1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
12 @lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
15 This section discusses rhythms, durations, and bars.
20 * Displaying rhythms::
23 * Special rhythmic concerns::
28 @subsection Writing rhythms
38 @unnumberedsubsubsec Durations
45 When entering notes, durations are designated by numbers and dots:
46 durations are entered as their reciprocal values. For example, a
47 quarter note is entered using a @code{4} (since it is a 1/4 note),
48 while a half note is entered using a @code{2} (since it is a 1/2
49 note). For notes longer than a whole you must use the
50 @code{\longa} (a double breve) and @code{\breve} commands. Note
51 durations as short as 64th notes may be specified. Shorter values
52 are possible, but only as beamed notes.
54 @c Two 64th notes are needed to obtain beams
55 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
62 and the same durations with automatic beaming turned off
63 see @ref{Automatic beams}:
65 @c not strictly "writing rhythms"; more of a "displaying" thing,
66 @c but it's ok here. -gp
67 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
74 If the duration is omitted then it is set to the previously
75 entered duration. The default for the first note is a quarter
78 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
85 To obtain dotted note lengths, simply add a dot (@samp{.}) to the
86 number. Double-dotted notes are produced in a similar way.
88 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
89 a4 b c4. b8 a4. b4.. c8.
92 Some durations cannot be entered using only binary durations
93 and dots, and can only be represented by tying two or more
94 notes together. Tied notes are covered in @ref{Ties}.
98 Dots are normally moved up to avoid staff lines, except in
99 polyphonic situations. The following commands may be used to
100 force a particular direction manually:
106 @funindex \dotsNeutral
109 @c TODO: after deciding the link question, fix these. -gp
110 Durations are entered in the same way in @code{drummode},
111 @code{chordmode}, @code{figuremode}, and (optionally)
116 For ways of specifying durations for the syllables of lyrics
117 and ways of aligning lyrics to notes see @ref{Vocal music}.
119 For a description of how to enter rests see @ref{Writing rests}.
121 A note with the duration of a quadruple breve may be
122 entered with \maxima, but this is supported only within
123 ancient music notation; see @ref{Ancient notation}.
125 Optionally, notes can be spaced proportionately to their duration.
126 For details of this and other settings which control
127 proportional notation see @ref{Proportional notation}.
129 Snippets: @lsrdir{rhythms}
131 Internals Reference: @internalsref{Dots}, and
132 @internalsref{DotColumn}.
137 @c duplicated in Durations and Rests. -gp
138 There is no fundamental limit to note durations (both in terms of
139 longest and shortest), but the number of glyphs is limited: there
140 are flags up to 64th and rests up to 128th. At the other extreme,
141 there are note heads up to longa (4x whole note) and rests up to
142 maxima (8 x whole). Since beams can be stacked without needing
143 extra glyphs, beamed notes can be arbitrarily short.
148 @unnumberedsubsubsec Tuplets
154 @c TODO Add Tuplet to glossary
156 Tuplets are made out of a music expression by multiplying all
157 durations with a fraction:
160 \times @var{fraction} @var{musicexpr}
164 The duration of @var{musicexpr} will be multiplied by the
165 fraction. The fraction's denominator will be printed over or
166 under the notes, optionally with a bracket. The most common
167 tuplet is the triplet in which 3 notes have the length of 2, so
168 the notes are 2/3 of their written length.
170 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
171 g4 \times 2/3 {c4 c c} d4 d4
174 Tuplets may be nested, for example,
176 @lilypond[fragment,ragged-right,verbatim,relative=2]
179 \times 3/5 { a a a a a }
187 @funindex \tupletDown
189 @funindex \tupletNeutral
190 @code{\tupletNeutral}.
195 @funindex tupletNumberFormatFunction
196 @cindex tuplet formatting
198 The property @code{tupletSpannerDuration} specifies how long each
199 bracket should last. With this, you can make lots of tuplets
200 while typing @code{\times} only once, thus saving lots of typing.
201 In the next example, there are two triplets shown, while
202 @code{\times} was only used once.
204 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
205 \set tupletSpannerDuration = #(ly:make-moment 1 4)
206 \times 2/3 { c8 c c c c c }
210 For more information about @code{make-moment}, see
211 @ref{Time administration}.
213 The format of the number is determined by the property @code{text}
214 in @code{TupletNumber}. The default prints only the denominator,
215 but if the property is set with @code{\override
216 TupletNumber #'text = #tuplet-number::calc-fraction-text},
217 @var{num}:@var{den} will be printed instead.
219 To print tuplets without tuplet numbers, use
220 @code{\override TupletNumber #'transparent = ##t}:
222 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
223 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
224 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
225 \times 2/3 { c8 c c }
226 \override TupletNumber #'transparent = ##t
227 \times 2/3 { c8 c c }
230 To change the appearance of nested tuplets beginning at the same
231 music moment individually, the @code{\tweak} function must be used
232 (see @ref{Objects connected to the input}). In the following
233 example, @code{\tweak} specifies fraction text for the outer
234 @code{TupletNumber} and denominator text for the
235 @code{TupletNumber} of the first of the three inner tuplets.
237 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
238 \tweak #'text #tuplet-number::calc-fraction-text
240 \tweak #'text #tuplet-number::calc-denominator-text
241 \times 2/3 { c8[ c8 c8] }
242 \times 2/3 { c8[ c8 c8] }
243 \times 2/3 { c8[ c8 c8] }
247 @c TODO: after LM 6 Tweaks includes \tweak info, look at this.-gp
248 @c It *should* be explained why \tweak must be used here, and why
249 @c \override doesn't work. I've made an attempt, but I'm not sure
250 @c if it is factually correct to say that \tweak must be used.
251 In the next example, @code{\tweak} and @code{\override} work
252 together to specify @code{TupletBracket} direction. The first
253 @code{\tweak} positions the @code{TupletBracket} of the outer
254 tuplet above the staff. The second @code{\tweak} positions the
255 @code{TupletBracket} of the first of the three inner tuplets below
256 the staff. Note that the @code{\tweak} function affects only
257 events that begin at the same music moment: the outer tuplet and
258 the first of the three inner tuplets. To position the
259 @code{TupletBrackets} of the second and third of the inner tuplets
260 below the staff, we use @code{\override} in the usual way.
262 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
263 \tweak #'text #tuplet-number::calc-fraction-text
264 \tweak #'direction #up
266 \tweak #'direction #down
267 \times 2/3 { c8[ c8 c8] }
268 \override TupletBracket #'direction = #down
269 \times 2/3 { c8[ c8 c8] }
270 \times 2/3 { c8[ c8 c8] }
274 Tuplet brackets can be made to run to prefatory matter or the next
277 @lilypond[ragged-right,verbatim,quote]
279 \set tupletFullLength = ##t
284 \set tupletFullLengthNote = ##t
296 Tuplets which cross bar lines will prevent a line break at that
301 @code{\compressMusic} works similarly to \times, but does not
302 create a tuplet bracket; see @ref{Polymetric notation}.
304 FIXME: totally irrelevant link to real-music for
305 discussion/demonstration purposes.
307 Snippets: @lsrdir{rhythms},
308 @lsr{real-music,creating-music-with-scheme.ly}.
310 Internals Reference: @internalsref{TupletBracket},
311 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
315 @node Scaling durations
316 @unnumberedsubsubsec Scaling durations
318 You can alter the length of a duration by a fraction @var{N/M}
319 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
320 This will not affect the appearance of the notes or rests
321 produced, but the altered duration will be used in calculating the
322 position within the measure and setting the duration in the MIDI
323 output. Multiplying factors may be combined
326 In the following example, the first three notes take up exactly
327 two beats, but no triplet bracket is printed.
329 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
331 a4*2/3 gis4*2/3 a4*2/3
336 The duration of skip or spacing notes may also be modified by
337 a multiplier. This is useful for skipping many measures, e.g.,
342 This manual: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
344 Snippets: @lsrdir{rhythms}
347 @unnumberedsubsubsec Ties
352 A tie connects two adjacent note heads of the same pitch. The tie
353 in effect extends the length of a note.
355 @warning{Ties should not be confused with @emph{slurs}, which
356 indicate articulation, or @emph{phrasing slurs}, which indicate
357 musical phrasing. A tie is just a way of extending a note
358 duration, similar to the augmentation dot.}
360 A tie is entered using the tilde symbol @code{~}
362 @lilypond[quote,ragged-right,fragment,verbatim]
368 Ties are used either when the note crosses a bar line, or when
369 dots cannot be used to denote the rhythm. Ties should also be
370 used when note values cross larger subdivisions of the measure:
372 @lilypond[fragment,quote,ragged-right]
374 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
378 If you need to tie a lot of notes across bar lines, it may be
379 easier to use automatic note splitting (see @ref{Automatic note
380 splitting}). This mechanism automatically splits long notes, and
381 ties them across bar lines.
384 @cindex repeating ties
385 @cindex volta brackets and ties
387 When a tie is applied to a chord, all note heads whose pitches
388 match are connected. When no note heads match, no ties will be
389 created. Chords may be partially tied by placing the tie inside
392 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
394 <c~ e g~ b> <c e g b>
397 When a second alternative of a repeat starts with a tied note, you
398 have to repeat the tie. This can be achieved with
401 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
402 \repeat volta 2 { c g <c e>2 ~ }
403 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
406 @cindex Laissez vibrer
407 @cindex Ties, laissez vibrer
409 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
410 notes must not be damped at the end. It is used in notation for
411 piano, harp and other string and percussion instruments. They can
412 be entered using @code{\laissezVibrer}:
414 @lilypond[fragment,ragged-right,verbatim,relative=1]
415 <c f g>\laissezVibrer
418 The direction of a tie can be specified with @code{\tieUp} or
419 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
420 to the default behaviour again.
422 However, as with other music elements of this kind, there is a
423 convenient shorthand for forcing tie directions. By adding
424 @code{_} or @code{^} before the tilde, the direction is also set:
426 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
433 Snippets: @lsrdir{rhythms}
436 @internalsref{LaissezVibrerTie}
437 @internalsref{LaissezVibrerTieColumn}
440 @lsr{connecting,laissez-vibrer-ties.ly}
445 Ties are sometimes used to write out arpeggios. In this case, two
446 tied notes need not be consecutive. This can be achieved by
447 setting the @code{tieWaitForNote} property to true. The same
448 feature is also useful, for example, to tie a tremolo to a chord,
449 but in principle, it can also be used for ordinary, consecutive
452 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
453 \set tieWaitForNote = ##t
454 \grace { c16[~ e~ g]~ } <c, e g>2
455 \repeat tremolo 8 { c32~ c'~ } <c c,>1
456 e8~ c~ a~ f~ <e' c a f>2
457 \tieUp c8~ a \tieDown \tieDotted g~ c g2
460 Ties may be engraved manually by changing the
461 @code{tie-configuration} property of the @code{TieColumn} object.
462 The first number indicates the distance from the center of the
463 staff in staff-spaces, and the second number indicates the
464 direction (1=up, -1=down).
466 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
468 \override TieColumn #'tie-configuration =
469 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
481 @funindex \tieNeutral
495 In this manual: @ref{Automatic note splitting}.
497 Snippets: @lsrdir{rhythms}
499 Internals Reference: @internalsref{Tie}.
504 Switching staves when a tie is active will not produce a slanted
507 Changing clefs or octavations during a tie is not really
508 well-defined. In these cases, a slur may be preferable.
515 @subsection Writing rests
520 * Multi measure rests::
524 @unnumberedsubsubsec Rests
531 Rests are entered like notes with the note name @code{r}:
533 @c \time 16/1 is used to avoid spurious bar lines
534 @c and long tracts of empty measures
535 @lilypond[fragment,quote,ragged-right,verbatim]
538 \override Staff.TimeSignature #'stencil = ##f
540 r\longa r\breve r1 r2
545 Whole measure rests, centered in middle of the measure, must be entered as
546 multi-measure rests. They can be used for a single measure as well as
547 many measures and are discussed in @ref{Multi measure rests}.
549 To explicitly specify a rest's vertical position, write a note
550 followed by @code{\rest}. A rest will be placed in the position
551 where the note would appear. This allows for precise manual
552 formatting of polyphonic music, since the automatic rest collision
553 formatter will leave these rests alone.
555 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
562 Snippets: @lsrdir{rhythms}
564 Internals Reference: @internalsref{Rest}.
569 @c duplicated in Durations and Rests. -gp
570 There is no fundamental limit to note durations (both in terms of
571 longest and shortest), but the number of glyphs is limited: there
572 are flags up 64th and rests up to 128th. At the other extreme,
573 there are note heads up to longa (4x whole note) and rests up to
574 maxima (8 x whole). Since beams can be stacked without needing
575 extra glyphs, beamed notes can be arbitrarily short.
579 @unnumberedsubsubsec Skips
582 @cindex Invisible rest
587 An invisible rest (also called a @q{skip}) can be entered like a
588 note with note name @code{s} or with @code{\skip @var{duration}}
590 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
591 a4 a4 s4 a4 \skip 1 a4
594 The @code{s} syntax is only available in note mode and chord mode.
595 In other situations, for example, when entering lyrics, one must
596 use the @code{\skip} command:
598 @lilypond[quote,ragged-right,verbatim,relative=2]
601 \new Lyrics \lyricmode { \skip 2 bla2 }
605 The skip command is merely an empty musical placeholder. It does
606 not produce any output, not even transparent output.
608 The @code{s} skip command does create @internalsref{Staff} and
609 @internalsref{Voice} when necessary, similar to note and rest
610 commands. For example, the following results in an empty staff.
612 @lilypond[quote,verbatim]
615 @c with ragged-right, the staff lines are cut BEFORE the time
616 @c signature, which makes for a VERY empty staff
618 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
619 @c Misleading -- it doesn't produce anything, not even an empty page.
620 @c Ppl who want to make empty sheets will see this and wonder what's
625 Snippets: @lsrdir{rhythms}
627 Internals Reference: @internalsref{SkipMusic}.
630 @node Multi measure rests
631 @unnumberedsubsubsec Multi measure rests
633 @cindex multi measure rests
634 @cindex full measure rests
635 @cindex Rests, multi measure
636 @cindex Rests, full measure
637 @cindex whole rests for a full measure
640 Rests for one or more full measures are entered using @code{R}
641 followed by a duration (see @ref{Durations}). The duration should
642 correspond to an integral number of measures, otherwise a barcheck
643 warning is printed. Multi-measure rests are principally used to
644 indicate that a part in a multi-part score should be silent:
646 @lilypond[quote,fragment,verbatim,relative=2]
647 \set Score.skipBars = ##t
654 A multi-measure rest can be expanded in the printed score
655 to show all the rest measures explicitly, or, as above, it can be
656 condensed to a single measure
657 containing a multi-measure rest symbol, with the number of
658 measures of rest printed above the measure. This expansion
659 is controlled by the property @code{Score.skipBars}. If this is
660 set to true, empty measures will be condensed to a single measure.
662 @lilypond[quote,ragged-right,fragment,verbatim]
663 \time 4/4 r1 | R1 | R1*2 |
666 \set Score.skipBars = ##t
670 The @code{1} in @code{R1} is similar to the duration notation
671 used for notes and is the length of a measure in 2/2 or 4/4 time.
672 The duration in a multi-measure rest must always be an integral
673 number of measure-lengths, so in other time signatures augmentation
674 dots or fractions must be used:
676 @lilypond[quote,ragged-right,fragment,verbatim]
677 \set Score.skipBars = ##t
681 R1*13/8 | R1*13/8*12 |
686 An @code{R} spanning a single measure is printed as either a whole
687 or breve rest, centered in the measure, regardless of the time
690 If there are 10 or fewer measures of rest, LilyPond prints
691 @rglos{church rests} (a series of longa and breve rests)
693 prints a simple line otherwise. This default number of 10
694 may be changed by overriding
695 @code{MultiMeasureRest.expand-limit}.
697 @lilypond[quote,ragged-right,fragment,verbatim]
698 \set Score.skipBars = ##t
700 \override MultiMeasureRest #'expand-limit = 3
704 Note that unlike ordinary rests, the vertical position on the
705 staff of the multi-measure rest symbol of either form cannot be
708 @cindex text on multi-measure rest
709 @cindex script on multi-measure rest
710 @cindex fermata on multi-measure rest
712 Text can be added to multi-measure rests by using the
713 @var{note}-@code{markup} syntax described in @ref{Text markup}.
714 The variable @code{\fermataMarkup} is provided for adding
717 @lilypond[quote,ragged-right,verbatim,fragment]
718 \set Score.skipBars = ##t
720 R2.*10^\markup { \italic "ad lib." }
724 @warning{Text attached to a multi-measure rest is created
725 by @code{MultiMeasureRestText}, not
726 @code{TextScript}. Overrides must be directed to the correct
727 object, or they will be ignored. See the following example.}
729 @lilypond[quote,ragged-right,verbatim,fragment]
730 \override TextScript #'padding = #5
732 \override MultiMeasureRestText #'padding = #5
736 Text attached to a multi-measure rest will be centered above or
737 below it. Long text attached in this way does not cause the
738 measure to expand, and may collide with text in adjacent measures.
739 Long text is better attached to a zero-length skip note preceding
740 the rest, preceded by @code{\fatText} (turn off again with
741 @code{\emptyText}), since this will cause the measure to expand to
742 accommodate the length of the text:
744 @lilypond[quote,ragged-right,verbatim,fragment]
745 \set Score.skipBars = ##t
747 s1*0^\markup {[MAJOR GENERAL]}
749 s1*0^\markup {[MABEL] }
750 s1*0_\markup {\italic {Cue: ... it is yours}}
752 s1^\markup {CHORUS} % Chorus notes would go here
759 This manual: @ref{Text}, @ref{Text scripts}.
761 Snippets: @lsrdir{rhythms}
765 @internalsref{MultiMeasureRest}.
767 The layout object @internalsref{MultiMeasureRestNumber} is for the
768 default number, and @internalsref{MultiMeasureRestText} for user
774 If an attempt is made to use fingerings (e.g.,
775 @code{R1*10-4}) to put numbers over multi-measure rests, the
776 fingering numeral (4) may collide with the bar counter
779 @cindex condensing rests
781 There is no way to automatically condense multiple rests into a
782 single multi-measure rest. Multi-measure rests do not take part
785 Be careful when entering multi-measure rests followed by whole
786 notes. The following will enter two notes lasting four measures
794 @node Displaying rhythms
795 @subsection Displaying rhythms
801 * Polymetric notation::
802 * Automatic note splitting::
806 @unnumberedsubsubsec Time signature
808 @cindex Time signature
812 The time signature is set with the @code{\time} command:
814 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
815 \time 2/4 c2 \time 3/4 c2.
820 The symbol that is printed can be customized with the @code{style}
821 property. Setting it to @code{#'()} uses fraction style for 4/4
824 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
827 \override Staff.TimeSignature #'style = #'()
832 A time signature symbol is normally printed whenever the time
833 signature changes. If this takes place at the end of a line a
834 warning time signature sign is printed at the end of the line and
835 again at the start of a new line. This default behaviour can be
836 modified by setting the value of the @code{break-visibility}
837 property. This takes three values which may be set to @code{#t}
838 or @code{#f} to specify whether the corresponding time signature
839 is visible or not. The order of the three values is @code{end of
840 line visible}, @code{middle of line visible}, @code{beginning of
843 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
844 % Do not print any time signatures at end of line
845 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
848 % Do not print the following 9/8 time signature
849 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
857 There are many more options for its layout. See @ref{Ancient time
858 signatures}, for more examples.
860 @code{\time} sets the properties @code{timeSignatureFraction},
861 @code{beatLength}, and @code{measureLength} in the @code{Timing}
862 context, which is normally aliased to @internalsref{Score}. The
863 property @code{measureLength} determines where bar lines should be
864 inserted, and how automatic beams should be generated. Changing
865 the value of @code{timeSignatureFraction} also causes the symbol
868 @cindex Measure groupings
870 More options are available through the Scheme function
871 @code{set-time-signature}, which takes three arguments: the number
872 of beats, the beat length, and the internal grouping of beats in
873 the measure. If the @internalsref{Measure_grouping_engraver} is
874 included, the function will also create
875 @internalsref{MeasureGrouping} signs. Such signs ease reading
876 rhythmically complex modern music. In the following example, the
877 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
878 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
880 @lilypond[quote,ragged-right,verbatim]
883 #(set-time-signature 9 8 '(2 2 2 3))
884 g8[ g] d[ d] g[ g] a8[( bes g]) |
885 #(set-time-signature 5 8 '(3 2))
891 \consists "Measure_grouping_engraver"
900 Snippets: @lsrdir{rhythms}
902 Internals Reference: @internalsref{TimeSignature}, and
903 @internalsref{Timing_translator}.
905 Examples: @lsr{contemporary,compound-time-signature.ly}.
910 Automatic beaming does not use the measure grouping specified with
911 @code{set-time-signature}.
915 @unnumberedsubsubsec Upbeats
919 @cindex partial measure
920 @cindex measure, partial
921 @cindex pickup measure
922 @cindex shorten measures
925 Partial or pickup measures, such as an anacrusis or upbeat, are
926 entered using the @code{\partial} command, with the syntax
929 \partial @var{duration}
932 where @code{duration} is the rhythmic length to be added before
935 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
936 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
939 Internally, this is translated into
942 \set Timing.measurePosition = -@var{length of duration}
945 The property @code{measurePosition} contains a rational number
946 indicating how much of the measure has passed at this point. Note
947 that this is a negative number; @code{\partial 4} is internally
948 translated to mean @qq{there is a quarter note left in the bar.}
953 This command does not take into account grace notes at the start
954 of the music. When a piece starts with grace notes in the
955 pickup, then the @code{\partial} should follow the grace notes:
957 @lilypond[verbatim,quote,ragged-right,relative,fragment]
964 @code{\partial} is only intended to be used at the beginning of a
965 piece. If you use it after the beginning, some odd warnings may
970 Snippets: @lsrdir{rhythms}
972 @node Unmetered music
973 @unnumberedsubsubsec Unmetered music
977 @funindex \cadenzaOff
979 Bar lines and bar numbers are calculated automatically. For
980 unmetered music (cadenzas, for example), this is not desirable.
981 To turn off automatic bar lines and bar numbers, use the commands
982 @code{\cadenzaOn} and @code{\cadenzaOff}.
984 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
996 LilyPond will only insert line breaks and page breaks at a
997 bar line. Unless the unmetered music ends before the end of the
998 staff line, you will need to insert invisible bar lines with
1005 to indicate where breaks can occur.
1009 Snippets: @lsrdir{rhythms}
1012 @node Polymetric notation
1013 @unnumberedsubsubsec Polymetric notation
1015 @cindex double time signatures
1016 @cindex signatures, polymetric
1017 @cindex polymetric signatures
1018 @cindex meter, polymetric
1020 Double time signatures are not supported explicitly, but they can
1021 be faked. In the next example, the markup for the time signature
1022 is created with a markup text. This markup text is inserted in
1023 the @internalsref{TimeSignature} grob. See also
1024 @lsr{contemporary,compound-time-signature}.
1026 @lilypond[verbatim,ragged-right]
1028 tsMarkup = \markup {
1029 \override #'(baseline-skip . 2) \number {
1032 \bracket \column { "5" "8" }
1037 \override Staff.TimeSignature #'stencil =
1038 #ly:text-interface::print
1039 \override Staff.TimeSignature #'text = #tsMarkup
1041 c'2 \bar ":" c'4 c'4.
1045 Each staff can also have its own time signature. This is done by
1046 moving the @internalsref{Timing_translator} to the
1047 @internalsref{Staff} context.
1049 @lilypond[quote,verbatim,ragged-right]
1053 \remove "Timing_translator"
1054 \remove "Default_bar_line_engraver"
1058 \consists "Timing_translator"
1059 \consists "Default_bar_line_engraver"
1062 %Now, each staff has its own time signature.
1075 c4. c8 c c c4. c8 c c
1081 A different form of polymetric notation is where note lengths have
1082 different values across staves, but the measures are all the same
1085 This notation can be created by setting a common time signature
1086 for each staff but replacing it manually using
1087 @code{timeSignatureFraction} to the desired fraction. Then the
1088 printed durations in each staff are scaled to the common time
1089 signature. The latter is done with @code{\compressMusic}, which
1090 is used in a similar way to @code{\times}, but does not create
1091 a tuplet bracket. The syntax is
1092 @funindex \compressMusic
1096 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1101 In this example, music with the time signatures of 3/4, 9/8, and
1102 10/8 are used in parallel. In the second staff, shown durations
1103 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1104 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1107 @lilypond[quote,ragged-right,verbatim,fragment]
1115 \set Staff.timeSignatureFraction = #'(9 . 8)
1116 \compressMusic #'(2 . 3)
1117 \repeat unfold 6 { c8[ c c] }
1121 \set Staff.timeSignatureFraction = #'(10 . 8)
1122 \compressMusic #'(3 . 5) {
1123 \repeat unfold 2 { c8[ c c] }
1124 \repeat unfold 2 { c8[ c] }
1125 | c4. c4. \times 2/3 { c8 c c } c4
1134 When using different time signatures in parallel, the spacing is
1135 aligned vertically, but bar lines distort the regular spacing.
1139 Snippets: @lsrdir{rhythms}
1142 @node Automatic note splitting
1143 @unnumberedsubsubsec Automatic note splitting
1145 Long notes which overrun bar lines can be converted automatically
1146 to tied notes. This is done by replacing the
1147 @internalsref{Note_heads_engraver} by the
1148 @internalsref{Completion_heads_engraver}. In the following
1149 examples, notes crossing the bar line are split and tied.
1151 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1153 \remove "Note_heads_engraver"
1154 \consists "Completion_heads_engraver"
1156 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1160 This engraver splits all running notes at the bar line, and
1161 inserts ties. One of its uses is to debug complex scores: if the
1162 measures are not entirely filled, then the ties exactly show how
1163 much each measure is off.
1165 If you want to allow line breaking on the bar lines where
1166 @internalsref{Completion_heads_engraver} splits notes, you must
1167 also remove @internalsref{Forbid_line_break_engraver}.
1172 Not all durations (especially those containing tuplets) can be
1173 represented exactly with normal notes and dots, but the engraver
1174 will not insert tuplets.
1176 @code{Completion_heads_engraver} only affects notes; it does not
1182 Snippets: @lsrdir{rhythms}
1184 Internals Reference: @internalsref{Completion_heads_engraver},
1185 @internalsref{Forbid_line_break_engraver}.
1196 * Setting automatic beam behavior::
1200 @node Automatic beams
1201 @unnumberedsubsubsec Automatic beams
1203 By default beams are inserted automatically:
1205 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1207 \time 6/8 c c c c8. c16 c8
1210 If these automatic decisions are not satisfactory, beaming can be
1211 entered explicitly; see @ref{Manual beams}. It is also possible
1212 to define beaming patterns that differ from the defaults; see
1213 @ref{Setting automatic beam behavior}. The default beaming rules
1214 are defined in @file{scm/@/auto@/-beam@/.scm}.
1220 Automatic beaming may be turned off and on with
1221 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1223 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1224 c4 c8 c8. c16 c8. c16 c8
1234 Beaming patterns may be altered with the @code{beatGrouping} property,
1236 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1238 \set beatGrouping = #'(2 3)
1240 \set beatGrouping = #'(3 2)
1244 The property @code{subdivideBeams} can be set in order to
1245 subdivide all 16th or shorter beams. When set, multiple beams
1246 will be sub-divided at beat positions, defined by the current
1247 value of @code{beatLength} (defaults to a quarter note), by
1248 drawing only one beam over the beat.
1250 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1252 \set subdivideBeams = ##t
1254 \set Score.beatLength = #(ly:make-moment 1 8)
1256 \set Score.beatLength = #(ly:make-moment 1 16)
1259 @funindex subdivideBeams
1262 For more information about @code{make-moment}, see
1263 @ref{Time administration}.
1267 Line breaks are normally forbidden when beams cross bar lines.
1268 This behavior can be changed by setting the @code{breakable}
1269 property: @code{\override Beam #'breakable = ##t}.
1271 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1272 \override Beam #'breakable = ##t
1273 c8 \repeat unfold 15 {c[ c] } c
1276 @cindex beams and line breaks
1277 @cindex beams, kneed
1279 @cindex auto-knee-gap
1281 Kneed beams are inserted automatically when a large gap is
1282 detected between the note heads. This behavior can be tuned
1283 through the @code{auto-knee-gap} property. A kneed beam is
1284 drawn if the gap is larger than the value of
1285 @code{auto-knee-gap} plus the width of the beam object (which
1286 depends on the duration of the notes and the slope of the beam).
1287 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1289 @lilypond[fragment,ragged-right,quote,verbatim]
1291 \override Beam #'auto-knee-gap = #6
1298 Snippets: @lsrdir{rhythms}
1300 Internals Reference: @internalsref{Beam}.
1305 Automatically kneed cross-staff beams cannot be used together with
1306 hidden staves. See @ref{Hiding staves}.
1308 Beams can collide with noteheads and accidentals in other voices
1311 @node Setting automatic beam behavior
1312 @unnumberedsubsubsec Setting automatic beam behavior
1314 @funindex autoBeamSettings
1315 @funindex (end * * * *)
1316 @funindex (begin * * * *)
1317 @cindex automatic beams, tuning
1318 @cindex tuning automatic beaming
1320 @c [TODO: use \applyContext]
1322 In normal time signatures, automatic beams can start on any note
1323 but can only end in a few positions within the measure: beams can
1324 end on a beat, or at durations specified by the properties in
1325 @code{autoBeamSettings}. The properties in
1326 @code{autoBeamSettings} consist of a list of rules for where beams
1327 can begin and end. The default @code{autoBeamSettings} rules are
1328 defined in @file{scm/@/auto@/-beam@/.scm}.
1330 In order to add a rule to the list, use
1332 #(override-auto-beam-setting '(be p q n m) a b [context])
1337 @item @code{be} is either @code{begin} or @code{end}.
1339 @item @code{p/q} is the duration of the note for which you want
1340 to add a rule. A beam is considered to have the duration of its
1341 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1342 have this apply to any beam.
1344 @item @code{n/m} is the time signature to which
1345 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1346 to have this apply in any time signature.
1348 @item @code{a/b} is the position in the bar at which the beam should
1351 @item @code{context} is optional, and it specifies the context at which
1352 the change should be made. The default is @code{'Voice}.
1354 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1355 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1359 For example, if automatic beams should always end on the first quarter
1363 #(override-auto-beam-setting '(end * * * *) 1 4)
1366 You can force the beam settings to only take effect on beams whose shortest
1367 note is a certain duration
1369 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1371 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1373 a32 a a a a16 a a a a a |
1374 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1375 a32 a a a a16 a a a a a |
1378 You can force the beam settings to only take effect in certain time
1381 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1383 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1391 You can also remove a previously set beam-ending rule by using
1394 #(revert-auto-beam-setting '(be p q n m) a b [context])
1398 be, p, q, n, m, a, b and context are the same as above. Note that the
1399 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1400 so you can revert rules that you did not explicitly create.
1402 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1404 a16 a a a a a a a a a a a a a a a
1405 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1406 a16 a a a a a a a a a a a a a a a
1409 The rule in a revert-auto-beam-setting statement must exactly match the
1410 original rule. That is, no wildcard expansion is taken into account.
1412 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1414 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1416 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1418 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1424 @c TODO: old material -- not covered by above stuff, I think.
1425 If automatic beams should end on every quarter in 5/4 time, specify
1428 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1429 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1430 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1431 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1435 The same syntax can be used to specify beam starting points. In this
1436 example, automatic beams can only end on a dotted quarter note
1438 #(override-auto-beam-setting '(end * * * *) 3 8)
1439 #(override-auto-beam-setting '(end * * * *) 1 2)
1440 #(override-auto-beam-setting '(end * * * *) 7 8)
1442 In 4/4 time signature, this means that automatic beams could end only on
1443 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1444 3/8, has passed within the measure).
1446 If any unexpected beam behaviour occurs, check the default automatic beam
1447 settings in @file{scm/@/auto@/-beam@/.scm}
1448 for possible interference, because the beam
1449 endings defined there will still apply on top of your own overrides. Any
1450 unwanted endings in the default vales must be reverted for your time
1453 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1457 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1458 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1459 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1460 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1463 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1464 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1465 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1468 @cindex automatic beam generation
1470 @funindex autoBeaming
1473 If beams are used to indicate melismata in songs, then automatic
1474 beaming should be switched off with @code{\autoBeamOff}.
1479 @funindex \autoBeamOff
1480 @code{\autoBeamOff},
1481 @funindex \autoBeamOn
1487 If a score ends while an automatic beam has not been ended and is
1488 still accepting notes, this last beam will not be typeset at all.
1489 The same holds for polyphonic voices, entered with @code{<<
1490 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1491 automatic beam is still accepting notes, it is not typeset.
1495 Snippets: @lsrdir{rhythms}
1499 @unnumberedsubsubsec Manual beams
1501 @cindex beams, manual
1503 In some cases it may be necessary to override the automatic
1504 beaming algorithm. For example, the autobeamer will not put beams
1505 over rests or bar lines, and in choral scores the beaming is
1506 often set to follow the meter of the lyrics rather than the
1507 notes. Such beams can be specified manually by
1508 marking the begin and end point with @code{[} and @code{]}
1510 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1512 r4 r8[ g' a r8] r8 g[ | a] r8
1517 Individual notes may be marked with @code{\noBeam} to prevent them
1520 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1521 \time 2/4 c8 c\noBeam c c
1527 @funindex stemLeftBeamCount
1528 @funindex stemRightBeamCount
1530 Even more strict manual control with the beams can be achieved by
1531 setting the properties @code{stemLeftBeamCount} and
1532 @code{stemRightBeamCount}. They specify the number of beams to
1533 draw on the left and right side, respectively, of the next note.
1534 If either property is set, its value will be used only once, and
1535 then it is erased. In this example, the last @code{f} is printed
1536 with only one beam on the left side, i.e. the eigth-note beam of
1537 the group as a whole.
1539 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1543 \set stemLeftBeamCount = #1
1551 @cindex beams, feathered
1552 @funindex \featherDurations
1554 Feathered beams are used to indicate that a small group of notes
1555 should be played at an increasing (or decreasing) tempo, without
1556 changing the overall tempo of the piece. The extent of the
1557 feathered beam must be indicated manually using @code{[} and
1558 @code{]}, and the beam feathering is turned on by specifying a
1559 direction to the Beam property @code{grow-direction}.
1561 If the placement of the notes and the sound in the MIDI output
1562 is to reflect the ritardando or accelerando indicated by the
1563 feathered beam the notes must be grouped as a
1564 music expression delimited by braces and preceded by a
1565 @code{featheredDurations} command which specifies the ratio
1566 between the durations of the first and last notes in the group.
1569 show the extent of the beam and the braces show
1570 which notes are to have their durations modified. Normally
1571 these would delimit the same group of notes, but this is not
1572 required: the two commands are independent.
1574 In the following example the eight 16th notes occupy exactly
1575 the same time as a half note, but the first note is twice
1576 as short as the last one, with the intermediate notes gradually
1577 lengthening. The first four 32nd notes gradually speed up,
1578 while the last four 32nd notes are at a constant tempo.
1580 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1581 \override Beam #'grow-direction = #LEFT
1582 \featherDurations #(ly:make-moment 2 1)
1583 { c16[ c c c c c c c] }
1584 \override Beam #'grow-direction = #RIGHT
1585 \featherDurations #(ly:make-moment 2 3)
1587 % revert to non-feathered beams
1588 \override Beam #'grow-direction = #'()
1593 The spacing in the printed output represents the
1594 note durations only approximately, but the midi output is exact.
1598 The @code{\featherDurations} command only works with very short
1599 music snippets, and when numbers in the fraction are small.
1603 Snippets: @lsrdir{rhythms}
1614 * Bar and bar number checks::
1619 @unnumberedsubsubsec Bar lines
1624 @cindex measure lines
1627 Bar lines delimit measures, and are also used to indicate
1628 repeats. Normally, simple bar lines are automatically inserted
1629 into the printed output at places based on the current time
1632 The simple bar lines inserted automatically can be changed to
1633 other types with the @code{\bar} command. For example, a closing
1634 double bar line is usually placed at the end of a piece:
1636 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1640 @warning{An incorrect duration can lead to poorly formatted
1643 It is not invalid if the final note in a bar does not
1644 end on the automatically entered bar line: the note is assumed
1645 to carry over into the next bar. But if a long sequence
1646 of such carry-over bars appears the music can appear compressed
1647 or even flowing off the page. This is because automatic line
1648 breaks happen only at the end of complete bars, i.e. where
1649 the end of a note coincides with the end of a bar.
1651 Line breaks are also permitted at manually inserted bar lines
1652 even within incomplete bars. To allow a line break without
1653 printing a bar line, use
1660 This will insert an invisible bar line and allow (but not
1661 force) a line break to occur at this point. The bar number
1662 counter is not increased. To force a line break see
1663 @ref{Line breaking}.
1665 This and other special bar lines may be inserted manually at any
1666 point. When they coincide with the end of a bar they replace
1667 the simple bar line which would have been inserted there
1668 automatically. When they do not coincide
1669 with the end of a bar the specified bar line is inserted at that
1670 point in the printed output. Such insertions do not affect
1671 the calculation and placement of subsequent automatic bar lines.
1673 The simple bar line and four types of double bar line are available
1674 for manual insertion:
1676 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1677 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1681 together with dotted and dashed bar lines:
1683 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1684 f1 \bar ":" g \bar "dashed" a
1688 and three types of repeat bar line:
1690 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1691 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1694 Although the bar line types signifying repeats may be inserted
1695 manually they do not in themselves cause LilyPond to recognise
1696 a repeated section. Such repeated sections are better entered
1697 using the various repeat commands (see @ref{Repeats}), which
1698 automatically print the appropriate bar lines.
1700 In addition, you can specify @code{"||:"}, which is equivalent to
1701 @code{"|:"} except at line breaks, where it gives a double bar
1702 line at the end of the line and a start repeat at the beginning of
1705 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1706 \override Score.RehearsalMark #'padding = #3
1714 In scores with many staves, a @code{\bar} command in one staff is
1715 automatically applied to all staves. The resulting bar lines are
1716 connected between different staves of a @code{StaffGroup},
1717 @code{PianoStaff}, or @code{GrandStaff}.
1719 @lilypond[quote,ragged-right,fragment,verbatim]
1727 \new Staff { \clef bass c4 g e g }
1729 \new Staff { \clef bass c2 c2 }
1737 @funindex defaultBarType
1739 The command @code{\bar }@var{bartype} is a shortcut for
1740 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1741 created whenever the @code{whichBar} property is
1744 The default bar type used for automatically inserted bar lines is
1745 @code{"|"}. This may be changed at any time
1746 with @code{\set Timing.defaultBarType = }@var{bartype}.
1750 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1752 Snippets: @lsrdir{rhythms}
1754 Internals Reference: @internalsref{BarLine} (created at
1755 @internalsref{Staff} level), @internalsref{SpanBar} (across
1756 staves), @internalsref{Timing_translator} (for Timing
1761 @unnumberedsubsubsec Bar numbers
1764 @cindex measure numbers
1765 @funindex currentBarNumber
1767 Bar numbers are typeset by default at the start of every line
1768 except the first line. The
1769 number itself is stored in the @code{currentBarNumber} property,
1770 which is normally updated automatically for every measure. It
1771 may also be set manually:
1773 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1776 \set Score.currentBarNumber = #50
1783 @funindex barNumberVisibility
1784 @cindex bar numbers, regular spacing
1786 Bar numbers can be typeset at regular intervals instead of just at
1787 the beginning of every line. To do this the default behaviour
1788 must be overridden to permit bar numbers to be printed at places
1789 other than the start of a line. This is controlled by the
1790 @code{break-visibility} property of @code{BarNumber}. This takes
1791 three values which may be set to @code{#t} or @code{#f} to specify
1792 whether the corresponding bar number is visible or not. The order
1793 of the three values is @code{end of line visible}, @code{middle of
1794 line visible}, @code{beginning of line visible}. In the following
1795 example bar numbers are printed at all possible places:
1797 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1798 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1799 \set Score.currentBarNumber = #11
1800 \bar "" % Permit first bar number to be printed
1806 @c All the rest of these examples will be added to LSR
1807 @c and moved into the Snippets. -gp
1810 and here the bar numbers are printed every two bars
1811 except at the end of the line:
1813 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1814 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1815 \set Score.currentBarNumber = #11
1816 \bar "" % Permit first bar number to be printed
1817 % Print a bar number every 2nd bar
1818 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1824 The size of the bar number may be changed. This is illustrated
1825 in the following example, which also shows how to enclose bar
1826 numbers in boxes and circles, and shows an alternative way
1827 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1829 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1830 % Prevent bar numbers at the end of a line and permit them elsewhere
1831 \override Score.BarNumber #'break-visibility
1832 = #end-of-line-invisible
1834 % Increase the size of the bar number by 2
1835 \override Score.BarNumber #'font-size = #2
1836 \repeat unfold 3 { c1 } \bar "|"
1838 % Draw a box round the following bar number(s)
1839 \override Score.BarNumber #'stencil
1840 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1841 \repeat unfold 3 { c1 } \bar "|"
1843 % Draw a circle round the following bar number(s)
1844 \override Score.BarNumber #'stencil
1845 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1846 \repeat unfold 4 { c1 } \bar "|."
1849 @cindex Bar number alignment
1851 Bar numbers by default are left-aligned to their parent object.
1852 This is usually the left edge of a line or, if numbers are printed
1853 within a line, the left bar line of the bar. The numbers may also
1854 be positioned directly on the bar line or right-aligned to the
1857 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1858 \set Score.currentBarNumber = #111
1859 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1860 % Increase the size of the bar number by 2
1861 \override Score.BarNumber #'font-size = #2
1862 % Print a bar number every 2nd bar
1863 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1865 % Centre-align bar numbers
1866 \override Score.BarNumber #'self-alignment-X = #0
1868 % Right-align bar numbers
1869 \override Score.BarNumber #'self-alignment-X = #-1
1873 Bar numbers can be removed entirely by removing the Bar number
1874 engraver from the score context.
1876 @lilypond[verbatim,ragged-right,quote]
1880 \remove "Bar_number_engraver"
1892 Snippets: @lsrdir{rhythms}
1894 Internals Reference: @internalsref{BarNumber}.
1896 Examples: @lsrdir{bar number}
1901 Bar numbers may collide with the top of the
1902 @internalsref{StaffGroup} bracket, if there is one. To solve
1903 this, the @code{padding} property of @internalsref{BarNumber} can
1904 be used to position the number correctly.
1906 Bar numbers may only be printed at bar lines; to print a bar
1907 number at the beginning of a piece, an empty bar line must be
1908 inserted there, and a value other than @code{1} must be placed
1909 in @code{currentBarNumber}:
1911 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1912 \set Score.currentBarNumber = #50
1921 @node Bar and bar number checks
1922 @unnumberedsubsubsec Bar and bar number checks
1925 @funindex barCheckSynchronize
1928 Bar checks help detect errors in the entered durations.
1929 A bar check may be entered using the bar symbol, @samp{|},
1930 at any place where a bar line is expected to fall.
1931 If bar check lines are encountered at other places,
1932 a list of warnings is printed in the log file,
1933 showing the line numbers and lines
1934 in which the bar checks failed. In the next
1935 example, the second bar check will signal an error
1938 \time 3/4 c2 e4 | g2 |
1941 Bar checks can also be used in lyrics, for example
1946 Twin -- kle | Twin -- kle |
1950 An incorrect duration can result in a completely garbled score,
1951 especially if the score is polyphonic, so a good place to start
1952 correcting input is by scanning for failed bar checks and
1953 incorrect durations.
1956 @funindex pipeSymbol
1958 It is also possible to redefine the action taken when a bar check
1959 or pipe symbol, @samp{|}, is encountered in the input, so that
1960 it does something other than a bar check. This is done by
1961 assigning a music expression to @code{pipeSymbol}.
1962 In the following example @samp{|} is set to insert a double bar
1963 line wherever it appears in the input, rather than checking
1966 @lilypond[quote,ragged-right,verbatim]
1967 pipeSymbol = \bar "||"
1976 When copying large pieces of music, it can be helpful to check
1977 that the LilyPond bar number corresponds to the original that you
1978 are entering from. This can be checked with
1979 @code{\barNumberCheck}, for example,
1982 \barNumberCheck #123
1986 will print a warning if the @code{currentBarNumber} is not 123
1987 when it is processed.
1991 Snippets: @lsrdir{rhythms}
1994 @node Rehearsal marks
1995 @unnumberedsubsubsec Rehearsal marks
1997 @cindex Rehearsal marks
2000 To print a rehearsal mark, use the @code{\mark} command
2002 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2011 The letter@tie{}@q{I} is skipped in accordance with engraving
2012 traditions. If you wish to include the letter @q{I}, then use
2015 \set Score.markFormatter = #format-mark-alphabet
2018 The mark is incremented automatically if you use @code{\mark
2019 \default}, but you can also use an integer argument to set the
2020 mark manually. The value to use is stored in the property
2021 @code{rehearsalMark}.
2023 The style is defined by the property @code{markFormatter}. It is
2024 a function taking the current mark (an integer) and the current
2025 context as argument. It should return a markup object. In the
2026 following example, @code{markFormatter} is set to a pre-defined
2027 procedure. After a few measures, it is set to a procedure that
2028 produces a boxed number.
2030 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2031 \set Score.markFormatter = #format-mark-numbers
2034 \set Score.markFormatter = #format-mark-box-numbers
2040 The file @file{scm/@/translation@/-functions@/.scm} contains the
2041 definitions of @code{format-mark-numbers} (the default format),
2042 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2043 @code{format-mark-box-letters}. These can be used as inspiration
2044 for other formatting functions.
2046 You may use @code{format-mark-barnumbers},
2047 @code{format-mark-box-barnumbers}, and
2048 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2049 incremented numbers or letters.
2051 Other styles of rehearsal mark can be specified manually
2058 @code{Score.markFormatter} does not affect marks specified in this
2059 manner. However, it is possible to apply a @code{\markup} to the
2063 \mark \markup@{ \box A1 @}
2070 Music glyphs (such as the segno sign) may be printed inside a
2073 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2074 c1 \mark \markup { \musicglyph #"scripts.segno" }
2075 c1 \mark \markup { \musicglyph #"scripts.coda" }
2076 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2081 See @ref{The Feta font}, for a list of symbols which may be
2082 printed with @code{\musicglyph}.
2084 For common tweaks to the positioning of rehearsal marks, see
2089 Snippets: @lsrdir{rhythms}
2091 This manual: @ref{Text marks}.
2093 Internals Reference: @internalsref{RehearsalMark}.
2095 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2096 the definition of @code{format-mark-numbers} and
2097 @code{format-mark-letters}. They can be used as inspiration for
2098 other formatting functions.
2100 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2103 @node Special rhythmic concerns
2104 @subsection Special rhythmic concerns
2109 * Aligning to cadenzas::
2110 * Time administration::
2114 @unnumberedsubsubsec Grace notes
2119 @cindex appoggiatura
2120 @cindex acciaccatura
2122 Grace notes are ornaments that are written out. They are made with
2123 the @code{\grace} command. By prefixing this keyword to a music
2124 expression, a new one is formed, which will be printed in a
2125 smaller font and takes up no logical time in a measure.
2127 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2129 \grace { c16[ d16] } c2 c4
2132 Two special forms of the @code{\grace} command exist.
2133 An @emph{acciaccatura}, which should be played as very short,
2134 is denoted by a slurred small note with a slashed stem. The
2135 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2136 main note, is denoted as a slurred note in small print without
2137 a slash. They are entered with the commands @code{\acciaccatura}
2138 and @code{\appoggiatura}, as demonstrated in the following
2141 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2142 b4 \acciaccatura d8 c4
2144 \acciaccatura { g16[ f] } e4
2148 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2149 @code{\grace} does not.
2151 The placement of grace notes is synchronized between different
2152 staves. In the following example, there are two sixteenth grace
2153 notes for every eighth grace note
2155 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2156 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2157 \new Staff { c4 \grace { g8[ b] } c4 } >>
2160 @funindex \afterGrace
2162 If you want to end a note with a grace, use the @code{\afterGrace}
2163 command. It takes two arguments: the main note, and the grace
2164 notes following the main note.
2166 @lilypond[ragged-right, verbatim,relative=2,fragment]
2167 c1 \afterGrace d1 { c16[ d] } c4
2170 This will put the grace notes after a @q{space} lasting 3/4 of the
2171 length of the main note. The fraction 3/4 can be changed by
2172 setting @code{afterGraceFraction}, ie.
2175 #(define afterGraceFraction (cons 7 8))
2179 will put the grace note at 7/8 of the main note.
2181 The same effect can be achieved manually by doing
2183 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2186 { s2 \grace { c16[ d] } } >>
2192 By adjusting the duration of the skip note (here it is a
2193 half-note), the space between the main-note and the grace
2196 A @code{\grace} music expression will introduce special
2197 typesetting settings, for example, to produce smaller type, and
2198 set directions. Hence, when introducing layout tweaks, they
2199 should be inside the grace expression, for example,
2201 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2213 The overrides should also be reverted inside the grace expression.
2215 The layout of grace expressions can be changed throughout the
2216 music using the function @code{add-grace-property}. The following
2217 example undefines the @code{Stem} direction for this grace, so
2218 that stems do not always point up.
2222 #(add-grace-property 'Voice 'Stem 'direction '())
2228 Another option is to change the variables @code{startGraceMusic},
2229 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2230 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2231 @code{stopAppoggiaturaMusic}. The default values of these can be
2232 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2233 them other effects may be obtained.
2236 The slash through the stem in @emph{acciaccatura}s can be obtained in
2237 other situations by @code{\override Stem #'stroke-style =
2243 Grace notes may be forced to use align with regular notes
2244 in other staves by setting @code{strict-grace-spacing} to
2247 @lilypond[relative=2,ragged-right]
2249 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2258 c'16[ c'16 c'16 c'16]
2259 c'16[ c'16 c'16 c'16]
2268 Snippets: @lsrdir{rhythms}
2270 Internals Reference: @internalsref{GraceMusic}.
2275 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2276 and looks exactly the same as a multi-note beamed
2277 @emph{appoggiatura}.
2278 @c TODO Add link to LSR snippet to add slash when available
2280 Grace note synchronization can also lead to surprises. Staff
2281 notation, such as key signatures, bar lines, etc., are also
2282 synchronized. Take care when you mix staves with grace notes and
2283 staves without, for example,
2285 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2286 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2287 \new Staff { c4 \bar "|:" d4 } >>
2291 This can be remedied by inserting grace skips of the corresponding
2292 durations in the other staves. For the above example
2294 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2295 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2296 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2299 Grace sections should only be used within sequential music
2300 expressions. Nesting or juxtaposing grace sections is not
2301 supported, and might produce crashes or other errors.
2303 @node Aligning to cadenzas
2304 @unnumberedsubsubsec Aligning to cadenzas
2306 In an orchestral context, cadenzas present a special problem: when
2307 constructing a score that includes a cadenza, all other
2308 instruments should skip just as many notes as the length of the
2309 cadenza, otherwise they will start too soon or too late.
2311 A solution to this problem are the functions
2312 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2313 functions take a piece of music as argument, and generate a
2314 multi-rest or @code{\skip}, exactly as long as the piece. The use
2315 of @code{mmrest-of-length} is demonstrated in the following
2318 @lilypond[verbatim,ragged-right,quote]
2319 cadenza = \relative c' {
2320 c4 d8 << { e f g } \\ { d4. } >>
2325 \new Staff { \cadenza c'4 }
2327 #(ly:export (mmrest-of-length cadenza))
2335 Snippets: @lsrdir{rhythms}
2338 @node Time administration
2339 @unnumberedsubsubsec Time administration
2341 @cindex Time administration
2343 @funindex currentBarNumber
2344 @funindex measurePosition
2345 @funindex measureLength
2347 Time is administered by the @code{Timing_translator}, which by
2348 default is to be found in the @code{Score} context. An alias,
2349 @code{Timing}, is added to the context in which the
2350 @code{Timing_translator} is placed.
2352 The following properties of @code{Timing} are used
2353 to keep track of timing within the score.
2356 @item currentBarNumber
2357 The current measure number. For an example showing the
2358 use of this property see @ref{Bar numbers}.
2361 The length of the measures in the current time signature. For a
2362 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2363 determines when bar lines are inserted and how automatic beams
2364 should be generated.
2366 @item measurePosition
2367 The point within the measure where we currently are. This
2368 quantity is reset by subtracting @code{measureLength} whenever
2369 @code{measureLength} is reached or exceeded. When that happens,
2370 @code{currentBarNumber} is incremented.
2373 If set to true, the above variables are updated for every time
2374 step. When set to false, the engraver stays in the current
2375 measure indefinitely.
2379 Timing can be changed by setting any of these variables
2380 explicitly. In the next example, the default 4/4 time
2381 signature is printed, but @code{measureLength} is set to 5/4.
2382 At 4/8 through the third measure, the @code{measurePosition} is
2383 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2384 The next bar line then falls at 9/8 rather than 5/4.
2386 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2387 \set Score.measureLength = #(ly:make-moment 5 4)
2391 \set Score.measurePosition = #(ly:make-moment 5 8)
2397 As the example illustrates, @code{ly:make-moment n m} constructs a
2398 duration of n/m of a whole note. For example,
2399 @code{ly:make-moment 1 8} is an eighth note duration and
2400 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2406 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2408 Snippets: @lsrdir{rhythms}
2410 Internals Reference: @internalsref{Timing_translator},
2411 @internalsref{Score}