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 1.2.3.1 Time signature
15 Needs an example of beatLength, which is broken (see my recent
17 to -bug). What to do? For now I've left a paragraph of text
19 needs to be inserted with an example in a snippet.
21 1.2.3.4 Polymetric notation
22 Quite extensive changes. Could you please check through. Divided
24 sections. Necessarily uses tweaks. I've also left an @lsr under
26 Snippets - is this permitted or is @lsr now verboten? This
28 long to include, but seems relevant.
29 A snippet "grouping beats" hasn't yet appeared (only sent to vv a
31 days ago). Text left in Snippets: with TODO.
37 @lilypondfile[quote]{rhythms-headword.ly}
39 This section discusses rhythms, rests, durations, beaming and bars.
44 * Displaying rhythms::
47 * Special rhythmic concerns::
52 @subsection Writing rhythms
62 @subsubsection Durations
64 @cindex durations, of notes
65 @cindex note durations
71 Durations are designated by numbers and dots.
72 Durations are entered as their reciprocal values. For example, a
73 quarter note is entered using a @code{4} (since it is a 1/4 note),
74 and a half note is entered using a @code{2} (since it is a 1/2
75 note). For notes longer than a whole you must use the
76 @code{\longa} (a double breve) and @code{\breve} commands.
77 Durations as short as 64th notes may be specified. Shorter values
78 are possible, but only as beamed notes.
80 @c Two 64th notes are needed to obtain beams
81 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
88 Here are the same durations with automatic beaming turned off.
90 @c not strictly "writing rhythms"; more of a "displaying" thing,
91 @c but it's ok here. -gp
92 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
99 A note with the duration of a quadruple breve may be entered with
100 @code{\maxima}, but this is supported only within ancient music
101 notation. For details, see @ref{Ancient notation}.
103 If the duration is omitted, it is set to the previously
104 entered duration. The default for the first note is a quarter
107 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
111 @cindex notes, dotted
116 To obtain dotted note lengths, place a dot (@code{.}) after the
117 duration. Double-dotted notes are specified by appending two
120 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
121 a4 b c4. b8 a4. b4.. c8.
124 Some durations cannot be represented with just binary durations
125 and dots; they can be represented only by tying two or more
126 notes together. For details, see @ref{Ties}.
128 For ways of specifying durations for the syllables of lyrics and
129 ways of aligning lyrics to notes, see @ref{Vocal music}.
131 Optionally, notes can be spaced strictly proportionately to their
132 duration. For details of this and other settings which control
133 proportional notation, see @ref{Proportional notation}.
137 @funindex \dotsNeutral
139 Dots are normally moved up to avoid staff lines, except in
140 polyphonic situations. Predefined commands are available to
141 force a particular direction manually, for details
142 see @ref{Direction and placement}.
158 @rglos{Duration names notes and rests}.
161 @ref{Automatic beams},
163 @ref{Writing rhythms},
166 @ref{Ancient notation},
167 @ref{Proportional notation}.
174 @rinternals{DotColumn}.
179 @c Deliberately duplicated in Durations and Rests. -gp
180 There is no fundamental limit to rest durations (both in terms of
181 longest and shortest), but the number of glyphs is limited:
182 rests from 128th to maxima (8 x whole) may be printed.
186 @subsubsection Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @var{music} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
212 @funindex \tupletDown
213 @funindex \tupletNeutral
215 The automatic placement of the tuplet bracket above or below the
216 notes may be overridden manually with predefined commands, for
217 details see @ref{Direction and placement}.
219 Tuplets may be nested:
221 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
223 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
226 Modifying nested tuplets which begin at the same musical moment
227 must be done with @code{\tweak}.
229 To modify the duration of notes without printing a tuplet bracket,
230 see @ref{Scaling durations}.
236 @code{\tupletNeutral}.
241 @cindex tuplet formatting
242 @cindex triplet formatting
244 @funindex tupletNumberFormatFunction
245 @funindex tupletSpannerDuration
247 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
248 {entering-several-tuplets-using-only-one--times-command.ly}
250 @funindex TupletNumber
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {changing-the-tuplet-number.ly}
255 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
256 {permitting-line-breaks-within-beamed-tuplets.ly}
265 Learning Manual: @rlearning{Tweaking methods}.
268 @ref{Time administration},
269 @ref{Scaling durations},
270 @ref{Objects connected to the input},
271 @ref{Polymetric notation}.
277 @rinternals{TupletBracket},
278 @rinternals{TupletNumber},
279 @rinternals{TimeScaledMusic}.
282 @cindex grace notes within tuplet brackets
283 When the first note on a staff is a grace note followed by a
284 tuplet the grace note must be placed before the @code{\times}
285 command to avoid errors. Anywhere else, grace notes may be
286 placed within tuplet brackets.
289 @node Scaling durations
290 @subsubsection Scaling durations
292 @cindex scaling durations
293 @cindex durations, scaling
295 You can alter the duration of single notes, rests or chords by a
296 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
297 @code{M} is 1) to the duration.
298 This will not affect the appearance of the notes or rests
299 produced, but the altered duration will be used in calculating the
300 position within the measure and setting the duration in the MIDI
301 output. Multiplying factors may be combined such as @code{*L*M/N}.
303 In the following example, the first three notes take up exactly
304 two beats, but no triplet bracket is printed.
306 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
308 % Alter durations to triplets
309 a4*2/3 gis4*2/3 a4*2/3
312 % Double the duration of chord
314 % Duration of quarter, appears like sixteenth
318 The duration of skip or spacing notes may also be modified by
319 a multiplier. This is useful for skipping many measures, e.g.,
322 @cindex compressing music
323 @funindex \scaleDurations
325 Longer stretches of music may be compressed by a fraction in the
326 same way, as if every note, chord or rest had the fraction as a
327 multiplier. This leaves the appearance of the music unchanged but
328 the internal duration of the notes will be multiplied by the
329 fraction @emph{num}/@emph{den}. The spaces around the dot are
330 required. Here is an example showing how music can be compressed
333 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
337 % Scale music by *2/3
338 \scaleDurations #'(2 . 3) {
342 \scaleDurations #'(2 . 1) {
348 One application of this command is in polymetric
349 notation, see @ref{Polymetric notation}.
357 @ref{Polymetric notation}.
369 A tie connects two adjacent note heads of the same pitch. The tie
370 in effect extends the duration of a note.
372 @warning{Ties should not be confused with @emph{slurs}, which
373 indicate articulation, or @emph{phrasing slurs}, which indicate
374 musical phrasing. A tie is just a way of extending a note
375 duration, similar to the augmentation dot.}
377 A tie is entered using the tilde symbol @code{~}
379 @lilypond[quote,ragged-right,fragment,verbatim]
385 Ties are used either when the note crosses a bar line, or when
386 dots cannot be used to denote the rhythm. Ties should also be
387 used when note values cross larger subdivisions of the measure:
389 @lilypond[fragment,quote,ragged-right]
396 If you need to tie many notes across bar lines, it may be
397 easier to use automatic note splitting, see @ref{Automatic note
398 splitting}. This mechanism automatically splits long notes, and
399 ties them across bar lines.
401 @cindex ties and chords
402 @cindex chords and ties
404 When a tie is applied to a chord, all note heads whose pitches
405 match are connected. When no note heads match, no ties will be
406 created. Chords may be partially tied by placing the tie inside
409 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
411 <c~ e g~ b> <c e g b>
415 @cindex repeating ties
416 @cindex ties, repeating
417 @cindex volta brackets and ties
418 @cindex ties and volta brackets
420 When a second alternative of a repeat starts with a tied note, you
421 have to specify the repeated tie as follows:
423 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
424 \repeat volta 2 { c g <c e>2 ~ }
426 % First alternative: following note is tied normally
428 % Second alternative: following note has a repeated tie
429 { <c e>2\repeatTie d4 c } }
432 @cindex laissez vibrer
433 @cindex ties, laissez vibrer
434 @funindex \laissezVibrer
436 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
437 notes must not be damped at the end. It is used in notation for
438 piano, harp and other string and percussion instruments. They can
439 be entered as follows:
441 @lilypond[fragment,quote,ragged-right,verbatim,relative=1]
442 <c f g>1\laissezVibrer
445 @cindex ties, placement
448 @funindex \tieNeutral
450 The vertical placement of ties may be controlled, see
451 Predefined commands, or for details, see
452 @ref{Direction and placement}.
454 @cindex ties, appearance
459 Solid, dotted or dashed ties may be specified, see Predefined
475 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
476 {using-ties-with-arpeggios.ly}
478 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
479 {engraving-ties-manually.ly}
486 @rglos{laissez vibrer}.
488 Notation Reference: @ref{Automatic note splitting}.
494 @rinternals{LaissezVibrerTie},
495 @rinternals{LaissezVibrerTieColumn},
496 @rinternals{TieColumn},
502 Switching staves when a tie is active will not produce a slanted
505 Changing clefs or octavations during a tie is not really
506 well-defined. In these cases, a slur may be preferable.
513 @subsection Writing rests
515 Rests are entered as part of the music in music expressions.
520 * Full measure rests::
526 @cindex rest, entering durations
537 Rests are entered like notes with the note name @code{r}.
538 Durations longer than a whole rest use the predefined
541 @c \time 16/1 is used to avoid spurious bar lines
542 @c and long tracts of empty measures
543 @lilypond[fragment,quote,ragged-right,verbatim]
545 % These two lines are just to prettify this example
547 \override Staff.TimeSignature #'stencil = ##f
548 % Print a maxima rest, equal to four breves
550 % Print a longa rest, equal to two breves
554 r1 r2 r4 r8 r16 r32 r64
558 @cindex rest, multi-measure
559 @cindex rest, whole-measure
561 Whole measure rests, centered in the middle of the measure, must be
562 entered as multi-measure rests. They can be used for a single
563 measure as well as many measures and are discussed in @ref{Full
566 @cindex rest, specifying vertical position
568 To explicitly specify a rest's vertical position, write a note
569 followed by @code{\rest}. A rest of the duration of the note will
570 be placed at the staff position where the note would appear. This
571 allows for precise manual formatting of polyphonic music, since the
572 automatic rest collision formatter will not move these rests.
574 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
580 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
587 @ref{Full measure rests}.
598 @c Deliberately duplicated in Durations and Rests. -gp
599 There is no fundamental limit to rest durations (both in terms of
600 longest and shortest), but the number of glyphs is limited: there
601 are rests from 128th to maxima (8 x whole).
608 @cindex invisible rest
609 @cindex rest, invisible
613 An invisible rest (also called a @q{spacer rest}) can be entered
614 like a note with the note name@tie{}@code{s}:
616 @lilypond[verbatim,quote,relative=2]
623 Spacer rests are available only in note mode and chord mode. In
624 other situations, for example, when entering lyrics, @code{\skip}
625 is used to skip a musical moment. @code{\skip} requires an
628 @lilypond[quote,ragged-right,verbatim,relative=2]
641 A spacer rest implicitly causes @code{Staff} and @code{Voice}
642 contexts to be created if none exist, just like notes and rests
645 @lilypond[quote,verbatim,fragment]
649 @code{\skip} simply skips musical time; it creates no output of
652 @lilypond[quote,verbatim,fragment]
653 % This is valid input, but does nothing
654 \skip 1 \skip1 \skip 1
662 Internals Reference: @rinternals{SkipMusic}
665 @node Full measure rests
666 @subsubsection Full measure rests
668 @cindex multi-measure rests
669 @cindex full-measure rests
670 @cindex rest, multi-measure
671 @cindex rest, full-measure
672 @cindex whole rest for a full measure
675 Rests for one or more full measures are entered like notes with
676 the note name uppercase @code{R}:
678 @lilypond[quote,fragment,verbatim,relative=2]
679 % Rest bars contracted to single bar
680 \compressFullBarRests
687 The duration of full-measure rests is identical to the duration notation
688 used for notes. The duration in a multi-measure rest must always be an
689 integral number of measure-lengths, so augmentation
690 dots or fractions must often be used:
692 @lilypond[quote,ragged-right,fragment,verbatim]
693 \compressFullBarRests
699 R1*13/8 | R1*13/8*12 |
704 A full-measure rest is printed as either a whole
705 or breve rest, centered in the measure, depending on the time
708 @lilypond[quote,ragged-right,fragment,verbatim]
716 @funindex \expandFullBarRests
717 @funindex \compressFullBarRests
718 @cindex multi-measure rest, expanding
719 @cindex multi-measure rest, contracting
721 By default a multi-measure rest is expanded in the printed score
722 to show all the rest measures explicitly.
723 Alternatively, a mult-measure rest can be shown as a single measure
724 containing a multi-measure rest symbol, with the number of measures of rest
725 printed above the measure:
727 @lilypond[quote,ragged-right,fragment,verbatim]
729 \time 3/4 r2. | R2.*2 |
732 % Rest measures contracted to single measure
733 \compressFullBarRests
735 % Rest measures expanded
742 @cindex text on multi-measure rest
743 @cindex multi-measure rest, attaching text
744 @cindex script on multi-measure rest
745 @cindex multi-measure rest, script
746 @cindex fermata on multi-measure rest
747 @cindex multi-measure rest, attaching fermata
749 Markups can be added to multi-measure rests.
750 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." }
761 Markups attached to a multi-measure rest are
762 objects of type @code{MultiMeasureRestText}, not
763 @code{TextScript}. Overrides must be directed to the correct
764 object, or they will be ignored. See the following example.
767 @lilypond[quote,ragged-right,verbatim,fragment]
768 % This fails, as the wrong object name is specified
769 \override TextScript #'padding = #5
771 % This is correct and works
772 \override MultiMeasureRestText #'padding = #5
778 @code{\textLengthOn},
779 @code{\textLengthOff},
780 @code{\fermataMarkup},
781 @code{\compressFullBarRests},
782 @code{\expandFullBarRests}.
788 @cindex kirchenpausen
790 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
791 {changing-form-of-multi--measure-rests.ly}
793 @cindex multi-measure rests, positioning
794 @cindex positioning multi-measure rests
796 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
797 {positioning-multi--measure-rests.ly}
799 @c TODO -- convert to snippet
800 Markups attached to a multi-measure rest will be centered above or
801 below it. Long markups attached to multi-measure rests do not cause
802 the measure to expand. To expand a multi-measure rest to fit the markup,
803 use a spacer rest with an attached markup before the multi-measure rest:
805 @c -- music is somewhat compressed vertically. I thought it
806 @c was good because the emphasis is not on the content
807 @c of the markup, but on the place the markup was attached -cs
808 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
809 \compressFullBarRests
811 s1*0^\markup { [MAJOR GENERAL] }
813 s1*0_\markup { \italic { Cue: ... it is yours } }
815 R1*30^\markup { [MABEL] }
817 c4^\markup { CHORUS } d f c
821 Note that the spacer rest causes a bar to be inserted.
822 Text attached to a spacer rest in this way is left-aligned to the
823 position where the note would be placed in the measure, but if the
824 measure length is determined by the length of the text, the text will
825 appear to be centered.
831 @rglos{multi-measure rest},
832 @rglos{church rests}.
837 @ref{Formatting text},
844 @rinternals{MultiMeasureRest},
845 @rinternals{MultiMeasureRestNumber},
846 @rinternals{MultiMeasureRestText}.
851 If an attempt is made to use fingerings (e.g.,
852 @code{R1*10-4}) to put numbers over multi-measure rests, the
853 fingering numeral (4) may collide with the bar counter
856 @cindex condensing rests
857 @cindex rest, condensing ordinary
859 There is no way to automatically condense multiple ordinary rests
860 into a single multi-measure rest.
862 @cindex rest, collisions of
864 Multi-measure rests do not take part in rest collisions.
866 @node Displaying rhythms
867 @subsection Displaying rhythms
873 * Polymetric notation::
874 * Automatic note splitting::
875 * Showing melody rhythms::
879 @subsubsection Time signature
881 @cindex time signature
885 The time signature is set as follows:
887 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
892 @cindex Time signature, visibility of
894 Time signatures are printed at the beginning of a piece
895 and whenever the time signature changes. If a change takes place
896 at the end of a line a warning time signature sign is printed
897 there. This default behavior may be changed, see
898 @ref{Controlling visibility of objects}.
900 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
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]
1049 The partial measure can be any duration less than a full measure:
1051 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1052 \partial 8*3 c8 d e |
1056 Internally, this is translated into
1059 \set Timing.measurePosition = -@var{duration}
1062 The property @code{measurePosition} contains a rational number
1063 indicating how much of the measure has passed at this point. Note
1064 that this is set to a negative number by the @code{\partial}
1065 command: i.e., @code{\partial 4} is internally translated to
1066 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1070 Music Glossary: @rglos{anacrusis}
1072 Notation Reference: @ref{Grace notes}
1078 @rinternals{Timing_translator}
1082 @cindex grace notes, in anacruses
1084 This command does not take into account grace notes at the start
1085 of the music. If the pick-up starts with one or more grace
1086 notes, then the @code{\partial} should follow the grace note(s):
1088 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1095 The @code{\partial} command is intended to be used only at the
1096 beginning of a piece. If you use it after the beginning, some
1097 odd warnings may occur.
1099 @node Unmetered music
1100 @subsubsection Unmetered music
1102 @funindex \cadenzaOn
1103 @funindex \cadenzaOff
1104 @cindex bar lines, turning off
1105 @cindex bar numbering, turning off
1107 @cindex unmetered music
1109 Bar lines and bar numbers are calculated automatically. For
1110 unmetered music (cadenzas, for example), this is not desirable.
1111 To turn off automatic bar lines and bar numbers, use the command
1112 @code{\cadenzaOn}, and use @code{\cadenzaOff} to turn them on
1115 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1124 Bar numbering is resumed at the end of the cadenza as if the
1125 cadenza were not there:
1127 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1128 % Show all bar numbers
1129 \override Score.BarNumber #'break-visibility = #all-visible
1149 @ref{Controlling visibility of objects}
1156 LilyPond will insert line breaks and page breaks only at a
1157 bar line. Unless the unmetered music ends before the end of the
1158 staff line, you will need to insert invisible bar lines with
1165 to indicate where breaks can occur.
1168 @node Polymetric notation
1169 @subsubsection Polymetric notation
1171 @cindex double time signatures
1172 @cindex signatures, polymetric
1173 @cindex polymetric signatures
1174 @cindex meter, polymetric
1176 @strong{Alternating time signatures}
1178 Regularly alternating double time signatures are not supported
1179 explicitly, but they can be faked. In the next example, the
1180 double time signature is created with markup text, while the
1181 real time signature is set in the usual way with @code{\time}.
1183 @lilypond[verbatim,ragged-right]
1184 % Create 9/8 split into 2/4 + 5/8
1185 tsMarkup = \markup {
1186 \override #'(baseline-skip . 2) \number {
1189 \bracket \column { "5" "8" }
1194 \override Staff.TimeSignature #'stencil =
1195 #ly:text-interface::print
1196 \override Staff.TimeSignature #'text = #tsMarkup
1198 c'2 \bar ":" c'4 c'4.
1199 c'2 \bar ":" c'4 c'4.
1203 @strong{Staves with different time signatures, equal measure lengths}
1205 This notation can be created by setting a common time signature
1206 for each staff but replacing the symbol manually by setting
1207 @code{timeSignatureFraction} to the desired fraction and scaling
1208 the printed durations in each staff to the common time
1209 signature. This done with @code{\scaleDurations}, which
1210 is used in a similar way to @code{\times}, but does not create
1211 a tuplet bracket, see @ref{Scaling durations}.
1213 In this example, music with the time signatures of 3/4, 9/8, and
1214 10/8 are used in parallel. In the second staff, shown durations
1215 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1216 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1218 @lilypond[quote,ragged-right,verbatim,fragment]
1227 \set Staff.timeSignatureFraction = #'(9 . 8)
1228 \scaleDurations #'(2 . 3)
1229 \repeat unfold 6 { c8[ c c] }
1233 \set Staff.timeSignatureFraction = #'(10 . 8)
1234 \scaleDurations #'(3 . 5) {
1235 \repeat unfold 2 { c8[ c c] }
1236 \repeat unfold 2 { c8[ c] } |
1237 c4. c4. \times 2/3 { c8 c c } c4
1243 @strong{Staves with different time signatures, unequal bar lengths}
1245 Each staff can be given its own independent time signature by
1246 moving the @code{Timing_translator} to the @code{Staff} context.
1248 @lilypond[quote,verbatim,ragged-right]
1252 \remove "Timing_translator"
1253 \remove "Default_bar_line_engraver"
1257 \consists "Timing_translator"
1258 \consists "Default_bar_line_engraver"
1262 % Now each staff has its own time signature.
1291 @rglos{polymetric time signature},
1294 Notation Reference: @ref{Scaling durations}
1298 @c Is this still permitted?
1299 @c @lsr{contemporary,compound-time-signature}
1301 Internals Reference:
1302 @rinternals{TimeSignature},
1303 @rinternals{Timing-translator},
1308 When using different time signatures in parallel, the spacing is
1309 aligned vertically, but bar lines distort the regular spacing.
1312 @node Automatic note splitting
1313 @subsubsection Automatic note splitting
1315 @cindex notes, splitting
1316 @cindex splitting notes
1318 Long notes which overrun bar lines can be converted automatically
1319 to tied notes. This is done by replacing the
1320 @code{Note_heads_engraver} by the
1321 @code{Completion_heads_engraver}. In the following
1322 example, notes crossing the bar lines are split and tied.
1324 @lilypond[quote,fragment,verbatim,relative=1,ragged-right]
1326 \remove "Note_heads_engraver"
1327 \consists "Completion_heads_engraver"
1330 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1333 This engraver splits all running notes at the bar line, and
1334 inserts ties. One of its uses is to debug complex scores: if the
1335 measures are not entirely filled, then the ties show exactly how
1336 much each measure is off.
1338 To allow line breaking on the bar lines where the
1339 @code{Completion_heads_engraver} has inserted a split note, remove
1340 the @code{Forbid_line_break_engraver} too.
1345 Music Glossary: @rglos{tie}
1348 @rlearning{Engravers explained},
1349 @rlearning{Adding and removing engravers}.
1354 Internals Reference:
1355 @rinternals{Note_heads_engraver},
1356 @rinternals{Completion_heads_engraver},
1357 @rinternals{Forbid_line_break_engraver}.
1362 Not all durations (especially those containing tuplets) can be
1363 represented exactly with normal notes and dots, but the engraver
1364 will not insert tuplets.
1366 The @code{Completion_heads_engraver} only affects notes; it does not
1370 @node Showing melody rhythms
1371 @subsubsection Showing melody rhythms
1373 Sometimes you might want to show only the rhythm of a melody. This
1374 can be done with the rhythmic staff. All pitches of notes on such a
1375 staff are squashed, and the staff itself has a single line
1377 @c TODO Devise a more realistic example, perhaps with lyrics -td
1378 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1379 \new RhythmicStaff {
1381 c4 e8 f g2 | r4 g r2 | g1 | r1 |
1391 * Setting automatic beam behavior::
1396 @node Automatic beams
1397 @subsubsection Automatic beams
1399 By default, beams are inserted automatically:
1401 @cindex beams, manual
1402 @cindex manual beams
1404 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1406 \time 6/8 c c c c8. c16 c8
1409 If these automatic decisions are not satisfactory, beaming can be
1410 entered explicitly; see @ref{Manual beams}. It is also possible
1411 to define beaming patterns that differ from the defaults; see
1412 @ref{Setting automatic beam behavior}. The default beaming rules
1413 are defined in @file{scm/@/auto@/-beam@/.scm}.
1419 Automatic beaming may be turned off and on with
1420 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1422 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1423 c4 c8 c8. c16 c8. c16 c8
1433 Beaming patterns may be altered with the @code{beatGrouping} property,
1435 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1437 \set beatGrouping = #'(2 3)
1439 \set beatGrouping = #'(3 2)
1443 The beams of consecutive 16th (or shorter) notes are, by default,
1444 not sub-divided. That is, the three (or more) beams stretch
1445 unbroken over entire groups of notes. This behavior can
1446 be modified to sub-divide the beams into sub-groups by setting
1447 the property @code{subdivideBeams}. When set, multiple beams
1448 will be sub-divided at intervals defined by the current value of
1449 @code{beatLength} by reducing the multiple beams to just one beam
1450 between the sub-groups. Note that @code{beatLength} lives in the
1451 @code{Score} context and defaults to a quarter note. It must be
1452 set to a fraction giving the duration of the beam sub-group
1453 using the @code{make-moment} function, as shown here:
1455 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1457 \set subdivideBeams = ##t
1459 % Set beam sub-group length to an eighth note
1460 \set Score.beatLength = #(ly:make-moment 1 8)
1462 % Set beam sub-group length to a sixteenth note
1463 \set Score.beatLength = #(ly:make-moment 1 16)
1466 @funindex subdivideBeams
1469 For more information about @code{make-moment}, see
1470 @ref{Time administration}.
1476 Line breaks are normally forbidden when beams cross bar lines.
1477 This behavior can be changed by setting the @code{breakable}
1478 property: @code{\override Beam #'breakable = ##t}.
1480 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1481 \override Beam #'breakable = ##t
1482 c8 \repeat unfold 15 { c[ c] } c
1485 @cindex beams and line breaks
1486 @cindex beams, kneed
1488 @cindex auto-knee-gap
1490 Kneed beams are inserted automatically when a large gap is
1491 detected between the note heads. This behavior can be tuned
1492 through the @code{auto-knee-gap} property. A kneed beam is
1493 drawn if the gap is larger than the value of
1494 @code{auto-knee-gap} plus the width of the beam object (which
1495 depends on the duration of the notes and the slope of the beam).
1496 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1498 @lilypond[fragment,ragged-right,quote,verbatim]
1500 \override Beam #'auto-knee-gap = #6
1507 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1512 Internals Reference: @rinternals{Beam}.
1517 Automatically kneed cross-staff beams cannot be used together with
1518 hidden staves. See @ref{Hiding staves}.
1520 Beams can collide with note heads and accidentals in other voices
1523 @node Setting automatic beam behavior
1524 @subsubsection Setting automatic beam behavior
1526 @funindex autoBeamSettings
1527 @funindex (end * * * *)
1528 @funindex (begin * * * *)
1529 @cindex automatic beams, tuning
1530 @cindex tuning automatic beaming
1532 @c [TODO: use \applyContext]
1534 In normal time signatures, automatic beams can start on any note
1535 but can end in only a few positions within the measure: beams can
1536 end on a beat, or at durations specified by the properties in
1537 @code{autoBeamSettings}. The properties in
1538 @code{autoBeamSettings} consist of a list of rules for where beams
1539 can begin and end. The default @code{autoBeamSettings} rules are
1540 defined in @file{scm/@/auto@/-beam@/.scm}.
1542 In order to add a rule to the list, use
1544 #(override-auto-beam-setting '(be p q n m) a b [context])
1549 @item @code{be} is either @code{begin} or @code{end}.
1551 @item @code{p/q} is the duration of the note for which you want
1552 to add a rule. A beam is considered to have the duration of its
1553 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1554 have this apply to any beam.
1556 @item @code{n/m} is the time signature to which
1557 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1558 to have this apply in any time signature.
1560 @item @code{a/b} is the position in the bar at which the beam should
1563 @item @code{context} is optional, and it specifies the context at which
1564 the change should be made. The default is @code{'Voice}.
1566 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1567 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1571 For example, if automatic beams should always end on the first quarter
1575 #(override-auto-beam-setting '(end * * * *) 1 4)
1578 You can force the beam settings to only take effect on beams whose shortest
1579 note is a certain duration
1581 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1583 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1585 a32 a a a a16 a a a a a |
1586 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1587 a32 a a a a16 a a a a a |
1590 You can force the beam settings to only take effect in certain time
1593 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1595 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1603 You can also remove a previously set beam-ending rule by using
1606 #(revert-auto-beam-setting '(be p q n m) a b [context])
1610 @code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
1611 @code{b} and @code{context} are the same as above. Note that the
1612 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1613 so you can revert rules that you did not explicitly create.
1615 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1617 a16 a a a a a a a a a a a a a a a
1618 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1619 a16 a a a a a a a a a a a a a a a
1622 The rule in a @code{revert-auto-beam-setting} statement must exactly
1623 match the original rule. That is, no wildcard expansion is taken into
1626 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1628 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1630 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1632 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1638 @c TODO: old material -- not covered by above stuff, I think.
1639 If automatic beams should end on every quarter in 5/4 time, specify
1642 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1643 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1644 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1645 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1649 The same syntax can be used to specify beam starting points. In this
1650 example, automatic beams can only end on a dotted quarter note
1652 #(override-auto-beam-setting '(end * * * *) 3 8)
1653 #(override-auto-beam-setting '(end * * * *) 1 2)
1654 #(override-auto-beam-setting '(end * * * *) 7 8)
1656 In 4/4 time signature, this means that automatic beams could end only on
1657 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1658 3/8, has passed within the measure).
1660 If any unexpected beam behavior occurs, check the default automatic beam
1661 settings in @file{scm/@/auto@/-beam@/.scm}
1662 for possible interference, because the beam
1663 endings defined there will still apply on top of your own overrides. Any
1664 unwanted endings in the default vales must be reverted for your time
1667 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1671 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1672 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1673 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1674 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1677 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1678 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1679 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1682 @cindex automatic beam generation
1684 @funindex autoBeaming
1687 If beams are used to indicate melismata in songs, then automatic
1688 beaming should be switched off with @code{\autoBeamOff}.
1693 @funindex \autoBeamOff
1694 @code{\autoBeamOff},
1695 @funindex \autoBeamOn
1701 If a score ends while an automatic beam has not been ended and is
1702 still accepting notes, this last beam will not be typeset at all.
1703 The same holds for polyphonic voices, entered with @code{<<
1704 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1705 automatic beam is still accepting notes, it is not typeset.
1714 @subsubsection Manual beams
1716 @cindex beams, manual
1718 In some cases it may be necessary to override the automatic
1719 beaming algorithm. For example, the autobeamer will not put beams
1720 over rests or bar lines, and in choral scores the beaming is
1721 often set to follow the meter of the lyrics rather than the
1722 notes. Such beams can be specified manually by
1723 marking the begin and end point with @code{[} and @code{]}
1725 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1727 r4 r8[ g' a r8] r8 g[ | a] r8
1732 Individual notes may be marked with @code{\noBeam} to prevent them
1735 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1736 \time 2/4 c8 c\noBeam c c
1742 @funindex stemLeftBeamCount
1743 @funindex stemRightBeamCount
1745 Even more strict manual control with the beams can be achieved by
1746 setting the properties @code{stemLeftBeamCount} and
1747 @code{stemRightBeamCount}. They specify the number of beams to
1748 draw on the left and right side, respectively, of the next note.
1749 If either property is set, its value will be used only once, and
1750 then it is erased. In this example, the last @code{f} is printed
1751 with only one beam on the left side, i.e., the eighth-note beam of
1752 the group as a whole.
1754 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1758 \set stemLeftBeamCount = #1
1766 @node Feathered beams
1767 @subsubsection Feathered beams
1769 @cindex beams, feathered
1770 @funindex \featherDurations
1772 Feathered beams are used to indicate that a small group of notes
1773 should be played at an increasing (or decreasing) tempo, without
1774 changing the overall tempo of the piece. The extent of the
1775 feathered beam must be indicated manually using @code{[} and
1776 @code{]}, and the beam feathering is turned on by specifying a
1777 direction to the @code{Beam} property @code{grow-direction}.
1779 If the placement of the notes and the sound in the MIDI output
1780 is to reflect the ritardando or accelerando indicated by the
1781 feathered beam the notes must be grouped as a
1782 music expression delimited by braces and preceded by a
1783 @code{featheredDurations} command which specifies the ratio
1784 between the durations of the first and last notes in the group.
1787 show the extent of the beam and the braces show
1788 which notes are to have their durations modified. Normally
1789 these would delimit the same group of notes, but this is not
1790 required: the two commands are independent.
1792 In the following example the eight 16th notes occupy exactly the
1793 same time as a half note, but the first note is one half as long
1794 as the last one, with the intermediate notes gradually
1795 lengthening. The first four 32nd notes gradually speed up, while
1796 the last four 32nd notes are at a constant tempo.
1798 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1799 \override Beam #'grow-direction = #LEFT
1800 \featherDurations #(ly:make-moment 2 1)
1801 { c16[ c c c c c c c] }
1802 \override Beam #'grow-direction = #RIGHT
1803 \featherDurations #(ly:make-moment 2 3)
1805 % revert to non-feathered beams
1806 \override Beam #'grow-direction = #'()
1811 The spacing in the printed output represents the
1812 note durations only approximately, but the midi output is exact.
1816 The @code{\featherDurations} command only works with very short
1817 music snippets, and when numbers in the fraction are small.
1833 * Bar and bar number checks::
1838 @subsubsection Bar lines
1842 @cindex measure lines
1845 Bar lines delimit measures, and are also used to indicate
1846 repeats. Normally, simple bar lines are automatically inserted
1847 into the printed output at places based on the current time
1850 The simple bar lines inserted automatically can be changed to
1851 other types with the @code{\bar} command. For example, a closing
1852 double bar line is usually placed at the end of a piece:
1854 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1858 @warning{An incorrect duration can lead to poorly formatted
1861 It is not invalid if the final note in a measure does not
1862 end on the automatically entered bar line: the note is assumed
1863 to carry over into the next measure. But if a long sequence
1864 of such carry-over measures appears the music can appear compressed
1865 or even flowing off the page. This is because automatic line
1866 breaks happen only at the end of complete measures, i.e., where
1867 the end of a note coincides with the end of a measure.
1870 @cindex bar lines, invisible
1871 @cindex measure lines, invisible
1873 Line breaks are also permitted at manually inserted bar lines
1874 even within incomplete measures. To allow a line break without
1875 printing a bar line, use
1882 This will insert an invisible bar line and allow (but not
1883 force) a line break to occur at this point. The bar number
1884 counter is not increased. To force a line break see
1885 @ref{Line breaking}.
1887 This and other special bar lines may be inserted manually at any
1888 point. When they coincide with the end of a measure they replace
1889 the simple bar line which would have been inserted there
1890 automatically. When they do not coincide
1891 with the end of a measure the specified bar line is inserted at that
1892 point in the printed output. Such insertions do not affect
1893 the calculation and placement of subsequent automatic bar lines.
1895 The simple bar line and four types of double bar line are available
1896 for manual insertion:
1898 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1899 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1903 together with dotted and dashed bar lines:
1905 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1906 f1 \bar ":" g \bar "dashed" a
1910 and three types of repeat bar line:
1912 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1913 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1918 Although the bar line types signifying repeats may be inserted
1919 manually they do not in themselves cause LilyPond to recognize
1920 a repeated section. Such repeated sections are better entered
1921 using the various repeat commands (see @ref{Repeats}), which
1922 automatically print the appropriate bar lines.
1924 In addition, you can specify @code{"||:"}, which is equivalent to
1925 @code{"|:"} except at line breaks, where it gives a double bar
1926 line at the end of the line and a start repeat at the beginning of
1929 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1930 \override Score.RehearsalMark #'padding = #3
1938 In scores with many staves, a @code{\bar} command in one staff is
1939 automatically applied to all staves. The resulting bar lines are
1940 connected between different staves of a @code{StaffGroup},
1941 @code{PianoStaff}, or @code{GrandStaff}.
1943 @lilypond[quote,ragged-right,fragment,verbatim]
1951 \new Staff { \clef bass c4 g e g }
1953 \new Staff { \clef bass c2 c2 }
1961 @funindex defaultBarType
1963 The command @code{\bar }@var{bartype} is a shortcut for
1964 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1965 created whenever the @code{whichBar} property is
1968 The default bar type used for automatically inserted bar lines is
1969 @code{"|"}. This may be changed at any time
1970 with @code{\set Timing.defaultBarType = }@var{bartype}.
1974 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1975 @c FIXME: node name changed, but is subject to further changes.
1976 @c @ref{System start delimiters}.
1981 Internals Reference: @rinternals{BarLine} (created at
1982 @rinternals{Staff} level), @rinternals{SpanBar} (across
1983 staves), @rinternals{Timing_translator} (for Timing
1988 @subsubsection Bar numbers
1991 @cindex measure numbers
1992 @funindex currentBarNumber
1994 Bar numbers are typeset by default at the start of every line except
1995 the first line. The number itself is stored in the
1996 @code{currentBarNumber} property, which is normally updated
1997 automatically for every measure. It may also be set manually:
1999 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2002 \set Score.currentBarNumber = #50
2009 @funindex barNumberVisibility
2010 @cindex bar numbers, regular spacing
2012 Bar numbers can be typeset at regular intervals instead of just at
2013 the beginning of every line. To do this the default behavior
2014 must be overridden to permit bar numbers to be printed at places
2015 other than the start of a line. This is controlled by the
2016 @code{break-visibility} property of @code{BarNumber}. This takes
2017 three values which may be set to @code{#t} or @code{#f} to specify
2018 whether the corresponding bar number is visible or not. The order
2019 of the three values is @code{end of line visible}, @code{middle of
2020 line visible}, @code{beginning of line visible}. In the following
2021 example bar numbers are printed at all possible places:
2023 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2024 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
2025 \set Score.currentBarNumber = #11
2026 \bar "" % Permit first bar number to be printed
2032 @c All the rest of these examples will be added to LSR
2033 @c and moved into the Snippets. -gp
2036 and here the bar numbers are printed every two measures
2037 except at the end of the line:
2039 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2040 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
2041 \set Score.currentBarNumber = #11
2042 \bar "" % Permit first bar number to be printed
2043 % Print a bar number every second measure
2044 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2050 @cindex measure number, format
2051 @cindex bar number, format
2053 The size of the bar number may be changed. This is illustrated
2054 in the following example, which also shows how to enclose bar
2055 numbers in boxes and circles, and shows an alternative way
2056 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2058 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2059 % Prevent bar numbers at the end of a line and permit them elsewhere
2060 \override Score.BarNumber #'break-visibility
2061 = #end-of-line-invisible
2063 % Increase the size of the bar number by 2
2064 \override Score.BarNumber #'font-size = #2
2065 \repeat unfold 3 { c1 } \bar "|"
2067 % Draw a box round the following bar number(s)
2068 \override Score.BarNumber #'stencil
2069 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2070 \repeat unfold 3 { c1 } \bar "|"
2072 % Draw a circle round the following bar number(s)
2073 \override Score.BarNumber #'stencil
2074 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2075 \repeat unfold 4 { c1 } \bar "|."
2078 @cindex bar number alignment
2080 Bar numbers by default are left-aligned to their parent object.
2081 This is usually the left edge of a line or, if numbers are printed
2082 within a line, the left bar line of the measure. The numbers may also
2083 be positioned directly on the bar line or right-aligned to the
2086 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2087 \set Score.currentBarNumber = #111
2088 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
2089 % Increase the size of the bar number by 2
2090 \override Score.BarNumber #'font-size = #2
2091 % Print a bar number every second measure
2092 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2094 % Center-align bar numbers
2095 \override Score.BarNumber #'self-alignment-X = #0
2097 % Right-align bar numbers
2098 \override Score.BarNumber #'self-alignment-X = #-1
2102 Bar numbers can be removed entirely by removing the
2103 @code{Bar_number_engraver} from the @code{Score} context.
2105 @lilypond[verbatim,ragged-right,quote]
2109 \remove "Bar_number_engraver"
2124 Internals Reference: @rinternals{BarNumber}.
2129 Bar numbers may collide with the top of the
2130 @rinternals{StaffGroup} bracket, if there is one. To solve
2131 this, the @code{padding} property of @rinternals{BarNumber} can
2132 be used to position the number correctly.
2134 Bar numbers may only be printed at bar lines; to print a bar
2135 number at the beginning of a piece, an empty bar line must be
2136 inserted there, and a value other than @code{1} must be placed
2137 in @code{currentBarNumber}:
2139 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2140 \set Score.currentBarNumber = #50
2149 @node Bar and bar number checks
2150 @subsubsection Bar and bar number checks
2153 @funindex barCheckSynchronize
2156 Bar checks help detect errors in the entered durations.
2157 A bar check may be entered using the bar symbol, @code{|},
2158 at any place where a bar line is expected to fall.
2159 If bar check lines are encountered at other places,
2160 a list of warnings is printed in the log file,
2161 showing the line numbers and lines
2162 in which the bar checks failed. In the next
2163 example, the second bar check will signal an error.
2166 \time 3/4 c2 e4 | g2 |
2169 Bar checks can also be used in lyrics, for example
2174 Twin -- kle | Twin -- kle |
2178 An incorrect duration can result in a completely garbled score,
2179 especially if the score is polyphonic, so a good place to start
2180 correcting input is by scanning for failed bar checks and
2181 incorrect durations.
2184 @funindex pipeSymbol
2186 It is also possible to redefine the action taken when a bar check
2187 or pipe symbol, @code{|}, is encountered in the input, so that
2188 it does something other than a bar check. This is done by
2189 assigning a music expression to @code{pipeSymbol}.
2190 In the following example @code{|} is set to insert a double bar
2191 line wherever it appears in the input, rather than checking
2194 @lilypond[quote,ragged-right,verbatim]
2195 pipeSymbol = \bar "||"
2204 When copying large pieces of music, it can be helpful to check
2205 that the LilyPond bar number corresponds to the original that you
2206 are entering from. This can be checked with
2207 @code{\barNumberCheck}, for example,
2210 \barNumberCheck #123
2214 will print a warning if the @code{currentBarNumber} is not 123
2215 when it is processed.
2223 @node Rehearsal marks
2224 @subsubsection Rehearsal marks
2226 @cindex rehearsal marks
2227 @cindex mark, rehearsal
2230 To print a rehearsal mark, use the @code{\mark} command
2232 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2241 The letter@tie{}@q{I} is skipped in accordance with engraving
2242 traditions. If you wish to include the letter @q{I}, then use
2245 \set Score.markFormatter = #format-mark-alphabet
2248 The mark is incremented automatically if you use @code{\mark
2249 \default}, but you can also use an integer argument to set the
2250 mark manually. The value to use is stored in the property
2251 @code{rehearsalMark}.
2253 @cindex rehearsal mark format
2254 @cindex rehearsal mark style
2255 @cindex style, rehearsal mark
2256 @cindex format, rehearsal mark
2257 @cindex mark, rehearsal, style
2258 @cindex mark, rehearsal, format
2260 The style is defined by the property @code{markFormatter}. It is
2261 a function taking the current mark (an integer) and the current
2262 context as argument. It should return a markup object. In the
2263 following example, @code{markFormatter} is set to a pre-defined
2264 procedure. After a few measures, it is set to a procedure that
2265 produces a boxed number.
2267 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2268 \set Score.markFormatter = #format-mark-numbers
2271 \set Score.markFormatter = #format-mark-box-numbers
2277 The file @file{scm/@/translation@/-functions@/.scm} contains the
2278 definitions of @code{format-mark-numbers} (the default format),
2279 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2280 @code{format-mark-box-letters}. These can be used as inspiration
2281 for other formatting functions.
2283 You may use @code{format-mark-barnumbers},
2284 @code{format-mark-box-barnumbers}, and
2285 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2286 incremented numbers or letters.
2288 Other styles of rehearsal mark can be specified manually
2295 @code{Score.markFormatter} does not affect marks specified in this
2296 manner. However, it is possible to apply a @code{\markup} to the
2300 \mark \markup@{ \box A1 @}
2307 Music glyphs (such as the segno sign) may be printed inside a
2310 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2311 c1 \mark \markup { \musicglyph #"scripts.segno" }
2312 c1 \mark \markup { \musicglyph #"scripts.coda" }
2313 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2318 See @ref{The Feta font}, for a list of symbols which may be
2319 printed with @code{\musicglyph}.
2321 For common tweaks to the positioning of rehearsal marks, see
2322 @ref{Formatting text}.
2329 This manual: @ref{The Feta font}, @ref{Formatting text}.
2331 Internals Reference: @rinternals{RehearsalMark}.
2333 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2334 the definition of @code{format-mark-numbers} and
2335 @code{format-mark-letters}. They can be used as inspiration for
2336 other formatting functions.
2338 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2341 @node Special rhythmic concerns
2342 @subsection Special rhythmic concerns
2347 * Aligning to cadenzas::
2348 * Time administration::
2352 @subsubsection Grace notes
2357 @cindex appoggiatura
2358 @cindex acciaccatura
2360 Grace notes are ornaments that are written out. They are made with
2361 the @code{\grace} command. By prefixing this keyword to a music
2362 expression, a new one is formed, which will be printed in a
2363 smaller font and takes up no logical time in a measure.
2365 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2367 \grace { c16[ d16] } c2 c4
2370 Two special forms of the @code{\grace} command exist.
2371 An @emph{acciaccatura}, which should be played as very short,
2372 is denoted by a slurred small note with a slashed stem. The
2373 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2374 main note, is denoted as a slurred note in small print without
2375 a slash. They are entered with the commands @code{\acciaccatura}
2376 and @code{\appoggiatura}, as demonstrated in the following
2379 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2380 b4 \acciaccatura d8 c4
2382 \acciaccatura { g16[ f] } e4
2386 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2387 @code{\grace} does not.
2389 The placement of grace notes is synchronized between different
2390 staves. In the following example, there are two sixteenth grace
2391 notes for every eighth grace note
2393 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2394 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2395 \new Staff { c4 \grace { g8[ b] } c4 } >>
2398 @funindex \afterGrace
2400 @cindex grace notes, following
2402 If you want to end a note with a grace, use the @code{\afterGrace}
2403 command. It takes two arguments: the main note, and the grace
2404 notes following the main note.
2406 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2407 c1 \afterGrace d1 { c16[ d] } c4
2410 This will put the grace notes after a @q{space} lasting 3/4 of the
2411 length of the main note. The fraction 3/4 can be changed by
2412 setting @code{afterGraceFraction}, i.e.,
2415 #(define afterGraceFraction (cons 7 8))
2419 will put the grace note at 7/8 of the main note.
2421 The same effect can be achieved manually by doing
2423 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2426 { s2 \grace { c16[ d] } } >>
2432 By adjusting the duration of the skip note (here it is a
2433 half-note), the space between the main note and the grace
2436 A @code{\grace} music expression will introduce special
2437 typesetting settings, for example, to produce smaller type, and
2438 set directions. Hence, when introducing layout tweaks, they
2439 should be inside the grace expression, for example,
2441 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2453 The overrides should also be reverted inside the grace expression.
2455 The layout of grace expressions can be changed throughout the
2456 music using the function @code{add-grace-property}. The following
2457 example undefines the @code{Stem} direction for this grace, so
2458 that stems do not always point up.
2462 #(add-grace-property 'Voice 'Stem 'direction '())
2468 Another option is to change the variables @code{startGraceMusic},
2469 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2470 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2471 @code{stopAppoggiaturaMusic}. The default values of these can be
2472 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2473 them other effects may be obtained.
2475 @cindex stem, with slash
2478 The slash through the stem in @emph{acciaccatura}s can be obtained in
2479 other situations by @code{\override Stem #'stroke-style =
2485 Grace notes may be forced to use align with regular notes
2486 in other staves by setting @code{strict-grace-spacing} to
2489 @lilypond[verbatim,quote,relative=2]
2491 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2494 \afterGrace c4 { c16[ c8 c16] }
2498 c16 c c c c c c c c4 r
2507 @rglos{grace notes},
2508 @rglos{acciaccatura},
2509 @rglos{appoggiatura}
2514 Internals Reference: @rinternals{GraceMusic}.
2519 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2520 and looks exactly the same as a multi-note beamed
2521 @emph{appoggiatura}.
2522 @c TODO Add link to LSR snippet to add slash when available
2524 Grace note synchronization can also lead to surprises. Staff
2525 notation, such as key signatures, bar lines, etc., are also
2526 synchronized. Take care when you mix staves with grace notes and
2527 staves without, for example,
2529 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2530 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2531 \new Staff { c4 \bar "|:" d4 } >>
2535 This can be remedied by inserting grace skips of the corresponding
2536 durations in the other staves. For the above example
2538 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2539 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2540 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2543 Grace sections should only be used within sequential music
2544 expressions. Nesting or juxtaposing grace sections is not
2545 supported, and might produce crashes or other errors.
2547 @node Aligning to cadenzas
2548 @subsubsection Aligning to cadenzas
2551 @cindex cadenza, aligning to
2552 @cindex aligning to cadenza
2554 In an orchestral context, cadenzas present a special problem: when
2555 constructing a score that includes a cadenza, all other
2556 instruments should skip just as many notes as the length of the
2557 cadenza, otherwise they will start too soon or too late.
2559 A solution to this problem is to use the functions
2560 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2561 functions take a piece of music as argument, and generate a multi-measure
2562 rest or @code{\skip}, exactly as long as the piece. The use of
2563 @code{mmrest-of-length} is demonstrated in the following example.
2565 @lilypond[verbatim,ragged-right,quote]
2566 cadenza = \relative c' {
2567 c4 d8 << { e f g } \\ { d4. } >>
2572 \new Staff { \cadenza c'4 }
2574 #(ly:export (mmrest-of-length cadenza))
2586 @node Time administration
2587 @subsubsection Time administration
2589 @cindex time administration
2590 @cindex timing (within the score)
2591 @cindex music, unmetered
2592 @cindex unmetered music
2594 @funindex currentBarNumber
2595 @funindex measurePosition
2596 @funindex measureLength
2598 Time is administered by the @code{Timing_translator}, which by
2599 default is to be found in the @code{Score} context. An alias,
2600 @code{Timing}, is added to the context in which the
2601 @code{Timing_translator} is placed.
2603 The following properties of @code{Timing} are used
2604 to keep track of timing within the score.
2607 @cindex measure number
2610 @item currentBarNumber
2611 The current measure number. For an example showing the
2612 use of this property see @ref{Bar numbers}.
2615 The length of the measures in the current time signature. For a
2616 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2617 determines when bar lines are inserted and how automatic beams
2618 should be generated.
2620 @item measurePosition
2621 The point within the measure where we currently are. This
2622 quantity is reset by subtracting @code{measureLength} whenever
2623 @code{measureLength} is reached or exceeded. When that happens,
2624 @code{currentBarNumber} is incremented.
2627 If set to true, the above variables are updated for every time
2628 step. When set to false, the engraver stays in the current
2629 measure indefinitely.
2633 Timing can be changed by setting any of these variables
2634 explicitly. In the next example, the default 4/4 time
2635 signature is printed, but @code{measureLength} is set to 5/4.
2636 At 4/8 through the third measure, the @code{measurePosition} is
2637 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2638 The next bar line then falls at 9/8 rather than 5/4.
2640 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2641 \set Score.measureLength = #(ly:make-moment 5 4)
2645 \set Score.measurePosition = #(ly:make-moment 5 8)
2651 As the example illustrates, @code{ly:make-moment n m} constructs a
2652 duration of n/m of a whole note. For example,
2653 @code{ly:make-moment 1 8} is an eighth note duration and
2654 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2660 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2665 Internals Reference: @rinternals{Timing_translator},