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 \compressMusic -> \scaleDurations.
15 approved by Han-Wen; just needs somebody to kick up a fuss about
18 1.2.3.1 Time signature
19 Needs an example of beatLength, which is broken (see my recent
21 to -bug). What to do? For now I've left a paragraph of text
23 needs to be inserted with an example in a snippet.
25 1.2.3.4 Polymetric notation
26 Quite extensive changes. Could you please check through. Divided
28 sections. Necessarily uses tweaks. I've also left an @lsr under
30 Snippets - is this permitted or is @lsr now verboten? This
32 long to include, but seems relevant.
33 A snippet "grouping beats" hasn't yet appeared (only sent to vv a
35 days ago). Text left in Snippets: with TODO.
41 @lilypondfile[quote]{rhythms-headword.ly}
43 This section discusses rhythms, rests, durations, beaming and bars.
48 * Displaying rhythms::
51 * Special rhythmic concerns::
56 @subsection Writing rhythms
66 @subsubsection Durations
68 @cindex durations, of notes
69 @cindex note durations
75 Durations are designated by numbers and dots.
76 Durations are entered as their reciprocal values. For example, a
77 quarter note is entered using a @code{4} (since it is a 1/4 note),
78 and a half note is entered using a @code{2} (since it is a 1/2
79 note). For notes longer than a whole you must use the
80 @code{\longa} (a double breve) and @code{\breve} commands.
81 Durations as short as 64th notes may be specified. Shorter values
82 are possible, but only as beamed notes.
84 @c Two 64th notes are needed to obtain beams
85 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
92 Here are the same durations with automatic beaming turned off.
94 @c not strictly "writing rhythms"; more of a "displaying" thing,
95 @c but it's ok here. -gp
96 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
100 c4 c8 c16 c32 c64 c64
103 A note with the duration of a quadruple breve may be entered with
104 @code{\maxima}, but this is supported only within ancient music
105 notation. For details, see @ref{Ancient notation}.
107 If the duration is omitted, it is set to the previously
108 entered duration. The default for the first note is a quarter
111 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
115 @cindex notes, dotted
120 To obtain dotted note lengths, place a dot (@code{.}) after the
121 duration. Double-dotted notes are specified by appending two
124 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
125 a4 b c4. b8 a4. b4.. c8.
128 Some durations cannot be represented with just binary durations
129 and dots; they can be represented only by tying two or more
130 notes together. For details, see @ref{Ties}.
132 For ways of specifying durations for the syllables of lyrics and
133 ways of aligning lyrics to notes, see @ref{Vocal music}.
135 Optionally, notes can be spaced strictly proportionately to their
136 duration. For details of this and other settings which control
137 proportional notation, see @ref{Proportional notation}.
141 @funindex \dotsNeutral
143 Dots are normally moved up to avoid staff lines, except in
144 polyphonic situations. Predefined commands are available to
145 force a particular direction manually, for details
146 see @ref{Controlling direction and placement}.
162 @rglos{Duration names notes and rests}.
165 @ref{Automatic beams},
167 @ref{Writing rhythms},
170 @ref{Ancient notation},
171 @ref{Proportional notation}.
178 @rinternals{DotColumn}.
183 @c Deliberately duplicated in Durations and Rests. -gp
184 There is no fundamental limit to rest durations (both in terms of
185 longest and shortest), but the number of glyphs is limited:
186 rests from 128th to maxima (8 x whole) may be printed.
190 @subsubsection Tuplets
196 Tuplets are made from a music expression by multiplying all the
197 durations with a fraction:
200 \times @var{fraction} @{ @var{music} @}
204 The duration of @var{music} will be multiplied by the
205 fraction. The fraction's denominator will be printed over or
206 under the notes, optionally with a bracket. The most common
207 tuplet is the triplet in which 3 notes have the duration of 2, so
208 the notes are 2/3 of their written length.
210 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
211 a2 \times 2/3 { b4 b b }
212 c4 c \times 2/3 { b4 a g }
217 @funindex \tupletDown
218 @funindex \tupletNeutral
220 The automatic placement of the tuplet bracket above or below the
221 notes may be overridden manually with predefined commands, for
222 details see @ref{Controlling direction and placement}.
224 Tuplets may be nested:
226 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
228 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
231 Modifying nested tuplets which begin at the same musical moment
232 must be done with @code{\tweak}.
234 To modify the duration of notes without printing a tuplet bracket,
235 see @ref{Scaling durations}.
241 @code{\tupletNeutral}.
246 @cindex tuplet formatting
247 @cindex triplet formatting
249 @funindex tupletNumberFormatFunction
250 @funindex tupletSpannerDuration
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {entering-several-tuplets-using-only-one--times-command.ly}
255 @funindex TupletNumber
257 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
258 {changing-the-tuplet-number.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{Objects connected to the input},
276 @ref{Polymetric notation}.
282 @rinternals{TupletBracket},
283 @rinternals{TupletNumber},
284 @rinternals{TimeScaledMusic}.
287 @cindex grace notes within tuplet brackets
288 When the very first note on a staff is a grace note followed by a
289 tuplet the grace note must be placed before the @code{\times}
290 command to avoid errors. Anywhere else, grace notes may be
291 placed within tuplet brackets.
294 @node Scaling durations
295 @subsubsection Scaling durations
297 @cindex scaling durations
298 @cindex durations, scaling
300 TODO Change \compressMusic to \scaleDurations when implemented.
302 You can alter the duration of single notes, rests or chords by a
303 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
304 @code{M} is 1) to the duration.
305 This will not affect the appearance of the notes or rests
306 produced, but the altered duration will be used in calculating the
307 position within the measure and setting the duration in the MIDI
308 output. Multiplying factors may be combined such as @code{*L*M/N}.
310 In the following example, the first three notes take up exactly
311 two beats, but no triplet bracket is printed.
313 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
315 % Alter durations to triplets
316 a4*2/3 gis4*2/3 a4*2/3
319 % Double the duration of chord
321 % Duration of quarter, appears like sixteenth
325 The duration of skip or spacing notes may also be modified by
326 a multiplier. This is useful for skipping many measures, e.g.,
329 @cindex compressing music
330 @funindex \compressMusic
332 Longer stretches of music may be compressed by a fraction in
333 the same way, as if every note, chord or rest had the fraction
334 as a multiplier. The general syntax of the command to do this
338 \compressMusic #'(@emph{num} . @emph{den}) @{ @emph{music} @}
342 This will leave the appearance of @emph{music} unchanged but
343 the internal duration of the notes will be multiplied by the
344 fraction @emph{num}/@emph{den}. The spaces around the dot
345 are required. Here is an example showing how music can be
346 compressed and expanded:
348 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
352 % Scale music by *2/3
353 \compressMusic #'(2 . 3) {
357 \compressMusic #'(2 . 1) {
363 One application of this command is in polymetric
364 notation, see @ref{Polymetric notation}.
372 @ref{Polymetric notation}.
384 A tie connects two adjacent note heads of the same pitch. The tie
385 in effect extends the duration of a note.
387 @warning{Ties should not be confused with @emph{slurs}, which
388 indicate articulation, or @emph{phrasing slurs}, which indicate
389 musical phrasing. A tie is just a way of extending a note
390 duration, similar to the augmentation dot.}
392 A tie is entered using the tilde symbol @code{~}
394 @lilypond[quote,ragged-right,fragment,verbatim]
400 Ties are used either when the note crosses a bar line, or when
401 dots cannot be used to denote the rhythm. Ties should also be
402 used when note values cross larger subdivisions of the measure:
404 @lilypond[fragment,quote,ragged-right]
411 If you need to tie many notes across bar lines, it may be
412 easier to use automatic note splitting, see @ref{Automatic note
413 splitting}. This mechanism automatically splits long notes, and
414 ties them across bar lines.
416 @cindex ties and chords
417 @cindex chords and ties
419 When a tie is applied to a chord, all note heads whose pitches
420 match are connected. When no note heads match, no ties will be
421 created. Chords may be partially tied by placing the tie inside
424 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
426 <c~ e g~ b> <c e g b>
430 @cindex repeating ties
431 @cindex ties, repeating
432 @cindex volta brackets and ties
433 @cindex ties and volta brackets
435 When a second alternative of a repeat starts with a tied note, you
436 have to specify the repeated tie as follows:
438 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
439 \repeat volta 2 { c g <c e>2 ~ }
441 % First alternative: following note is tied normally
443 % Second alternative: following note has a repeated tie
444 { <c e>2\repeatTie d4 c } }
447 @cindex laissez vibrer
448 @cindex ties, laissez vibrer
449 @funindex \laissezVibrer
451 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
452 notes must not be damped at the end. It is used in notation for
453 piano, harp and other string and percussion instruments. They can
454 be entered as follows:
456 @lilypond[fragment,quote,ragged-right,verbatim,relative=1]
457 <c f g>\laissezVibrer
460 @cindex ties, placement
463 @funindex \tieNeutral
465 The vertical placement of ties may be controlled, see
466 Predefined commands, or for details, see
467 @ref{Controlling direction and placement}.
469 @cindex ties, appearance
474 Solid, dotted or dashed ties may be specified, see Predefined
490 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
491 {using-ties-with-arpeggios.ly}
493 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
494 {engraving-ties-manually.ly}
501 @rglos{laissez vibrer}.
503 Notation Reference: @ref{Automatic note splitting}.
509 @rinternals{LaissezVibrerTie},
510 @rinternals{LaissezVibrerTieColumn},
511 @rinternals{TieColumn},
517 Switching staves when a tie is active will not produce a slanted
520 Changing clefs or octavations during a tie is not really
521 well-defined. In these cases, a slur may be preferable.
528 @subsection Writing rests
533 * Full measure rests::
549 Rests are entered like notes with the note name @code{r};
550 longer rests with the predefined commands shown:
552 @c \time 16/1 is used to avoid spurious bar lines
553 @c and long tracts of empty measures
554 @lilypond[fragment,quote,ragged-right,verbatim]
556 % These two lines are just to prettify this example
558 \override Staff.TimeSignature #'stencil = ##f
559 % Print a maxima rest, equal to four breves
561 % Print a longa rest, equal to two breves
565 r1 r2 r4 r8 r16 r32 r64
569 Whole measure rests, centered in the middle of the measure, must
570 be entered as multi-measure rests. They can be used for a single
571 measure as well as many measures and are discussed in
572 @ref{Full measure rests}.
574 To explicitly specify a rest's vertical position, write a note
575 followed by @code{\rest}. A rest will be placed in the position
576 where the note would appear. This allows for precise manual
577 formatting of polyphonic music, since the automatic rest collision
578 formatter will leave these rests alone.
580 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
586 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
592 Notation Reference: @ref{Full measure rests}
597 Internals Reference: @rinternals{Rest}
602 @c Deliberately duplicated in Durations and Rests. -gp
603 There is no fundamental limit to rest durations (both in terms of
604 longest and shortest), but the number of glyphs is limited: there
605 are rests from 128th to maxima (8 x whole).
611 @cindex invisible rest
612 @cindex rest, invisible
618 An invisible rest (also called a @q{skip rest}) can be entered like a
619 note with note name @code{s} or with the predefined skip command
620 followed by the required duration, as shown here:
622 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
623 % Skip the third beat in the first measure
625 % Use skip command to skip a whole note (measure)
632 The @code{s} syntax is only available in note mode and chord mode.
633 In other situations, for example, when entering lyrics, one must
634 use the predefined skip command:
636 @lilypond[quote,ragged-right,verbatim,relative=2]
639 \new Lyrics \lyricmode { \skip 2 bla2 }
643 The @code{s} skip rest implicitly causes @code{Staff} and
644 @code{Voice} contexts to be created if none exist, just
645 like notes and rests do. These in turn cause a staff with default
646 clef and time signature to be printed, with bar lines if necessary.
647 For example, the following results in a complete staff with three
648 short empty measures:
650 @lilypond[quote,verbatim,fragment,ragged-right]
654 However, the predefined skip command behaves differently: it is
655 merely an empty musical placeholder. It does not create any
656 contexts and does not cause anything to be printed, not even
657 transparently. On its own it does not even print an
661 % This is valid input, but does nothing
670 Internals Reference: @rinternals{SkipMusic}
673 @node Full measure rests
674 @subsubsection Full measure rests
676 @cindex multi-measure rests
677 @cindex full-measure rests
678 @cindex rest, multi-measure
679 @cindex rest, full-measure
680 @cindex whole rest for a full measure
683 Rests for one or more full measures are entered like notes with
684 the note name uppercase @code{R}:
686 @lilypond[quote,fragment,verbatim,relative=2]
687 % Rest bars contracted to single bar
688 \compressFullBarRests
695 @funindex \expandFullBarRests
696 @funindex \compressFullBarRests
697 @cindex multi-measure rest, expanding
698 @cindex multi-measure rest, contracting
700 By default a multi-measure rest is expanded in the printed score
701 to show all the rest measures explicitly or (as in the example
702 above) it can be contracted to a single measure containing a
703 multi-measure rest symbol, with the number of measures of rest
704 printed above the measure:
706 @lilypond[quote,ragged-right,fragment,verbatim]
708 \time 3/4 r2. | R2.*2 |
711 % Rest measures contracted to single measure
712 \compressFullBarRests
714 % Rest measures expanded
720 The @code{1} in @code{R1} is similar to the duration notation
721 used for notes and is the length of a measure in 2/2 or 4/4 time.
722 The duration in a multi-measure rest must always be an integral
723 number of measure-lengths, so in other time signatures augmentation
724 dots or fractions must be used:
726 @lilypond[quote,ragged-right,fragment,verbatim]
727 \compressFullBarRests
731 R1*13/8 | R1*13/8*12 |
736 An @code{R} spanning a single measure is printed as either a whole
737 or breve rest, centered in the measure, regardless of the time
741 @cindex text on multi-measure rest
742 @cindex multi-measure rest, attaching text
743 @cindex script on multi-measure rest
744 @cindex multi-measure rest, script
745 @cindex fermata on multi-measure rest
746 @cindex multi-measure rest, attaching fermata
748 Text can be added to multi-measure rests by using the
749 @var{note} - @code{\markup} syntax described in
750 @ref{Formatting text}. The predefined command @code{\fermataMarkup}
751 is provided for adding fermatas.
753 @lilypond[quote,ragged-right,verbatim,fragment]
754 \compressFullBarRests
756 R2.*10^\markup { \italic "ad lib." }
760 @warning{Text attached to a multi-measure rest is created
761 by @code{MultiMeasureRestText}, not
762 @code{TextScript}. Overrides must be directed to the correct
763 object, or they will be ignored. See the following example.}
765 @lilypond[quote,ragged-right,verbatim,fragment]
766 % This fails, as the wrong object name is specified
767 \override TextScript #'padding = #5
769 % This is correct and works
770 \override MultiMeasureRestText #'padding = #5
774 Text attached to a multi-measure rest will be centered above or
775 below it. Long text attached in this way does not cause the
776 measure to expand, and may collide with text in adjacent measures.
777 This behavior may be changed with the predefined command
778 @code{\textLengthOn}, which will cause following bars to expand
779 as necessary to accommodate text. @code{\textLengthOff} returns
780 to the default behavior. To left-align text within a bar attach
781 it to a zero-length skip note preceding the rest.
783 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
784 \compressFullBarRests
786 s1*0^\markup { [MAJOR GENERAL] }
788 s1*0^\markup { [MABEL] }
789 s1*0_\markup { \italic { Cue: ... it is yours } }
792 c4^\markup { CHORUS } d f c
796 Text attached to a skip note in this way is left-aligned to the
797 position where the note would be placed in the measure, and placed
798 above the measure count numeral, but if the measure length is
799 determined by the length of the text, the text will appear to be
800 centered. If two (or more) texts are
801 attached to skip notes in a measure the measure length is determined by
802 the longer text, and the shorter text is then clearly
803 left-aligned, as shown in the second measure above. If the shorter
804 text of two marks is short enough to fit it will be placed
805 alongside and to the left of the measure count numeral.
808 @code{\textLengthOn},
809 @code{\textLengthOff},
810 @code{\fermataMarkup},
811 @code{\compressFullBarRests},
812 @code{\expandFullBarRests}.
818 @cindex kirchenpausen
820 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
821 {changing-form-of-multi--measure-rests.ly}
823 @cindex multi-measure rests, positioning
824 @cindex positioning multi-measure rests
826 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
827 {positioning-multi--measure-rests.ly}
832 @rglos{multi-measure rest},
833 @rglos{church rests}.
838 @ref{Formatting text},
845 @rinternals{MultiMeasureRest},
846 @rinternals{MultiMeasureRestNumber},
847 @rinternals{MultiMeasureRestText}.
852 If an attempt is made to use fingerings (e.g.,
853 @code{R1*10-4}) to put numbers over multi-measure rests, the
854 fingering numeral (4) may collide with the bar counter
857 @cindex condensing rests
858 @cindex rests, condensing ordinary
860 There is no way to automatically condense multiple ordinary rests
861 into a single multi-measure rest.
863 @cindex rests, collisions of
865 Multi-measure rests do not take part in rest collisions.
867 Be careful when entering multi-measure rests followed by whole
868 notes. The following will enter two notes lasting four measures
876 @node Displaying rhythms
877 @subsection Displaying rhythms
883 * Polymetric notation::
884 * Automatic note splitting::
885 * Showing melody rhythms::
889 @subsubsection Time signature
891 @cindex time signature
895 The time signature is set as follows:
897 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
902 @cindex Time signature, visibility of
904 Time signatures by default are printed at the start of every line
905 and whenever the time signature changes. If a change takes place
906 at the end of a line a warning time signature sign is printed
907 there. This default behavior may be changed, see
908 @ref{Controlling visibility of objects}.
910 @funindex \numericTimeSignature
911 @funindex \defaultTimeSignature
912 @cindex time signature style
914 The symbol that is printed in 2/2 and 4/4 time can be customized
915 to use a numeric style:
917 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
921 % Change to numeric style
922 \numericTimeSignature
925 % Revert to default style
926 \defaultTimeSignature
932 Ancient time signatures are covered in
933 @ref{Ancient time signatures}.
937 @code{\numericTimeSignature},
938 @code{\defaultTimeSignature}.
942 @c TODO Send as snippet called "setting measure and beat lengths"
943 @c when example is added
944 @code{\time} sets the properties @code{timeSignatureFraction},
945 @code{beatLength}, and @code{measureLength} in the @code{Timing}
946 context, which is normally aliased to @code{Score}. Changing the
947 value of @code{timeSignatureFraction} causes the new time
948 signature symbol to be printed without changing the other
949 properties. The property @code{measureLength} determines where
950 bar lines should be inserted and, with @code{beatLength}, how
951 automatic beams should be generated.
953 TODO Add example of using beatLength.
954 @c beatLength is broken - see bug 511
958 @cindex measure groupings
959 @cindex beats, grouping
960 @cindex grouping beats
961 @cindex measure sub-grouping
963 @c TODO Sent as snippet called "grouping beats" 25 Mar 08
964 Options to group beats within a bar are available through the
965 Scheme function @code{set-time-signature}, which takes three
966 arguments: the number of beats, the beat length, and the internal
967 grouping of beats in the measure. If the
968 @rinternals{Measure_grouping_engraver} is included, the function
969 will also create @rinternals{MeasureGrouping} signs. Such signs
970 ease reading rhythmically complex modern music. In the example,
971 the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
972 @code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
974 @lilypond[quote,ragged-right,verbatim]
977 #(set-time-signature 9 8 '(2 2 2 3))
978 g8[ g] d[ d] g[ g] a8[( bes g]) |
979 #(set-time-signature 5 8 '(3 2))
985 \consists "Measure_grouping_engraver"
990 @c TODO End of snippet called "grouping beats"
992 @cindex compound time signatures
993 @cindex time signature, compound
995 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
996 {compound-time-signatures.ly}
1002 @rglos{time signature}
1005 @ref{Ancient time signatures},
1006 @ref{Time administration}.
1011 Internals Reference:
1012 @rinternals{TimeSignature},
1013 @rinternals{Timing_translator}.
1018 Automatic beaming does not use the measure grouping specified with
1019 @code{set-time-signature}.
1023 @subsubsection Upbeats
1027 @cindex partial measure
1028 @cindex measure, partial
1029 @cindex pickup measure
1030 @cindex measure, change length
1031 @cindex measurePosition
1034 Partial or pick-up measures, such as an anacrusis or upbeat, are
1035 entered using the @code{\partial} command, with the syntax
1038 \partial @var{duration} @emph{notes}
1041 where @code{duration} is the rhythmic length of the @emph{notes}
1042 which are to be placed before the first complete measure:
1044 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1045 \partial 16*5 c16 cis d dis e |
1050 Internally, this is translated into
1053 \set Timing.measurePosition = -@var{duration}
1056 The property @code{measurePosition} contains a rational number
1057 indicating how much of the measure has passed at this point. Note
1058 that this is set to a negative number by the @code{\partial}
1059 command: i.e., @code{\partial 4} is internally translated to
1060 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1065 Music Glossary: @rglos{anacrusis}
1067 Notation Reference: @ref{Grace notes}
1072 Internal Reference: @rinternals{Timing_translator}
1076 @cindex grace notes, in anacruses
1078 This command does not take into account grace notes at the start
1079 of the music. If the pick-up starts with one or more grace
1080 notes, then the @code{\partial} should follow the grace note(s):
1082 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1089 The @code{\partial} command is intended to be used only at the
1090 beginning of a piece. If you use it after the beginning, some
1091 odd warnings may occur.
1093 @node Unmetered music
1094 @subsubsection Unmetered music
1096 @funindex \cadenzaOn
1097 @funindex \cadenzaOff
1098 @cindex bar lines, turning off
1099 @cindex bar numbering, turning off
1101 @cindex unmetered music
1103 Bar lines and bar numbers are calculated automatically. For
1104 unmetered music (cadenzas, for example), this is not desirable.
1105 To turn off automatic bar lines and bar numbers, use the command
1106 @code{\cadenzaOn}, and use @code{\cadenzaOff} to turn them on
1109 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1118 Bar numbering is resumed at the end of the cadenza as if the
1119 cadenza were not there:
1121 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1122 % Show all bar numbers
1123 \override Score.BarNumber #'break-visibility = #all-visible
1139 Music Glossary: @rglos{cadenza}
1141 Notation Reference: @ref{Controlling visibility of objects}
1148 LilyPond will insert line breaks and page breaks only at a
1149 bar line. Unless the unmetered music ends before the end of the
1150 staff line, you will need to insert invisible bar lines with
1157 to indicate where breaks can occur.
1160 @node Polymetric notation
1161 @subsubsection Polymetric notation
1163 @cindex double time signatures
1164 @cindex signatures, polymetric
1165 @cindex polymetric signatures
1166 @cindex meter, polymetric
1168 @strong{Alternating time signatures}
1170 Regularly alternating double time signatures are not supported
1171 explicitly, but they can be faked. In the next example, the
1172 double time signature is created with markup text, while the
1173 real time signature is set in the usual way with @code{\time}.
1175 @lilypond[verbatim,ragged-right]
1176 % Create 9/8 split into 2/4 + 5/8
1177 tsMarkup = \markup {
1178 \override #'(baseline-skip . 2) \number {
1181 \bracket \column { "5" "8" }
1186 \override Staff.TimeSignature #'stencil =
1187 #ly:text-interface::print
1188 \override Staff.TimeSignature #'text = #tsMarkup
1190 c'2 \bar ":" c'4 c'4.
1191 c'2 \bar ":" c'4 c'4.
1195 @strong{Staves with different time signatures, equal measure lengths}
1197 This notation can be created by setting a common time signature
1198 for each staff but replacing the symbol manually by setting
1199 @code{timeSignatureFraction} to the desired fraction and scaling
1200 the printed durations in each staff to the common time
1201 signature. This done with @code{\compressMusic}, which
1202 is used in a similar way to @code{\times}, but does not create
1203 a tuplet bracket, see @ref{Scaling durations}.
1205 In this example, music with the time signatures of 3/4, 9/8, and
1206 10/8 are used in parallel. In the second staff, shown durations
1207 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1208 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1210 @lilypond[quote,ragged-right,verbatim,fragment]
1219 \set Staff.timeSignatureFraction = #'(9 . 8)
1220 \compressMusic #'(2 . 3)
1221 \repeat unfold 6 { c8[ c c] }
1225 \set Staff.timeSignatureFraction = #'(10 . 8)
1226 \compressMusic #'(3 . 5) {
1227 \repeat unfold 2 { c8[ c c] }
1228 \repeat unfold 2 { c8[ c] } |
1229 c4. c4. \times 2/3 { c8 c c } c4
1235 @strong{Staves with different time signatures, unequal bar lengths}
1237 Each staff can be given its own independent time signature by
1238 moving the @code{Timing_translator} to the @code{Staff} context.
1240 @lilypond[quote,verbatim,ragged-right]
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.
1283 @rglos{polymetric time signature},
1286 Notation Reference: @ref{Scaling durations}
1290 @c Is this still permitted?
1291 @c @lsr{contemporary,compound-time-signature}
1293 Internals Reference:
1294 @rinternals{TimeSignature},
1295 @rinternals{Timing-translator},
1300 When using different time signatures in parallel, the spacing is
1301 aligned vertically, but bar lines distort the regular spacing.
1304 @node Automatic note splitting
1305 @subsubsection Automatic note splitting
1307 @cindex notes, splitting
1308 @cindex splitting notes
1310 Long notes which overrun bar lines can be converted automatically
1311 to tied notes. This is done by replacing the
1312 @code{Note_heads_engraver} by the
1313 @code{Completion_heads_engraver}. In the following
1314 example, notes crossing the bar lines are split and tied.
1316 @lilypond[quote,fragment,verbatim,relative=1,ragged-right]
1318 \remove "Note_heads_engraver"
1319 \consists "Completion_heads_engraver"
1322 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1325 This engraver splits all running notes at the bar line, and
1326 inserts ties. One of its uses is to debug complex scores: if the
1327 measures are not entirely filled, then the ties show exactly how
1328 much each measure is off.
1330 To allow line breaking on the bar lines where the
1331 @code{Completion_heads_engraver} has inserted a split note, remove
1332 the @code{Forbid_line_break_engraver} too.
1337 Music Glossary: @rglos{tie}
1340 @rlearning{Engravers explained},
1341 @rlearning{Adding and removing engravers}.
1346 Internals Reference:
1347 @rinternals{Note_heads_engraver},
1348 @rinternals{Completion_heads_engraver},
1349 @rinternals{Forbid_line_break_engraver}.
1354 Not all durations (especially those containing tuplets) can be
1355 represented exactly with normal notes and dots, but the engraver
1356 will not insert tuplets.
1358 The @code{Completion_heads_engraver} only affects notes; it does not
1362 @node Showing melody rhythms
1363 @subsubsection Showing melody rhythms
1365 Sometimes you might want to show only the rhythm of a melody. This
1366 can be done with the rhythmic staff. All pitches of notes on such a
1367 staff are squashed, and the staff itself has a single line
1369 @c TODO Devise a more realistic example, perhaps with lyrics -td
1370 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1371 \new RhythmicStaff {
1373 c4 e8 f g2 | r4 g r2 | g1 | r1 |
1383 * Setting automatic beam behavior::
1388 @node Automatic beams
1389 @subsubsection Automatic beams
1391 By default, beams are inserted automatically:
1393 @cindex beams, manual
1394 @cindex manual beams
1396 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1398 \time 6/8 c c c c8. c16 c8
1401 If these automatic decisions are not satisfactory, beaming can be
1402 entered explicitly; see @ref{Manual beams}. It is also possible
1403 to define beaming patterns that differ from the defaults; see
1404 @ref{Setting automatic beam behavior}. The default beaming rules
1405 are defined in @file{scm/@/auto@/-beam@/.scm}.
1411 Automatic beaming may be turned off and on with
1412 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1414 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1415 c4 c8 c8. c16 c8. c16 c8
1425 Beaming patterns may be altered with the @code{beatGrouping} property,
1427 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1429 \set beatGrouping = #'(2 3)
1431 \set beatGrouping = #'(3 2)
1435 The beams of consecutive 16th (or shorter) notes are, by default,
1436 not sub-divided. That is, the three (or more) beams stretch
1437 unbroken over entire groups of notes. This behavior can
1438 be modified to sub-divide the beams into sub-groups by setting
1439 the property @code{subdivideBeams}. When set, multiple beams
1440 will be sub-divided at intervals defined by the current value of
1441 @code{beatLength} by reducing the multiple beams to just one beam
1442 between the sub-groups. Note that @code{beatLength} lives in the
1443 @code{Score} context and defaults to a quarter note. It must be
1444 set to a fraction giving the duration of the beam sub-group
1445 using the @code{make-moment} function, as shown here:
1447 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1449 \set subdivideBeams = ##t
1451 % Set beam sub-group length to an eighth note
1452 \set Score.beatLength = #(ly:make-moment 1 8)
1454 % Set beam sub-group length to a sixteenth note
1455 \set Score.beatLength = #(ly:make-moment 1 16)
1458 @funindex subdivideBeams
1461 For more information about @code{make-moment}, see
1462 @ref{Time administration}.
1468 Line breaks are normally forbidden when beams cross bar lines.
1469 This behavior can be changed by setting the @code{breakable}
1470 property: @code{\override Beam #'breakable = ##t}.
1472 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1473 \override Beam #'breakable = ##t
1474 c8 \repeat unfold 15 { c[ c] } c
1477 @cindex beams and line breaks
1478 @cindex beams, kneed
1480 @cindex auto-knee-gap
1482 Kneed beams are inserted automatically when a large gap is
1483 detected between the note heads. This behavior can be tuned
1484 through the @code{auto-knee-gap} property. A kneed beam is
1485 drawn if the gap is larger than the value of
1486 @code{auto-knee-gap} plus the width of the beam object (which
1487 depends on the duration of the notes and the slope of the beam).
1488 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1490 @lilypond[fragment,ragged-right,quote,verbatim]
1492 \override Beam #'auto-knee-gap = #6
1499 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1504 Internals Reference: @rinternals{Beam}.
1509 Automatically kneed cross-staff beams cannot be used together with
1510 hidden staves. See @ref{Hiding staves}.
1512 Beams can collide with note heads and accidentals in other voices
1515 @node Setting automatic beam behavior
1516 @subsubsection Setting automatic beam behavior
1518 @funindex autoBeamSettings
1519 @funindex (end * * * *)
1520 @funindex (begin * * * *)
1521 @cindex automatic beams, tuning
1522 @cindex tuning automatic beaming
1524 @c [TODO: use \applyContext]
1526 In normal time signatures, automatic beams can start on any note
1527 but can end in only a few positions within the measure: beams can
1528 end on a beat, or at durations specified by the properties in
1529 @code{autoBeamSettings}. The properties in
1530 @code{autoBeamSettings} consist of a list of rules for where beams
1531 can begin and end. The default @code{autoBeamSettings} rules are
1532 defined in @file{scm/@/auto@/-beam@/.scm}.
1534 In order to add a rule to the list, use
1536 #(override-auto-beam-setting '(be p q n m) a b [context])
1541 @item @code{be} is either @code{begin} or @code{end}.
1543 @item @code{p/q} is the duration of the note for which you want
1544 to add a rule. A beam is considered to have the duration of its
1545 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1546 have this apply to any beam.
1548 @item @code{n/m} is the time signature to which
1549 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1550 to have this apply in any time signature.
1552 @item @code{a/b} is the position in the bar at which the beam should
1555 @item @code{context} is optional, and it specifies the context at which
1556 the change should be made. The default is @code{'Voice}.
1558 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1559 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1563 For example, if automatic beams should always end on the first quarter
1567 #(override-auto-beam-setting '(end * * * *) 1 4)
1570 You can force the beam settings to only take effect on beams whose shortest
1571 note is a certain duration
1573 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1575 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1577 a32 a a a a16 a a a a a |
1578 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1579 a32 a a a a16 a a a a a |
1582 You can force the beam settings to only take effect in certain time
1585 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1587 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1595 You can also remove a previously set beam-ending rule by using
1598 #(revert-auto-beam-setting '(be p q n m) a b [context])
1602 @code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
1603 @code{b} and @code{context} are the same as above. Note that the
1604 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1605 so you can revert rules that you did not explicitly create.
1607 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1609 a16 a a a a a a a a a a a a a a a
1610 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1611 a16 a a a a a a a a a a a a a a a
1614 The rule in a @code{revert-auto-beam-setting} statement must exactly
1615 match the original rule. That is, no wildcard expansion is taken into
1618 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1620 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1622 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1624 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1630 @c TODO: old material -- not covered by above stuff, I think.
1631 If automatic beams should end on every quarter in 5/4 time, specify
1634 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1635 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1636 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1637 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1641 The same syntax can be used to specify beam starting points. In this
1642 example, automatic beams can only end on a dotted quarter note
1644 #(override-auto-beam-setting '(end * * * *) 3 8)
1645 #(override-auto-beam-setting '(end * * * *) 1 2)
1646 #(override-auto-beam-setting '(end * * * *) 7 8)
1648 In 4/4 time signature, this means that automatic beams could end only on
1649 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1650 3/8, has passed within the measure).
1652 If any unexpected beam behavior occurs, check the default automatic beam
1653 settings in @file{scm/@/auto@/-beam@/.scm}
1654 for possible interference, because the beam
1655 endings defined there will still apply on top of your own overrides. Any
1656 unwanted endings in the default vales must be reverted for your time
1659 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1663 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1664 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1665 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1666 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1669 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1670 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1671 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1674 @cindex automatic beam generation
1676 @funindex autoBeaming
1679 If beams are used to indicate melismata in songs, then automatic
1680 beaming should be switched off with @code{\autoBeamOff}.
1685 @funindex \autoBeamOff
1686 @code{\autoBeamOff},
1687 @funindex \autoBeamOn
1693 If a score ends while an automatic beam has not been ended and is
1694 still accepting notes, this last beam will not be typeset at all.
1695 The same holds for polyphonic voices, entered with @code{<<
1696 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1697 automatic beam is still accepting notes, it is not typeset.
1706 @subsubsection Manual beams
1708 @cindex beams, manual
1710 In some cases it may be necessary to override the automatic
1711 beaming algorithm. For example, the autobeamer will not put beams
1712 over rests or bar lines, and in choral scores the beaming is
1713 often set to follow the meter of the lyrics rather than the
1714 notes. Such beams can be specified manually by
1715 marking the begin and end point with @code{[} and @code{]}
1717 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1719 r4 r8[ g' a r8] r8 g[ | a] r8
1724 Individual notes may be marked with @code{\noBeam} to prevent them
1727 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1728 \time 2/4 c8 c\noBeam c c
1734 @funindex stemLeftBeamCount
1735 @funindex stemRightBeamCount
1737 Even more strict manual control with the beams can be achieved by
1738 setting the properties @code{stemLeftBeamCount} and
1739 @code{stemRightBeamCount}. They specify the number of beams to
1740 draw on the left and right side, respectively, of the next note.
1741 If either property is set, its value will be used only once, and
1742 then it is erased. In this example, the last @code{f} is printed
1743 with only one beam on the left side, i.e., the eighth-note beam of
1744 the group as a whole.
1746 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1750 \set stemLeftBeamCount = #1
1758 @node Feathered beams
1759 @subsubsection Feathered beams
1761 @cindex beams, feathered
1762 @funindex \featherDurations
1764 Feathered beams are used to indicate that a small group of notes
1765 should be played at an increasing (or decreasing) tempo, without
1766 changing the overall tempo of the piece. The extent of the
1767 feathered beam must be indicated manually using @code{[} and
1768 @code{]}, and the beam feathering is turned on by specifying a
1769 direction to the @code{Beam} property @code{grow-direction}.
1771 If the placement of the notes and the sound in the MIDI output
1772 is to reflect the ritardando or accelerando indicated by the
1773 feathered beam the notes must be grouped as a
1774 music expression delimited by braces and preceded by a
1775 @code{featheredDurations} command which specifies the ratio
1776 between the durations of the first and last notes in the group.
1779 show the extent of the beam and the braces show
1780 which notes are to have their durations modified. Normally
1781 these would delimit the same group of notes, but this is not
1782 required: the two commands are independent.
1784 In the following example the eight 16th notes occupy exactly the
1785 same time as a half note, but the first note is one half as long
1786 as the last one, with the intermediate notes gradually
1787 lengthening. The first four 32nd notes gradually speed up, while
1788 the last four 32nd notes are at a constant tempo.
1790 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1791 \override Beam #'grow-direction = #LEFT
1792 \featherDurations #(ly:make-moment 2 1)
1793 { c16[ c c c c c c c] }
1794 \override Beam #'grow-direction = #RIGHT
1795 \featherDurations #(ly:make-moment 2 3)
1797 % revert to non-feathered beams
1798 \override Beam #'grow-direction = #'()
1803 The spacing in the printed output represents the
1804 note durations only approximately, but the midi output is exact.
1808 The @code{\featherDurations} command only works with very short
1809 music snippets, and when numbers in the fraction are small.
1825 * Bar and bar number checks::
1830 @subsubsection Bar lines
1834 @cindex measure lines
1837 Bar lines delimit measures, and are also used to indicate
1838 repeats. Normally, simple bar lines are automatically inserted
1839 into the printed output at places based on the current time
1842 The simple bar lines inserted automatically can be changed to
1843 other types with the @code{\bar} command. For example, a closing
1844 double bar line is usually placed at the end of a piece:
1846 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1850 @warning{An incorrect duration can lead to poorly formatted
1853 It is not invalid if the final note in a measure does not
1854 end on the automatically entered bar line: the note is assumed
1855 to carry over into the next measure. But if a long sequence
1856 of such carry-over measures appears the music can appear compressed
1857 or even flowing off the page. This is because automatic line
1858 breaks happen only at the end of complete measures, i.e., where
1859 the end of a note coincides with the end of a measure.
1862 @cindex bar lines, invisible
1863 @cindex measure lines, invisible
1865 Line breaks are also permitted at manually inserted bar lines
1866 even within incomplete measures. To allow a line break without
1867 printing a bar line, use
1874 This will insert an invisible bar line and allow (but not
1875 force) a line break to occur at this point. The bar number
1876 counter is not increased. To force a line break see
1877 @ref{Line breaking}.
1879 This and other special bar lines may be inserted manually at any
1880 point. When they coincide with the end of a measure they replace
1881 the simple bar line which would have been inserted there
1882 automatically. When they do not coincide
1883 with the end of a measure the specified bar line is inserted at that
1884 point in the printed output. Such insertions do not affect
1885 the calculation and placement of subsequent automatic bar lines.
1887 The simple bar line and four types of double bar line are available
1888 for manual insertion:
1890 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1891 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1895 together with dotted and dashed bar lines:
1897 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1898 f1 \bar ":" g \bar "dashed" a
1902 and three types of repeat bar line:
1904 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1905 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1910 Although the bar line types signifying repeats may be inserted
1911 manually they do not in themselves cause LilyPond to recognize
1912 a repeated section. Such repeated sections are better entered
1913 using the various repeat commands (see @ref{Repeats}), which
1914 automatically print the appropriate bar lines.
1916 In addition, you can specify @code{"||:"}, which is equivalent to
1917 @code{"|:"} except at line breaks, where it gives a double bar
1918 line at the end of the line and a start repeat at the beginning of
1921 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1922 \override Score.RehearsalMark #'padding = #3
1930 In scores with many staves, a @code{\bar} command in one staff is
1931 automatically applied to all staves. The resulting bar lines are
1932 connected between different staves of a @code{StaffGroup},
1933 @code{PianoStaff}, or @code{GrandStaff}.
1935 @lilypond[quote,ragged-right,fragment,verbatim]
1943 \new Staff { \clef bass c4 g e g }
1945 \new Staff { \clef bass c2 c2 }
1953 @funindex defaultBarType
1955 The command @code{\bar }@var{bartype} is a shortcut for
1956 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1957 created whenever the @code{whichBar} property is
1960 The default bar type used for automatically inserted bar lines is
1961 @code{"|"}. This may be changed at any time
1962 with @code{\set Timing.defaultBarType = }@var{bartype}.
1966 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1967 @c FIXME: node name changed, but is subject to further changes.
1968 @c @ref{System start delimiters}.
1973 Internals Reference: @rinternals{BarLine} (created at
1974 @rinternals{Staff} level), @rinternals{SpanBar} (across
1975 staves), @rinternals{Timing_translator} (for Timing
1980 @subsubsection Bar numbers
1983 @cindex measure numbers
1984 @funindex currentBarNumber
1986 Bar numbers are typeset by default at the start of every line except
1987 the first line. The number itself is stored in the
1988 @code{currentBarNumber} property, which is normally updated
1989 automatically for every measure. It may also be set manually:
1991 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1994 \set Score.currentBarNumber = #50
2001 @funindex barNumberVisibility
2002 @cindex bar numbers, regular spacing
2004 Bar numbers can be typeset at regular intervals instead of just at
2005 the beginning of every line. To do this the default behavior
2006 must be overridden to permit bar numbers to be printed at places
2007 other than the start of a line. This is controlled by the
2008 @code{break-visibility} property of @code{BarNumber}. This takes
2009 three values which may be set to @code{#t} or @code{#f} to specify
2010 whether the corresponding bar number is visible or not. The order
2011 of the three values is @code{end of line visible}, @code{middle of
2012 line visible}, @code{beginning of line visible}. In the following
2013 example bar numbers are printed at all possible places:
2015 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2016 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
2017 \set Score.currentBarNumber = #11
2018 \bar "" % Permit first bar number to be printed
2024 @c All the rest of these examples will be added to LSR
2025 @c and moved into the Snippets. -gp
2028 and here the bar numbers are printed every two measures
2029 except at the end of the line:
2031 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2032 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
2033 \set Score.currentBarNumber = #11
2034 \bar "" % Permit first bar number to be printed
2035 % Print a bar number every second measure
2036 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2042 @cindex measure number, format
2043 @cindex bar number, format
2045 The size of the bar number may be changed. This is illustrated
2046 in the following example, which also shows how to enclose bar
2047 numbers in boxes and circles, and shows an alternative way
2048 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2050 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2051 % Prevent bar numbers at the end of a line and permit them elsewhere
2052 \override Score.BarNumber #'break-visibility
2053 = #end-of-line-invisible
2055 % Increase the size of the bar number by 2
2056 \override Score.BarNumber #'font-size = #2
2057 \repeat unfold 3 { c1 } \bar "|"
2059 % Draw a box round the following bar number(s)
2060 \override Score.BarNumber #'stencil
2061 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2062 \repeat unfold 3 { c1 } \bar "|"
2064 % Draw a circle round the following bar number(s)
2065 \override Score.BarNumber #'stencil
2066 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2067 \repeat unfold 4 { c1 } \bar "|."
2070 @cindex bar number alignment
2072 Bar numbers by default are left-aligned to their parent object.
2073 This is usually the left edge of a line or, if numbers are printed
2074 within a line, the left bar line of the measure. The numbers may also
2075 be positioned directly on the bar line or right-aligned to the
2078 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2079 \set Score.currentBarNumber = #111
2080 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
2081 % Increase the size of the bar number by 2
2082 \override Score.BarNumber #'font-size = #2
2083 % Print a bar number every second measure
2084 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2086 % Center-align bar numbers
2087 \override Score.BarNumber #'self-alignment-X = #0
2089 % Right-align bar numbers
2090 \override Score.BarNumber #'self-alignment-X = #-1
2094 Bar numbers can be removed entirely by removing the
2095 @code{Bar_number_engraver} from the @code{Score} context.
2097 @lilypond[verbatim,ragged-right,quote]
2101 \remove "Bar_number_engraver"
2116 Internals Reference: @rinternals{BarNumber}.
2121 Bar numbers may collide with the top of the
2122 @rinternals{StaffGroup} bracket, if there is one. To solve
2123 this, the @code{padding} property of @rinternals{BarNumber} can
2124 be used to position the number correctly.
2126 Bar numbers may only be printed at bar lines; to print a bar
2127 number at the beginning of a piece, an empty bar line must be
2128 inserted there, and a value other than @code{1} must be placed
2129 in @code{currentBarNumber}:
2131 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2132 \set Score.currentBarNumber = #50
2141 @node Bar and bar number checks
2142 @subsubsection Bar and bar number checks
2145 @funindex barCheckSynchronize
2148 Bar checks help detect errors in the entered durations.
2149 A bar check may be entered using the bar symbol, @code{|},
2150 at any place where a bar line is expected to fall.
2151 If bar check lines are encountered at other places,
2152 a list of warnings is printed in the log file,
2153 showing the line numbers and lines
2154 in which the bar checks failed. In the next
2155 example, the second bar check will signal an error.
2158 \time 3/4 c2 e4 | g2 |
2161 Bar checks can also be used in lyrics, for example
2166 Twin -- kle | Twin -- kle |
2170 An incorrect duration can result in a completely garbled score,
2171 especially if the score is polyphonic, so a good place to start
2172 correcting input is by scanning for failed bar checks and
2173 incorrect durations.
2176 @funindex pipeSymbol
2178 It is also possible to redefine the action taken when a bar check
2179 or pipe symbol, @code{|}, is encountered in the input, so that
2180 it does something other than a bar check. This is done by
2181 assigning a music expression to @code{pipeSymbol}.
2182 In the following example @code{|} is set to insert a double bar
2183 line wherever it appears in the input, rather than checking
2186 @lilypond[quote,ragged-right,verbatim]
2187 pipeSymbol = \bar "||"
2196 When copying large pieces of music, it can be helpful to check
2197 that the LilyPond bar number corresponds to the original that you
2198 are entering from. This can be checked with
2199 @code{\barNumberCheck}, for example,
2202 \barNumberCheck #123
2206 will print a warning if the @code{currentBarNumber} is not 123
2207 when it is processed.
2215 @node Rehearsal marks
2216 @subsubsection Rehearsal marks
2218 @cindex rehearsal marks
2219 @cindex mark, rehearsal
2222 To print a rehearsal mark, use the @code{\mark} command
2224 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2233 The letter@tie{}@q{I} is skipped in accordance with engraving
2234 traditions. If you wish to include the letter @q{I}, then use
2237 \set Score.markFormatter = #format-mark-alphabet
2240 The mark is incremented automatically if you use @code{\mark
2241 \default}, but you can also use an integer argument to set the
2242 mark manually. The value to use is stored in the property
2243 @code{rehearsalMark}.
2245 @cindex rehearsal mark format
2246 @cindex rehearsal mark style
2247 @cindex style, rehearsal mark
2248 @cindex format, rehearsal mark
2249 @cindex mark, rehearsal, style
2250 @cindex mark, rehearsal, format
2252 The style is defined by the property @code{markFormatter}. It is
2253 a function taking the current mark (an integer) and the current
2254 context as argument. It should return a markup object. In the
2255 following example, @code{markFormatter} is set to a pre-defined
2256 procedure. After a few measures, it is set to a procedure that
2257 produces a boxed number.
2259 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2260 \set Score.markFormatter = #format-mark-numbers
2263 \set Score.markFormatter = #format-mark-box-numbers
2269 The file @file{scm/@/translation@/-functions@/.scm} contains the
2270 definitions of @code{format-mark-numbers} (the default format),
2271 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2272 @code{format-mark-box-letters}. These can be used as inspiration
2273 for other formatting functions.
2275 You may use @code{format-mark-barnumbers},
2276 @code{format-mark-box-barnumbers}, and
2277 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2278 incremented numbers or letters.
2280 Other styles of rehearsal mark can be specified manually
2287 @code{Score.markFormatter} does not affect marks specified in this
2288 manner. However, it is possible to apply a @code{\markup} to the
2292 \mark \markup@{ \box A1 @}
2299 Music glyphs (such as the segno sign) may be printed inside a
2302 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2303 c1 \mark \markup { \musicglyph #"scripts.segno" }
2304 c1 \mark \markup { \musicglyph #"scripts.coda" }
2305 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2310 See @ref{The Feta font}, for a list of symbols which may be
2311 printed with @code{\musicglyph}.
2313 For common tweaks to the positioning of rehearsal marks, see
2314 @ref{Formatting text}.
2321 This manual: @ref{The Feta font}, @ref{Formatting text}.
2323 Internals Reference: @rinternals{RehearsalMark}.
2325 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2326 the definition of @code{format-mark-numbers} and
2327 @code{format-mark-letters}. They can be used as inspiration for
2328 other formatting functions.
2330 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2333 @node Special rhythmic concerns
2334 @subsection Special rhythmic concerns
2339 * Aligning to cadenzas::
2340 * Time administration::
2344 @subsubsection Grace notes
2349 @cindex appoggiatura
2350 @cindex acciaccatura
2352 Grace notes are ornaments that are written out. They are made with
2353 the @code{\grace} command. By prefixing this keyword to a music
2354 expression, a new one is formed, which will be printed in a
2355 smaller font and takes up no logical time in a measure.
2357 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2359 \grace { c16[ d16] } c2 c4
2362 Two special forms of the @code{\grace} command exist.
2363 An @emph{acciaccatura}, which should be played as very short,
2364 is denoted by a slurred small note with a slashed stem. The
2365 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2366 main note, is denoted as a slurred note in small print without
2367 a slash. They are entered with the commands @code{\acciaccatura}
2368 and @code{\appoggiatura}, as demonstrated in the following
2371 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2372 b4 \acciaccatura d8 c4
2374 \acciaccatura { g16[ f] } e4
2378 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2379 @code{\grace} does not.
2381 The placement of grace notes is synchronized between different
2382 staves. In the following example, there are two sixteenth grace
2383 notes for every eighth grace note
2385 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2386 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2387 \new Staff { c4 \grace { g8[ b] } c4 } >>
2390 @funindex \afterGrace
2392 @cindex grace notes, following
2394 If you want to end a note with a grace, use the @code{\afterGrace}
2395 command. It takes two arguments: the main note, and the grace
2396 notes following the main note.
2398 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2399 c1 \afterGrace d1 { c16[ d] } c4
2402 This will put the grace notes after a @q{space} lasting 3/4 of the
2403 length of the main note. The fraction 3/4 can be changed by
2404 setting @code{afterGraceFraction}, i.e.,
2407 #(define afterGraceFraction (cons 7 8))
2411 will put the grace note at 7/8 of the main note.
2413 The same effect can be achieved manually by doing
2415 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2418 { s2 \grace { c16[ d] } } >>
2424 By adjusting the duration of the skip note (here it is a
2425 half-note), the space between the main note and the grace
2428 A @code{\grace} music expression will introduce special
2429 typesetting settings, for example, to produce smaller type, and
2430 set directions. Hence, when introducing layout tweaks, they
2431 should be inside the grace expression, for example,
2433 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2445 The overrides should also be reverted inside the grace expression.
2447 The layout of grace expressions can be changed throughout the
2448 music using the function @code{add-grace-property}. The following
2449 example undefines the @code{Stem} direction for this grace, so
2450 that stems do not always point up.
2454 #(add-grace-property 'Voice 'Stem 'direction '())
2460 Another option is to change the variables @code{startGraceMusic},
2461 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2462 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2463 @code{stopAppoggiaturaMusic}. The default values of these can be
2464 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2465 them other effects may be obtained.
2467 @cindex stem, with slash
2470 The slash through the stem in @emph{acciaccatura}s can be obtained in
2471 other situations by @code{\override Stem #'stroke-style =
2477 Grace notes may be forced to use align with regular notes
2478 in other staves by setting @code{strict-grace-spacing} to
2481 @lilypond[relative=2,ragged-right]
2483 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2492 c'16[ c'16 c'16 c'16]
2493 c'16[ c'16 c'16 c'16]
2503 @rglos{grace notes},
2504 @rglos{acciaccatura},
2505 @rglos{appoggiatura}
2510 Internals Reference: @rinternals{GraceMusic}.
2515 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2516 and looks exactly the same as a multi-note beamed
2517 @emph{appoggiatura}.
2518 @c TODO Add link to LSR snippet to add slash when available
2520 Grace note synchronization can also lead to surprises. Staff
2521 notation, such as key signatures, bar lines, etc., are also
2522 synchronized. Take care when you mix staves with grace notes and
2523 staves without, for example,
2525 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2526 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2527 \new Staff { c4 \bar "|:" d4 } >>
2531 This can be remedied by inserting grace skips of the corresponding
2532 durations in the other staves. For the above example
2534 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2535 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2536 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2539 Grace sections should only be used within sequential music
2540 expressions. Nesting or juxtaposing grace sections is not
2541 supported, and might produce crashes or other errors.
2543 @node Aligning to cadenzas
2544 @subsubsection Aligning to cadenzas
2547 @cindex cadenza, aligning to
2548 @cindex aligning to cadenza
2550 In an orchestral context, cadenzas present a special problem: when
2551 constructing a score that includes a cadenza, all other
2552 instruments should skip just as many notes as the length of the
2553 cadenza, otherwise they will start too soon or too late.
2555 A solution to this problem is to use the functions
2556 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2557 functions take a piece of music as argument, and generate a multi-measure
2558 rest or @code{\skip}, exactly as long as the piece. The use of
2559 @code{mmrest-of-length} is demonstrated in the following example.
2561 @lilypond[verbatim,ragged-right,quote]
2562 cadenza = \relative c' {
2563 c4 d8 << { e f g } \\ { d4. } >>
2568 \new Staff { \cadenza c'4 }
2570 #(ly:export (mmrest-of-length cadenza))
2582 @node Time administration
2583 @subsubsection Time administration
2585 @cindex time administration
2586 @cindex timing (within the score)
2587 @cindex music, unmetered
2588 @cindex unmetered music
2590 @funindex currentBarNumber
2591 @funindex measurePosition
2592 @funindex measureLength
2594 Time is administered by the @code{Timing_translator}, which by
2595 default is to be found in the @code{Score} context. An alias,
2596 @code{Timing}, is added to the context in which the
2597 @code{Timing_translator} is placed.
2599 The following properties of @code{Timing} are used
2600 to keep track of timing within the score.
2603 @cindex measure number
2606 @item currentBarNumber
2607 The current measure number. For an example showing the
2608 use of this property see @ref{Bar numbers}.
2611 The length of the measures in the current time signature. For a
2612 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2613 determines when bar lines are inserted and how automatic beams
2614 should be generated.
2616 @item measurePosition
2617 The point within the measure where we currently are. This
2618 quantity is reset by subtracting @code{measureLength} whenever
2619 @code{measureLength} is reached or exceeded. When that happens,
2620 @code{currentBarNumber} is incremented.
2623 If set to true, the above variables are updated for every time
2624 step. When set to false, the engraver stays in the current
2625 measure indefinitely.
2629 Timing can be changed by setting any of these variables
2630 explicitly. In the next example, the default 4/4 time
2631 signature is printed, but @code{measureLength} is set to 5/4.
2632 At 4/8 through the third measure, the @code{measurePosition} is
2633 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2634 The next bar line then falls at 9/8 rather than 5/4.
2636 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2637 \set Score.measureLength = #(ly:make-moment 5 4)
2641 \set Score.measurePosition = #(ly:make-moment 5 8)
2647 As the example illustrates, @code{ly:make-moment n m} constructs a
2648 duration of n/m of a whole note. For example,
2649 @code{ly:make-moment 1 8} is an eighth note duration and
2650 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2656 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2661 Internals Reference: @rinternals{Timing_translator},