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]
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]
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. Predefined commands are available to
131 force a particular direction manually, for details
132 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 The automatic placement of the tuplet bracket above or below the
215 notes may be overridden manually with predefined commands, for
216 details see @ref{Direction and placement}.
218 Tuplets may be nested:
220 @lilypond[quote,verbatim,relative=2]
222 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
225 Modifying nested tuplets which begin at the same musical moment
226 must be done with @code{\tweak}.
228 To modify the duration of notes without printing a tuplet bracket,
229 see @ref{Scaling durations}.
235 @code{\tupletNeutral}.
241 @cindex tuplet formatting
242 @cindex triplet formatting
244 @funindex tupletNumberFormatFunction
245 @funindex tupletSpannerDuration
247 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
248 {entering-several-tuplets-using-only-one--times-command.ly}
250 @cindex Tuplet number changes
252 @funindex TupletNumber
254 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
255 {changing-the-tuplet-number.ly}
257 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
258 {non-default-tuplet-numbers.ly}
260 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
261 {permitting-line-breaks-within-beamed-tuplets.ly}
270 Learning Manual: @rlearning{Tweaking methods}.
273 @ref{Time administration},
274 @ref{Scaling durations},
275 @ref{The tweak command},
276 @ref{Polymetric notation}.
282 @rinternals{TupletBracket},
283 @rinternals{TupletNumber},
284 @rinternals{TimeScaledMusic}.
286 @cindex grace notes within tuplet brackets
289 When the first note on a staff is a grace note followed by a
290 tuplet the grace note must be placed before the @code{\times}
291 command to avoid errors. Anywhere else, grace notes may be
292 placed within tuplet brackets.
295 @node Scaling durations
296 @unnumberedsubsubsec Scaling durations
298 @cindex scaling durations
299 @cindex durations, scaling
301 You can alter the duration of single notes, rests or chords by a
302 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
303 is 1) to the duration. This will not affect the appearance of the
304 notes or rests produced, but the altered duration will be used in
305 calculating the position within the measure and setting the duration
306 in the MIDI output. Multiplying factors may be combined such as
309 In the following example, the first three notes take up exactly
310 two beats, but no triplet bracket is printed.
312 @lilypond[quote,relative=2,verbatim]
314 % Alter durations to triplets
315 a4*2/3 gis4*2/3 a4*2/3
318 % Double the duration of chord
320 % Duration of quarter, appears like sixteenth
324 The duration of skip or spacing notes may also be modified by
325 a multiplier. This is useful for skipping many measures, e.g.,
328 @cindex compressing music
329 @cindex expanding music
331 @funindex \scaleDurations
332 @funindex scaleDurations
334 Longer stretches of music may be compressed by a fraction in the
335 same way, as if every note, chord or rest had the fraction as a
336 multiplier. This leaves the appearance of the music unchanged but
337 the internal duration of the notes will be multiplied by the
338 fraction @emph{num}/@emph{den}. The spaces around the dot are
339 required. Here is an example showing how music can be compressed
342 @lilypond[quote,relative=2,verbatim]
346 % Scale music by *2/3
347 \scaleDurations #'(2 . 3) {
351 \scaleDurations #'(2 . 1) {
357 One application of this command is in polymetric
358 notation, see @ref{Polymetric notation}.
364 @ref{Invisible rests},
365 @ref{Polymetric notation}.
372 @unnumberedsubsubsec Ties
378 A tie connects two adjacent note heads of the same pitch. The tie
379 in effect extends the duration of a note.
381 @warning{Ties should not be confused with @emph{slurs}, which
382 indicate articulation, or @emph{phrasing slurs}, which indicate
383 musical phrasing. A tie is just a way of extending a note
384 duration, similar to the augmentation dot.}
386 A tie is entered using the tilde symbol @code{~}
388 @lilypond[quote,verbatim,relative=2]
394 Ties are used either when the note crosses a bar line, or when
395 dots cannot be used to denote the rhythm. Ties should also be
396 used when note values cross larger subdivisions of the measure:
398 @lilypond[verbatim,quote]
405 If you need to tie many notes across bar lines, it may be
406 easier to use automatic note splitting, see @ref{Automatic note
407 splitting}. This mechanism automatically splits long notes, and
408 ties them across bar lines.
410 @cindex ties and chords
411 @cindex chords and ties
413 When a tie is applied to a chord, all note heads whose pitches
414 match are connected. When no note heads match, no ties will be
415 created. Chords may be partially tied by placing the tie inside
418 @lilypond[quote,verbatim,relative=1]
420 <c~ e g~ b> <c e g b>
423 @cindex repeating ties
424 @cindex ties, repeating
425 @cindex volta brackets and ties
426 @cindex ties and volta brackets
431 When a second alternative of a repeat starts with a tied note, you
432 have to specify the repeated tie as follows:
434 @lilypond[quote,relative=2,verbatim]
435 \repeat volta 2 { c g <c e>2 ~ }
437 % First alternative: following note is tied normally
439 % Second alternative: following note has a repeated tie
440 { <c e>2\repeatTie d4 c } }
443 @cindex laissez vibrer
444 @cindex ties, laissez vibrer
446 @funindex \laissezVibrer
447 @funindex laissezVibrer
449 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
450 notes must not be damped at the end. It is used in notation for
451 piano, harp and other string and percussion instruments. They can
452 be entered as follows:
454 @lilypond[quote,verbatim,relative=1]
455 <c f g>1\laissezVibrer
458 @cindex ties, placement
464 @funindex \tieNeutral
467 The vertical placement of ties may be controlled, see
468 Predefined commands, or for details, see
469 @ref{Direction and placement}.
471 @cindex ties, appearance
484 Solid, dotted or dashed ties may be specified, see Predefined
500 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
501 {using-ties-with-arpeggios.ly}
503 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
504 {engraving-ties-manually.ly}
510 @rglos{laissez vibrer}.
512 Notation Reference: @ref{Automatic note splitting}.
518 @rinternals{LaissezVibrerTie},
519 @rinternals{LaissezVibrerTieColumn},
520 @rinternals{TieColumn},
526 Switching staves when a tie is active will not produce a slanted
529 Changing clefs or octavations during a tie is not really
530 well-defined. In these cases, a slur may be preferable.
535 @subsection Writing rests
537 Rests are entered as part of the music in music expressions.
542 * Full measure rests::
546 @unnumberedsubsubsec Rests
549 @cindex rest, entering durations
564 Rests are entered like notes with the note name @code{r}.
565 Durations longer than a whole rest use the predefined
568 @c \time 16/1 is used to avoid spurious bar lines
569 @c and long tracts of empty measures
570 @lilypond[fragment,quote,verbatim]
572 % These two lines are just to prettify this example
574 \override Staff.TimeSignature #'stencil = ##f
575 % Print a maxima rest, equal to four breves
577 % Print a longa rest, equal to two breves
581 r1 r2 r4 r8 r16 r32 r64 r128
585 @cindex rest, multi-measure
586 @cindex rest, whole-measure
588 Whole measure rests, centered in the middle of the measure, must be
589 entered as multi-measure rests. They can be used for a single
590 measure as well as many measures and are discussed in @ref{Full
593 @cindex rest, specifying vertical position
595 To explicitly specify a rest's vertical position, write a note
596 followed by @code{\rest}. A rest of the duration of the note will
597 be placed at the staff position where the note would appear. This
598 allows for precise manual formatting of polyphonic music, since the
599 automatic rest collision formatter will not move these rests.
601 @lilypond[quote,verbatim,relative=2]
607 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
618 @ref{Full measure rests}.
629 @c Deliberately duplicated in Durations and Rests. -gp
630 There is no fundamental limit to rest durations (both in terms of
631 longest and shortest), but the number of glyphs is limited: there
632 are rests from 128th to maxima (8 x whole).
635 @node Invisible rests
636 @unnumberedsubsubsec Invisible rests
639 @cindex invisible rest
640 @cindex rest, invisible
648 An invisible rest (also called a @q{spacer rest}) can be entered
649 like a note with the note name@tie{}@code{s}:
651 @lilypond[verbatim,quote,relative=2]
658 Spacer rests are available only in note mode and chord mode. In
659 other situations, for example, when entering lyrics, @code{\skip}
660 is used to skip a musical moment. @code{\skip} requires an
663 @lilypond[quote,verbatim,relative=2]
676 A spacer rest implicitly causes @code{Staff} and @code{Voice}
677 contexts to be created if none exist, just like notes and rests
680 @lilypond[quote,verbatim,fragment]
684 @code{\skip} simply skips musical time; it creates no output of
687 @lilypond[quote,verbatim,fragment]
688 % This is valid input, but does nothing
689 \skip 1 \skip1 \skip 1
697 Internals Reference: @rinternals{SkipMusic}
700 @node Full measure rests
701 @unnumberedsubsubsec Full measure rests
703 @cindex multi-measure rests
704 @cindex full-measure rests
705 @cindex rest, multi-measure
706 @cindex rest, full-measure
707 @cindex whole rest for a full measure
708 @cindex rest, whole for a full measure
712 Rests for one or more full measures are entered like notes with
713 the note name uppercase @code{R}:
715 @lilypond[quote,verbatim,relative=2]
716 % Rest measures contracted to single measure
717 \compressFullBarRests
724 The duration of full-measure rests is identical to the duration
725 notation used for notes. The duration in a multi-measure rest must
726 always be an integral number of measure-lengths, so augmentation dots
727 or fractions must often be used:
729 @lilypond[quote,fragment,verbatim]
730 \compressFullBarRests
736 R1*13/8 | R1*13/8*12 |
741 A full-measure rest is printed as either a whole or breve rest,
742 centered in the measure, depending on the time signature.
744 @lilypond[quote,verbatim,fragment]
753 @cindex multi-measure rest, expanding
754 @cindex multi-measure rest, contracting
756 @funindex \expandFullBarRests
757 @funindex expandFullBarRests
758 @funindex \compressFullBarRests
759 @funindex compressFullBarRests
761 By default a multi-measure rest is expanded in the printed score to
762 show all the rest measures explicitly. Alternatively, a multi-measure
763 rest can be shown as a single measure containing a multi-measure rest
764 symbol, with the number of measures of rest printed above the measure:
766 @lilypond[quote,fragment,verbatim]
768 \time 3/4 r2. | R2.*2 |
771 % Rest measures contracted to single measure
772 \compressFullBarRests
774 % Rest measures expanded
781 @cindex text on multi-measure rest
782 @cindex multi-measure rest, attaching text
783 @cindex script on multi-measure rest
784 @cindex multi-measure rest, script
785 @cindex fermata on multi-measure rest
786 @cindex multi-measure rest, attaching fermata
787 @cindex markup on multi-measure rest
788 @cindex multi-measure rest with markup
790 @funindex \fermataMarkup
791 @funindex fermataMarkup
792 @funindex MultiMeasureRestText
794 Markups can be added to multi-measure rests.
795 The predefined command @code{\fermataMarkup}
796 is provided for adding fermatas.
798 @lilypond[quote,verbatim,fragment]
799 \compressFullBarRests
801 R2.*10^\markup { \italic "ad lib." }
806 Markups attached to a multi-measure rest are
807 objects of type @code{MultiMeasureRestText}, not
808 @code{TextScript}. Overrides must be directed to the correct
809 object, or they will be ignored. See the following example.
812 @lilypond[quote,verbatim,fragment]
813 % This fails, as the wrong object name is specified
814 \override TextScript #'padding = #5
816 % This is correct and works
817 \override MultiMeasureRestText #'padding = #5
821 When a multi-measure rest immediately follows a @code{\partial}
822 setting, resulting bar-check warnings may not be displayed.
825 @funindex \textLengthOn
826 @funindex textLengthOn
827 @funindex \textLengthOff
828 @funindex textLenthOff
829 @funindex \fermataMarkup
830 @funindex fermataMarkup
831 @funindex \compressFullBarRests
832 @funindex compressFullBarRests
833 @funindex \expandFullBarRests
834 @funindex expandFullBarRests
837 @code{\textLengthOn},
838 @code{\textLengthOff},
839 @code{\fermataMarkup},
840 @code{\compressFullBarRests},
841 @code{\expandFullBarRests}.
849 @cindex kirchenpausen
851 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
852 {changing-form-of-multi--measure-rests.ly}
854 @cindex multi-measure rests, positioning
855 @cindex positioning multi-measure rests
857 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
858 {positioning-multi--measure-rests.ly}
860 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
861 {multi--measure-rest-markup.ly}
866 @rglos{multi-measure rest}.
871 @ref{Formatting text},
878 @rinternals{MultiMeasureRest},
879 @rinternals{MultiMeasureRestNumber},
880 @rinternals{MultiMeasureRestText}.
883 @cindex fingerings and multi-measure rests
884 @cindex multi-measure rests and fingerings
888 If an attempt is made to use fingerings (e.g.,
889 @code{R1*10-4}) to put numbers over multi-measure rests, the
890 fingering numeral (4) may collide with the bar counter
893 @cindex condensing rests
894 @cindex rest, condensing ordinary
896 There is no way to automatically condense multiple ordinary rests
897 into a single multi-measure rest.
899 @cindex rest, collisions of
901 Multi-measure rests do not take part in rest collisions.
903 @node Displaying rhythms
904 @subsection Displaying rhythms
910 * Polymetric notation::
911 * Automatic note splitting::
912 * Showing melody rhythms::
916 @unnumberedsubsubsec Time signature
918 @cindex time signature
924 The time signature is set as follows:
926 @lilypond[quote,verbatim,relative=2]
931 @cindex time signature, visibility of
933 Time signatures are printed at the beginning of a piece
934 and whenever the time signature changes. If a change takes place
935 at the end of a line a warning time signature sign is printed
936 there. This default behavior may be changed, see
937 @ref{Visibility of objects}.
939 @lilypond[quote,verbatim,relative=2]
949 @cindex time signature style
952 @funindex \numericTimeSignature
953 @funindex numericTimeSignature
954 @funindex \defaultTimeSignature
955 @funindex defaultTimeSignature
957 The time signature symbol that is used in 2/2 and 4/4 time can be
958 changed to a numeric style:
960 @lilypond[quote,verbatim,relative=2]
964 % Change to numeric style
965 \numericTimeSignature
968 % Revert to default style
969 \defaultTimeSignature
975 Mensural time signatures are covered in
976 @ref{Mensural time signatures}.
980 @code{\numericTimeSignature},
981 @code{\defaultTimeSignature}.
987 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
988 {changing-the-time-signature-without-affecting-the-beaming.ly}
990 @cindex compound time signatures
991 @cindex time signature, compound
993 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
994 {compound-time-signatures.ly}
999 @rglos{time signature}
1002 @ref{Mensural time signatures},
1003 @ref{Time administration}.
1008 Internals Reference:
1009 @rinternals{TimeSignature},
1010 @rinternals{Timing_translator}.
1014 @unnumberedsubsubsec Upbeats
1018 @cindex partial measure
1019 @cindex measure, partial
1020 @cindex pickup measure
1021 @cindex measure, change length
1023 @funindex measurePosition
1027 Partial or pick-up measures, such as an anacrusis or upbeat, are
1028 entered using the @code{\partial} command, with the syntax
1031 \partial @var{duration}
1034 where @code{duration} is the rhythmic length of the interval
1035 before the start of the first complete measure:
1037 @lilypond[quote,verbatim,relative=2]
1042 The partial measure can be any duration less than a full measure:
1044 @lilypond[quote,verbatim,relative=2]
1045 \partial 8*3 c8 d e |
1049 Internally, this is translated into
1052 \set Timing.measurePosition = -@var{duration}
1055 The property @code{measurePosition} contains a rational number
1056 indicating how much of the measure has passed at this point. Note
1057 that this is set to a negative number by the @code{\partial}
1058 command: i.e., @code{\partial 4} is internally translated to
1059 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1073 @rinternals{Timing_translator}.
1078 The @code{\partial} command is intended to be used only at the
1079 beginning of a piece. If you use it after the beginning, some
1080 odd warnings may occur.
1082 @node Unmetered music
1083 @unnumberedsubsubsec Unmetered music
1085 @cindex bar lines, turning off
1086 @cindex bar numbering, turning off
1088 @cindex unmetered music
1090 @funindex \cadenzaOn
1092 @funindex \cadenzaOff
1093 @funindex cadenzaOff
1095 Bar lines and bar numbers are calculated automatically. For
1096 unmetered music (some cadenzas, for example), this is not desirable.
1097 To turn off automatic calculation of bar lines and bar numbers,
1098 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1099 to turn them on again.
1101 @lilypond[verbatim,relative=2,fragment]
1110 Bar numbering is resumed at the end of the cadenza as if the
1111 cadenza were not there:
1113 @lilypond[verbatim,relative=2,fragment]
1114 % Show all bar numbers
1115 \override Score.BarNumber #'break-visibility = #all-visible
1136 @ref{Visibility of objects}.
1142 @cindex cadenza line breaks
1143 @cindex cadenza page breaks
1144 @cindex unmetered music, line breaks
1145 @cindex unmetered music, page breaks
1146 @cindex breaks in unmetered music
1147 @cindex line breaks in cadenzas
1148 @cindex page breaks in cadenzas
1149 @cindex line breaks in unmetered music
1150 @cindex page breaks in unmetered music
1154 LilyPond will insert line breaks and page breaks only at a
1155 bar line. Unless the unmetered music ends before the end of the
1156 staff line, you will need to insert invisible bar lines with
1163 to indicate where breaks can occur.
1166 @node Polymetric notation
1167 @unnumberedsubsubsec Polymetric notation
1169 @c This section necessarily uses \set
1170 @c This is acceptable -td
1172 @cindex double time signatures
1173 @cindex signatures, polymetric
1174 @cindex time signatures, polymetric
1175 @cindex time signatures, double
1176 @cindex polymetric signatures
1177 @cindex meter, polymetric
1179 @funindex timeSignatureFraction
1180 @funindex \scaleDurations
1181 @funindex scaleDurations
1185 Polymetric notation is supported, either explicitly or by modifying
1186 the visible time signature symbol and scaling the note durations.
1188 @strong{@i{Staves with different time signatures, equal measure lengths}}
1190 This notation can be created by setting a common time signature
1191 for each staff but replacing the symbol manually by setting
1192 @code{timeSignatureFraction} to the desired fraction and scaling
1193 the printed durations in each staff to the common time
1194 signature; see @ref{Time signature}. The scaling is done with
1195 @code{\scaleDurations}, which is used in a similar way to
1196 @code{\times}, but does not create a tuplet bracket; see
1197 @ref{Scaling durations}.
1199 @cindex beaming in polymetric music
1200 @cindex beaming in polymetric meter
1202 In this example, music with the time signatures of 3/4, 9/8, and
1203 10/8 are used in parallel. In the second staff, shown durations
1204 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1205 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1206 It will often be necessary to insert beams manually, as the
1207 duration scaling affects the autobeaming rules.
1209 @lilypond[quote,verbatim,fragment]
1218 \set Staff.timeSignatureFraction = #'(9 . 8)
1219 \scaleDurations #'(2 . 3)
1220 \repeat unfold 6 { c8[ c c] }
1224 \set Staff.timeSignatureFraction = #'(10 . 8)
1225 \scaleDurations #'(3 . 5) {
1226 \repeat unfold 2 { c8[ c c] }
1227 \repeat unfold 2 { c8[ c] } |
1228 c4. c4. \times 2/3 { c8[ c c] } c4
1234 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1236 Each staff can be given its own independent time signature by
1237 moving the @code{Timing_translator} and the
1238 @code{Default_bar_line_engraver} to the @code{Staff} context.
1240 @lilypond[quote,verbatim]
1244 \remove "Timing_translator"
1245 \remove "Default_bar_line_engraver"
1249 \consists "Timing_translator"
1250 \consists "Default_bar_line_engraver"
1254 % Now each staff has its own time signature.
1280 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1281 {compound-time-signatures.ly}
1287 @rglos{polymetric time signature},
1291 @ref{Time signature},
1292 @ref{Scaling durations}.
1297 Internals Reference:
1298 @rinternals{TimeSignature},
1299 @rinternals{Timing_translator},
1300 @rinternals{Default_bar_line_engraver},
1306 When using different time signatures in parallel, notes
1307 at the same moment will be be placed at the same horizontal
1308 location. However, the bar lines in the different staves
1309 will cause the note spacing to be less regular in each of the
1310 individual staves than would be normal without the different
1313 @node Automatic note splitting
1314 @unnumberedsubsubsec Automatic note splitting
1316 @cindex notes, splitting
1317 @cindex splitting notes
1319 @funindex Note_heads_engraver
1320 @funindex Completion_heads_engraver
1322 Long notes which overrun bar lines can be converted automatically
1323 to tied notes. This is done by replacing the
1324 @code{Note_heads_engraver} with the
1325 @code{Completion_heads_engraver}. In the following
1326 example, notes crossing the bar lines are split and tied.
1328 @lilypond[quote,verbatim,relative=1]
1330 \remove "Note_heads_engraver"
1331 \consists "Completion_heads_engraver"
1334 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1337 This engraver splits all running notes at the bar line, and
1338 inserts ties. One of its uses is to debug complex scores: if the
1339 measures are not entirely filled, then the ties show exactly how
1340 much each measure is off.
1344 Music Glossary: @rglos{tie}
1347 @rlearning{Engravers explained},
1348 @rlearning{Adding and removing engravers}.
1353 Internals Reference:
1354 @rinternals{Note_heads_engraver},
1355 @rinternals{Completion_heads_engraver},
1356 @rinternals{Forbid_line_break_engraver}.
1361 Not all durations (especially those containing tuplets) can be
1362 represented exactly with normal notes and dots, but the
1363 @code{Completion_heads_engraver} will not insert tuplets.
1365 The @code{Completion_heads_engraver} only affects notes; it does not
1369 @node Showing melody rhythms
1370 @unnumberedsubsubsec Showing melody rhythms
1372 @cindex melody rhythms, showing
1373 @cindex rhythms, showing melody
1375 Sometimes you might want to show only the rhythm of a melody. This
1376 can be done with the rhythmic staff. All pitches of notes on such a
1377 staff are squashed, and the staff itself has a single line
1379 @lilypond[quote,relative=1,verbatim]
1381 \new RhythmicStaff {
1382 \new Voice = "myRhythm" {
1390 \lyricsto "myRhythm" {
1398 @cindex guitar chord charts
1399 @cindex strumming rhythms, showing
1400 @cindex guitar strumming rhythms, showing
1402 @funindex Pitch_squash_engraver
1403 @funindex \improvisationOn
1404 @funindex improvisationOn
1405 @funindex \improvisationOff
1406 @funindex improvisationOff
1408 Guitar chord charts often show the strumming rhythms. This can
1409 be done with the @code{Pitch_squash_engraver} and
1410 @code{\improvisationOn}.
1413 @lilypond[quote,verbatim]
1422 \consists Pitch_squash_engraver
1435 @code{\improvisationOn},
1436 @code{\improvisationOff}.
1442 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1443 {guitar-strum-rhythms.ly}
1450 Internals Reference:
1451 @rinternals{RhythmicStaff},
1452 @rinternals{Pitch_squash_engraver}.
1460 * Setting automatic beam behavior::
1465 @node Automatic beams
1466 @unnumberedsubsubsec Automatic beams
1468 By default, beams are inserted automatically:
1470 @cindex beams, manual
1471 @cindex manual beams
1472 @cindex beams, setting rules for
1473 @cindex beams, custom rules for
1475 @funindex \autoBeamOn
1476 @funindex autoBeamOn
1477 @funindex \autoBeamOff
1478 @funindex autoBeamOff
1480 @lilypond[quote,verbatim,relative=2]
1482 \time 6/8 c c c c8. c16 c8
1485 If these automatic decisions are not satisfactory, beaming can be
1486 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1487 entered manually if beams are to be extended over rests.
1489 If automatic beaming is not required, it may be turned off with
1490 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1492 @lilypond[quote,relative=1,verbatim]
1493 c4 c8 c8. c16 c8. c16 c8
1500 @cindex melismata, beams
1501 @cindex beams and melismata
1503 @warning{If beams are used to indicate melismata in songs, then
1504 automatic beaming should be switched off with @code{\autoBeamOff}
1505 and the beams indicated manually.}
1507 Beaming patterns that differ from the automatic defaults may be
1508 created, see @ref{Setting automatic beam behavior}.
1512 @code{\autoBeamOff},
1519 @cindex line breaks and beams
1520 @cindex beams and line breaks
1524 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1525 {beams-across-line-breaks.ly}
1527 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1528 {changing-beam-knee-gap.ly}
1534 @ref{Setting automatic beam behavior}.
1537 @file{scm/@/auto@/-beam@/.scm}.
1542 Internals Reference: @rinternals{Beam}.
1547 Automatically kneed cross-staff beams cannot be used together with
1548 hidden staves. See @ref{Hiding staves}.
1550 Beams can collide with note heads and accidentals in other voices
1553 @node Setting automatic beam behavior
1554 @unnumberedsubsubsec Setting automatic beam behavior
1557 @cindex automatic beams, tuning
1558 @cindex tuning automatic beaming
1559 @cindex automatic beam generation
1561 @cindex lyrics and beaming
1563 @funindex autoBeaming
1564 @funindex autoBeamSettings
1565 @funindex (end * * * *)
1566 @funindex (begin * * * *)
1567 @funindex measureLength
1568 @funindex beatLength
1569 @funindex beatGrouping
1575 There are two types of beaming rules: @emph{beam-grouping}
1576 rules and @emph{beam-ending} rules. Beam-grouping rules are the
1577 simplest, but are over-ridden by any beam-ending rules which apply.
1579 The placement of automatic beams is determined by applying the
1580 following rules in order:
1584 @item If a manual beam is specified with @code{[..]} set the beam
1585 as specified, otherwise
1587 @item if @code{\autoBeamOff} is in force do not beam, otherwise
1589 @item if a beam-ending rule applies use it to determine the valid
1590 places where beams may end, otherwise
1592 @item if a valid (see below) beat-grouping rule applies use it to
1593 group notes with beams, otherwise
1595 @item use the value of @code{beatLength} to group notes with beams
1599 @i{@strong{Modifying the grouping of beats}}
1601 If there are no beam-ending rules defined for the beam duration of a
1602 particular beam in the time signature in use, its beaming is
1603 controlled by three context properties: @code{measureLength},
1604 @code{beatLength} and @code{beatGrouping}. These properties may be
1605 set in the @code{Score}, @code{Staff} or @code{Voice} contexts to
1606 delimit their scope. The default values are set while processing
1607 @code{\time} commands, so any @code{\set} commands to modify their
1608 value must be placed after all @code{\time} commands.
1610 @warning{These three properties become effective for a particular
1611 beam @strong{only} if there are no beam-ending rules predefined for
1612 that beam's duration in the time signature in use, or if these
1613 beam-ending rules have all been reverted.}
1615 These determine the beaming as follows:
1617 Beams may begin anywhere (unless a beam is already active). Beams
1618 end at a time determined by the values of @code{beatGrouping} and
1619 @code{beatLength}, as follows:
1623 @item If @code{beatGrouping} and @code{beatLength} are consistent
1624 with @code{measureLength}, @code{beatGrouping} is used to determine
1625 the end points of beams.
1627 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1628 with @code{measureLength}, @code{beatLength} is used to determine
1629 the end points of beams.
1633 By default the @code{measureLength} and @code{beatLength} are
1634 derived from the time signature set by the @code{\time} command.
1635 The @code{measureLength} is set to be exactly the same length as
1636 the measure length given by the time signature, and the
1637 @code{beatLength} is set to be the same as one over the denominator
1638 of the time signature.
1640 The default value of @code{beatGrouping} is taken from a table in
1641 @file{scm/@/music@/-functions@/.scm}. To find this, see
1642 @rlearning{Other sources of information}. It defines the beat
1643 grouping for 3/8, 4/8, 5/8, 8/8, and all the common compound time
1646 Both @code{measureLength} and @code{beatLength} are @i{moments},
1647 units of musical duration. A quantity of type @i{moment} is
1648 created by the scheme function @code{ly:make-moment}. For more
1649 information about this function, see @ref{Time administration}.
1651 @code{beatGrouping} is a list of integers giving the number of
1652 beats in each group.
1656 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1659 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1660 {specifying-context-with-beatgrouping.ly}
1662 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1663 {using-beatlength-and-beatgrouping.ly}
1665 @funindex subdivideBeams
1667 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1668 {sub-dividing-beams.ly}
1670 @cindex measure groupings
1671 @cindex beats, grouping
1672 @cindex grouping beats
1673 @cindex measure sub-grouping
1675 @funindex autoBeamSettings
1677 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1678 {conducting-signs,-measure-grouping-signs.ly}
1681 @strong{@i{Modifying the beam end points}}
1683 Beam-ending rules are required when beams of different durations are
1684 to end at different points within the measure. For example, it may
1685 be desirable for eighth-note beams in 4/4 time to end only at the
1686 end of the measure or half-way through it, but for sixteenth-note
1687 beams to end at quarter note positions to avoid overly long beamed
1688 runs. The rules work as follows:
1690 Automatic beams can start on any note but can end at only a few
1691 positions within the measure, namely at positions specified by the
1692 properties in @code{autoBeamSettings}. These properties consist of
1693 a list of rules defining where beams can end. The default
1694 @code{autoBeamSettings} rules are defined in
1695 @file{scm/@/auto@/-beam@/.scm}. To find this file, see
1696 @rlearning{Other sources of information}.
1698 In order to add a rule to the list, use
1701 #(override-auto-beam-setting
1703 beam-numerator beam-denominator
1704 time-signature-numerator time-signature-denominator)
1705 moment-numerator moment-denominator [context])
1713 @item @code{beam-limit} is the type of automatic beam limit
1714 defined. This can be either @code{begin} or @code{end} but
1715 only @code{end} is effective.
1717 @item @code{beam-numerator/beam-denominator} is the beam duration
1718 to which the rule is to apply. A beam is considered to have the
1719 duration of its shortest note. Set @code{beam-numerator} and
1720 @code{beam-denominator} to @code{'*'} to have this rule apply to beams
1723 @item @code{time-signature-numerator/time-signature-denominator}
1724 specifies the time signature to which this rule should apply. If
1725 @code{time-signature-numerator} and @code{time-signature-denominator}
1726 are set to @code{'*'} this rule will apply in any time signature.
1728 @item @code{moment-numerator/moment-denominator} is the position
1729 in the bar at which the beam should end.
1731 @funindex score-override-auto-beam-setting
1732 @funindex override-auto-beam-setting
1734 @item @code{context} is optional, and it specifies the context at which
1735 the change should be made. The default is @code{'Voice}.
1737 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1738 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1742 For example, if automatic beams should always end on the first quarter
1743 note, whatever the time signature or beam duration, use
1745 @lilypond[quote,verbatim,relative=2]
1747 #(override-auto-beam-setting '(end * * * *) 1 4)
1751 You can force the beam settings to take effect only on beams whose shortest
1752 note is a certain duration
1754 @lilypond[quote,verbatim,relative=2]
1756 % end 1/16 beams for all time signatures at the 1/16 moment
1757 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1759 a32 a a a a16 a a a a a |
1760 % end 1/32 beams for all time signatures at the 1/16 moment
1761 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1762 a32 a a a a16 a a a a a |
1765 You can force the beam settings to take effect only in certain time
1768 @lilypond[quote,verbatim,relative=2]
1770 % end beams of all durations in 5/8 time signature at the 2/8 moment
1771 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1779 When multiple voices are used the @code{Staff} context must be
1780 specified if the beaming is to be applied to all voices in the
1783 @lilypond[quote,verbatim,relative=2]
1786 % Context not specified - does not work correctly
1787 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1788 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1789 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1790 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1792 % Works correctly with context specified
1793 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1794 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1795 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1796 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1799 @warning{If any unexpected beam behavior occurs, check the default
1800 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1801 possible interference, because the beam endings defined there will
1802 still apply in addition to your own.}
1804 @funindex revert-auto-beam-setting
1806 Any unwanted or conflicting default endings must be reverted for
1807 your time signature(s). Existing default or user-defined
1808 beam-ending rules are removed by using
1811 #(revert-auto-beam-setting
1813 beam-numerator beam-denominator
1814 time-signature-numerator time-signature-denominator)
1815 moment-numerator moment-denominator [context])
1819 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1820 @code{time-signature-numerator}, @code{time-signature-denominator},
1821 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1822 are the same as above.
1824 @lilypond[quote,verbatim,relative=2]
1826 a16 a a a a a a a a a a a a a a a
1827 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1828 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1829 a16 a a a a a a a a a a a a a a a
1832 The rule in a @code{revert-auto-beam-setting} statement must exactly
1833 match the original rule. That is, no wildcard expansion is taken into
1836 @lilypond[quote,verbatim,relative=2]
1838 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1840 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1842 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1848 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1849 {beam-grouping-in-7-8-time.ly}
1851 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1852 {reverting-default-beam-endings.ly}
1854 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1855 {beam-endings-in-score-context.ly}
1857 @funindex \autoBeamOff
1858 @funindex autoBeamOff
1859 @funindex \autoBeamOn
1860 @funindex autoBeamOn
1863 @code{\autoBeamOff},
1868 @cindex beam, last in score
1869 @cindex beam, last in polyphonic voice
1873 If a score ends while an automatic beam has not been ended and is
1874 still accepting notes, this last beam will not be typeset at all.
1875 The same holds for polyphonic voices, entered with @code{<<
1876 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1877 automatic beam is still accepting notes, it is not typeset.
1886 @unnumberedsubsubsec Manual beams
1888 @cindex beams, manual
1889 @cindex manual beams
1894 In some cases it may be necessary to override the automatic
1895 beaming algorithm. For example, the autobeamer will not put beams
1896 over rests or bar lines, and in choral scores the beaming is
1897 often set to follow the meter of the lyrics rather than the
1898 notes. Such beams can be specified manually by
1899 marking the begin and end point with @code{[} and @code{]}
1901 @lilypond[quote,relative=1,verbatim]
1903 r4 r8[ g' a r8] r8 g[ | a] r8
1911 Individual notes may be marked with @code{\noBeam} to prevent them
1914 @lilypond[quote,verbatim,relative=2]
1915 \time 2/4 c8 c\noBeam c c
1918 @funindex stemLeftBeamCount
1919 @funindex stemRightBeamCount
1921 Even more strict manual control with the beams can be achieved by
1922 setting the properties @code{stemLeftBeamCount} and
1923 @code{stemRightBeamCount}. They specify the number of beams to
1924 draw on the left and right side, respectively, of the next note.
1925 If either property is set, its value will be used only once, and
1926 then it is erased. In this example, the last @code{f} is printed
1927 with only one beam on the left side, i.e., the eighth-note beam of
1928 the group as a whole.
1930 @lilypond[quote,relative=2,verbatim]
1933 \set stemLeftBeamCount = #2
1934 \set stemRightBeamCount = #1
1936 \set stemLeftBeamCount = #1
1943 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1944 {flat-flags-and-beam-nibs.ly}
1946 @node Feathered beams
1947 @unnumberedsubsubsec Feathered beams
1949 @cindex beams, feathered
1950 @cindex feathered beams
1952 @funindex \featherDurations
1953 @funindex featherDurations
1954 @funindex grow-direction
1956 Feathered beams are used to indicate that a small group of notes
1957 should be played at an increasing (or decreasing) tempo, without
1958 changing the overall tempo of the piece. The extent of the
1959 feathered beam must be indicated manually using @code{[} and
1960 @code{]}, and the beam feathering is turned on by specifying a
1961 direction to the @code{Beam} property @code{grow-direction}.
1963 If the placement of the notes and the sound in the MIDI output is to
1964 reflect the ritardando or accelerando indicated by the feathered beam
1965 the notes must be grouped as a music expression delimited by braces
1966 and preceded by a @code{featherDurations} command which specifies
1967 the ratio between the durations of the first and last notes in the
1970 The square brackets show the extent of the beam and the braces show
1971 which notes are to have their durations modified. Normally these
1972 would delimit the same group of notes, but this is not required: the
1973 two commands are independent.
1975 In the following example the eight 16th notes occupy exactly the
1976 same time as a half note, but the first note is one half as long
1977 as the last one, with the intermediate notes gradually
1978 lengthening. The first four 32nd notes gradually speed up, while
1979 the last four 32nd notes are at a constant tempo.
1981 @lilypond[relative=1,verbatim,quote]
1982 \override Beam #'grow-direction = #LEFT
1983 \featherDurations #(ly:make-moment 2 1)
1984 { c16[ c c c c c c c] }
1985 \override Beam #'grow-direction = #RIGHT
1986 \featherDurations #(ly:make-moment 2 3)
1988 % revert to non-feathered beams
1989 \override Beam #'grow-direction = #'()
1994 The spacing in the printed output represents the
1995 note durations only approximately, but the MIDI output is exact.
1999 The @code{\featherDurations} command only works with very short
2000 music snippets, and when numbers in the fraction are small.
2015 * Bar and bar number checks::
2020 @unnumberedsubsubsec Bar lines
2023 @cindex measure lines
2024 @cindex closing bar lines
2025 @cindex bar lines, closing
2026 @cindex double bar lines
2027 @cindex bar lines, double
2033 Bar lines delimit measures, and are also used to indicate
2034 repeats. Normally, simple bar lines are automatically inserted
2035 into the printed output at places based on the current time
2038 The simple bar lines inserted automatically can be changed to
2039 other types with the @code{\bar} command. For example, a closing
2040 double bar line is usually placed at the end of a piece:
2042 @lilypond[quote,relative=1,verbatim]
2046 It is not invalid if the final note in a measure does not
2047 end on the automatically entered bar line: the note is assumed
2048 to carry over into the next measure. But if a long sequence
2049 of such carry-over measures appears the music can appear compressed
2050 or even flowing off the page. This is because automatic line
2051 breaks happen only at the end of complete measures, i.e., where
2052 all notes end before the end of a measure.
2054 @warning{An incorrect duration can cause line breaks to be
2055 inhibited, leading to a line of highly compressed music or
2056 music which flows off the page.}
2059 @cindex bar lines, invisible
2060 @cindex measure lines, invisible
2062 Line breaks are also permitted at manually inserted bar lines
2063 even within incomplete measures. To allow a line break without
2064 printing a bar line, use
2071 This will insert an invisible bar line and allow (but not
2072 force) a line break to occur at this point. The bar number
2073 counter is not increased. To force a line break see
2074 @ref{Line breaking}.
2076 @cindex manual bar lines
2077 @cindex manual measure lines
2078 @cindex bar lines, manual
2079 @cindex measure lines, manual
2081 This and other special bar lines may be inserted manually at any
2082 point. When they coincide with the end of a measure they replace the
2083 simple bar line which would have been inserted there automatically.
2084 When they do not coincide with the end of a measure the specified bar
2085 line is inserted at that point in the printed output. Such insertions
2086 do not affect the calculation and placement of subsequent automatic
2089 Two types of simple bar lines and five types of double bar lines are available
2090 for manual insertion:
2092 @lilypond[quote,relative=1,verbatim]
2093 f1 \bar "|" f \bar "." g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
2097 together with dotted and dashed bar lines:
2099 @lilypond[quote,relative=1,verbatim]
2100 f1 \bar ":" g \bar "dashed" a
2104 and five types of repeat bar line:
2106 @lilypond[quote,relative=1,verbatim]
2107 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
2110 Additionally, a bar line can be printed as a simple tick:
2111 @lilypond[quote,relative=1,verbatim]
2114 However, as such ticks are typically used in Gregorian chant, it is preferable
2115 to use @code{\divisioMinima} there instead, described in the section
2116 @ref{Divisiones} in Gregorian chant.
2121 Although the bar line types signifying repeats may be inserted
2122 manually they do not in themselves cause LilyPond to recognize
2123 a repeated section. Such repeated sections are better entered
2124 using the various repeat commands (see @ref{Repeats}), which
2125 automatically print the appropriate bar lines.
2127 In addition, you can specify @code{"||:"}, which is equivalent to
2128 @code{"|:"} except at line breaks, where it gives a double bar
2129 line at the end of the line and a start repeat at the beginning of
2132 @lilypond[quote,relative=2,verbatim]
2133 \override Score.RehearsalMark #'padding = #3
2141 In scores with many staves, a @code{\bar} command in one staff is
2142 automatically applied to all staves. The resulting bar lines are
2143 connected between different staves of a @code{StaffGroup},
2144 @code{PianoStaff}, or @code{GrandStaff}.
2146 @lilypond[quote,fragment,verbatim]
2154 \new Staff { \clef bass c4 g e g }
2156 \new Staff { \clef bass c2 c2 }
2161 @cindex default bar lines, changing
2162 @cindex bar lines, default, changing
2167 @funindex defaultBarType
2172 The command @code{\bar }@var{bartype} is a shortcut for
2173 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2174 created whenever the @code{whichBar} property is
2177 The default bar type used for automatically inserted bar lines is
2178 @code{"|"}. This may be changed at any time
2179 with @code{\set Timing.defaultBarType = }@var{bartype}.
2184 @ref{Line breaking},
2186 @ref{Grouping staves}.
2191 Internals Reference: @rinternals{BarLine} (created at
2192 @rinternals{Staff} level), @rinternals{SpanBar} (across
2193 staves), @rinternals{Timing_translator} (for Timing
2198 @unnumberedsubsubsec Bar numbers
2201 @cindex measure numbers
2202 @cindex numbers, bar
2203 @cindex numbers, measure
2205 @funindex currentBarNumber
2207 Bar numbers are typeset by default at the start of every line except
2208 the first line. The number itself is stored in the
2209 @code{currentBarNumber} property, which is normally updated
2210 automatically for every measure. It may also be set manually:
2212 @lilypond[verbatim,quote,fragment,relative=1]
2215 \set Score.currentBarNumber = #50
2219 @cindex bar numbers, regular spacing
2221 @funindex barNumberVisibility
2224 Bar numbers can be typeset at regular intervals instead of just at
2225 the beginning of every line. To do this the default behavior
2226 must be overridden to permit bar numbers to be printed at places
2227 other than the start of a line. This is controlled by the
2228 @code{break-visibility} property of @code{BarNumber}. This takes
2229 three values which may be set to @code{#t} or @code{#f} to specify
2230 whether the corresponding bar number is visible or not. The order
2231 of the three values is @code{end of line visible}, @code{middle of
2232 line visible}, @code{beginning of line visible}. In the following
2233 example bar numbers are printed at all possible places:
2235 @lilypond[verbatim,quote,relative=1]
2236 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2237 \set Score.currentBarNumber = #11
2238 % Permit first bar number to be printed
2248 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2249 {printing-the-bar-number-for-the-first-measure.ly}
2251 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2252 {printing-bar-numbers-at-regular-intervals.ly}
2254 @cindex measure number, format
2255 @cindex bar number, format
2257 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2258 {printing-bar-numbers-inside-boxes-or-circles.ly}
2260 @cindex bar number alignment
2262 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2263 {aligning-bar-numbers.ly}
2265 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2266 {removing-bar-numbers-from-a-score.ly}
2273 Internals Reference: @rinternals{BarNumber}.
2276 @cindex bar number collision
2277 @cindex collision, bar number
2281 Bar numbers may collide with the top of the
2282 @rinternals{StaffGroup} bracket, if there is one. To solve
2283 this, the @code{padding} property of @rinternals{BarNumber} can
2284 be used to position the number correctly.
2288 @node Bar and bar number checks
2289 @unnumberedsubsubsec Bar and bar number checks
2292 @cindex bar number check
2293 @cindex measure check
2294 @cindex measure number check
2296 @funindex barCheckSynchronize
2299 Bar checks help detect errors in the entered durations. A bar check
2300 may be entered using the bar symbol, @code{|}, at any place where a
2301 bar line is expected to fall. If bar check lines are encountered at
2302 other places, a list of warnings is printed in the log file, showing
2303 the line numbers and lines in which the bar checks failed. In the
2304 next example, the second bar check will signal an error.
2307 \time 3/4 c2 e4 | g2 |
2310 Bar checks can also be used in lyrics, for example
2315 Twin -- kle | Twin -- kle |
2319 An incorrect duration can result in a completely garbled score,
2320 especially if the score is polyphonic, so a good place to start
2321 correcting input is by scanning for failed bar checks and
2322 incorrect durations.
2324 If successive bar checks are off by the same musical interval,
2325 only the first warning message is displayed. This allows the
2326 warning to focus on the source of the timing error.
2330 @funindex pipeSymbol
2332 It is also possible to redefine the action taken when a bar check
2333 or pipe symbol, @code{|}, is encountered in the input, so that
2334 it does something other than a bar check. This is done by
2335 assigning a music expression to @code{pipeSymbol}.
2336 In the following example @code{|} is set to insert a double bar
2337 line wherever it appears in the input, rather than checking
2340 @lilypond[quote,verbatim]
2341 pipeSymbol = \bar "||"
2350 @funindex \barNumberCheck
2351 @funindex barNumberCheck
2353 When copying large pieces of music, it can be helpful to check that
2354 the LilyPond bar number corresponds to the original that you are
2355 entering from. This can be checked with @code{\barNumberCheck}, for
2359 \barNumberCheck #123
2363 will print a warning if the @code{currentBarNumber} is not 123
2364 when it is processed.
2372 @node Rehearsal marks
2373 @unnumberedsubsubsec Rehearsal marks
2375 @cindex rehearsal marks
2376 @cindex mark, rehearsal
2381 To print a rehearsal mark, use the @code{\mark} command
2383 @lilypond[quote,verbatim,relative=2]
2392 The letter@tie{}@q{I} is skipped in accordance with engraving
2393 traditions. If you wish to include the letter @q{I}, then use
2396 \set Score.markFormatter = #format-mark-alphabet
2399 The mark is incremented automatically if you use @code{\mark
2400 \default}, but you can also use an integer argument to set the
2401 mark manually. The value to use is stored in the property
2402 @code{rehearsalMark}.
2404 @cindex rehearsal mark format
2405 @cindex rehearsal mark style
2406 @cindex style, rehearsal mark
2407 @cindex format, rehearsal mark
2408 @cindex mark, rehearsal, style
2409 @cindex mark, rehearsal, format
2410 @cindex rehearsal mark, manual
2411 @cindex mark, rehearsal, manual
2412 @cindex custom rehearsal mark
2413 @cindex manual rehearsal mark
2415 The style is defined by the property @code{markFormatter}. It is
2416 a function taking the current mark (an integer) and the current
2417 context as argument. It should return a markup object. In the
2418 following example, @code{markFormatter} is set to a pre-defined
2419 procedure. After a few measures, it is set to a procedure that
2420 produces a boxed number.
2422 @lilypond[quote,verbatim,relative=2]
2423 \set Score.markFormatter = #format-mark-numbers
2426 \set Score.markFormatter = #format-mark-box-numbers
2428 \set Score.markFormatter = #format-mark-circle-numbers
2430 \set Score.markFormatter = #format-mark-circle-letters
2434 The file @file{scm/@/translation@/-functions@/.scm} contains the
2435 definitions of @code{format-mark-numbers} (the default format),
2436 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2437 @code{format-mark-box-letters}. These can be used as inspiration
2438 for other formatting functions.
2440 You may use @code{format-mark-barnumbers},
2441 @code{format-mark-box-barnumbers}, and
2442 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2443 incremented numbers or letters.
2445 Other styles of rehearsal mark can be specified manually
2452 @code{Score.markFormatter} does not affect marks specified in this
2453 manner. However, it is possible to apply a @code{\markup} to the
2457 \mark \markup@{ \box A1 @}
2462 @cindex D.S. al Fine
2464 @cindex music glyphs
2465 @cindex glyphs, music
2467 @funindex \musicglyph
2468 @funindex musicglyph
2470 Music glyphs (such as the segno sign) may be printed inside a
2473 @lilypond[quote,verbatim,relative=1]
2474 c1 \mark \markup { \musicglyph #"scripts.segno" }
2475 c1 \mark \markup { \musicglyph #"scripts.coda" }
2476 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2481 See @ref{The Feta font}, for a list of symbols which may be
2482 printed with @code{\musicglyph}.
2484 For common tweaks to the positioning of rehearsal marks, see
2485 @ref{Formatting text}.
2490 @ref{The Feta font},
2491 @ref{Formatting text}.
2494 @file{scm/@/translation@/-functions@/.scm} contains
2495 the definition of @code{format-mark-numbers} and
2496 @code{format-mark-letters}. They can be used as inspiration for
2497 other formatting functions.
2502 Internals Reference: @rinternals{RehearsalMark}.
2505 @node Special rhythmic concerns
2506 @subsection Special rhythmic concerns
2511 * Aligning to cadenzas::
2512 * Time administration::
2516 @unnumberedsubsubsec Grace notes
2520 @cindex appoggiatura
2521 @cindex acciaccatura
2526 Grace notes are ornaments that are written out. Grace notes
2527 are printed in a smaller font and take up no logical time
2530 @lilypond[quote,relative=2,verbatim]
2532 \grace { c16[ d16] } c2
2535 LilyPond also supports two special types of grace notes, the
2536 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2537 small note with a slashed stem--and the @emph{appoggiatura}, which
2538 takes a fixed fraction of the main note and appears in small print
2541 @lilypond[quote,relative=2,verbatim]
2545 \acciaccatura { g16[ f] } e4
2548 The placement of grace notes is synchronized between different
2549 staves. In the following example, there are two sixteenth grace
2550 notes for every eighth grace note
2552 @lilypond[quote,relative=2,verbatim]
2553 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2554 \new Staff { c2 \grace { g8[ b] } c2 } >>
2557 @cindex grace notes, following
2559 @funindex \afterGrace
2560 @funindex afterGrace
2562 If you want to end a note with a grace, use the @code{\afterGrace}
2563 command. It takes two arguments: the main note, and the grace
2564 notes following the main note.
2566 @lilypond[quote,verbatim,relative=2]
2567 c1 \afterGrace d1 { c16[ d] } c1
2570 This will put the grace notes after a space lasting 3/4 of the
2571 length of the main note. The default fraction 3/4 can be changed by
2572 setting @code{afterGraceFraction}. The following example shows
2573 the results from setting the space at the default, at 15/16, and
2574 finally at 1/2 of the main note.
2576 @lilypond[quote,verbatim,relative=2]
2579 c1 \afterGrace d1 { c16[ d] } c1
2582 #(define afterGraceFraction (cons 15 16))
2583 c1 \afterGrace d1 { c16[ d] } c1
2586 #(define afterGraceFraction (cons 1 2))
2587 c1 \afterGrace d1 { c16[ d] } c1
2592 The space between the main note and the grace note may also be
2593 specified using spacers. The following example places the grace
2594 note after a space lasting 7/8 of the main note.
2596 @lilypond[quote,verbatim,relative=2]
2599 { s2 s4. \grace { c16[ d] } } >>
2604 @cindex tweaking grace notes
2605 @cindex grace notes, tweaking
2606 @cindex grace notes, changing layout settings
2608 A @code{\grace} music expression will introduce special
2609 typesetting settings, for example, to produce smaller type, and
2610 set directions. Hence, when introducing layout tweaks to
2611 override the special settings, they should be placed inside
2612 the grace expression. The overrides should also be reverted
2613 inside the grace expression. Here, the grace note's default stem
2614 direction is overriden and then reverted.
2616 @lilypond[quote,verbatim,relative=2]
2628 @cindex stem, with slash
2633 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2634 {using-grace-note-slashes-with-normal-heads.ly}
2636 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2637 {tweaking-grace-layout-within-music.ly}
2639 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2640 {redefining-grace-note-global-defaults.ly}
2642 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2643 {positioning-grace-notes-with-floating-space.ly}
2648 @rglos{grace notes},
2649 @rglos{acciaccatura},
2650 @rglos{appoggiatura}.
2652 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2654 Snippets: @rlsr{Rhythms}.
2656 Internals Reference: @rinternals{GraceMusic}.
2661 @cindex acciaccatura, multi-note
2662 @cindex multi-note acciaccatura
2663 @cindex grace-note synchronization
2665 A multi-note beamed @i{acciaccatura} is printed without a slash,
2666 and looks exactly the same as a multi-note beamed
2669 @c TODO Add link to LSR snippet to add slash when available
2671 Grace note synchronization can also lead to surprises. Staff
2672 notation, such as key signatures, bar lines, etc., are also
2673 synchronized. Take care when you mix staves with grace notes and
2674 staves without, for example,
2676 @lilypond[quote,relative=2,verbatim]
2678 \new Staff { e4 \bar "|:" \grace c16 d2. }
2679 \new Staff { c4 \bar "|:" d2. }
2684 This can be remedied by inserting grace skips of the corresponding
2685 durations in the other staves. For the above example
2687 @lilypond[quote,relative=2,verbatim]
2689 \new Staff { e4 \bar "|:" \grace c16 d2. }
2690 \new Staff { c4 \bar "|:" \grace s16 d2. }
2694 Grace sections should only be used within sequential music
2695 expressions. Nesting or juxtaposing grace sections is not
2696 supported, and might produce crashes or other errors.
2698 @node Aligning to cadenzas
2699 @unnumberedsubsubsec Aligning to cadenzas
2702 @cindex cadenza, aligning to
2703 @cindex aligning to cadenza
2705 In an orchestral context, cadenzas present a special problem: when
2706 constructing a score that includes a measured cadenza or other solo
2707 passage, all other instruments should skip just as many notes as the
2708 length of the cadenza, otherwise they will start too soon or too late.
2710 One solution to this problem is to use the functions
2711 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2712 functions take a defined piece of music as an argument and generate a
2713 multi-measure rest or @code{\skip} exactly as long as the piece.
2715 @lilypond[verbatim,quote]
2716 MyCadenza = \relative c' {
2727 #(ly:export (mmrest-of-length MyCadenza))
2729 #(ly:export (skip-of-length MyCadenza))
2744 @node Time administration
2745 @unnumberedsubsubsec Time administration
2747 @cindex time administration
2748 @cindex timing (within the score)
2749 @cindex music, unmetered
2750 @cindex unmetered music
2752 @funindex currentBarNumber
2753 @funindex measurePosition
2754 @funindex measureLength
2756 Time is administered by the @code{Timing_translator}, which by
2757 default is to be found in the @code{Score} context. An alias,
2758 @code{Timing}, is added to the context in which the
2759 @code{Timing_translator} is placed.
2761 The following properties of @code{Timing} are used
2762 to keep track of timing within the score.
2765 @cindex measure number
2768 @item currentBarNumber
2769 The current measure number. For an example showing the
2770 use of this property see @ref{Bar numbers}.
2773 The length of the measures in the current time signature. For a
2774 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2775 determines when bar lines are inserted and how automatic beams
2776 should be generated.
2778 @item measurePosition
2779 The point within the measure where we currently are. This
2780 quantity is reset by subtracting @code{measureLength} whenever
2781 @code{measureLength} is reached or exceeded. When that happens,
2782 @code{currentBarNumber} is incremented.
2785 If set to true, the above variables are updated for every time
2786 step. When set to false, the engraver stays in the current
2787 measure indefinitely.
2791 Timing can be changed by setting any of these variables
2792 explicitly. In the next example, the default 4/4 time
2793 signature is printed, but @code{measureLength} is set to 5/4.
2794 At 4/8 through the third measure, the @code{measurePosition} is
2795 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2796 The next bar line then falls at 9/8 rather than 5/4.
2798 @lilypond[quote,verbatim,relative=1]
2799 \set Score.measureLength = #(ly:make-moment 5 4)
2803 \set Score.measurePosition = #(ly:make-moment 5 8)
2809 As the example illustrates, @code{ly:make-moment n m} constructs a
2810 duration of n/m of a whole note. For example,
2811 @code{ly:make-moment 1 8} is an eighth note duration and
2812 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2817 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2822 Internals Reference: @rinternals{Timing_translator},