by setting the value of the @code{break-visibility}
873 property. This takes three values which may be set to @code{#t}
874 or @code{#f} to specify whether the corresponding time signature
875 is visible or not. The order of the three values is @code{end of
876 line visible}, @code{middle of line visible}, @code{beginning of
879 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
880 % Do not print any time signatures at end of line
881 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
884 % Do not print the following 9/8 time signature
885 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
893 There are many more options for its layout. See @ref{Ancient time
894 signatures}, for more examples.
896 @code{\time} sets the properties @code{timeSignatureFraction},
897 @code{beatLength}, and @code{measureLength} in the @code{Timing}
898 context, which is normally aliased to @internalsref{Score}. The
899 property @code{measureLength} determines where bar lines should be
900 inserted, and how automatic beams should be generated. Changing
901 the value of @code{timeSignatureFraction} also causes the symbol
904 @cindex measure groupings
906 More options are available through the Scheme function
907 @code{set-time-signature}, which takes three arguments: the number
908 of beats, the beat length, and the internal grouping of beats in
909 the measure. If the @internalsref{Measure_grouping_engraver} is
910 included, the function will also create
911 @internalsref{MeasureGrouping} signs. Such signs ease reading
912 rhythmically complex modern music. In the following example, the
913 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
914 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
916 @lilypond[quote,ragged-right,verbatim]
919 #(set-time-signature 9 8 '(2 2 2 3))
920 g8[ g] d[ d] g[ g] a8[( bes g]) |
921 #(set-time-signature 5 8 '(3 2))
927 \consists "Measure_grouping_engraver"
936 Snippets: @lsrdir{Rhythms,Rhythms}
938 Internals Reference: @internalsref{TimeSignature}, and
939 @internalsref{Timing_translator}.
941 Examples: @c @lsr{contemporary,compound-time-signature.ly}.
946 Automatic beaming does not use the measure grouping specified with
947 @code{set-time-signature}.
951 @unnumberedsubsubsec Upbeats
955 @cindex partial measure
956 @cindex measure, partial
957 @cindex pickup measure
958 @cindex shorten measures
961 Partial or pickup 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 to be added before
971 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
972 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
975 Internally, this is translated into
978 \set Timing.measurePosition = -@var{length of duration}
981 The property @code{measurePosition} contains a rational number
982 indicating how much of the measure has passed at this point. Note
983 that this is a negative number; @code{\partial 4} is internally
984 translated to mean @qq{there is a quarter note left in the bar.}
989 This command does not take into account grace notes at the start
990 of the music. When a piece starts with grace notes in the
991 pickup, then the @code{\partial} should follow the grace notes:
993 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1000 @code{\partial} is only intended to be used at the beginning of a
1001 piece. If you use it after the beginning, some odd warnings may
1006 Snippets: @lsrdir{Rhythms,Rhythms}
1008 @node Unmetered music
1009 @unnumberedsubsubsec Unmetered music
1012 @funindex \cadenzaOn
1013 @funindex \cadenzaOff
1015 Bar lines and bar numbers are calculated automatically. For
1016 unmetered music (cadenzas, for example), this is not desirable.
1017 To turn off automatic bar lines and bar numbers, use the commands
1018 @code{\cadenzaOn} and @code{\cadenzaOff}.
1020 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1029 Bar numbering is resumed at the end of the cadenza as if the
1030 cadenza were not there:
1032 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1033 \override Score.BarNumber #'break-visibility = ##( #t #t #t )
1044 LilyPond will only insert line breaks and page breaks at a
1045 bar line. Unless the unmetered music ends before the end of the
1046 staff line, you will need to insert invisible bar lines with
1053 to indicate where breaks can occur.
1057 Snippets: @lsrdir{Rhythms,Rhythms}
1060 @node Polymetric notation
1061 @unnumberedsubsubsec Polymetric notation
1063 @cindex double time signatures
1064 @cindex signatures, polymetric
1065 @cindex polymetric signatures
1066 @cindex meter, polymetric
1070 @rglos{polymetric time signature}
1073 Double time signatures are not supported explicitly, but they can
1074 be faked. In the next example, the markup for the time signature
1075 is created with a markup text. This markup text is inserted in
1076 the @internalsref{TimeSignature} grob. See also
1077 @c @lsr{contemporary,compound-time-signature}.
1079 @lilypond[verbatim,ragged-right]
1081 tsMarkup = \markup {
1082 \override #'(baseline-skip . 2) \number {
1085 \bracket \column { "5" "8" }
1090 \override Staff.TimeSignature #'stencil =
1091 #ly:text-interface::print
1092 \override Staff.TimeSignature #'text = #tsMarkup
1094 c'2 \bar ":" c'4 c'4.
1098 Each staff can also have its own time signature. This is done by
1099 moving the @internalsref{Timing_translator} to the
1100 @internalsref{Staff} context.
1102 @lilypond[quote,verbatim,ragged-right]
1106 \remove "Timing_translator"
1107 \remove "Default_bar_line_engraver"
1111 \consists "Timing_translator"
1112 \consists "Default_bar_line_engraver"
1115 %Now, each staff has its own time signature.
1128 c4. c8 c c c4. c8 c c
1134 A different form of polymetric notation is where note lengths have
1135 different values across staves, but the measures are all the same
1138 This notation can be created by setting a common time signature
1139 for each staff but replacing it manually using
1140 @code{timeSignatureFraction} to the desired fraction. Then the
1141 printed durations in each staff are scaled to the common time
1142 signature. The latter is done with @code{\compressMusic}, which
1143 is used in a similar way to @code{\times}, but does not create
1144 a tuplet bracket. The syntax is
1146 @funindex \compressMusic
1150 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1155 In this example, music with the time signatures of 3/4, 9/8, and
1156 10/8 are used in parallel. In the second staff, shown durations
1157 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1158 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1161 @lilypond[quote,ragged-right,verbatim,fragment]
1169 \set Staff.timeSignatureFraction = #'(9 . 8)
1170 \compressMusic #'(2 . 3)
1171 \repeat unfold 6 { c8[ c c] }
1175 \set Staff.timeSignatureFraction = #'(10 . 8)
1176 \compressMusic #'(3 . 5) {
1177 \repeat unfold 2 { c8[ c c] }
1178 \repeat unfold 2 { c8[ c] }
1179 | c4. c4. \times 2/3 { c8 c c } c4
1188 When using different time signatures in parallel, the spacing is
1189 aligned vertically, but bar lines distort the regular spacing.
1193 Snippets: @lsrdir{Rhythms,Rhythms}, @c @lsr{contemporary,compound-time-signature}.
1195 Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
1198 @node Automatic note splitting
1199 @unnumberedsubsubsec Automatic note splitting
1201 Long notes which overrun bar lines can be converted automatically
1202 to tied notes. This is done by replacing the
1203 @internalsref{Note_heads_engraver} by the
1204 @internalsref{Completion_heads_engraver}. In the following
1205 examples, notes crossing the bar line are split and tied.
1207 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1209 \remove "Note_heads_engraver"
1210 \consists "Completion_heads_engraver"
1212 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1216 This engraver splits all running notes at the bar line, and
1217 inserts ties. One of its uses is to debug complex scores: if the
1218 measures are not entirely filled, then the ties exactly show how
1219 much each measure is off.
1221 If you want to allow line breaking on the bar lines where
1222 @internalsref{Completion_heads_engraver} splits notes, you must
1223 also remove @internalsref{Forbid_line_break_engraver}.
1228 Not all durations (especially those containing tuplets) can be
1229 represented exactly with normal notes and dots, but the engraver
1230 will not insert tuplets.
1232 @code{Completion_heads_engraver} only affects notes; it does not
1238 Snippets: @lsrdir{Rhythms,Rhythms}
1240 Internals Reference: @internalsref{Note_heads_engraver},
1241 @internalsref{Completion_heads_engraver},
1242 @internalsref{Forbid_line_break_engraver}.
1253 * Setting automatic beam behavior::
1258 @node Automatic beams
1259 @unnumberedsubsubsec Automatic beams
1261 By default, beams are inserted automatically:
1263 @cindex beams, manual
1264 @cindex manual beams
1266 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1268 \time 6/8 c c c c8. c16 c8
1271 If these automatic decisions are not satisfactory, beaming can be
1272 entered explicitly; see @ref{Manual beams}. It is also possible
1273 to define beaming patterns that differ from the defaults; see
1274 @ref{Setting automatic beam behavior}. The default beaming rules
1275 are defined in @file{scm/@/auto@/-beam@/.scm}.
1281 Automatic beaming may be turned off and on with
1282 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1284 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1285 c4 c8 c8. c16 c8. c16 c8
1295 Beaming patterns may be altered with the @code{beatGrouping} property,
1297 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1299 \set beatGrouping = #'(2 3)
1301 \set beatGrouping = #'(3 2)
1305 The beams of consecutive 16th (or shorter) notes are, by default,
1306 not sub-divided. That is, the three (or more) beams stretch
1307 unbroken over entire groups of notes. This behaviour can
1308 be modified to sub-divide the beams into sub-groups by setting
1309 the property @code{subdivideBeams}. When set, multiple beams
1310 will be sub-divided at intervals defined by the current value of
1311 @code{beatLength} by reducing the multiple beams to just one beam
1312 between the sub-groups. Note that @code{beatLength} lives in the
1313 @code{Score} context and defaults to a quarter note. It must be
1314 set to a fraction giving the duration of the beam sub-group
1315 using the @code{make-moment} function, as shown here:
1317 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1319 \set subdivideBeams = ##t
1321 % Set beam sub-group length to an eighth note
1322 \set Score.beatLength = #(ly:make-moment 1 8)
1324 % Set beam sub-group length to a sixteenth note
1325 \set Score.beatLength = #(ly:make-moment 1 16)
1328 @funindex subdivideBeams
1331 For more information about @code{make-moment}, see
1332 @ref{Time administration}.
1338 Line breaks are normally forbidden when beams cross bar lines.
1339 This behavior can be changed by setting the @code{breakable}
1340 property: @code{\override Beam #'breakable = ##t}.
1342 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1343 \override Beam #'breakable = ##t
1344 c8 \repeat unfold 15 {c[ c] } c
1347 @cindex beams and line breaks
1348 @cindex beams, kneed
1350 @cindex auto-knee-gap
1352 Kneed beams are inserted automatically when a large gap is
1353 detected between the note heads. This behavior can be tuned
1354 through the @code{auto-knee-gap} property. A kneed beam is
1355 drawn if the gap is larger than the value of
1356 @code{auto-knee-gap} plus the width of the beam object (which
1357 depends on the duration of the notes and the slope of the beam).
1358 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1360 @lilypond[fragment,ragged-right,quote,verbatim]
1362 \override Beam #'auto-knee-gap = #6
1369 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1371 Snippets: @lsrdir{Rhythms,Rhythms}
1373 Internals Reference: @internalsref{Beam}.
1378 Automatically kneed cross-staff beams cannot be used together with
1379 hidden staves. See @ref{Hiding staves}.
1381 Beams can collide with note heads and accidentals in other voices
1384 @node Setting automatic beam behavior
1385 @unnumberedsubsubsec Setting automatic beam behavior
1387 @funindex autoBeamSettings
1388 @funindex (end * * * *)
1389 @funindex (begin * * * *)
1390 @cindex automatic beams, tuning
1391 @cindex tuning automatic beaming
1393 @c [TODO: use \applyContext]
1395 In normal time signatures, automatic beams can start on any note
1396 but can end in only a few positions within the measure: beams can
1397 end on a beat, or at durations specified by the properties in
1398 @code{autoBeamSettings}. The properties in
1399 @code{autoBeamSettings} consist of a list of rules for where beams
1400 can begin and end. The default @code{autoBeamSettings} rules are
1401 defined in @file{scm/@/auto@/-beam@/.scm}.
1403 In order to add a rule to the list, use
1405 #(override-auto-beam-setting '(be p q n m) a b [context])
1410 @item @code{be} is either @code{begin} or @code{end}.
1412 @item @code{p/q} is the duration of the note for which you want
1413 to add a rule. A beam is considered to have the duration of its
1414 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1415 have this apply to any beam.
1417 @item @code{n/m} is the time signature to which
1418 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1419 to have this apply in any time signature.
1421 @item @code{a/b} is the position in the bar at which the beam should
1424 @item @code{context} is optional, and it specifies the context at which
1425 the change should be made. The default is @code{'Voice}.
1427 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1428 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1432 For example, if automatic beams should always end on the first quarter
1436 #(override-auto-beam-setting '(end * * * *) 1 4)
1439 You can force the beam settings to only take effect on beams whose shortest
1440 note is a certain duration
1442 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1444 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1446 a32 a a a a16 a a a a a |
1447 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1448 a32 a a a a16 a a a a a |
1451 You can force the beam settings to only take effect in certain time
1454 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1456 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1464 You can also remove a previously set beam-ending rule by using
1467 #(revert-auto-beam-setting '(be p q n m) a b [context])
1471 be, p, q, n, m, a, b and context are the same as above. Note that the
1472 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1473 so you can revert rules that you did not explicitly create.
1475 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1477 a16 a a a a a a a a a a a a a a a
1478 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1479 a16 a a a a a a a a a a a a a a a
1482 The rule in a revert-auto-beam-setting statement must exactly match the
1483 original rule. That is, no wildcard expansion is taken into account.
1485 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1487 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1489 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1491 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1497 @c TODO: old material -- not covered by above stuff, I think.
1498 If automatic beams should end on every quarter in 5/4 time, specify
1501 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1502 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1503 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1504 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1508 The same syntax can be used to specify beam starting points. In this
1509 example, automatic beams can only end on a dotted quarter note
1511 #(override-auto-beam-setting '(end * * * *) 3 8)
1512 #(override-auto-beam-setting '(end * * * *) 1 2)
1513 #(override-auto-beam-setting '(end * * * *) 7 8)
1515 In 4/4 time signature, this means that automatic beams could end only on
1516 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1517 3/8, has passed within the measure).
1519 If any unexpected beam behaviour occurs, check the default automatic beam
1520 settings in @file{scm/@/auto@/-beam@/.scm}
1521 for possible interference, because the beam
1522 endings defined there will still apply on top of your own overrides. Any
1523 unwanted endings in the default vales must be reverted for your time
1526 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1530 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1531 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1532 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1533 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1536 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1537 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1538 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1541 @cindex automatic beam generation
1543 @funindex autoBeaming
1546 If beams are used to indicate melismata in songs, then automatic
1547 beaming should be switched off with @code{\autoBeamOff}.
1552 @funindex \autoBeamOff
1553 @code{\autoBeamOff},
1554 @funindex \autoBeamOn
1560 If a score ends while an automatic beam has not been ended and is
1561 still accepting notes, this last beam will not be typeset at all.
1562 The same holds for polyphonic voices, entered with @code{<<
1563 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1564 automatic beam is still accepting notes, it is not typeset.
1568 Snippets: @lsrdir{Rhythms,Rhythms}
1572 @unnumberedsubsubsec Manual beams
1574 @cindex beams, manual
1576 In some cases it may be necessary to override the automatic
1577 beaming algorithm. For example, the autobeamer will not put beams
1578 over rests or bar lines, and in choral scores the beaming is
1579 often set to follow the meter of the lyrics rather than the
1580 notes. Such beams can be specified manually by
1581 marking the begin and end point with @code{[} and @code{]}
1583 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1585 r4 r8[ g' a r8] r8 g[ | a] r8
1590 Individual notes may be marked with @code{\noBeam} to prevent them
1593 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1594 \time 2/4 c8 c\noBeam c c
1600 @funindex stemLeftBeamCount
1601 @funindex stemRightBeamCount
1603 Even more strict manual control with the beams can be achieved by
1604 setting the properties @code{stemLeftBeamCount} and
1605 @code{stemRightBeamCount}. They specify the number of beams to
1606 draw on the left and right side, respectively, of the next note.
1607 If either property is set, its value will be used only once, and
1608 then it is erased. In this example, the last @code{f} is printed
1609 with only one beam on the left side, i.e. the eigth-note beam of
1610 the group as a whole.
1612 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1616 \set stemLeftBeamCount = #1
1624 @node Feathered beams
1625 @unnumberedsubsubsec Feathered beams
1627 @cindex beams, feathered
1628 @funindex \featherDurations
1630 Feathered beams are used to indicate that a small group of notes
1631 should be played at an increasing (or decreasing) tempo, without
1632 changing the overall tempo of the piece. The extent of the
1633 feathered beam must be indicated manually using @code{[} and
1634 @code{]}, and the beam feathering is turned on by specifying a
1635 direction to the Beam property @code{grow-direction}.
1637 If the placement of the notes and the sound in the MIDI output
1638 is to reflect the ritardando or accelerando indicated by the
1639 feathered beam the notes must be grouped as a
1640 music expression delimited by braces and preceded by a
1641 @code{featheredDurations} command which specifies the ratio
1642 between the durations of the first and last notes in the group.
1645 show the extent of the beam and the braces show
1646 which notes are to have their durations modified. Normally
1647 these would delimit the same group of notes, but this is not
1648 required: the two commands are independent.
1650 In the following example the eight 16th notes occupy exactly the
1651 same time as a half note, but the first note is one half as long
1652 as the last one, with the intermediate notes gradually
1653 lengthening. The first four 32nd notes gradually speed up, while
1654 the last four 32nd notes are at a constant tempo.
1656 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1657 \override Beam #'grow-direction = #LEFT
1658 \featherDurations #(ly:make-moment 2 1)
1659 { c16[ c c c c c c c] }
1660 \override Beam #'grow-direction = #RIGHT
1661 \featherDurations #(ly:make-moment 2 3)
1663 % revert to non-feathered beams
1664 \override Beam #'grow-direction = #'()
1669 The spacing in the printed output represents the
1670 note durations only approximately, but the midi output is exact.
1674 The @code{\featherDurations} command only works with very short
1675 music snippets, and when numbers in the fraction are small.
1679 Snippets: @lsrdir{Rhythms,Rhythms}
1690 * Bar and bar number checks::
1695 @unnumberedsubsubsec Bar lines
1699 @cindex measure lines
1702 Bar lines delimit measures, and are also used to indicate
1703 repeats. Normally, simple bar lines are automatically inserted
1704 into the printed output at places based on the current time
1707 The simple bar lines inserted automatically can be changed to
1708 other types with the @code{\bar} command. For example, a closing
1709 double bar line is usually placed at the end of a piece:
1711 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1715 @warning{An incorrect duration can lead to poorly formatted
1718 It is not invalid if the final note in a bar does not
1719 end on the automatically entered bar line: the note is assumed
1720 to carry over into the next bar. But if a long sequence
1721 of such carry-over bars appears the music can appear compressed
1722 or even flowing off the page. This is because automatic line
1723 breaks happen only at the end of complete bars, i.e. where
1724 the end of a note coincides with the end of a bar.
1727 @cindex bar lines, invisible
1728 @cindex measure lines, invisible
1730 Line breaks are also permitted at manually inserted bar lines
1731 even within incomplete bars. To allow a line break without
1732 printing a bar line, use
1739 This will insert an invisible bar line and allow (but not
1740 force) a line break to occur at this point. The bar number
1741 counter is not increased. To force a line break see
1742 @ref{Line breaking}.
1744 This and other special bar lines may be inserted manually at any
1745 point. When they coincide with the end of a bar they replace
1746 the simple bar line which would have been inserted there
1747 automatically. When they do not coincide
1748 with the end of a bar the specified bar line is inserted at that
1749 point in the printed output. Such insertions do not affect
1750 the calculation and placement of subsequent automatic bar lines.
1752 The simple bar line and four types of double bar line are available
1753 for manual insertion:
1755 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1756 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1760 together with dotted and dashed bar lines:
1762 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1763 f1 \bar ":" g \bar "dashed" a
1767 and three types of repeat bar line:
1769 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1770 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1775 Although the bar line types signifying repeats may be inserted
1776 manually they do not in themselves cause LilyPond to recognise
1777 a repeated section. Such repeated sections are better entered
1778 using the various repeat commands (see @ref{Repeats}), which
1779 automatically print the appropriate bar lines.
1781 In addition, you can specify @code{"||:"}, which is equivalent to
1782 @code{"|:"} except at line breaks, where it gives a double bar
1783 line at the end of the line and a start repeat at the beginning of
1786 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1787 \override Score.RehearsalMark #'padding = #3
1795 In scores with many staves, a @code{\bar} command in one staff is
1796 automatically applied to all staves. The resulting bar lines are
1797 connected between different staves of a @code{StaffGroup},
1798 @code{PianoStaff}, or @code{GrandStaff}.
1800 @lilypond[quote,ragged-right,fragment,verbatim]
1808 \new Staff { \clef bass c4 g e g }
1810 \new Staff { \clef bass c2 c2 }
1818 @funindex defaultBarType
1820 The command @code{\bar }@var{bartype} is a shortcut for
1821 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1822 created whenever the @code{whichBar} property is
1825 The default bar type used for automatically inserted bar lines is
1826 @code{"|"}. This may be changed at any time
1827 with @code{\set Timing.defaultBarType = }@var{bartype}.
1831 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1832 @ref{System start delimiters}.
1834 Snippets: @lsrdir{Rhythms,Rhythms}
1836 Internals Reference: @internalsref{BarLine} (created at
1837 @internalsref{Staff} level), @internalsref{SpanBar} (across
1838 staves), @internalsref{Timing_translator} (for Timing
1843 @unnumberedsubsubsec Bar numbers
1846 @cindex measure numbers
1847 @funindex currentBarNumber
1849 Bar numbers are typeset by default at the start of every line except
1850 the first line. The number itself is stored in the
1851 @code{currentBarNumber} property, which is normally updated
1852 automatically for every measure. It may also be set manually:
1854 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1857 \set Score.currentBarNumber = #50
1864 @funindex barNumberVisibility
1865 @cindex bar numbers, regular spacing
1867 Bar numbers can be typeset at regular intervals instead of just at
1868 the beginning of every line. To do this the default behaviour
1869 must be overridden to permit bar numbers to be printed at places
1870 other than the start of a line. This is controlled by the
1871 @code{break-visibility} property of @code{BarNumber}. This takes
1872 three values which may be set to @code{#t} or @code{#f} to specify
1873 whether the corresponding bar number is visible or not. The order
1874 of the three values is @code{end of line visible}, @code{middle of
1875 line visible}, @code{beginning of line visible}. In the following
1876 example bar numbers are printed at all possible places:
1878 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1879 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1880 \set Score.currentBarNumber = #11
1881 \bar "" % Permit first bar number to be printed
1887 @c All the rest of these examples will be added to LSR
1888 @c and moved into the Snippets. -gp
1891 and here the bar numbers are printed every two bars
1892 except at the end of the line:
1894 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1895 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1896 \set Score.currentBarNumber = #11
1897 \bar "" % Permit first bar number to be printed
1898 % Print a bar number every 2nd bar
1899 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1905 @cindex measure number, format
1906 @cindex bar number, format
1908 The size of the bar number may be changed. This is illustrated
1909 in the following example, which also shows how to enclose bar
1910 numbers in boxes and circles, and shows an alternative way
1911 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1913 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1914 % Prevent bar numbers at the end of a line and permit them elsewhere
1915 \override Score.BarNumber #'break-visibility
1916 = #end-of-line-invisible
1918 % Increase the size of the bar number by 2
1919 \override Score.BarNumber #'font-size = #2
1920 \repeat unfold 3 { c1 } \bar "|"
1922 % Draw a box round the following bar number(s)
1923 \override Score.BarNumber #'stencil
1924 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1925 \repeat unfold 3 { c1 } \bar "|"
1927 % Draw a circle round the following bar number(s)
1928 \override Score.BarNumber #'stencil
1929 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1930 \repeat unfold 4 { c1 } \bar "|."
1933 @cindex bar number alignment
1935 Bar numbers by default are left-aligned to their parent object.
1936 This is usually the left edge of a line or, if numbers are printed
1937 within a line, the left bar line of the bar. The numbers may also
1938 be positioned directly on the bar line or right-aligned to the
1941 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1942 \set Score.currentBarNumber = #111
1943 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1944 % Increase the size of the bar number by 2
1945 \override Score.BarNumber #'font-size = #2
1946 % Print a bar number every 2nd bar
1947 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1949 % Centre-align bar numbers
1950 \override Score.BarNumber #'self-alignment-X = #0
1952 % Right-align bar numbers
1953 \override Score.BarNumber #'self-alignment-X = #-1
1957 Bar numbers can be removed entirely by removing the Bar number
1958 engraver from the score context.
1960 @lilypond[verbatim,ragged-right,quote]
1964 \remove "Bar_number_engraver"
1976 Snippets: @lsrdir{Rhythms,Rhythms}
1978 Internals Reference: @internalsref{BarNumber}.
1983 Bar numbers may collide with the top of the
1984 @internalsref{StaffGroup} bracket, if there is one. To solve
1985 this, the @code{padding} property of @internalsref{BarNumber} can
1986 be used to position the number correctly.
1988 Bar numbers may only be printed at bar lines; to print a bar
1989 number at the beginning of a piece, an empty bar line must be
1990 inserted there, and a value other than @code{1} must be placed
1991 in @code{currentBarNumber}:
1993 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1994 \set Score.currentBarNumber = #50
2003 @node Bar and bar number checks
2004 @unnumberedsubsubsec Bar and bar number checks
2007 @funindex barCheckSynchronize
2010 Bar checks help detect errors in the entered durations.
2011 A bar check may be entered using the bar symbol, @code{|},
2012 at any place where a bar line is expected to fall.
2013 If bar check lines are encountered at other places,
2014 a list of warnings is printed in the log file,
2015 showing the line numbers and lines
2016 in which the bar checks failed. In the next
2017 example, the second bar check will signal an error.
2020 \time 3/4 c2 e4 | g2 |
2023 Bar checks can also be used in lyrics, for example
2028 Twin -- kle | Twin -- kle |
2032 An incorrect duration can result in a completely garbled score,
2033 especially if the score is polyphonic, so a good place to start
2034 correcting input is by scanning for failed bar checks and
2035 incorrect durations.
2038 @funindex pipeSymbol
2040 It is also possible to redefine the action taken when a bar check
2041 or pipe symbol, @code{|}, is encountered in the input, so that
2042 it does something other than a bar check. This is done by
2043 assigning a music expression to @code{pipeSymbol}.
2044 In the following example @code{|} is set to insert a double bar
2045 line wherever it appears in the input, rather than checking
2048 @lilypond[quote,ragged-right,verbatim]
2049 pipeSymbol = \bar "||"
2058 When copying large pieces of music, it can be helpful to check
2059 that the LilyPond bar number corresponds to the original that you
2060 are entering from. This can be checked with
2061 @code{\barNumberCheck}, for example,
2064 \barNumberCheck #123
2068 will print a warning if the @code{currentBarNumber} is not 123
2069 when it is processed.
2073 Snippets: @lsrdir{Rhythms,Rhythms}
2076 @node Rehearsal marks
2077 @unnumberedsubsubsec Rehearsal marks
2079 @cindex rehearsal marks
2080 @cindex mark, rehearsal
2083 To print a rehearsal mark, use the @code{\mark} command
2085 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2094 The letter@tie{}@q{I} is skipped in accordance with engraving
2095 traditions. If you wish to include the letter @q{I}, then use
2098 \set Score.markFormatter = #format-mark-alphabet
2101 The mark is incremented automatically if you use @code{\mark
2102 \default}, but you can also use an integer argument to set the
2103 mark manually. The value to use is stored in the property
2104 @code{rehearsalMark}.
2106 @cindex rehearsal mark format
2107 @cindex rehearsal mark style
2108 @cindex style, rehearsal mark
2109 @cindex format, rehearsal mark
2110 @cindex mark, rehearsal, style
2111 @cindex mark, rehearsal, format
2113 The style is defined by the property @code{markFormatter}. It is
2114 a function taking the current mark (an integer) and the current
2115 context as argument. It should return a markup object. In the
2116 following example, @code{markFormatter} is set to a pre-defined
2117 procedure. After a few measures, it is set to a procedure that
2118 produces a boxed number.
2120 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2121 \set Score.markFormatter = #format-mark-numbers
2124 \set Score.markFormatter = #format-mark-box-numbers
2130 The file @file{scm/@/translation@/-functions@/.scm} contains the
2131 definitions of @code{format-mark-numbers} (the default format),
2132 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2133 @code{format-mark-box-letters}. These can be used as inspiration
2134 for other formatting functions.
2136 You may use @code{format-mark-barnumbers},
2137 @code{format-mark-box-barnumbers}, and
2138 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2139 incremented numbers or letters.
2141 Other styles of rehearsal mark can be specified manually
2148 @code{Score.markFormatter} does not affect marks specified in this
2149 manner. However, it is possible to apply a @code{\markup} to the
2153 \mark \markup@{ \box A1 @}
2160 Music glyphs (such as the segno sign) may be printed inside a
2163 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2164 c1 \mark \markup { \musicglyph #"scripts.segno" }
2165 c1 \mark \markup { \musicglyph #"scripts.coda" }
2166 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2171 See @ref{The Feta font}, for a list of symbols which may be
2172 printed with @code{\musicglyph}.
2174 For common tweaks to the positioning of rehearsal marks, see
2179 Snippets: @lsrdir{Rhythms,Rhythms}
2181 This manual: @ref{The Feta font}, @ref{Text marks}.
2183 Internals Reference: @internalsref{RehearsalMark}.
2185 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2186 the definition of @code{format-mark-numbers} and
2187 @code{format-mark-letters}. They can be used as inspiration for
2188 other formatting functions.
2190 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2193 @node Special rhythmic concerns
2194 @subsection Special rhythmic concerns
2199 * Aligning to cadenzas::
2200 * Time administration::
2204 @unnumberedsubsubsec Grace notes
2209 @cindex appoggiatura
2210 @cindex acciaccatura
2212 Grace notes are ornaments that are written out. They are made with
2213 the @code{\grace} command. By prefixing this keyword to a music
2214 expression, a new one is formed, which will be printed in a
2215 smaller font and takes up no logical time in a measure.
2217 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2219 \grace { c16[ d16] } c2 c4
2222 Two special forms of the @code{\grace} command exist.
2223 An @emph{acciaccatura}, which should be played as very short,
2224 is denoted by a slurred small note with a slashed stem. The
2225 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2226 main note, is denoted as a slurred note in small print without
2227 a slash. They are entered with the commands @code{\acciaccatura}
2228 and @code{\appoggiatura}, as demonstrated in the following
2231 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2232 b4 \acciaccatura d8 c4
2234 \acciaccatura { g16[ f] } e4
2238 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2239 @code{\grace} does not.
2241 The placement of grace notes is synchronized between different
2242 staves. In the following example, there are two sixteenth grace
2243 notes for every eighth grace note
2245 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2246 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2247 \new Staff { c4 \grace { g8[ b] } c4 } >>
2250 @funindex \afterGrace
2252 @cindex grace notes, following
2254 If you want to end a note with a grace, use the @code{\afterGrace}
2255 command. It takes two arguments: the main note, and the grace
2256 notes following the main note.
2258 @lilypond[ragged-right, verbatim,relative=2,fragment]
2259 c1 \afterGrace d1 { c16[ d] } c4
2262 This will put the grace notes after a @q{space} lasting 3/4 of the
2263 length of the main note. The fraction 3/4 can be changed by
2264 setting @code{afterGraceFraction}, ie.
2267 #(define afterGraceFraction (cons 7 8))
2271 will put the grace note at 7/8 of the main note.
2273 The same effect can be achieved manually by doing
2275 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2278 { s2 \grace { c16[ d] } } >>
2284 By adjusting the duration of the skip note (here it is a
2285 half-note), the space between the main-note and the grace
2288 A @code{\grace} music expression will introduce special
2289 typesetting settings, for example, to produce smaller type, and
2290 set directions. Hence, when introducing layout tweaks, they
2291 should be inside the grace expression, for example,
2293 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2305 The overrides should also be reverted inside the grace expression.
2307 The layout of grace expressions can be changed throughout the
2308 music using the function @code{add-grace-property}. The following
2309 example undefines the @code{Stem} direction for this grace, so
2310 that stems do not always point up.
2314 #(add-grace-property 'Voice 'Stem 'direction '())
2320 Another option is to change the variables @code{startGraceMusic},
2321 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2322 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2323 @code{stopAppoggiaturaMusic}. The default values of these can be
2324 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2325 them other effects may be obtained.
2327 @cindex stem, with slash
2330 The slash through the stem in @emph{acciaccatura}s can be obtained in
2331 other situations by @code{\override Stem #'stroke-style =
2337 Grace notes may be forced to use align with regular notes
2338 in other staves by setting @code{strict-grace-spacing} to
2341 @lilypond[relative=2,ragged-right]
2343 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2352 c'16[ c'16 c'16 c'16]
2353 c'16[ c'16 c'16 c'16]
2363 @rglos{grace notes},
2364 @rglos{acciaccatura},
2365 @rglos{appoggiatura}
2367 Snippets: @lsrdir{Rhythms,Rhythms}
2369 Internals Reference: @internalsref{GraceMusic}.
2374 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2375 and looks exactly the same as a multi-note beamed
2376 @emph{appoggiatura}.
2377 @c TODO Add link to LSR snippet to add slash when available
2379 Grace note synchronization can also lead to surprises. Staff
2380 notation, such as key signatures, bar lines, etc., are also
2381 synchronized. Take care when you mix staves with grace notes and
2382 staves without, for example,
2384 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2385 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2386 \new Staff { c4 \bar "|:" d4 } >>
2390 This can be remedied by inserting grace skips of the corresponding
2391 durations in the other staves. For the above example
2393 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2394 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2395 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2398 Grace sections should only be used within sequential music
2399 expressions. Nesting or juxtaposing grace sections is not
2400 supported, and might produce crashes or other errors.
2402 @node Aligning to cadenzas
2403 @unnumberedsubsubsec Aligning to cadenzas
2406 @cindex cadenza, aligning to
2407 @cindex aligning to cadenza
2409 In an orchestral context, cadenzas present a special problem: when
2410 constructing a score that includes a cadenza, all other
2411 instruments should skip just as many notes as the length of the
2412 cadenza, otherwise they will start too soon or too late.
2414 A solution to this problem is to use the functions
2415 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2416 functions take a piece of music as argument, and generate a multi-rest
2417 or @code{\skip}, exactly as long as the piece. The use of
2418 @code{mmrest-of-length} is demonstrated in the following example.
2420 @lilypond[verbatim,ragged-right,quote]
2421 cadenza = \relative c' {
2422 c4 d8 << { e f g } \\ { d4. } >>
2427 \new Staff { \cadenza c'4 }
2429 #(ly:export (mmrest-of-length cadenza))
2437 Snippets: @lsrdir{Rhythms,Rhythms}
2440 @node Time administration
2441 @unnumberedsubsubsec Time administration
2443 @cindex time administration
2444 @cindex timing (within the score)
2445 @cindex music, unmetered
2446 @cindex unmetered music
2448 @funindex currentBarNumber
2449 @funindex measurePosition
2450 @funindex measureLength
2452 Time is administered by the @code{Timing_translator}, which by
2453 default is to be found in the @code{Score} context. An alias,
2454 @code{Timing}, is added to the context in which the
2455 @code{Timing_translator} is placed.
2457 The following properties of @code{Timing} are used
2458 to keep track of timing within the score.
2461 @cindex measure number
2464 @item currentBarNumber
2465 The current measure number. For an example showing the
2466 use of this property see @ref{Bar numbers}.
2469 The length of the measures in the current time signature. For a
2470 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2471 determines when bar lines are inserted and how automatic beams
2472 should be generated.
2474 @item measurePosition
2475 The point within the measure where we currently are. This
2476 quantity is reset by subtracting @code{measureLength} whenever
2477 @code{measureLength} is reached or exceeded. When that happens,
2478 @code{currentBarNumber} is incremented.
2481 If set to true, the above variables are updated for every time
2482 step. When set to false, the engraver stays in the current
2483 measure indefinitely.
2487 Timing can be changed by setting any of these variables
2488 explicitly. In the next example, the default 4/4 time
2489 signature is printed, but @code{measureLength} is set to 5/4.
2490 At 4/8 through the third measure, the @code{measurePosition} is
2491 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2492 The next bar line then falls at 9/8 rather than 5/4.
2494 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2495 \set Score.measureLength = #(ly:make-moment 5 4)
2499 \set Score.measurePosition = #(ly:make-moment 5 8)
2505 As the example illustrates, @code{ly:make-moment n m} constructs a
2506 duration of n/m of a whole note. For example,
2507 @code{ly:make-moment 1 8} is an eighth note duration and
2508 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2514 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2516 Snippets: @lsrdir{Rhythms,Rhythms}
2518 Internals Reference: @internalsref{Timing_translator},
2519 @internalsref{Score}