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 @subsubsection Durations
41 @cindex durations, of notes
42 @cindex note durations
48 Durations are designated by numbers and dots.
49 Durations are entered as their reciprocal values. For example, a
50 quarter note is entered using a @code{4} (since it is a 1/4 note),
51 and a half note is entered using a @code{2} (since it is a 1/2
52 note). For notes longer than a whole you must use the
53 @code{\longa} (a double breve) and @code{\breve} commands.
54 Durations as short as 64th notes may be specified. Shorter values
55 are possible, but only as beamed notes.
57 @c Two 64th notes are needed to obtain beams
58 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
65 Here are the same durations with automatic beaming turned off.
67 @c not strictly "writing rhythms"; more of a "displaying" thing,
68 @c but it's ok here. -gp
69 @lilypond[quote,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. For details, see @ref{Ancient notation}.
80 If the duration is omitted, it is set to the previously
81 entered duration. The default for the first note is a quarter
84 @lilypond[quote,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 be represented only by tying two or more
103 notes together. For details, see @ref{Ties}.
105 For ways of specifying durations for the syllables of lyrics and
106 ways of aligning lyrics to notes, see @ref{Vocal music}.
108 Optionally, notes can be spaced strictly proportionately to their
109 duration. For details of this and other settings which control
110 proportional notation, see @ref{Proportional notation}.
114 @funindex \dotsNeutral
116 Dots are normally moved up to avoid staff lines, except in
117 polyphonic situations. Predefined commands are available to
118 force a particular direction manually, for details
119 see @ref{Controlling direction and placement}.
135 @rglos{Duration names notes and rests}.
138 @ref{Automatic beams},
140 @ref{Writing rhythms},
143 @ref{Ancient notation},
144 @ref{Proportional notation}.
151 @rinternals{DotColumn}.
156 @c Deliberately duplicated in Durations and Rests. -gp
157 There is no fundamental limit to rest durations (both in terms of
158 longest and shortest), but the number of glyphs is limited:
159 rests from 128th to maxima (8 x whole) may be printed.
163 @subsubsection Tuplets
169 Tuplets are made from a music expression by multiplying all the
170 durations with a fraction:
173 \times @var{fraction} @{ @var{music} @}
177 The duration of @var{music} will be multiplied by the
178 fraction. The fraction's denominator will be printed over or
179 under the notes, optionally with a bracket. The most common
180 tuplet is the triplet in which 3 notes have the duration of 2, so
181 the notes are 2/3 of their written length.
183 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
184 a2 \times 2/3 { b4 b b }
185 c4 c \times 2/3 { b4 a g }
190 @funindex \tupletDown
191 @funindex \tupletNeutral
193 The automatic placement of the tuplet bracket above or below the
194 notes may be overridden manually with predefined commands, for
195 details see @ref{Controlling direction and placement}.
197 Tuplets may be nested:
199 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
201 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
204 Modifying nested tuplets which begin at the same musical moment
205 must be done with @code{\tweak}.
207 To modify the duration of notes without printing a tuplet bracket,
208 see @ref{Scaling durations}.
214 @code{\tupletNeutral}.
219 @cindex tuplet formatting
220 @cindex triplet formatting
222 @funindex tupletNumberFormatFunction
223 @funindex tupletSpannerDuration
225 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
226 {entering-several-tuplets-using-only-one--times-command.ly}
228 @funindex TupletNumber
230 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
231 {changing-the-tuplet-number.ly}
233 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
234 {permitting-line-breaks-within-beamed-tuplets.ly}
243 Learning Manual: @rlearning{Tweaking methods}.
246 @ref{Time administration},
247 @ref{Scaling durations},
248 @ref{Objects connected to the input},
249 @ref{Polymetric notation}.
255 @rinternals{TupletBracket},
256 @rinternals{TupletNumber},
257 @rinternals{TimeScaledMusic}.
260 @cindex grace notes within tuplet brackets
261 When the very first note on a staff is a grace note followed by a
262 tuplet the grace note must be placed before the @code{\times}
263 command to avoid errors. Anywhere else, grace notes may be
264 placed within tuplet brackets.
267 @node Scaling durations
268 @subsubsection Scaling durations
270 @cindex scaling durations
271 @cindex durations, scaling
273 TODO Change \compressMusic to \scaleDurations when implemented.
275 You can alter the duration of single notes, rests or chords by a
276 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
277 @code{M} is 1) to the duration.
278 This will not affect the appearance of the notes or rests
279 produced, but the altered duration will be used in calculating the
280 position within the measure and setting the duration in the MIDI
281 output. Multiplying factors may be combined such as @code{*L*M/N}.
283 In the following example, the first three notes take up exactly
284 two beats, but no triplet bracket is printed.
286 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
288 % Alter durations to triplets
289 a4*2/3 gis4*2/3 a4*2/3
292 % Double the duration of chord
294 % Duration of quarter, appears like sixteenth
298 The duration of skip or spacing notes may also be modified by
299 a multiplier. This is useful for skipping many measures, e.g.,
302 @cindex compressing music
303 @funindex \compressMusic
305 Longer stretches of music may be compressed by a fraction in
306 the same way, as if every note, chord or rest had the fraction
307 as a multiplier. The general syntax of the command to do this
311 \compressMusic #'(@emph{num} . @emph{den}) @{ @emph{music} @}
315 This will leave the appearance of @emph{music} unchanged but
316 the internal duration of the notes will be multiplied by the
317 fraction @emph{num}/@emph{den}. The spaces around the dot
318 are required. Here is an example showing how music can be
319 compressed and expanded:
321 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
325 % Scale music by *2/3
326 \compressMusic #'(2 . 3) {
330 \compressMusic #'(2 . 1) {
336 One application of this command is in polymetric
337 notation, see @ref{Polymetric notation}.
345 @ref{Polymetric notation}.
357 A tie connects two adjacent note heads of the same pitch. The tie
358 in effect extends the duration of a note.
360 @warning{Ties should not be confused with @emph{slurs}, which
361 indicate articulation, or @emph{phrasing slurs}, which indicate
362 musical phrasing. A tie is just a way of extending a note
363 duration, similar to the augmentation dot.}
365 A tie is entered using the tilde symbol @code{~}
367 @lilypond[quote,ragged-right,fragment,verbatim]
373 Ties are used either when the note crosses a bar line, or when
374 dots cannot be used to denote the rhythm. Ties should also be
375 used when note values cross larger subdivisions of the measure:
377 @lilypond[fragment,quote,ragged-right]
384 If you need to tie many notes across bar lines, it may be
385 easier to use automatic note splitting, see @ref{Automatic note
386 splitting}. This mechanism automatically splits long notes, and
387 ties them across bar lines.
389 @cindex ties and chords
390 @cindex chords and ties
392 When a tie is applied to a chord, all note heads whose pitches
393 match are connected. When no note heads match, no ties will be
394 created. Chords may be partially tied by placing the tie inside
397 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
399 <c~ e g~ b> <c e g b>
403 @cindex repeating ties
404 @cindex ties, repeating
405 @cindex volta brackets and ties
406 @cindex ties and volta brackets
408 When a second alternative of a repeat starts with a tied note, you
409 have to specify the repeated tie as follows:
411 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
412 \repeat volta 2 { c g <c e>2 ~ }
414 % First alternative: following note is tied normally
416 % Second alternative: following note has a repeated tie
417 { <c e>2\repeatTie d4 c } }
420 @cindex laissez vibrer
421 @cindex ties, laissez vibrer
422 @funindex \laissezVibrer
424 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
425 notes must not be damped at the end. It is used in notation for
426 piano, harp and other string and percussion instruments. They can
427 be entered as follows:
429 @lilypond[fragment,quote,ragged-right,verbatim,relative=1]
430 <c f g>\laissezVibrer
433 @cindex ties, placement
436 @funindex \tieNeutral
438 The vertical placement of ties may be controlled, see
439 Predefined commands, or for details, see
440 @ref{Controlling direction and placement}.
442 @cindex ties, appearance
447 Solid, dotted or dashed ties may be specified, see Predefined
463 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
464 {using-ties-with-arpeggios.ly}
466 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
467 {engraving-ties-manually.ly}
474 @rglos{laissez vibrer}.
476 Notation Reference: @ref{Automatic note splitting}.
482 @rinternals{LaissezVibrerTie},
483 @rinternals{LaissezVibrerTieColumn},
484 @rinternals{TieColumn},
490 Switching staves when a tie is active will not produce a slanted
493 Changing clefs or octavations during a tie is not really
494 well-defined. In these cases, a slur may be preferable.
501 @subsection Writing rests
506 * Full measure rests::
522 Rests are entered like notes with the note name @code{r};
523 longer rests with the predefined commands shown:
525 @c \time 16/1 is used to avoid spurious bar lines
526 @c and long tracts of empty measures
527 @lilypond[fragment,quote,ragged-right,verbatim]
529 % These two lines are just to prettify this example
531 \override Staff.TimeSignature #'stencil = ##f
532 % Print a maxima rest, equal to four breves
534 % Print a longa rest, equal to two breves
538 r1 r2 r4 r8 r16 r32 r64
542 Whole measure rests, centered in the middle of the measure, must
543 be entered as multi-measure rests. They can be used for a single
544 measure as well as many measures and are discussed in
545 @ref{Full measure rests}.
547 To explicitly specify a rest's vertical position, write a note
548 followed by @code{\rest}. A rest will be placed in the position
549 where the note would appear. This allows for precise manual
550 formatting of polyphonic music, since the automatic rest collision
551 formatter will leave these rests alone.
553 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
559 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
565 Notation Reference: @ref{Full measure rests}
570 Internals Reference: @rinternals{Rest}
575 @c Deliberately duplicated in Durations and Rests. -gp
576 There is no fundamental limit to rest durations (both in terms of
577 longest and shortest), but the number of glyphs is limited: there
578 are rests from 128th to maxima (8 x whole).
584 @cindex invisible rest
585 @cindex rest, invisible
591 An invisible rest (also called a @q{skip rest}) can be entered like a
592 note with note name @code{s} or with the predefined skip command
593 followed by the required duration, as shown here:
595 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
596 % Skip the third beat in the first measure
598 % Use skip command to skip a whole note (measure)
605 The @code{s} syntax is only available in note mode and chord mode.
606 In other situations, for example, when entering lyrics, one must
607 use the predefined skip command:
609 @lilypond[quote,ragged-right,verbatim,relative=2]
612 \new Lyrics \lyricmode { \skip 2 bla2 }
616 The @code{s} skip rest implicitly causes @code{Staff} and
617 @code{Voice} contexts to be created if none exist, just
618 like notes and rests do. These in turn cause a staff with default
619 clef and time signature to be printed, with bar lines if necessary.
620 For example, the following results in a complete staff with three
621 short empty measures:
623 @lilypond[quote,verbatim,fragment,ragged-right]
627 However, the predefined skip command behaves differently: it is
628 merely an empty musical placeholder. It does not create any
629 contexts and does not cause anything to be printed, not even
630 transparently. On its own it does not even print an
634 % This is valid input, but does nothing
643 Internals Reference: @rinternals{SkipMusic}
646 @node Full measure rests
647 @subsubsection Full measure rests
649 @cindex multi-measure rests
650 @cindex full-measure rests
651 @cindex rest, multi-measure
652 @cindex rest, full-measure
653 @cindex whole rest for a full measure
656 Rests for one or more full measures are entered like notes with
657 the note name uppercase @code{R}:
659 @lilypond[quote,fragment,verbatim,relative=2]
660 % Rest bars contracted to single bar
661 \compressFullBarRests
668 @funindex \expandFullBarRests
669 @funindex \compressFullBarRests
670 @cindex multi-measure rest, expanding
671 @cindex multi-measure rest, contracting
673 By default a multi-measure rest is expanded in the printed score
674 to show all the rest measures explicitly or (as in the example
675 above) it can be contracted to a single measure containing a
676 multi-measure rest symbol, with the number of measures of rest
677 printed above the measure:
679 @lilypond[quote,ragged-right,fragment,verbatim]
681 \time 3/4 r2. | R2.*2 |
684 % Rest measures contracted to single measure
685 \compressFullBarRests
687 % Rest measures expanded
693 The @code{1} in @code{R1} is similar to the duration notation
694 used for notes and is the length of a measure in 2/2 or 4/4 time.
695 The duration in a multi-measure rest must always be an integral
696 number of measure-lengths, so in other time signatures augmentation
697 dots or fractions must be used:
699 @lilypond[quote,ragged-right,fragment,verbatim]
700 \compressFullBarRests
704 R1*13/8 | R1*13/8*12 |
709 An @code{R} spanning a single measure is printed as either a whole
710 or breve rest, centered in the measure, regardless of the time
714 @cindex text on multi-measure rest
715 @cindex multi-measure rest, attaching text
716 @cindex script on multi-measure rest
717 @cindex multi-measure rest, script
718 @cindex fermata on multi-measure rest
719 @cindex multi-measure rest, attaching fermata
721 Text can be added to multi-measure rests by using the
722 @var{note} - @code{\markup} syntax described in
723 @ref{Formatting text}. The predefined command @code{\fermataMarkup}
724 is provided for adding fermatas.
726 @lilypond[quote,ragged-right,verbatim,fragment]
727 \compressFullBarRests
729 R2.*10^\markup { \italic "ad lib." }
733 @warning{Text attached to a multi-measure rest is created
734 by @code{MultiMeasureRestText}, not
735 @code{TextScript}. Overrides must be directed to the correct
736 object, or they will be ignored. See the following example.}
738 @lilypond[quote,ragged-right,verbatim,fragment]
739 % This fails, as the wrong object name is specified
740 \override TextScript #'padding = #5
742 % This is correct and works
743 \override MultiMeasureRestText #'padding = #5
747 Text attached to a multi-measure rest will be centered above or
748 below it. Long text attached in this way does not cause the
749 measure to expand, and may collide with text in adjacent measures.
750 This behavior may be changed with the predefined command
751 @code{\textLengthOn}, which will cause following bars to expand
752 as necessary to accommodate text. @code{\textLengthOff} returns
753 to the default behavior. To left-align text within a bar attach
754 it to a zero-length skip note preceding the rest.
756 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
757 \compressFullBarRests
759 s1*0^\markup { [MAJOR GENERAL] }
761 s1*0^\markup { [MABEL] }
762 s1*0_\markup { \italic { Cue: ... it is yours } }
765 c4^\markup { CHORUS } d f c
769 Text attached to a skip note in this way is left-aligned to the
770 position where the note would be placed in the measure, and placed
771 above the measure count numeral, but if the measure length is
772 determined by the length of the text, the text will appear to be
773 centered. If two (or more) texts are
774 attached to skip notes in a measure the measure length is determined by
775 the longer text, and the shorter text is then clearly
776 left-aligned, as shown in the second measure above. If the shorter
777 text of two marks is short enough to fit it will be placed
778 alongside and to the left of the measure count numeral.
781 @code{\textLengthOn},
782 @code{\textLengthOff},
783 @code{\fermataMarkup},
784 @code{\compressFullBarRests},
785 @code{\expandFullBarRests}.
791 @cindex kirchenpausen
793 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
794 {changing-form-of-multi--measure-rests.ly}
796 @cindex multi-measure rests, positioning
797 @cindex positioning multi-measure rests
799 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
800 {positioning-multi--measure-rests.ly}
805 @rglos{multi-measure rest},
806 @rglos{church rests}.
811 @ref{Formatting text},
818 @rinternals{MultiMeasureRest},
819 @rinternals{MultiMeasureRestNumber},
820 @rinternals{MultiMeasureRestText}.
825 If an attempt is made to use fingerings (e.g.,
826 @code{R1*10-4}) to put numbers over multi-measure rests, the
827 fingering numeral (4) may collide with the bar counter
830 @cindex condensing rests
831 @cindex rests, condensing ordinary
833 There is no way to automatically condense multiple ordinary rests
834 into a single multi-measure rest.
836 @cindex rests, collisions of
838 Multi-measure rests do not take part in rest collisions.
840 Be careful when entering multi-measure rests followed by whole
841 notes. The following will enter two notes lasting four measures
849 @node Displaying rhythms
850 @subsection Displaying rhythms
856 * Polymetric notation::
857 * Automatic note splitting::
858 * Showing melody rhythms::
862 @subsubsection Time signature
864 @cindex time signature
868 The time signature is set as follows:
870 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
875 @cindex Time signature, visibility of
877 Time signatures by default are printed at the start of every line
878 and whenever the time signature changes. If a change takes place
879 at the end of a line a warning time signature sign is printed
880 there. This default behavior may be changed, see
881 @ref{Controlling visibility of objects}.
883 @funindex \numericTimeSignature
884 @funindex \defaultTimeSignature
885 @cindex time signature style
887 The symbol that is printed in 2/2 and 4/4 time can be customized
888 to use a numeric style:
890 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
894 % Change to numeric style
895 \numericTimeSignature
898 % Revert to default style
899 \defaultTimeSignature
905 Ancient time signatures are covered in
906 @ref{Ancient time signatures}.
910 @code{\numericTimeSignature},
911 @code{\defaultTimeSignature}.
915 @c TODO Send as snippet called "setting measure and beat lengths"
916 @c when example is added
917 @code{\time} sets the properties @code{timeSignatureFraction},
918 @code{beatLength}, and @code{measureLength} in the @code{Timing}
919 context, which is normally aliased to @code{Score}. Changing the
920 value of @code{timeSignatureFraction} causes the new time
921 signature symbol to be printed without changing the other
922 properties. The property @code{measureLength} determines where
923 bar lines should be inserted and, with @code{beatLength}, how
924 automatic beams should be generated.
926 TODO Add example of using beatLength.
927 @c beatLength is broken - see bug 511
931 @cindex measure groupings
932 @cindex beats, grouping
933 @cindex grouping beats
934 @cindex measure sub-grouping
936 @c TODO Sent as snippet called "grouping beats" 25 Mar 08
937 Options to group beats within a bar are available through the
938 Scheme function @code{set-time-signature}, which takes three
939 arguments: the number of beats, the beat length, and the internal
940 grouping of beats in the measure. If the
941 @rinternals{Measure_grouping_engraver} is included, the function
942 will also create @rinternals{MeasureGrouping} signs. Such signs
943 ease reading rhythmically complex modern music. In the example,
944 the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
945 @code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
947 @lilypond[quote,ragged-right,verbatim]
950 #(set-time-signature 9 8 '(2 2 2 3))
951 g8[ g] d[ d] g[ g] a8[( bes g]) |
952 #(set-time-signature 5 8 '(3 2))
958 \consists "Measure_grouping_engraver"
963 @c TODO End of snippet called "grouping beats"
965 @cindex compound time signatures
966 @cindex time signature, compound
968 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
969 {compound-time-signatures.ly}
975 @rglos{time signature}
978 @ref{Ancient time signatures},
979 @ref{Time administration}.
985 @rinternals{TimeSignature},
986 @rinternals{Timing_translator}.
991 Automatic beaming does not use the measure grouping specified with
992 @code{set-time-signature}.
996 @subsubsection Upbeats
1000 @cindex partial measure
1001 @cindex measure, partial
1002 @cindex pickup measure
1003 @cindex measure, change length
1004 @cindex measurePosition
1007 Partial or pick-up measures, such as an anacrusis or upbeat, are
1008 entered using the @code{\partial} command, with the syntax
1011 \partial @var{duration} @emph{notes}
1014 where @code{duration} is the rhythmic length of the @emph{notes}
1015 which are to be placed before the first complete measure:
1017 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1018 \partial 16*5 c16 cis d dis e |
1023 Internally, this is translated into
1026 \set Timing.measurePosition = -@var{duration}
1029 The property @code{measurePosition} contains a rational number
1030 indicating how much of the measure has passed at this point. Note
1031 that this is set to a negative number by the @code{\partial}
1032 command: i.e., @code{\partial 4} is internally translated to
1033 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1038 Music Glossary: @rglos{anacrusis}
1040 Notation Reference: @ref{Grace notes}
1045 Internal Reference: @rinternals{Timing_translator}
1049 @cindex grace notes, in anacruses
1051 This command does not take into account grace notes at the start
1052 of the music. If the pick-up starts with one or more grace
1053 notes, then the @code{\partial} should follow the grace note(s):
1055 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1062 The @code{\partial} command is intended to be used only at the
1063 beginning of a piece. If you use it after the beginning, some
1064 odd warnings may occur.
1066 @node Unmetered music
1067 @subsubsection Unmetered music
1069 @funindex \cadenzaOn
1070 @funindex \cadenzaOff
1071 @cindex bar lines, turning off
1072 @cindex bar numbering, turning off
1074 @cindex unmetered music
1076 Bar lines and bar numbers are calculated automatically. For
1077 unmetered music (cadenzas, for example), this is not desirable.
1078 To turn off automatic bar lines and bar numbers, use the command
1079 @code{\cadenzaOn}, and use @code{\cadenzaOff} to turn them on
1082 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1091 Bar numbering is resumed at the end of the cadenza as if the
1092 cadenza were not there:
1094 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1095 % Show all bar numbers
1096 \override Score.BarNumber #'break-visibility = #all-visible
1112 Music Glossary: @rglos{cadenza}
1114 Notation Reference: @ref{Controlling visibility of objects}
1121 LilyPond will insert line breaks and page breaks only at a
1122 bar line. Unless the unmetered music ends before the end of the
1123 staff line, you will need to insert invisible bar lines with
1130 to indicate where breaks can occur.
1133 @node Polymetric notation
1134 @subsubsection Polymetric notation
1136 @cindex double time signatures
1137 @cindex signatures, polymetric
1138 @cindex polymetric signatures
1139 @cindex meter, polymetric
1141 @strong{Alternating time signatures}
1143 Regularly alternating double time signatures are not supported
1144 explicitly, but they can be faked. In the next example, the
1145 double time signature is created with markup text, while the
1146 real time signature is set in the usual way with @code{\time}.
1148 @lilypond[verbatim,ragged-right]
1149 % Create 9/8 split into 2/4 + 5/8
1150 tsMarkup = \markup {
1151 \override #'(baseline-skip . 2) \number {
1154 \bracket \column { "5" "8" }
1159 \override Staff.TimeSignature #'stencil =
1160 #ly:text-interface::print
1161 \override Staff.TimeSignature #'text = #tsMarkup
1163 c'2 \bar ":" c'4 c'4.
1164 c'2 \bar ":" c'4 c'4.
1168 @strong{Staves with different time signatures, equal measure lengths}
1170 This notation can be created by setting a common time signature
1171 for each staff but replacing the symbol manually by setting
1172 @code{timeSignatureFraction} to the desired fraction and scaling
1173 the printed durations in each staff to the common time
1174 signature. This done with @code{\compressMusic}, which
1175 is used in a similar way to @code{\times}, but does not create
1176 a tuplet bracket, see @ref{Scaling durations}.
1178 In this example, music with the time signatures of 3/4, 9/8, and
1179 10/8 are used in parallel. In the second staff, shown durations
1180 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1181 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1183 @lilypond[quote,ragged-right,verbatim,fragment]
1192 \set Staff.timeSignatureFraction = #'(9 . 8)
1193 \compressMusic #'(2 . 3)
1194 \repeat unfold 6 { c8[ c c] }
1198 \set Staff.timeSignatureFraction = #'(10 . 8)
1199 \compressMusic #'(3 . 5) {
1200 \repeat unfold 2 { c8[ c c] }
1201 \repeat unfold 2 { c8[ c] } |
1202 c4. c4. \times 2/3 { c8 c c } c4
1208 @strong{Staves with different time signatures, unequal bar lengths}
1210 Each staff can be given its own independent time signature by
1211 moving the @code{Timing_translator} to the @code{Staff} context.
1213 @lilypond[quote,verbatim,ragged-right]
1217 \remove "Timing_translator"
1218 \remove "Default_bar_line_engraver"
1222 \consists "Timing_translator"
1223 \consists "Default_bar_line_engraver"
1227 % Now each staff has its own time signature.
1256 @rglos{polymetric time signature},
1259 Notation Reference: @ref{Scaling durations}
1263 @c Is this still permitted?
1264 @c @lsr{contemporary,compound-time-signature}
1266 Internals Reference:
1267 @rinternals{TimeSignature},
1268 @rinternals{Timing-translator},
1273 When using different time signatures in parallel, the spacing is
1274 aligned vertically, but bar lines distort the regular spacing.
1277 @node Automatic note splitting
1278 @subsubsection Automatic note splitting
1280 @cindex notes, splitting
1281 @cindex splitting notes
1283 Long notes which overrun bar lines can be converted automatically
1284 to tied notes. This is done by replacing the
1285 @code{Note_heads_engraver} by the
1286 @code{Completion_heads_engraver}. In the following
1287 example, notes crossing the bar lines are split and tied.
1289 @lilypond[quote,fragment,verbatim,relative=1,ragged-right]
1291 \remove "Note_heads_engraver"
1292 \consists "Completion_heads_engraver"
1295 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1298 This engraver splits all running notes at the bar line, and
1299 inserts ties. One of its uses is to debug complex scores: if the
1300 measures are not entirely filled, then the ties show exactly how
1301 much each measure is off.
1303 To allow line breaking on the bar lines where the
1304 @code{Completion_heads_engraver} has inserted a split note, remove
1305 the @code{Forbid_line_break_engraver} too.
1310 Music Glossary: @rglos{tie}
1313 @rlearning{Engravers explained},
1314 @rlearning{Adding and removing engravers}.
1319 Internals Reference:
1320 @rinternals{Note_heads_engraver},
1321 @rinternals{Completion_heads_engraver},
1322 @rinternals{Forbid_line_break_engraver}.
1327 Not all durations (especially those containing tuplets) can be
1328 represented exactly with normal notes and dots, but the engraver
1329 will not insert tuplets.
1331 The @code{Completion_heads_engraver} only affects notes; it does not
1335 @node Showing melody rhythms
1336 @subsubsection Showing melody rhythms
1338 Sometimes you might want to show only the rhythm of a melody. This
1339 can be done with the rhythmic staff. All pitches of notes on such a
1340 staff are squashed, and the staff itself has a single line
1342 @c TODO Devise a more realistic example, perhaps with lyrics -td
1343 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1344 \new RhythmicStaff {
1346 c4 e8 f g2 | r4 g r2 | g1 | r1 |
1356 * Setting automatic beam behavior::
1361 @node Automatic beams
1362 @subsubsection Automatic beams
1364 By default, beams are inserted automatically:
1366 @cindex beams, manual
1367 @cindex manual beams
1369 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1371 \time 6/8 c c c c8. c16 c8
1374 If these automatic decisions are not satisfactory, beaming can be
1375 entered explicitly; see @ref{Manual beams}. It is also possible
1376 to define beaming patterns that differ from the defaults; see
1377 @ref{Setting automatic beam behavior}. The default beaming rules
1378 are defined in @file{scm/@/auto@/-beam@/.scm}.
1384 Automatic beaming may be turned off and on with
1385 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1387 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1388 c4 c8 c8. c16 c8. c16 c8
1398 Beaming patterns may be altered with the @code{beatGrouping} property,
1400 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1402 \set beatGrouping = #'(2 3)
1404 \set beatGrouping = #'(3 2)
1408 The beams of consecutive 16th (or shorter) notes are, by default,
1409 not sub-divided. That is, the three (or more) beams stretch
1410 unbroken over entire groups of notes. This behavior can
1411 be modified to sub-divide the beams into sub-groups by setting
1412 the property @code{subdivideBeams}. When set, multiple beams
1413 will be sub-divided at intervals defined by the current value of
1414 @code{beatLength} by reducing the multiple beams to just one beam
1415 between the sub-groups. Note that @code{beatLength} lives in the
1416 @code{Score} context and defaults to a quarter note. It must be
1417 set to a fraction giving the duration of the beam sub-group
1418 using the @code{make-moment} function, as shown here:
1420 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1422 \set subdivideBeams = ##t
1424 % Set beam sub-group length to an eighth note
1425 \set Score.beatLength = #(ly:make-moment 1 8)
1427 % Set beam sub-group length to a sixteenth note
1428 \set Score.beatLength = #(ly:make-moment 1 16)
1431 @funindex subdivideBeams
1434 For more information about @code{make-moment}, see
1435 @ref{Time administration}.
1441 Line breaks are normally forbidden when beams cross bar lines.
1442 This behavior can be changed by setting the @code{breakable}
1443 property: @code{\override Beam #'breakable = ##t}.
1445 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1446 \override Beam #'breakable = ##t
1447 c8 \repeat unfold 15 { c[ c] } c
1450 @cindex beams and line breaks
1451 @cindex beams, kneed
1453 @cindex auto-knee-gap
1455 Kneed beams are inserted automatically when a large gap is
1456 detected between the note heads. This behavior can be tuned
1457 through the @code{auto-knee-gap} property. A kneed beam is
1458 drawn if the gap is larger than the value of
1459 @code{auto-knee-gap} plus the width of the beam object (which
1460 depends on the duration of the notes and the slope of the beam).
1461 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1463 @lilypond[fragment,ragged-right,quote,verbatim]
1465 \override Beam #'auto-knee-gap = #6
1472 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1477 Internals Reference: @rinternals{Beam}.
1482 Automatically kneed cross-staff beams cannot be used together with
1483 hidden staves. See @ref{Hiding staves}.
1485 Beams can collide with note heads and accidentals in other voices
1488 @node Setting automatic beam behavior
1489 @subsubsection Setting automatic beam behavior
1491 @funindex autoBeamSettings
1492 @funindex (end * * * *)
1493 @funindex (begin * * * *)
1494 @cindex automatic beams, tuning
1495 @cindex tuning automatic beaming
1497 @c [TODO: use \applyContext]
1499 In normal time signatures, automatic beams can start on any note
1500 but can end in only a few positions within the measure: beams can
1501 end on a beat, or at durations specified by the properties in
1502 @code{autoBeamSettings}. The properties in
1503 @code{autoBeamSettings} consist of a list of rules for where beams
1504 can begin and end. The default @code{autoBeamSettings} rules are
1505 defined in @file{scm/@/auto@/-beam@/.scm}.
1507 In order to add a rule to the list, use
1509 #(override-auto-beam-setting '(be p q n m) a b [context])
1514 @item @code{be} is either @code{begin} or @code{end}.
1516 @item @code{p/q} is the duration of the note for which you want
1517 to add a rule. A beam is considered to have the duration of its
1518 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1519 have this apply to any beam.
1521 @item @code{n/m} is the time signature to which
1522 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1523 to have this apply in any time signature.
1525 @item @code{a/b} is the position in the bar at which the beam should
1528 @item @code{context} is optional, and it specifies the context at which
1529 the change should be made. The default is @code{'Voice}.
1531 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1532 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1536 For example, if automatic beams should always end on the first quarter
1540 #(override-auto-beam-setting '(end * * * *) 1 4)
1543 You can force the beam settings to only take effect on beams whose shortest
1544 note is a certain duration
1546 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1548 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1550 a32 a a a a16 a a a a a |
1551 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1552 a32 a a a a16 a a a a a |
1555 You can force the beam settings to only take effect in certain time
1558 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1560 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1568 You can also remove a previously set beam-ending rule by using
1571 #(revert-auto-beam-setting '(be p q n m) a b [context])
1575 @code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
1576 @code{b} and @code{context} are the same as above. Note that the
1577 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1578 so you can revert rules that you did not explicitly create.
1580 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1582 a16 a a a a a a a a a a a a a a a
1583 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1584 a16 a a a a a a a a a a a a a a a
1587 The rule in a @code{revert-auto-beam-setting} statement must exactly
1588 match the original rule. That is, no wildcard expansion is taken into
1591 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1593 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1595 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1597 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1603 @c TODO: old material -- not covered by above stuff, I think.
1604 If automatic beams should end on every quarter in 5/4 time, specify
1607 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1608 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1609 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1610 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1614 The same syntax can be used to specify beam starting points. In this
1615 example, automatic beams can only end on a dotted quarter note
1617 #(override-auto-beam-setting '(end * * * *) 3 8)
1618 #(override-auto-beam-setting '(end * * * *) 1 2)
1619 #(override-auto-beam-setting '(end * * * *) 7 8)
1621 In 4/4 time signature, this means that automatic beams could end only on
1622 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1623 3/8, has passed within the measure).
1625 If any unexpected beam behavior occurs, check the default automatic beam
1626 settings in @file{scm/@/auto@/-beam@/.scm}
1627 for possible interference, because the beam
1628 endings defined there will still apply on top of your own overrides. Any
1629 unwanted endings in the default vales must be reverted for your time
1632 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1636 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1637 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1638 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1639 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1642 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1643 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1644 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1647 @cindex automatic beam generation
1649 @funindex autoBeaming
1652 If beams are used to indicate melismata in songs, then automatic
1653 beaming should be switched off with @code{\autoBeamOff}.
1658 @funindex \autoBeamOff
1659 @code{\autoBeamOff},
1660 @funindex \autoBeamOn
1666 If a score ends while an automatic beam has not been ended and is
1667 still accepting notes, this last beam will not be typeset at all.
1668 The same holds for polyphonic voices, entered with @code{<<
1669 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1670 automatic beam is still accepting notes, it is not typeset.
1679 @subsubsection Manual beams
1681 @cindex beams, manual
1683 In some cases it may be necessary to override the automatic
1684 beaming algorithm. For example, the autobeamer will not put beams
1685 over rests or bar lines, and in choral scores the beaming is
1686 often set to follow the meter of the lyrics rather than the
1687 notes. Such beams can be specified manually by
1688 marking the begin and end point with @code{[} and @code{]}
1690 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1692 r4 r8[ g' a r8] r8 g[ | a] r8
1697 Individual notes may be marked with @code{\noBeam} to prevent them
1700 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1701 \time 2/4 c8 c\noBeam c c
1707 @funindex stemLeftBeamCount
1708 @funindex stemRightBeamCount
1710 Even more strict manual control with the beams can be achieved by
1711 setting the properties @code{stemLeftBeamCount} and
1712 @code{stemRightBeamCount}. They specify the number of beams to
1713 draw on the left and right side, respectively, of the next note.
1714 If either property is set, its value will be used only once, and
1715 then it is erased. In this example, the last @code{f} is printed
1716 with only one beam on the left side, i.e., the eighth-note beam of
1717 the group as a whole.
1719 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1723 \set stemLeftBeamCount = #1
1731 @node Feathered beams
1732 @subsubsection Feathered beams
1734 @cindex beams, feathered
1735 @funindex \featherDurations
1737 Feathered beams are used to indicate that a small group of notes
1738 should be played at an increasing (or decreasing) tempo, without
1739 changing the overall tempo of the piece. The extent of the
1740 feathered beam must be indicated manually using @code{[} and
1741 @code{]}, and the beam feathering is turned on by specifying a
1742 direction to the @code{Beam} property @code{grow-direction}.
1744 If the placement of the notes and the sound in the MIDI output
1745 is to reflect the ritardando or accelerando indicated by the
1746 feathered beam the notes must be grouped as a
1747 music expression delimited by braces and preceded by a
1748 @code{featheredDurations} command which specifies the ratio
1749 between the durations of the first and last notes in the group.
1752 show the extent of the beam and the braces show
1753 which notes are to have their durations modified. Normally
1754 these would delimit the same group of notes, but this is not
1755 required: the two commands are independent.
1757 In the following example the eight 16th notes occupy exactly the
1758 same time as a half note, but the first note is one half as long
1759 as the last one, with the intermediate notes gradually
1760 lengthening. The first four 32nd notes gradually speed up, while
1761 the last four 32nd notes are at a constant tempo.
1763 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1764 \override Beam #'grow-direction = #LEFT
1765 \featherDurations #(ly:make-moment 2 1)
1766 { c16[ c c c c c c c] }
1767 \override Beam #'grow-direction = #RIGHT
1768 \featherDurations #(ly:make-moment 2 3)
1770 % revert to non-feathered beams
1771 \override Beam #'grow-direction = #'()
1776 The spacing in the printed output represents the
1777 note durations only approximately, but the midi output is exact.
1781 The @code{\featherDurations} command only works with very short
1782 music snippets, and when numbers in the fraction are small.
1798 * Bar and bar number checks::
1803 @subsubsection Bar lines
1807 @cindex measure lines
1810 Bar lines delimit measures, and are also used to indicate
1811 repeats. Normally, simple bar lines are automatically inserted
1812 into the printed output at places based on the current time
1815 The simple bar lines inserted automatically can be changed to
1816 other types with the @code{\bar} command. For example, a closing
1817 double bar line is usually placed at the end of a piece:
1819 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1823 @warning{An incorrect duration can lead to poorly formatted
1826 It is not invalid if the final note in a measure does not
1827 end on the automatically entered bar line: the note is assumed
1828 to carry over into the next measure. But if a long sequence
1829 of such carry-over measures appears the music can appear compressed
1830 or even flowing off the page. This is because automatic line
1831 breaks happen only at the end of complete measures, i.e., where
1832 the end of a note coincides with the end of a measure.
1835 @cindex bar lines, invisible
1836 @cindex measure lines, invisible
1838 Line breaks are also permitted at manually inserted bar lines
1839 even within incomplete measures. To allow a line break without
1840 printing a bar line, use
1847 This will insert an invisible bar line and allow (but not
1848 force) a line break to occur at this point. The bar number
1849 counter is not increased. To force a line break see
1850 @ref{Line breaking}.
1852 This and other special bar lines may be inserted manually at any
1853 point. When they coincide with the end of a measure they replace
1854 the simple bar line which would have been inserted there
1855 automatically. When they do not coincide
1856 with the end of a measure the specified bar line is inserted at that
1857 point in the printed output. Such insertions do not affect
1858 the calculation and placement of subsequent automatic bar lines.
1860 The simple bar line and four types of double bar line are available
1861 for manual insertion:
1863 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1864 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1868 together with dotted and dashed bar lines:
1870 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1871 f1 \bar ":" g \bar "dashed" a
1875 and three types of repeat bar line:
1877 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1878 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1883 Although the bar line types signifying repeats may be inserted
1884 manually they do not in themselves cause LilyPond to recognize
1885 a repeated section. Such repeated sections are better entered
1886 using the various repeat commands (see @ref{Repeats}), which
1887 automatically print the appropriate bar lines.
1889 In addition, you can specify @code{"||:"}, which is equivalent to
1890 @code{"|:"} except at line breaks, where it gives a double bar
1891 line at the end of the line and a start repeat at the beginning of
1894 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1895 \override Score.RehearsalMark #'padding = #3
1903 In scores with many staves, a @code{\bar} command in one staff is
1904 automatically applied to all staves. The resulting bar lines are
1905 connected between different staves of a @code{StaffGroup},
1906 @code{PianoStaff}, or @code{GrandStaff}.
1908 @lilypond[quote,ragged-right,fragment,verbatim]
1916 \new Staff { \clef bass c4 g e g }
1918 \new Staff { \clef bass c2 c2 }
1926 @funindex defaultBarType
1928 The command @code{\bar }@var{bartype} is a shortcut for
1929 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1930 created whenever the @code{whichBar} property is
1933 The default bar type used for automatically inserted bar lines is
1934 @code{"|"}. This may be changed at any time
1935 with @code{\set Timing.defaultBarType = }@var{bartype}.
1939 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1940 @c FIXME: node name changed, but is subject to further changes.
1941 @c @ref{System start delimiters}.
1946 Internals Reference: @rinternals{BarLine} (created at
1947 @rinternals{Staff} level), @rinternals{SpanBar} (across
1948 staves), @rinternals{Timing_translator} (for Timing
1953 @subsubsection Bar numbers
1956 @cindex measure numbers
1957 @funindex currentBarNumber
1959 Bar numbers are typeset by default at the start of every line except
1960 the first line. The number itself is stored in the
1961 @code{currentBarNumber} property, which is normally updated
1962 automatically for every measure. It may also be set manually:
1964 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1967 \set Score.currentBarNumber = #50
1974 @funindex barNumberVisibility
1975 @cindex bar numbers, regular spacing
1977 Bar numbers can be typeset at regular intervals instead of just at
1978 the beginning of every line. To do this the default behavior
1979 must be overridden to permit bar numbers to be printed at places
1980 other than the start of a line. This is controlled by the
1981 @code{break-visibility} property of @code{BarNumber}. This takes
1982 three values which may be set to @code{#t} or @code{#f} to specify
1983 whether the corresponding bar number is visible or not. The order
1984 of the three values is @code{end of line visible}, @code{middle of
1985 line visible}, @code{beginning of line visible}. In the following
1986 example bar numbers are printed at all possible places:
1988 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1989 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1990 \set Score.currentBarNumber = #11
1991 \bar "" % Permit first bar number to be printed
1997 @c All the rest of these examples will be added to LSR
1998 @c and moved into the Snippets. -gp
2001 and here the bar numbers are printed every two measures
2002 except at the end of the line:
2004 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2005 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
2006 \set Score.currentBarNumber = #11
2007 \bar "" % Permit first bar number to be printed
2008 % Print a bar number every second measure
2009 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2015 @cindex measure number, format
2016 @cindex bar number, format
2018 The size of the bar number may be changed. This is illustrated
2019 in the following example, which also shows how to enclose bar
2020 numbers in boxes and circles, and shows an alternative way
2021 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2023 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2024 % Prevent bar numbers at the end of a line and permit them elsewhere
2025 \override Score.BarNumber #'break-visibility
2026 = #end-of-line-invisible
2028 % Increase the size of the bar number by 2
2029 \override Score.BarNumber #'font-size = #2
2030 \repeat unfold 3 { c1 } \bar "|"
2032 % Draw a box round the following bar number(s)
2033 \override Score.BarNumber #'stencil
2034 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2035 \repeat unfold 3 { c1 } \bar "|"
2037 % Draw a circle round the following bar number(s)
2038 \override Score.BarNumber #'stencil
2039 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2040 \repeat unfold 4 { c1 } \bar "|."
2043 @cindex bar number alignment
2045 Bar numbers by default are left-aligned to their parent object.
2046 This is usually the left edge of a line or, if numbers are printed
2047 within a line, the left bar line of the measure. The numbers may also
2048 be positioned directly on the bar line or right-aligned to the
2051 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2052 \set Score.currentBarNumber = #111
2053 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
2054 % Increase the size of the bar number by 2
2055 \override Score.BarNumber #'font-size = #2
2056 % Print a bar number every second measure
2057 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2059 % Center-align bar numbers
2060 \override Score.BarNumber #'self-alignment-X = #0
2062 % Right-align bar numbers
2063 \override Score.BarNumber #'self-alignment-X = #-1
2067 Bar numbers can be removed entirely by removing the
2068 @code{Bar_number_engraver} from the @code{Score} context.
2070 @lilypond[verbatim,ragged-right,quote]
2074 \remove "Bar_number_engraver"
2089 Internals Reference: @rinternals{BarNumber}.
2094 Bar numbers may collide with the top of the
2095 @rinternals{StaffGroup} bracket, if there is one. To solve
2096 this, the @code{padding} property of @rinternals{BarNumber} can
2097 be used to position the number correctly.
2099 Bar numbers may only be printed at bar lines; to print a bar
2100 number at the beginning of a piece, an empty bar line must be
2101 inserted there, and a value other than @code{1} must be placed
2102 in @code{currentBarNumber}:
2104 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2105 \set Score.currentBarNumber = #50
2114 @node Bar and bar number checks
2115 @subsubsection Bar and bar number checks
2118 @funindex barCheckSynchronize
2121 Bar checks help detect errors in the entered durations.
2122 A bar check may be entered using the bar symbol, @code{|},
2123 at any place where a bar line is expected to fall.
2124 If bar check lines are encountered at other places,
2125 a list of warnings is printed in the log file,
2126 showing the line numbers and lines
2127 in which the bar checks failed. In the next
2128 example, the second bar check will signal an error.
2131 \time 3/4 c2 e4 | g2 |
2134 Bar checks can also be used in lyrics, for example
2139 Twin -- kle | Twin -- kle |
2143 An incorrect duration can result in a completely garbled score,
2144 especially if the score is polyphonic, so a good place to start
2145 correcting input is by scanning for failed bar checks and
2146 incorrect durations.
2149 @funindex pipeSymbol
2151 It is also possible to redefine the action taken when a bar check
2152 or pipe symbol, @code{|}, is encountered in the input, so that
2153 it does something other than a bar check. This is done by
2154 assigning a music expression to @code{pipeSymbol}.
2155 In the following example @code{|} is set to insert a double bar
2156 line wherever it appears in the input, rather than checking
2159 @lilypond[quote,ragged-right,verbatim]
2160 pipeSymbol = \bar "||"
2169 When copying large pieces of music, it can be helpful to check
2170 that the LilyPond bar number corresponds to the original that you
2171 are entering from. This can be checked with
2172 @code{\barNumberCheck}, for example,
2175 \barNumberCheck #123
2179 will print a warning if the @code{currentBarNumber} is not 123
2180 when it is processed.
2188 @node Rehearsal marks
2189 @subsubsection Rehearsal marks
2191 @cindex rehearsal marks
2192 @cindex mark, rehearsal
2195 To print a rehearsal mark, use the @code{\mark} command
2197 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2206 The letter@tie{}@q{I} is skipped in accordance with engraving
2207 traditions. If you wish to include the letter @q{I}, then use
2210 \set Score.markFormatter = #format-mark-alphabet
2213 The mark is incremented automatically if you use @code{\mark
2214 \default}, but you can also use an integer argument to set the
2215 mark manually. The value to use is stored in the property
2216 @code{rehearsalMark}.
2218 @cindex rehearsal mark format
2219 @cindex rehearsal mark style
2220 @cindex style, rehearsal mark
2221 @cindex format, rehearsal mark
2222 @cindex mark, rehearsal, style
2223 @cindex mark, rehearsal, format
2225 The style is defined by the property @code{markFormatter}. It is
2226 a function taking the current mark (an integer) and the current
2227 context as argument. It should return a markup object. In the
2228 following example, @code{markFormatter} is set to a pre-defined
2229 procedure. After a few measures, it is set to a procedure that
2230 produces a boxed number.
2232 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2233 \set Score.markFormatter = #format-mark-numbers
2236 \set Score.markFormatter = #format-mark-box-numbers
2242 The file @file{scm/@/translation@/-functions@/.scm} contains the
2243 definitions of @code{format-mark-numbers} (the default format),
2244 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2245 @code{format-mark-box-letters}. These can be used as inspiration
2246 for other formatting functions.
2248 You may use @code{format-mark-barnumbers},
2249 @code{format-mark-box-barnumbers}, and
2250 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2251 incremented numbers or letters.
2253 Other styles of rehearsal mark can be specified manually
2260 @code{Score.markFormatter} does not affect marks specified in this
2261 manner. However, it is possible to apply a @code{\markup} to the
2265 \mark \markup@{ \box A1 @}
2272 Music glyphs (such as the segno sign) may be printed inside a
2275 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2276 c1 \mark \markup { \musicglyph #"scripts.segno" }
2277 c1 \mark \markup { \musicglyph #"scripts.coda" }
2278 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2283 See @ref{The Feta font}, for a list of symbols which may be
2284 printed with @code{\musicglyph}.
2286 For common tweaks to the positioning of rehearsal marks, see
2287 @ref{Formatting text}.
2294 This manual: @ref{The Feta font}, @ref{Formatting text}.
2296 Internals Reference: @rinternals{RehearsalMark}.
2298 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2299 the definition of @code{format-mark-numbers} and
2300 @code{format-mark-letters}. They can be used as inspiration for
2301 other formatting functions.
2303 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2306 @node Special rhythmic concerns
2307 @subsection Special rhythmic concerns
2312 * Aligning to cadenzas::
2313 * Time administration::
2317 @subsubsection Grace notes
2322 @cindex appoggiatura
2323 @cindex acciaccatura
2325 Grace notes are ornaments that are written out. They are made with
2326 the @code{\grace} command. By prefixing this keyword to a music
2327 expression, a new one is formed, which will be printed in a
2328 smaller font and takes up no logical time in a measure.
2330 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2332 \grace { c16[ d16] } c2 c4
2335 Two special forms of the @code{\grace} command exist.
2336 An @emph{acciaccatura}, which should be played as very short,
2337 is denoted by a slurred small note with a slashed stem. The
2338 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2339 main note, is denoted as a slurred note in small print without
2340 a slash. They are entered with the commands @code{\acciaccatura}
2341 and @code{\appoggiatura}, as demonstrated in the following
2344 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2345 b4 \acciaccatura d8 c4
2347 \acciaccatura { g16[ f] } e4
2351 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2352 @code{\grace} does not.
2354 The placement of grace notes is synchronized between different
2355 staves. In the following example, there are two sixteenth grace
2356 notes for every eighth grace note
2358 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2359 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2360 \new Staff { c4 \grace { g8[ b] } c4 } >>
2363 @funindex \afterGrace
2365 @cindex grace notes, following
2367 If you want to end a note with a grace, use the @code{\afterGrace}
2368 command. It takes two arguments: the main note, and the grace
2369 notes following the main note.
2371 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2372 c1 \afterGrace d1 { c16[ d] } c4
2375 This will put the grace notes after a @q{space} lasting 3/4 of the
2376 length of the main note. The fraction 3/4 can be changed by
2377 setting @code{afterGraceFraction}, i.e.,
2380 #(define afterGraceFraction (cons 7 8))
2384 will put the grace note at 7/8 of the main note.
2386 The same effect can be achieved manually by doing
2388 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2391 { s2 \grace { c16[ d] } } >>
2397 By adjusting the duration of the skip note (here it is a
2398 half-note), the space between the main note and the grace
2401 A @code{\grace} music expression will introduce special
2402 typesetting settings, for example, to produce smaller type, and
2403 set directions. Hence, when introducing layout tweaks, they
2404 should be inside the grace expression, for example,
2406 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2418 The overrides should also be reverted inside the grace expression.
2420 The layout of grace expressions can be changed throughout the
2421 music using the function @code{add-grace-property}. The following
2422 example undefines the @code{Stem} direction for this grace, so
2423 that stems do not always point up.
2427 #(add-grace-property 'Voice 'Stem 'direction '())
2433 Another option is to change the variables @code{startGraceMusic},
2434 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2435 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2436 @code{stopAppoggiaturaMusic}. The default values of these can be
2437 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2438 them other effects may be obtained.
2440 @cindex stem, with slash
2443 The slash through the stem in @emph{acciaccatura}s can be obtained in
2444 other situations by @code{\override Stem #'stroke-style =
2450 Grace notes may be forced to use align with regular notes
2451 in other staves by setting @code{strict-grace-spacing} to
2454 @lilypond[relative=2,ragged-right]
2456 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2465 c'16[ c'16 c'16 c'16]
2466 c'16[ c'16 c'16 c'16]
2476 @rglos{grace notes},
2477 @rglos{acciaccatura},
2478 @rglos{appoggiatura}
2483 Internals Reference: @rinternals{GraceMusic}.
2488 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2489 and looks exactly the same as a multi-note beamed
2490 @emph{appoggiatura}.
2491 @c TODO Add link to LSR snippet to add slash when available
2493 Grace note synchronization can also lead to surprises. Staff
2494 notation, such as key signatures, bar lines, etc., are also
2495 synchronized. Take care when you mix staves with grace notes and
2496 staves without, for example,
2498 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2499 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2500 \new Staff { c4 \bar "|:" d4 } >>
2504 This can be remedied by inserting grace skips of the corresponding
2505 durations in the other staves. For the above example
2507 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2508 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2509 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2512 Grace sections should only be used within sequential music
2513 expressions. Nesting or juxtaposing grace sections is not
2514 supported, and might produce crashes or other errors.
2516 @node Aligning to cadenzas
2517 @subsubsection Aligning to cadenzas
2520 @cindex cadenza, aligning to
2521 @cindex aligning to cadenza
2523 In an orchestral context, cadenzas present a special problem: when
2524 constructing a score that includes a cadenza, all other
2525 instruments should skip just as many notes as the length of the
2526 cadenza, otherwise they will start too soon or too late.
2528 A solution to this problem is to use the functions
2529 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2530 functions take a piece of music as argument, and generate a multi-measure
2531 rest or @code{\skip}, exactly as long as the piece. The use of
2532 @code{mmrest-of-length} is demonstrated in the following example.
2534 @lilypond[verbatim,ragged-right,quote]
2535 cadenza = \relative c' {
2536 c4 d8 << { e f g } \\ { d4. } >>
2541 \new Staff { \cadenza c'4 }
2543 #(ly:export (mmrest-of-length cadenza))
2555 @node Time administration
2556 @subsubsection Time administration
2558 @cindex time administration
2559 @cindex timing (within the score)
2560 @cindex music, unmetered
2561 @cindex unmetered music
2563 @funindex currentBarNumber
2564 @funindex measurePosition
2565 @funindex measureLength
2567 Time is administered by the @code{Timing_translator}, which by
2568 default is to be found in the @code{Score} context. An alias,
2569 @code{Timing}, is added to the context in which the
2570 @code{Timing_translator} is placed.
2572 The following properties of @code{Timing} are used
2573 to keep track of timing within the score.
2576 @cindex measure number
2579 @item currentBarNumber
2580 The current measure number. For an example showing the
2581 use of this property see @ref{Bar numbers}.
2584 The length of the measures in the current time signature. For a
2585 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2586 determines when bar lines are inserted and how automatic beams
2587 should be generated.
2589 @item measurePosition
2590 The point within the measure where we currently are. This
2591 quantity is reset by subtracting @code{measureLength} whenever
2592 @code{measureLength} is reached or exceeded. When that happens,
2593 @code{currentBarNumber} is incremented.
2596 If set to true, the above variables are updated for every time
2597 step. When set to false, the engraver stays in the current
2598 measure indefinitely.
2602 Timing can be changed by setting any of these variables
2603 explicitly. In the next example, the default 4/4 time
2604 signature is printed, but @code{measureLength} is set to 5/4.
2605 At 4/8 through the third measure, the @code{measurePosition} is
2606 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2607 The next bar line then falls at 9/8 rather than 5/4.
2609 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2610 \set Score.measureLength = #(ly:make-moment 5 4)
2614 \set Score.measurePosition = #(ly:make-moment 5 8)
2620 As the example illustrates, @code{ly:make-moment n m} constructs a
2621 duration of n/m of a whole note. For example,
2622 @code{ly:make-moment 1 8} is an eighth note duration and
2623 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2629 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2634 Internals Reference: @rinternals{Timing_translator},